The Enjoyment of Music: An Introduction to Perceptive Listening (Hardcover)

Beginning with a chapter on the elements and aspects of music, the book starts with Gregorian Chant (c. 400) and quickly moves through history all the way to 20th century music, including minimalism and Arvo Part.

The reading is clear and straightforward, and the pictures and charts make the reading more exciting than your typical bland textbook. There are some problems, however.

First, this book is not adequate for music majors. As another reviewer states, many great composers here are overlooked or briefly mentioned, especially those composers who were not on the leading edge of each movement (e.g. William Byrd, Sergei Rachmaninov, Gustav Holst, Bruckner, Wolf, and Prokofiev).

Another issue that some have with the book is its inclusion of women composers into history. I understand why they do it. Even today in society there are few women composers, and it is important to teach our young women that they can write great music. On the other hand, as a result of poor musical education and opportunities, compositions of women composers such as Jacquet de la Guerre and Barbara Strozzi pale in comparison with those of Mozart, Bach, and Beethoven. This emphasis of women composers is one that is constantly undergoing debate in the music world.

If you are looking for a Music Appreciation textbook, I would strongly consider this one as well as Roger Kamien's text. If you are not taking a class and just want to learn about music, you should consider getting the 8-CD set of musical excerpts. They go along with the listening guides in the book, and help illustrate the textbook's concepts.

Overall, it has everything you'll need to pass your theory exam. However, you may want to look around because you probably won't get as much use out of it as you'd like for the price.

What I found was thoroughly dissappointing - not necessarily the material itself, but the way the book was written. A reoccurring theme of political correctness made me want to gag at times, and at others it prompted only dissapointment at important parts of the history of music that were neglected in the place of politically correct anecdotes about multi-culturalism and entire chapters devoted to obscure composers who are included solely because they happened to be female.

The politically correct themes of this 500 page book ranged from the casual use of extreme PC terminology such as "Before the Common Era" (BCE) instead of the now politically incorrect "Before Christ" (BC) to more bizarre ventures into the realm of modern artistic "Electronic Music." At times the attention paid to modern eccentricism is an embarrassing reflection upon the author in my mind. He names and gives brief biographies of more obscure post modernists, figures in "electronic" music, and neo-romanticist composers than he does for the ENTIRE BAROQUE AND CLASSICAL PERIODS OF MUSIC COMBINED.

The detriment of doing this does not go unnoticed. The author completely neglected any mention whatsoever of the contributions of significant composers including Georg Philip Telemann, Dimitri Kabelevsky, Arthur Sullivan (of Gilbert and Sullivan), William Byrd, and Gustav Holst. Similarly the contributions of Correlli, Johann Strauss, Elgar, Couperin, Gluck, CPE Bach, Orff, Borodin, and countless others recieve only brief mentions of a line or two.

Amazingly, after having left out so many significant composers, the author finds room to devote the better part of an entire chapter to the obscure Baroque era harpsichordist Elisabeth-Claude Jaquet De La Guerre and even features a composition of hers, even though she was known more as a musician than a composer and even though her musical contribution was far less than any of the above mentioned composers who were neglected by the author. Jaquet De La Guerre, at best, is an obscure footnote in the history of music, especially compared to giants like Johann Strauss (who was largely neglected) and composers of some of the most significant works of music in history, such as Holst (the Planets), Orff (Carmina Burana), and Corelli (father of the concerto grosso, an important musical form itself that was also discussed in only a sentence or two by the author).

Almost laughably, the author, in light of all his omissions, takes time out to mention modern "ska" music, Curt Cobain, the Mighty Mighty Bosstones, "Ice Cube," Michael Jackson, and the Jefferson Airplane. At least the reader can rest assured that the Jefferson Airplane got paid more attention by the author than one of the most prolific composers in history (Telemann)!