Written on the premise that all music is “legitimate” this book teaches readers to do more than just appreciate music—it encourages a life-long learning and exploration of music. Focusing on the canon of concert music, it also contains numerous examples from other musical venues stressing the pervasiveness of music throughout the world as a significant human expression. Music is discussed in both an aesthetic and a sociological context—including expressions ranging from rap to jazz, early rock “n” roll to folk expressions, and from cultures outside the Western culture to musical masterpieces from the Baroque, Classical, Romantic, and Modern eras stemming from European-American traditions. This treatment emphasizes three fundamental concepts—diversity, change, and developing listening techniques, in order to broaden listeners' perspective of music. For individuals seeking an active appreciation of music—regardless of age, education, or career orientation. For active consumers “listening” to enhance their selection of music—as they become aware of the various socio-political forces that drive and support it. For hours of enjoyment.
DAVID NICHOLS, Professor of Musicology and Coordinator of Graduate Studies in Music at Truman State University, is active as a musicologist, a conductor, and a teacher of conducting. Trained as a historical musicologist with a Ph.D. from Indiana University, Professor Nichols has concentrated his research on the shaping forces of musical style in the eighteenth, nineteenth, and twentieth centuries. His eclectic abilities as a teacher, scholar, conductor, and a clarinetist/saxophonist have had a major influence upon both his interpretation of music and his interest in the sociology of music and its relationship to the world of concert music. His performance experience ranges from orchestral and choral conducting to directing musical theatre, church music, and performing as a jazz musician.
David Nichols' professional activities in guiding the music curriculum in liberal studies at his university and being part of Truman State University's Liberal Studies Program development have broadened his personal philosophy toward the study of music in the modern university. Musical Encounters is the result of a life-long interest in teaching students who represent a diverse array of interests, backgrounds, and academic disciplines. It projects the attitude that all music is "legitimate," and should be studied from perspectives that include both aesthetic and sociological considerations.
