Inside music : how to understand, listen to, and enjoy good music / Karl Haas ; drawings by Mona Mark.

Enhanced descriptions from Syndetics:

Karl Haas, creator and host of the internationally syndicated radio program "Adventures in Good Music," has an inimitable flair for bringing classical music to life.nbsp;nbsp;This is a definitive and fascinating reference work for anyone who loves classical music and wants to learn more about its many aspects and dimensions.

Table of contents provided by Syndetics

• Preface (p. v)
• Part 1 The Makings of Music
• 1 The Infinite Pleasures of Listening to Music (p. 3)
• What to Listen for in Music (p. 7)
• 2 Music's Main Ingredients (p. 15)
• Rhythm - The Pulse of Music (p. 16)
• The Building Blocks of Melody (p. 21)
• Harmony - Synchronization of Sound (p. 28)
• Tonal Color - A Musical Kaleidoscope (p. 35)
• Form - The Unifying Force in Music (p. 40)
• 3 The Instruments and Their Principal Use (p. 49)
• The Human Voice (p. 51)
• The Woodwind Family (p. 56)
• The Brass Family (p. 72)
• The String Family (p. 80)
• The Percussion Family (p. 110)
• The Keyboard Family (p. 125)
• 4 The Orchestra and Its Evolution (p. 151)
• Early History (p. 152)
• The Baroque Orchestra (p. 153)
• The Classical Orchestra (p. 158)
• The Orchestra of Beethoven's Time (p. 164)
• Some Nineteenth- and Twentieth-century Milestones (p. 168)
• 5 Interpretation, or the Art of Conveying Music's Meaning (p. 175)
• Interpretive Guidelines of Composers (p. 177)
• Evaluating Different Interpretations (p. 179)
• 6 The Conductor and His Art (p. 183)
• Origin (p. 184)
• The Concertmaster (p. 185)
• The Evolution of the Art of Conducting (p. 187)
• Some Types and Techniques of Conducting (p. 192)
• Musical Preparation for Conductors (p. 193)
• 7 Orchestration (p. 197)
• Comparing an Orchestral Transcription and an Original Composition (p. 201)
• Mixing Instrumental Sounds or Colors (p. 203)
• Development of Orchestrational Techniques (p. 205)
• Part 2 Music in the Flow of History
• 8 The Categories of Music: Definition, History, and Examples (p. 209)
• Absolute Music:
• Sonata (p. 210)
• Symphony (p. 212)
• Concerto (p. 213)
• Chamber Music (p. 215)
• Suite (p. 219)
• Theme and Variations (p. 221)
• Rondo (p. 223)
• Contrapuntal Music (p. 224)
• Program Music:
• Anthem (p. 229)
• Cantata (p. 230)
• Character Piece (p. 231)
• Chorale (p. 234)
• Incidental Music (p. 235)
• Lied (p. 236)
• Madrigal (p. 240)
• Mass (p. 241)
• Motet (p. 243)
• Opera (p. 244)
• Oratorio (p. 249)
• Overture (p. 252)
• Symphonic/Tone Poem (p. 254)
• 9 The Periods of Music in Relation to History and the Other Arts (p. 257)
• Ancient Civilizations (p. 259)
• The Medieval Age (p. 261)
• The Gothic Age (p. 264)
• The Renaissance (p. 266)
• The Reformation and Counter-Reformation (p. 272)
• Baroque (p. 274)
• The Late Eighteenth Century:
• Rococo (p. 282)
• Classicism (p. 284)
• Romanticism (p. 291)
• Nationalism (p. 323)
• The Twentieth Century:
• Realism (p. 330)
• Impressionism (p. 334)

Author notes provided by Syndetics