I. The Beginning

Audio Example 1.1 In the Beginning (“And the earth was without form and void…”)–Aaron Copland

 

Audio Example 1.2. In the Beginning (opening)–Aaron Copland

 

Audio Example 1.3. In the Beginning (“And God said, let us make man in our image…”)–Aaron Copland

 

Audio Example 1.4. In the Beginning (“Thus the heavens and the earth were finished…”)–Aaron Copland

 

Audio Example 1.5. In the Beginning (“And the Lord God made man from the dust of the ground…”)–Aaron Copland

 

Audio Example 1.6. Symphony no. 40–Wolfgang Amadeus Mozart

 

 

II. Symphonies and Symphonies

Audio Example 2.1  C triad

 

Audio Example 2.2  Low C

 

Audio Example 2.3  Harmonic series on low C to the 6th harmonic

 

Audio Example 2.4 Harmonic series on low C to the 5th harmonic

 

Audio Example 2.5. Fundamental Low C

 

Audio Example 2.6  First Harmonic (C octave above low C)

 

Audio Example 2.7. Demonstration of the First Harmonic

 

Audio Example 2.8. Second Harmonic (G octave and a fifth above low C)

 

Audio Example 2.9. Demonstration of the Second Harmonic

 

Audio Example 2.10. Demonstration of Dominant to Tonic

 

Audio Example 2.11  Third Harmonic (C two octaves above low C)

 

Audio Example 2.12. The first four overtones of the harmonic series

 

Audio Example 2.13. Three different pitches (C-G-E) from the harmonic series

 

Audio Example 2.14. Five notes of a scale on C

 

Audio Example 2.15. Major triad

 

Audio Example 2.16. First theme of the Fifth Symphony, representing a minaret

 

Audio Example 2.17  First part of the theme

 

Audio Example 2.18  Second part of the theme

 

Audio Example 2.19. Third part of the theme

 

Audio Example 2.20. First theme, played by the brass (Choir 1)

 

Audio Example 2.21. The Brass are joined by the Strings (Choir 2)

 

Audio Example 2.22. The Brass and Strings are joined by the Woodwinds (Choir 3)

 

Audio Example 2.23  The Brass, Strings, and the Woodwinds are joined by the Percussion (Choir 4)

 

Audio Example 2.24. The Triad is formed and set into brilliant motion

 

Audio Example 2.25. Transition to the second theme in the double basses

 

Audio Example 2.26. Opening of the second theme (evoking “Organic Shape”)

 

 

III. Work and Play; Play and Work

Audio Example 3.1  Baltimore Oriole, evoked in Oiseaux Exotiques–Olivier Messiaen

 

Audio Example 3.2  Field recording of a Baltimore Oriole

 

 

IV. Deep into that Darkness

 

 

V. High Definition

Audio Example 5.1 Symphony no. 5, mvt. I–Ludwig van Beethoven

 

 

VI. Suspending Disbelief

Audio Example 6.1 Litany (opening page)–Mohammed Fairouz

 

Audio Example 6.2. Litany (“Amen”)–Mohammed Fairouz

 

Audio Example 6.3. Mass, XIV:  Sanctus (“Holy! Holy! Holy!” with bell)–Leonard Bernstein

 

Audio Example 6.4. Mass, XIV:  Sanctus (boys choir enters)–Leonard Bernstein

 

Audio Example 6.5. Sadat, mvt. IV “Jerusalem” (imitation of shofars)–Mohammed Fairouz

 

Audio Example 6.6  Sadat, mvt. IV “Jerusalem” (horns and church bells)–Mohammed Fairouz

 

Audio Example 6.7. Sadat, mvt. IV “Jerusalem” (strings and winds join, imitating the Azan)–Mohammed Fairouz

 

Audio Example 6.8. Mass, mvt. I:  Devotions before Mass, 1:  Antiphon: Kyrie Eleison–Leonard Bernstein

 

Audio Example 6.9. Mass, XIV:  Sanctus (Kadosh)–Leonard Bernstein

 

Audio Example 6.10. Mass, XVII:  Pax: Communion (“Secret Songs”)–Leonard Bernstein

 

Audio Example 6.11  Mass, XIII:  The Lord’s Prayer–Leonard Bernstein

 

Audio Example 6.12  Mass, VI:  Gloria, Trope:  Thank You–Leonard Bernstein

 

 

VII. Fiction

Audio Example 7.1 Pax Universalis–Mohammed Fairouz

 

 

XII. False Starts:  Rites of Spring, New Awakenings, Revolutions and Rebirths

Audio Example 12.1  Gloriana, Choral Dance no. 2, “Concord”–Benjamin Britten