{"product_id":"classical-music-for-dummies-isbn-9781119847748","title":"Classical Music For Dummies","description":"\u003cb\u003eClassical music was never meant to be an art for snobs!\u003c\/b\u003e \u003cp\u003eIn the 1700s and 1800s, classical music \u003ci\u003ewas\u003c\/i\u003e popular music. People went to concerts with their friends, they brought snacks and drinks, and cheered right in the middle of the concert. \u003c\/p\u003e\u003cp\u003eWell, guess what? Three hundred years later, that music is just as catchy, thrilling, and emotional. \u003c\/p\u003e\u003cp\u003eFrom Bach to Mozart and Chopin, history's greatest composers have stood the test of time and continue to delight listeners from all walks of life. And in \u003ci\u003eClassical Music For Dummies,\u003c\/i\u003e you'll dive deeply into some of the greatest pieces of music ever written. You'll also get: \u003c\/p\u003e\u003cul\u003e \u003cli\u003eA second-by-second listening guide to some of history's greatest pieces, annotated with time codes\u003c\/li\u003e \u003cli\u003eA classical music timeline, a field guide to the orchestra, and listening suggestions for your next foray into the classical genre\u003c\/li\u003e \u003cli\u003eExpanded references so you can continue your studies with recommended resources\u003c\/li\u003e \u003cli\u003eBonus online material, like videos and audio tracks, to help you better understand concepts from the book\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003ci\u003eClassical Music For Dummies\u003c\/i\u003e is perfect for anyone who loves music. It's also a funny, authoritative guide to expanding your musical horizons—and to learning how the world's greatest composers laid the groundwork for every piece of music written since. \u003c\/p\u003e\u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003eAbout This Book 1\u003c\/p\u003e \u003cp\u003eFoolish Assumptions 2\u003c\/p\u003e \u003cp\u003eIcons Used in This Book 2\u003c\/p\u003e \u003cp\u003eBeyond the Book 3\u003c\/p\u003e \u003cp\u003eWhere to Go from Here 4\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 1: Getting Started with Classical Music 5\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1: Prying Open the Classical Music Oyster 7\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDiscovering What Classical Music Really Is 8\u003c\/p\u003e \u003cp\u003eFiguring Out What You Like 8\u003c\/p\u003e \u003cp\u003eThe Seven Habits of Highly Effective Composers 9\u003c\/p\u003e \u003cp\u003eTheir music is from the heart 9\u003c\/p\u003e \u003cp\u003eThey use a structure that you can feel 9\u003c\/p\u003e \u003cp\u003eThey’re creative and original 10\u003c\/p\u003e \u003cp\u003eThey express a relevant human emotion 10\u003c\/p\u003e \u003cp\u003eThey keep your attention with variety and pacing 11\u003c\/p\u003e \u003cp\u003eTheir music is easy to remember 11\u003c\/p\u003e \u003cp\u003eThey move you with their creations 12\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2: The Entire History of Music in 80 Pages 13\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding How Classical Music Got Started 13\u003c\/p\u003e \u003cp\u003eChanting All Day: The Middle Ages 14\u003c\/p\u003e \u003cp\u003eGregorian chant 14\u003c\/p\u003e \u003cp\u003eA monk named Guido 15\u003c\/p\u003e \u003cp\u003eMass dismissed! 15\u003c\/p\u003e \u003cp\u003eThe First Composer-Saint 16\u003c\/p\u003e \u003cp\u003eBorn Again: The Renaissance 16\u003c\/p\u003e \u003cp\u003eThe madrigal takes off 16\u003c\/p\u003e \u003cp\u003eOpera hits prime time 17\u003c\/p\u003e \u003cp\u003eGetting Emotional: The Baroque Era 18\u003c\/p\u003e \u003cp\u003eRenegade notes on wheels 18\u003c\/p\u003e \u003cp\u003eKings, churches, and other high rollers 19\u003c\/p\u003e \u003cp\u003eAntonio Vivaldi 19\u003c\/p\u003e \u003cp\u003eGeorge Frideric Handel 21\u003c\/p\u003e \u003cp\u003eJohann Sebastian Bach 24\u003c\/p\u003e \u003cp\u003eTightening the Corset: The Classical Style 26\u003c\/p\u003e \u003cp\u003eJoseph Haydn 27\u003c\/p\u003e \u003cp\u003eWolfgang Amadeus Mozart 29\u003c\/p\u003e \u003cp\u003eJoseph Boulogne, Chevalier de Saint-Georges 34\u003c\/p\u003e \u003cp\u003eLudwig van Beethoven: The man who changed everything 34\u003c\/p\u003e \u003cp\u003eSchubert and his Lieder 39\u003c\/p\u003e \u003cp\u003eFelix Mendelssohn 42\u003c\/p\u003e \u003cp\u003eFanny Mendelssohn 44\u003c\/p\u003e \u003cp\u003eFalling in Love: Hopeless Romantics 45\u003c\/p\u003e \u003cp\u003eCarl Maria von Weber 45\u003c\/p\u003e \u003cp\u003eHector Berlioz 46\u003c\/p\u003e \u003cp\u003eFrédéric Chopin 49\u003c\/p\u003e \u003cp\u003eRobert Schumann 51\u003c\/p\u003e \u003cp\u003eJohannes Brahms 54\u003c\/p\u003e \u003cp\u003eThe superstars: Paganini and Liszt 56\u003c\/p\u003e \u003cp\u003eLiszt follows Paganini’s lead 57\u003c\/p\u003e \u003cp\u003eRichard Wagner 58\u003c\/p\u003e \u003cp\u003eStrauss and Mahler 59\u003c\/p\u003e \u003cp\u003eSaluting the Flag(s): Nationalism in Classical Music 63\u003c\/p\u003e \u003cp\u003eBedřich Smetana 64\u003c\/p\u003e \u003cp\u003eAntonín Dvořák 65\u003c\/p\u003e \u003cp\u003eEdvard Grieg 67\u003c\/p\u003e \u003cp\u003eJean Sibelius 68\u003c\/p\u003e \u003cp\u003eCarl Nielsen 70\u003c\/p\u003e \u003cp\u003eGlinka and the Mighty Fistful 71\u003c\/p\u003e \u003cp\u003ePeter Tchaikovsky 73\u003c\/p\u003e \u003cp\u003eSergei Rachmaninoff 75\u003c\/p\u003e \u003cp\u003eListening to Music of the 20th Century and Beyond 77\u003c\/p\u003e \u003cp\u003eDebussy and Ravel 78\u003c\/p\u003e \u003cp\u003eIgor Stravinsky 80\u003c\/p\u003e \u003cp\u003eSergei Prokofiev 83\u003c\/p\u003e \u003cp\u003eDmitri Shostakovich 84\u003c\/p\u003e \u003cp\u003eThe Second Viennese School 86\u003c\/p\u003e \u003cp\u003eThe Americans 87\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3: Spotting a Sonata 95\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSymphonies 95\u003c\/p\u003e \u003cp\u003eFirst movement: brisk and lively 96\u003c\/p\u003e \u003cp\u003eSecond movement: slow and lyrical 97\u003c\/p\u003e \u003cp\u003eThird movement: dancy 98\u003c\/p\u003e \u003cp\u003eFinale: rollicking 98\u003c\/p\u003e \u003cp\u003eSonatas and Sonatinas 99\u003c\/p\u003e \u003cp\u003eConcertos 100\u003c\/p\u003e \u003cp\u003eConcerto structure 101\u003c\/p\u003e \u003cp\u003eThe cadenza 101\u003c\/p\u003e \u003cp\u003eDances and Suites 103\u003c\/p\u003e \u003cp\u003eSerenades and Divertimentos 104\u003c\/p\u003e \u003cp\u003eThemes and Variations 105\u003c\/p\u003e \u003cp\u003eFantasias and Rhapsodies 106\u003c\/p\u003e \u003cp\u003eTone Poems (Or Symphonic Poems) 107\u003c\/p\u003e \u003cp\u003eLieder (and Follower) 107\u003c\/p\u003e \u003cp\u003eLeader of the Lieder 108\u003c\/p\u003e \u003cp\u003eSong forms 108\u003c\/p\u003e \u003cp\u003eOratorios and Other Choral Works 109\u003c\/p\u003e \u003cp\u003eOperas, Operettas, and Arias 110\u003c\/p\u003e \u003cp\u003eOvertures and Preludes 110\u003c\/p\u003e \u003cp\u003eBallets and Ballerinas 111\u003c\/p\u003e \u003cp\u003eString Quartets and Other Motley Assortments 112\u003c\/p\u003e \u003cp\u003eWhy Do You Need a Form, Anyway? 113\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 2: Listen Up! 115\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4: Dave ’n’ Scott’s E-Z Concert Survival Guide™ 117\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePreparing — or Not 117\u003c\/p\u003e \u003cp\u003eKnowing When to Arrive at the Concert 118\u003c\/p\u003e \u003cp\u003eCan I Wear a Loincloth to The Rite of Spring? 119\u003c\/p\u003e \u003cp\u003eThe Gourmet Guide to Pre-Concert Dining 119\u003c\/p\u003e \u003cp\u003eFiguring Out Where to Sit — and How to Get the Best Ticket Deals 120\u003c\/p\u003e \u003cp\u003eTo Clap or Not to Clap: That’s the Question 122\u003c\/p\u003e \u003cp\u003eWhy nobody claps 122\u003c\/p\u003e \u003cp\u003eMore on the insane “no-clap” policy 123\u003c\/p\u003e \u003cp\u003eWho to Bring and Who to Leave at Home with the Dog 125\u003c\/p\u003e \u003cp\u003eRecognizing Which Concerts to Attend — or Avoid — on a Date 125\u003c\/p\u003e \u003cp\u003ePeeking at the Concert Program 126\u003c\/p\u003e \u003cp\u003eThe typical concert format 127\u003c\/p\u003e \u003cp\u003eThe music itself 129\u003c\/p\u003e \u003cp\u003eA different kind of program 130\u003c\/p\u003e \u003cp\u003eIntroducing the Concertmaster 132\u003c\/p\u003e \u003cp\u003eFinding the pitch 133\u003c\/p\u003e \u003cp\u003eTwisting and turning, pulling and pushing 133\u003c\/p\u003e \u003cp\u003eEnter the Conductor 135\u003c\/p\u003e \u003cp\u003eUnderstanding interpretation 135\u003c\/p\u003e \u003cp\u003eSlicing up time 137\u003c\/p\u003e \u003cp\u003eReading the job description 138\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5: For Your Listening Pleasure 141\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Handel: Water Music Suite No 2: Alla Hornpipe 142\u003c\/p\u003e \u003cp\u003e2 Bach: Well-Tempered Clavier, Book 2: Prelude and Fugue in C Major 143\u003c\/p\u003e \u003cp\u003e3 Mozart: Piano Concerto No 22 in E-Flat, Third Movement 145\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Beethoven: Symphony No. 5, First Movement 149\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eExposition 150\u003c\/p\u003e \u003cp\u003eDevelopment 151\u003c\/p\u003e \u003cp\u003eRecapitulation 151\u003c\/p\u003e \u003cp\u003eCoda 152\u003c\/p\u003e \u003cp\u003e5 Brahms: Symphony No 4, Third Movement 153\u003c\/p\u003e \u003cp\u003e6 Dvořák: Serenade for Strings, Fourth Movement 155\u003c\/p\u003e \u003cp\u003e7 Tchaikovsky: Symphony No 6, Fourth Movement 156\u003c\/p\u003e \u003cp\u003e8 Debussy: La Mer: Dialogue du Vent et de la Mer 158\u003c\/p\u003e \u003cp\u003e9 Stravinsky: The Rite of Spring: Opening to the End of Jeu de Rapt 161\u003c\/p\u003e \u003cp\u003eIntroduction 161\u003c\/p\u003e \u003cp\u003eDanses des adolescentes (Dances of the Adolescent Girls) 162\u003c\/p\u003e \u003cp\u003eJeu de rapt (Ritual of Abduction) 163\u003c\/p\u003e \u003cp\u003eINTERMISSION: Backstage Tour 165\u003c\/p\u003e \u003cp\u003eLiving in the Orchestral Fishpond 165\u003c\/p\u003e \u003cp\u003eWhat I Did for Love 166\u003c\/p\u003e \u003cp\u003eGoing through an Audition 167\u003c\/p\u003e \u003cp\u003eAn almost-true story 167\u003c\/p\u003e \u003cp\u003eRigged auditions 169\u003c\/p\u003e \u003cp\u003eThe list 169\u003c\/p\u003e \u003cp\u003eThe prescription 170\u003c\/p\u003e \u003cp\u003ePlaying the odds 170\u003c\/p\u003e \u003cp\u003eAn unexpected meeting 171\u003c\/p\u003e \u003cp\u003eThe return 171\u003c\/p\u003e \u003cp\u003eOnstage 172\u003c\/p\u003e \u003cp\u003eBehind the screen 172\u003c\/p\u003e \u003cp\u003eThe wait 174\u003c\/p\u003e \u003cp\u003eThe aftermath 175\u003c\/p\u003e \u003cp\u003eThe Life of an Orchestra Musician, or What’s Going on in the Practice Room? 175\u003c\/p\u003e \u003cp\u003eSelling the Product 176\u003c\/p\u003e \u003cp\u003eUnderstanding Contract Riders 179\u003c\/p\u003e \u003cp\u003eThe Strange and Perilous Relationship between an Orchestra and Its Conductor 180\u003c\/p\u003e \u003cp\u003eWhy an Orchestra Career Is Worth the Grief 182\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 3: A Field Guide to the Orchestra 183\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6: Keyboards \u0026amp; Co 185\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Piano 185\u003c\/p\u003e \u003cp\u003eLooking inside the piano 186\u003c\/p\u003e \u003cp\u003eNaming the notes 186\u003c\/p\u003e \u003cp\u003eFinding an octave 186\u003c\/p\u003e \u003cp\u003ePlaying the black keys 187\u003c\/p\u003e \u003cp\u003eLooking inside the piano 188\u003c\/p\u003e \u003cp\u003ePressing down the pedals 188\u003c\/p\u003e \u003cp\u003eHearing the piano 190\u003c\/p\u003e \u003cp\u003eThe Harpsichord 191\u003c\/p\u003e \u003cp\u003eWinning the Baroque gold medal 191\u003c\/p\u003e \u003cp\u003eHearing the harpsichord 192\u003c\/p\u003e \u003cp\u003eThe Organ 193\u003c\/p\u003e \u003cp\u003ePulling out the stops 194\u003c\/p\u003e \u003cp\u003eHearing the organ 194\u003c\/p\u003e \u003cp\u003eThe Synthesizer 195\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7: Strings Attached 197\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Violin 198\u003c\/p\u003e \u003cp\u003eDrawing the bow 199\u003c\/p\u003e \u003cp\u003eTuning up 199\u003c\/p\u003e \u003cp\u003ePlaying the violin 200\u003c\/p\u003e \u003cp\u003eVibrating the string 201\u003c\/p\u003e \u003cp\u003eThe unbearable lightness of bowing 201\u003c\/p\u003e \u003cp\u003ePlucking the strings 202\u003c\/p\u003e \u003cp\u003eHearing the violin 203\u003c\/p\u003e \u003cp\u003eThe Other String Instruments 204\u003c\/p\u003e \u003cp\u003eThe viola 204\u003c\/p\u003e \u003cp\u003eThe cello 206\u003c\/p\u003e \u003cp\u003eThe double bass 208\u003c\/p\u003e \u003cp\u003eThe harp 209\u003c\/p\u003e \u003cp\u003eThe guitar 212\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8: Gone with the Woodwinds 215\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Flute 216\u003c\/p\u003e \u003cp\u003eMaking music out of thin air 216\u003c\/p\u003e \u003cp\u003eHearing the flute 217\u003c\/p\u003e \u003cp\u003eThe Piccolo 218\u003c\/p\u003e \u003cp\u003eThe Oboe 219\u003c\/p\u003e \u003cp\u003ePlaying the oboe 221\u003c\/p\u003e \u003cp\u003eHearing the oboe 222\u003c\/p\u003e \u003cp\u003eThe English Horn 223\u003c\/p\u003e \u003cp\u003eThe Clarinet 223\u003c\/p\u003e \u003cp\u003eTransposing instruments 223\u003c\/p\u003e \u003cp\u003eHearing the clarinet 225\u003c\/p\u003e \u003cp\u003eThe Saxophone 226\u003c\/p\u003e \u003cp\u003eThe Bassoon 227\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9: The Top (and Bottom) Brass 231\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMaking a Sound on a Brass Instrument 232\u003c\/p\u003e \u003cp\u003eThe French Horn 233\u003c\/p\u003e \u003cp\u003eHunting for notes: The natural horn 234\u003c\/p\u003e \u003cp\u003eAdding valves: The modern, treacherous horn 234\u003c\/p\u003e \u003cp\u003eHearing the French horn 235\u003c\/p\u003e \u003cp\u003eThe Trumpet 236\u003c\/p\u003e \u003cp\u003eTonguing 237\u003c\/p\u003e \u003cp\u003eUsing mutes 237\u003c\/p\u003e \u003cp\u003eHearing the trumpet 237\u003c\/p\u003e \u003cp\u003eThe Trombone 238\u003c\/p\u003e \u003cp\u003eSliding around 239\u003c\/p\u003e \u003cp\u003eHearing the trombone 240\u003c\/p\u003e \u003cp\u003eThe Tuba 241\u003c\/p\u003e \u003cp\u003eA gaggle of tubas 241\u003c\/p\u003e \u003cp\u003eHearing the tuba 242\u003c\/p\u003e \u003cp\u003ePet Peeves of the Brassily Inclined 242\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 10: Percussion’s Greatest Hits 243\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Timpani 244\u003c\/p\u003e \u003cp\u003eDrum roll, please! 246\u003c\/p\u003e \u003cp\u003eHearing the timpani 246\u003c\/p\u003e \u003cp\u003eThe Bass Drum 246\u003c\/p\u003e \u003cp\u003eThe Cymbals 247\u003c\/p\u003e \u003cp\u003eThe Snare Drum 247\u003c\/p\u003e \u003cp\u003eThe Xylophone 248\u003c\/p\u003e \u003cp\u003eOther Xylo-like Instruments 250\u003c\/p\u003e \u003cp\u003eMore Neat Instruments Worth Banging 250\u003c\/p\u003e \u003cp\u003eThe triangle 250\u003c\/p\u003e \u003cp\u003eThe tambourine 252\u003c\/p\u003e \u003cp\u003eThe tam-tam and gong 253\u003c\/p\u003e \u003cp\u003eThe castanets 254\u003c\/p\u003e \u003cp\u003eThe whip 254\u003c\/p\u003e \u003cp\u003eThe cowbell 255\u003c\/p\u003e \u003cp\u003eThe ratchet 255\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 4: Peeking Into the Composer’s Brain 257\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 11: The Dreaded Music Theory Chapter 259\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eI’ve Got Rhythm: The Engine of Music 260\u003c\/p\u003e \u003cp\u003eDividing up time 260\u003c\/p\u003e \u003cp\u003eFeeling the beat 261\u003c\/p\u003e \u003cp\u003eSight-reading for the first time 262\u003c\/p\u003e \u003cp\u003eMaking notes longer 263\u003c\/p\u003e \u003cp\u003eMaking notes shorter 264\u003c\/p\u003e \u003cp\u003eAdding a dot 265\u003c\/p\u003e \u003cp\u003eTaking the final exam 266\u003c\/p\u003e \u003cp\u003eUnderstanding Pitch: Beethoven at 5,000 rpm 267\u003c\/p\u003e \u003cp\u003ePerforming an experiment for the betterment of mankind 268\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 pitches! 269\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eNotating pitches 270\u003c\/p\u003e \u003cp\u003eDave ’n’ Scott’s 99.9999% Key-Determining Method 278\u003c\/p\u003e \u003cp\u003eWhy we have keys 279\u003c\/p\u003e \u003cp\u003eMaking the Leap into Intervals 280\u003c\/p\u003e \u003cp\u003eThe major second 281\u003c\/p\u003e \u003cp\u003eThe major third 282\u003c\/p\u003e \u003cp\u003eThe fourth 282\u003c\/p\u003e \u003cp\u003eThe fifth 283\u003c\/p\u003e \u003cp\u003eThe major sixth 284\u003c\/p\u003e \u003cp\u003eThe major seventh 285\u003c\/p\u003e \u003cp\u003eThe octave 285\u003c\/p\u003e \u003cp\u003eTelling the difference: major and minor intervals 286\u003c\/p\u003e \u003cp\u003eThe minor second 286\u003c\/p\u003e \u003cp\u003eThe minor third 287\u003c\/p\u003e \u003cp\u003eThe minor fifth (not!) — aka the tritone 288\u003c\/p\u003e \u003cp\u003eThe minor sixth 288\u003c\/p\u003e \u003cp\u003eThe minor seventh 289\u003c\/p\u003e \u003cp\u003eGetting on the Scale 290\u003c\/p\u003e \u003cp\u003eConstructing a Melody 292\u003c\/p\u003e \u003cp\u003eGetting Two-Dimensional: Piece and Harmony 292\u003c\/p\u003e \u003cp\u003eMajor, minor, and insignificant chords 293\u003c\/p\u003e \u003cp\u003eFriends and relations: harmonic progressions 294\u003c\/p\u003e \u003cp\u003eFriends, Romans, chord progressions 295\u003c\/p\u003e \u003cp\u003eListening to the oldies 296\u003c\/p\u003e \u003cp\u003ePut in Blender, Mix Well 297\u003c\/p\u003e \u003cp\u003eGetting Your Music Theory Degree 298\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 12: Once More, with Feeling: Tempo, Dynamics, and Orchestration 299\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMeet the Dynamics Duo: Soft and Loud 300\u003c\/p\u003e \u003cp\u003eHoney, I shrunk the LoudSoft™ 301\u003c\/p\u003e \u003cp\u003eWearing Italian hairpins 302\u003c\/p\u003e \u003cp\u003eGetting into matters of sonic taste 303\u003c\/p\u003e \u003cp\u003eThrowing Tempo Tantrums 303\u003c\/p\u003e \u003cp\u003eTelling ’Bones from Heckelphones: Orchestration Made Easy 304\u003c\/p\u003e \u003cp\u003ePlaying with sound colors 304\u003c\/p\u003e \u003cp\u003eNotating orchestrations 304\u003c\/p\u003e \u003cp\u003eWho’s the orchestrator? 305\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 5: the Part of Tens 307\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 13: The Ten Most Common Misconceptions about Classical Music 309\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eClassical Music Is Boring 309\u003c\/p\u003e \u003cp\u003eClassical Music Is for Snobs 310\u003c\/p\u003e \u003cp\u003eAll Modern Concert Music Is Hard to Listen to 310\u003c\/p\u003e \u003cp\u003eThey Don’t Write Classical Music Anymore 311\u003c\/p\u003e \u003cp\u003eYou Have to Dress Up to Go to the Symphony 311\u003c\/p\u003e \u003cp\u003eIf You Haven’t Heard of the Guest Artist, She Can’t Be Any Good 311\u003c\/p\u003e \u003cp\u003eProfessional Musicians Have It Easy 312\u003c\/p\u003e \u003cp\u003eThe Best Seats Are Down Front 313\u003c\/p\u003e \u003cp\u003eClapping between Movements Is Illegal, Immoral, and Fattening 313\u003c\/p\u003e \u003cp\u003eClassical Music Can’t Change Your Life 314\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 14: The Ten Best Musical Terms for Cocktail Parties 315\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAtonal 316\u003c\/p\u003e \u003cp\u003eCadenza 316\u003c\/p\u003e \u003cp\u003eConcerto 317\u003c\/p\u003e \u003cp\u003eCounterpoint 317\u003c\/p\u003e \u003cp\u003eCrescendo 317\u003c\/p\u003e \u003cp\u003eExposition 318\u003c\/p\u003e \u003cp\u003eIntonation 318\u003c\/p\u003e \u003cp\u003eOrchestration 318\u003c\/p\u003e \u003cp\u003eRepertoire 318\u003c\/p\u003e \u003cp\u003eRubato 318\u003c\/p\u003e \u003cp\u003eTempo 319\u003c\/p\u003e \u003cp\u003eUsing Your New-Found Mastery 319\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 15: Ten Great Classical Music Jokes 321\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMaster of Them All 321\u003c\/p\u003e \u003cp\u003eThe Heavenly Philharmonic 322\u003c\/p\u003e \u003cp\u003eBrass Dates 322\u003c\/p\u003e \u003cp\u003eThe Late Maestro 323\u003c\/p\u003e \u003cp\u003eBasses Take a Breather 323\u003c\/p\u003e \u003cp\u003eHouseless Violist 324\u003c\/p\u003e \u003cp\u003eLudwig’s Grave 324\u003c\/p\u003e \u003cp\u003eThe Weeping Violist 324\u003c\/p\u003e \u003cp\u003eMusicians’ Revenge 325\u003c\/p\u003e \u003cp\u003eOne Last Viola Joke 325\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 16: Ten Ways to Get More Music in Your Life 327\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGet Involved with Your Orchestra 327\u003c\/p\u003e \u003cp\u003eJoin a Classical Music Tour 328\u003c\/p\u003e \u003cp\u003eMeet the Artists — Be a Groupie 328\u003c\/p\u003e \u003cp\u003eMake Music Friends on the Internet 329\u003c\/p\u003e \u003cp\u003eJoin an Unlimited Music Service 330\u003c\/p\u003e \u003cp\u003eListen to Your Local Classical Station 330\u003c\/p\u003e \u003cp\u003eLoad Up on Your Own Recordings 331\u003c\/p\u003e \u003cp\u003eWatch Classical Music Movies 332\u003c\/p\u003e \u003cp\u003eStudy Up on the Classics 333\u003c\/p\u003e \u003cp\u003eMake Your Own Music 334\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 6: the Appendixes 337\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAppendix A: Listen to This! Starting a Classical Music Collection 339\u003c\/p\u003e \u003cp\u003eList 1: Old Favorites 340\u003c\/p\u003e \u003cp\u003eList 2: MILD on the Taste Meter 341\u003c\/p\u003e \u003cp\u003eList 3: MEDIUM on the Taste Meter 342\u003c\/p\u003e \u003cp\u003eList 4: MEDIUM HOT on the Taste Meter 343\u003c\/p\u003e \u003cp\u003eList 5: HOT on the Taste Meter 344\u003c\/p\u003e \u003cp\u003eAppendix B: Classical Music Timeline 345\u003c\/p\u003e \u003cp\u003eAppendix C: Glossary 353\u003c\/p\u003e \u003cp\u003eIndex 359\u003c\/p\u003e \u003cp\u003e\u003cb\u003eDavid Pogue \u003c\/b\u003eis a six-time Emmy-winning “CBS Sunday Morning” correspondent, a \u003ci\u003eNew York Times\u003c\/i\u003e bestselling author, and a former Broadway conductor and arranger.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eScott Speck\u003c\/b\u003e is an internationally acclaimed conductor and author who has delighted audiences in London, Paris, Moscow, Beijing, New York, Chicago, Los Angeles, and countless other cities.  \u003c\/p\u003e\u003cp\u003e\u003cb\u003eUnlock a whole new world of musical magic\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eClassical music was never meant to be an art for snobs. In the 1700s and 1800s, classical music \u003ci\u003ewas\u003c\/i\u003e popular music. People went to concerts with their friends, brought snacks and drinks, and cheered right in the middle of the concert. Today, 300 years later, that music is just as catchy, thrilling, and emotional. This book takes you on a journey of discovery and understanding—of the classical orchestra, the music its members play, and the brilliant, colorful composers who wrote that music. Our online bonus tracks bring it all to life! \u003c\/p\u003e\u003cp\u003e\u003cb\u003eInside…\u003c\/b\u003e \u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eA simple definition of classical music\u003c\/li\u003e \u003cli\u003e A field guide to the orchestra\u003c\/li\u003e \u003cli\u003e Classical music’s greatest hits\u003c\/li\u003e \u003cli\u003e What makes a composer tick\u003c\/li\u003e \u003cli\u003e A diverse look into classical music history\u003c\/li\u003e \u003cli\u003e Suggestions for your playlist\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"For Dummies","offers":[{"title":"Default Title","offer_id":47988926578917,"sku":"NP9781119847748","price":27.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119847748.jpg?v=1761782080","url":"https:\/\/k12savings.com\/es\/products\/classical-music-for-dummies-isbn-9781119847748","provider":"K12savings","version":"1.0","type":"link"}