“Robert Winter’s masterful and profoundly original MITA represents the first thorough rethinking in music pedagogy in many decades. It will set the standard for a very long time into the future.”
Regent’s Professor of Music
University of Minnesota
Introducing MITA, the Digital Un-Textbook
Help music majors and non-majors alike hear their way to understanding with a fully digital platform that integrates sounding history, theory, and performance in imaginative new ways.
What Is MITA?Lead Author Robert Winter (Distinguished Professor of Music, UCLA) invites students into a world of music and ideas as diverse as the one we live in. Music In the Air (MITA) weaves together cultural contexts, sound-drenched explanations of hundreds of musical terms, and world-class recordings with graded interactive guides spanning the entirety of Western classical music (plus blues, jazz, popular, and many global styles). Joined by videos featuring respected scholars and dozens of talented student musicians, Winter leads lower and upper-division music majors and non-majors alike through a groundbreaking digital learning environment guaranteed to kindle each student’s curiosity and imagination. MITA is laid out into four unique sections, which are connected via Pathways:
AN EVENTFUL STORY: Relevance and range
Highlights of An Eventful Story
Fun to Read
Students make sense of music’s stories by learning about their rich cultural contexts, often tied to everyday concepts (like baseball!).
Explore all of Western music's major movements and composers, from the Middle Ages to Minimalism, from Hildegard of Bingen (born 1098) to John Adams (born 1947).
Modern and Outward-Looking
Alongside Western art music, An Eventful Story features popular music and a growing collection of global musics, the latter through intimate video encounters with gifted performers.
Clicking the “Play” icon starts the work under discussion, from right within Eventful Story, while choosing “Listening Guide” or “Score” launches deeper resources. Students jump seamlessly back and forth. Musical concepts and challenging English vocabulary link directly to the Deep Glossary.
Sortable Eight Different Ways
Find what you are looking for through the lenses that most apply to you, including chronology, composer, genre, geography, and more.
Clicking on in-text thumbnails brings up hundreds of full-screen images and full captions.
LISTENING GUIDES: 160 prose accounts linked to sounding music
Highlights of Listening Guides
Bouncing blocks take students of all levels through each section of every piece. To hear any location (“Closing area,” for example), students simply click on it, and voila.
MITA teems with performances by world-class artists, from the Berlin Philharmonic to the Takacs Quartet, from Dame Joan Sutherland to Sir Georg Solti.
Vocal Texts Made Intelligible
For all vocal works, the Listening Guides include both the original language and a smart-sense English translation.
MITA includes an unrivaled set of 160 Listening Guides that offer detailed background information and full commentary.
Most Guides include two toggle-able levels: Level 1, assuming no prior musical training, and Level 2, challenging more advanced learners to connect what they hear to musical ideas and language they already know.
INTERACTIVE SCORES: 130 annotated scores brought to life
Highlights of Interactive Scores
As the music plays continuously, MITA’s trademark bouncing blocks guide novices and experts alike through each bar of more than a hundred scores.
Each score includes a detailed overview of what’s in it. Clicking on any location from the overview instantly brings up that location in the score and starts playing; shift+click starts anywhere in the music while staying on the overview.
Easily readable red text points out the most salient features on each page. Musical terms are linked to their Deep Glossary entries. Clicking “More” on the bottom of many pages delves even deeper into what the music reveals.
Clicking on any bar plays the music from exactly that point: great for examining details or even practicing sight-singing.
Navigation Made Easy
Students can go through a score page by page, jump to a specific page number, or click on “Go To” to play from a specific moment in the piece (“Coda,” for example).
Want students to just silently read or listen to a score on their own? They can turn off the commentary and bouncing blocks with a single click and have at it.
DEEP GLOSSARY: A unique approach to over 600 musical terms
Highlights of the Deep Glossary
Students don't just read definitions: they hear them! In-text “Play” buttons illustrate written concepts. Hundreds of textual “pop-ups” give them a play-by-play of exactly what they are hearing.
An alphabetical index is supplemented by a “Musical Languages Guide” that builds knowledge step-by-step, from the most basic concepts (“music”) to the most advanced (“modified strophic form” or “disability studies”).
Terms found in each definition are themselves linked to their own definitions (with an easy retrace), and works referenced are linked back to “An Eventful Story.”
“Deep” Means “Deep”
Many entries offer extended essays with further suggestions for “More Reading.”
Help with English, Too
Straightforward definitions for over 1500 challenging non-musical English words. Every word includes an audio pronunciation.
PATHWAYS: Powerfully connect MITA’s rich resources
Highlights of Pathways
The Media You Need, When You Need Them
MITA is already unique in the way it combines music, words, notation, images, and video. Pathways combine these resources from throughout MITA, presenting them in Pathways organized as logical learning threads that seamlessly integrate media types.
Tested and True Premade Pathways
Our content team—expert and experienced university music faculty—have designed MITA’s initial Pathways the way they would design a lesson or semester plan.
Find brief and expanded pre-made Pathways from “2-Semester Music History” and “1-Semester Music Appreciation” to “Orchestra,” “American Music,” or “Women in Music.”
Present Like a Pro
By combining MITA’s varied content, Pathways weave together all the resources you need to give a compelling lecture or class presentation on a wide variety of musical topics.
Coming Soon: Customizable Pathways
You’ll soon be able to edit MITA’s premade Pathways and create your own from scratch. Custom Pathways will also allow you to integrate your own media from outside MITA, such as images and webpages.
Designed By and For Educators
Our team understands educators and musicians because—from our principal author to our director of programming—that’s who we are! Our experience in higher-ed music education has informed every step of MITA’s development in order to give educators like you the tools we always wished we had:
Everything at Your Fingertips
Discovering music should be elegant, intuitive, and easy on the back. A powerful one-stop platform serves as textbook, music scores, sound recordings, and more. You and your students will never need to interrupt learning to find a page, a piece, or a track.
A Comprehensive Story, Enhanced
MITA’s An Eventful Story traces the history of Western and selected world musics in an accessible and engaging manner. But it does much more: music jumps straight from the text, illustrating key points; thumbnail illustrations go full screen with detailed captions; more than 2,000 terms link directly to the Deep Glossary; and links to external reading provide ideas for supplementary assignments (or just feed curious students’ minds). An Eventful Story links seamlessly (both to and back from) MITA’s three other main sections.
Carefully Chosen Repertoire
MITA’s repertoire is both representative and fresh—works that appeal to the ear while being eminently teachable. From Hildegard to Harbison, plainchant to Puccini, Monteverdi to Messaien and Madonna (including some delightful sidetrips), China to the Middle East, MITA covers the waterfront.
At $9.95/mo., with discounts for longer-term subscriptions, MITA brings unparalleled resources at prices students can afford. MITA saves one-semester music appreciation students up to 82% compared to new versions of leading music appreciation textbooks. It saves up to 48% compared to rentals—and without the logistical hassle. Check out the full range of prices on our Subscriptions page. Instructor copies of MITA are provided free of charge when you adopt MITA for your course in the Adopt MITA tab.
MITA delivers a multi-layered experience that only computers can offer. Finding the right level for your students is both easy and flexible. Lesson and assignment planning allows you to sort by date, periods, composers, styles, repertoire, genres, and regions. Assign listenings with either novice or advanced annotations. Oscillate freely between history, theory, and performance. MITA is at home in the music appreciation hall and the graduate seminar, the theory classroom and the course in orchestration.
Any Student Can Read a Score
MITA’s 4,000 pages of breakthrough Interactive Scores bring notation to sounding life. As the music plays, novices and experts alike enjoy following along with the bouncing blocks that guide them through a work. Users can also jump instantly from section to section to demonstrate structural parallels. Optional annotations explore musical concepts in their detailed contexts. With a single click turn the annotations off to create your own reading.
A Glossary You Can Hear, and Plan Around
Essays (always headed by basic definitions suitable for beginners) accompanied by well-chosen musical examples and guided visual pop-ups breathe sound and clarity into hundreds of theoretical terms. Terms linked from within MITA’s Eventful Story and Listening Guides offer the rare opportunity to reinforce history with theory, performance with both. Additionally, the Deep Glossary’s concise definitions of challenging English words help ESL students quickly build vocabulary.
Search Quickly, Precisely
Planning a lesson on all-things Brahms? Can’t remember where that reference to Miles Davis was? Use MITA’s powerful search engine to access instantly every mention of a term from a contextualized list.
Great Performers, Great Performances
MITA teems with performances by world-class artists—from the Berlin Philharmonic to the Takacs Quartet, Dame Joan Sutherland to Sir Georg Solti—as well as video explorations of more than 100 Western and world instruments performed largely by students. Annotated links to more than 350 external videos provide access and illumination about even more performances of high quality.
Face Complicated Truths, Celebrate Diversity
We believe that the story of an incredible body of work that is predominantly European would be incomplete without a discussion about the ugly truths of colonialism. While examining European conquests in which musicians sometimes found themselves caught in the middle or even direct perpetrators, MITA explores important contributions by members of historically marginalized groups such as women, indigenous peoples, and Africans and offers explanations for why knowledge about the great pasts of these groups is limited.
A Global, Contemporary Perspective
In Version 1.0 students have access to original custom videos of traditional music from China and the Middle East, as well as an engaging video introduction to world music studies by UCLA Professor Emeritus Anthony Seeger. Fresh cultures are in the pipeline. Traditional instruments from the Hawaiian ukulele to Scottish bagpipes highlight the manner in which Western music has borrowed freely from many cultures and traditions. Popular music is integrated from the Middle Ages to the present.
MITA has been programmed and packaged with educators and students in mind. All audio and video is streamed from our reliable servers (you must be connected to the internet to use the program). With MITA’s high-resolution file compression, resources are easily delivered over your home or institution’s Wi-Fi network, or even using a smartphone hotspot.
Guided by its mission to engender lasting curiosity about music, MITA remains an agile, perpetual work-in-progress. MITA’s development team will roll out new features and additional repertoire on a regular basis, as well as respond to user input. If we are in error, we’ll fix it quickly. We welcome your thoughts and suggestions. Drop us your comments on the contact page, and sign up for our emails to be the first to know when new features and repertoire are released.
ArtsInteractive’s team of musicians and educators boasts more than one hundred years of combined experience in higher-ed and self-learner music education. Principal author Robert Winter is an award-winning UCLA teacher, scholar, and performer. Designer/programmer Peter Bogdanoff’s interactive work has inspired audiences from the Pacific Symphony to the New York Philharmonic. Senior Educational Liaison Robert Freeman is the former dean of the Eastman School of Music, the New England Conservatory, and the University of Texas at Austin. We are passionate pioneers in digital media who have earned praise from Wired, The Wall Street Journal, People Magazine, The New York Times, and Newsweek, and funding from the National Endowment for the Humanities.
Questions Frequently Asked by Educators
We use the term tables (plural) of contents because, unlike paper-bound textbooks, MITA offers eight different ways of sorting and approaching centuries of music. Below we have laid out the contents of MITA’s “An Eventful Story” by periods and chapters, which is the chronological approach taken by most music books with which students and instructors may be familiar. However, we encourage educators to consider all types of lenses! Other ways of sorting “An Eventful Story” include by preludes (the extra-musical historical overviews that give context to the music), styles (like Renaissance and Modernism but also sub-styles like the motet and twelve-tone), composer biographies (jump to the overview of any composer in MITA, listed alphabetically or chronologically), works (find the overview of a specific work), genres & categories (opera, orchestral, electronic, etc.), historical windows (special features from every era like “A Choirboy's Life at Notre Dame” and “The New Orleans Brass Band”), and geographical regions (works in MITA from Austria/Germany, the United States, the Middle East, etc.).
Updated March 20, 2019. For the most up-to-date list, view these tables of contents from within a version of MITA.
Periods and Chapters from “An Eventful Story”
Book 1: Prehistory through the Renaissance
The Middle Ages (ca. 30,000 BCE - 1430 CE)
Prelude: Prehistoric, Ancient, and Medieval Worlds
Chapter 1: The Greek Heritage / Medieval Monophony
Chapter 2: Medieval Polyphony
Interlude: Europeans Take the World
The Renaissance (ca. 1430-1600)
Prelude: The Age of Humanism
Chapter 3: Secular Music at Court
Chapter 4: Music for State and Church
Book 2: Early & Late Baroque
The Early Baroque (ca. 1600-1690)
Prelude: The Age of Absolutism
Chapter 5: Instruments in Italy and Germany
Chapter 6: The Birth of Opera
Interlude: Indigenous Peoples and American Colonists
The Late Baroque (ca. 1690-1750)
Prelude: The Age of Enlightenment
Chapter 7: Instrumental Music
Chapter 8: Vocal Music: Opera, Oratorio, Cantata, and Mass
Book 3: The Viennese “Classical” Style
The Viennese “Classical” Style (ca. 1750-1828)
Prelude: The Age of Revolution
Chapter 9: The Rise of the Symphony
Chapter 10: Concerto and Quartet
Chapter 11: Mozart in Opera and Church
Chapter 12: Beethoven: Heroism and Contemplation
Chapter 13: Late Beethoven: Disruption and Transcendence
Chapter 14: Toward Romanticism: Rossini, Weber, Schubert
Interlude: Africa Out of History
Book 4: Romanticism
[Full-Blown] Romanticism (ca. 1829-1875)
Prelude: The Creed of Individualism
Chapter 15: Romanticism in Paris
Chapter 16: Virtuosos and Pianists
Chapter 17: Absolute Music, Tone Poems, Popular Music
Chapter 18: Romantic Opera in Italy and France
Chapter 19: Romantic Opera in Germany
Interlude: The Faces of Colonialism
Book 5: Post-Romanticism & Early Modernism
Post-Romanticism (ca. 1875-1909)
Prelude: Preparing for the End of the World
Chapter 20: Nationalism
Chapter 21: The Twilight of Romanticism
Early Modernism (ca. 1900-1930)
Prelude: The End of the World, Part I
Chapter 22: The French [Musical] Revolution
Chapter 23: Expressionism and Serialism in Vienna
Chapter 24: America: Tragedy and Coming of Age
Chapter 25: Jazz: A Uniquely American Music
Chapter 26: Responses to Jazz; Neoclassicism
Book 6: Late Modernism & the Digital Age
Late Modernism (ca. 1930-1960)
Prelude: The End of the World, Part II
Chapter 27: Emigrés and the Americas
Chapter 28: Manifestations of Populism
Chapter 29: Traditionalists and Mavericks
Chapter 30: Jazz: Bebop and Beyond
The Digital Age (ca. 1950 on)
Prelude: After the End of the World
Chapter 31: The Postwar Avant Garde
Chapter 32: Popular Music and the Media Explosion
Chapter 33: The Counterculture (1963-1974)
Chapter 34: After Peace and Love
Chapter 35: Postmodernism
Chapter 36: Minimalism and Its Ethos
Chapter 37: After Minimalism
Chapter 38: Everything Is Everywhere
Book 7: Some Musics of the World
Some Musics of the World
Prelude: Profile of an Ethnomusicologist
Chapter 39: Music and Instruments of China
Chapter 40: Music of the Middle East
Chapter 41: Bulgarian Folk Music
Postlude: Reclaiming Musical Worlds
Where Do We Go from Here?
We have rigorously selected MITA’s repertoire to give students a complete, well-rounded musical perspective that includes a full range of time periods—and time zones—with both established staples of the Western art music canon and appealing gems you’ll find in no other course pack. All works below include a historical overview in MITA’s An Eventful Story, as well as multimedia resources that are woven into Eventful Story via the following icons, which we’ve also used to indicate the resources available with each work:
A world-class recording of the work available from within An Eventful Story itself
A prose Listening Guide that synchronizes to the same great recording and explains what you’re hearing at any given time
A richly annotated Interactive Score that that follows along as the recording plays (no midi!)
A curated web link to a quality, reliable YouTube video of a performance of the work
An exclusive video performance available within MITA itself
Updated March 22, 2019. To see the most up-to-date repertoire, download the free MITA Sampler and check out the list in the “Works Etc. by Chapter” panel from An Eventful Story’s Tables of Contents. Works denoted in green are additions to MITA planned for the near future.
MITA Repertoire List
Chapter 1 - The Greek Heritage / Medieval Monophony
Marian Antiphon: “Alma redemptoris mater”
Hildegard von Bingen: Ordo virtutum, Scene 4
Countess of Dia: “A una amante infidele”
Walter von der Vogelweide: “Unter der linden an der heide”
Chapter 2 - Medieval Polyphony
Pérotin: Viderunt omnes
Anonymous: motet, “O mitissima—Quant voi—Virgo virginum—Hec dies”
Guillaume de Machaut: Gloria to the Mass of Notre Dame
Machaut: ballade, “Dame, comment qu’amez”
Machaut: virelai, “Douce dame jolie”
Machaut: rondeau, “Rose, lis, printemps, verdure”
Giovanni da Firenze: caccia, “Con bracchi assai”
Francesco Landini: ballata, “Cara mie donna”
John Dunstable: ballata, “O rosa bella”
Chapter 3 - Secular Music at Court
Gilles Binchois or Guillaume Dufay: rondeau, “Je ne vis onques la pareille”
Heinrich Isaac: Lied, “Innsbruck, ich muss dich lassen”
Josquin des Prez: frottola, “El grillo”
Des Prez: canonic chanson, “Baisez moy”
Jacques Arcadelt: madrigal, “Il bianco e dolce signo”
Thomas Weelkes: English madrigal, “Those sweet delightful Lilies”
John Dowland: “Flow My Tears”
Anonymous: Renaissance Dance Medley
Chapter 4 - Music for State & Church
Guillaume Dufay: motet, “Supremum est mortalibus bonum”
Des Prez: Credo from the Missa L'homme armé super voces musicales
Giovanni Pierluigi da Palestrina: Credo from the Pope Marcellus Mass
Tomas Luis de Victoria: Ave Maria for double SATB Choir
Chapter 5 - Instruments in Italy & Germany
Giovanni Gabrieli: Canzoni e Sonate, Sonata XIX
Girolamo Frescobaldi: Capriccio del Soggetto scritto sopra l’Aria di Ruggiero
Claudio Monteverdi: madrigal, “Zefiro torna”
Heinrich Schütz: “Freue dich”
Chapter 6 - The Birth of Opera
Monteverdi: opera, Orfeo, Act IV: Orfeo’s ascent
Henry Purcell: opera, Dido and Aeneas, conclusion
Jean-Baptiste Lully: incidental music to The Bourgeois Gentleman, Overture; Act I: “Canaries;” Act IV: “March for the Turkish Ceremony;” Act V: “Chaconne of Scaramouche, Trivelin, and Arlequin”
Barbara Strozzi: Un amante segreto
Chapter 7 - Instrumental Music of the Late Baroque
Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 2 (all four movements)
Johann Sebastian Bach: Brandenburg Concerto No. 2 in F Major (all three movements)
Antonio Vivaldi: “Autumn” from The Four Seasons (all three movements)
George Frederick Handel: Suite in D/G Major from Royal Water Music (all 5 movements) (3rd movement only)
Georg Philipp Telemann: Trio Sonata in A Minor from Essercizii musici, 4th movement
François Couperin: Les barricades mysterieuses
J.S. Bach: Toccata and Fugue in G Minor for organ, BWV 565
Chapter 8 - Vocal Music of the Late Baroque
Handel: opera, Orlando, recitative and aria, “Fammi combattere”
Jean Philippe Rameau: Jupiter’s descent from Act IV of Castor et Pollux
Handel: from Part II of Messiah
J.S. Bach: Cantata No. 78, movements 1 and 2
Chapter 9 - The Rise of the Symphony
Johann Christian Bach: Overture to Adriano in Siria, 1st movement
Carl Philip Emanuel Bach: Symphony in D Major, Wq. 183/1, 1st movement
Franz Joseph Haydn: Symphony No. 100 in G Major (“Military,” all four movements)
Wolfgang Amadeus Mozart: Symphony No. 41 in C Major, K. 551 (“Jupiter,” all four movements)
Chapter 10 - Concerto & Quartet
Mozart: Piano Concerto in C Major, K. 467 (all three movements)
Haydn: String Quartet in D Major, Op. 76 No. 5 (all four movements) (movements 1 and 3 only)
Chapter 11 - Mozart in Opera & Church
Mozart: opera, The Marriage of Figaro, Act I, No. 6: “Non so piú cosa son;” Act I, No. 9: Recitative and Aria, “Non piú andrei...;” Act II Finale: Stages 3-7
Mozart: Mass in C Minor - 1. Gloria in excelsis Deo, 7-8. Jesu Christe and Cum Sancto
Chapter 12 - Beethoven: Heroism & Contemplation
Ludwig van Beethoven: Symphony No. 5 in C Minor, Op. 67, movements 1 and 4
Beethoven: Piano Concerto No. 4 in G Major, Op. 58, 1st movement
Chapter 13 - Late Beethoven: Disruption & Transcendence
Beethoven: Piano Sonata in C Minor, Op. 111 (both movements)
Beethoven: String Quartet in C-sharp Minor, Op. 131, movements 1, 4 & 7
Chapter 14 - Toward Romanticism
Gioachino Rossini: opera, The Barber of Seville, Overture; Act I: “Largo al factotum” and “Una voce poco fa”
Carl Maria von Weber: opera, Der Freischütz, Act II: “Wolf’s Glen Scene”
Franz Schubert: Lied, “An Silvia,” D. 891
Schubert: Lied, “Gretchen am Spinnrade,” D. 118
Schubert: Lied, “Rastlose Liebe,” D. 138
Schubert: Symphony in B Minor (“Unfinished”), 1st movement
Schubert: Moments musicaux in F Minor and A-flat Major, Op. 94, Nos. 3 and 6
Schubert: String Quintet in C Major, 1st movement
Chapter 15 - Romanticism in Paris
Hector Berlioz: Symphonie fantastique (all five movements) (3rd movement only)
Chapter 16 - Virtuosos & Pianists
Niccolò Paganini: Caprice for Solo Violin, Op. 1, No. 9
Franz Liszt: Concert Étude after Paganini, “La Campanella”
Frédéric Chopin: Étude in G-sharp Minor, Op. 25, No. 6
Chopin: Mazurka in B-flat Minor, Op. 24, No. 4
Chopin: Nocturne in E Major, Op. 62, No. 2
Clara Wieck: Romance in G Minor, Op. 11, No. 2
Chapter 17 - Absolute Music, Tone Poems, Popular Music
Robert Schumann: Piano Concerto in A Minor, Op. 54, 1st movement
Felix Mendelssohn: Piano Trio in D Minor, movements 1 and 2
Johannes Brahms: Variations on a Theme by Haydn, Op. 56b
Liszt: Symphonic Poem No. 10, Hamlet
Johann Strauss, Jr.: waltz, “Voices of Spring,” Op. 410
Chapter 18 - Romantic Opera in Italy & France
Vincenzo Bellini: opera, Norma, Act I: “Casta Diva”
Gaetano Donizetti: opera, Lucia di Lammermoor, Act III: Scene 2 (Mad Scene)
Giuseppe Verdi: opera, Rigoletto, Act III: Beginning
Liszt/Verdi: Concert Paraphrase from Rigoletto
Georges Bizet: opera, Carmen, Overture; Act I: “L’amour est un oiseau rebelle;” Act II: Gypsy dance; Act II: “La fleur que tu m’avais jetée”
Chapter 19 - Romantic Opera in Germany
Richard Wagner: opera, Tristan and Isolde, Act II: Love duet
Liszt/Wagner: Liebestod from Tristan and Isolde
Chapter 20 - Nationalism
Bedřich Smetana: The Moldau from Ma Vlast
Edvard Grieg: Wedding Day at Troldhaugen
Modest Musorgsky: Pictures at an Exhibition (entire work) (Nos. 2. “Il Vecchio Castello,” 4. “Bydlo,” 6. “Samuel Goldenberg and Schmuyle,” 7. “The Market at Limoges” & 8. “Catacombs” only; No. 10, “The Great Gate of Kiev” also )
Peter Tchaikovsky: Fantasy Overture, Romeo and Juliet
Jean Sibelius: Finlandia
Enrique Granados: 12 Spanish Dances, Nos. 2. “Orientales” and 5. “Andaluza”
Manuel de Falla: El Amor Brujo, 8. Ritual Fire Dance, and 12. “Danza del Juego de Amor”
Chapter 21 - The Twilight of Romanticism
Anton Bruckner: Symphony No. 7 in E Minor, 2nd movement
César Franck: Symphony in D Minor, 1st movement
Gabriel Fauré: Requiem, Sanctus and Agnus Dei
Giacomo Puccini: opera, La bohéme, Act I: Love duet
Antonin Dvorak: Symphony No. 9 in E Minor, Op. 95 (“From the New World”), 2nd movement
Amy Beach: Symphony in E Minor (“Gaelic,” movements 1, 2 & 3)
Richard Mahler: Symphony No. 6, 1st movement
Richard Strauss: opera, Der Rosenkavalier, Act III: Conclusion
Chapter 22 - The French [Musical] Revolution
Claude Debussy: Prelude to the Afternoon of a Faun
Maurice Ravel: “Lever du jour” from Daphnis and Chloe, Suite No. 2
Igor Stravinsky: Part I from The Rite of Spring
Chapter 23 - Expressionism & Serialism in Vienna
Arnold Schoenberg: Vergangenes from Five Pieces for Orchestra, Op. 16
Schoenberg: No. 8, “Nacht,” from Pierrot lunaire, Op. 21
Anton Webern: Five Pieces for Orchestra, Op. 10, numbers 3 and 4
Alban Berg: opera, Wozzeck, Act III: Scenes 2 and 3
Webern: Symphony, Op. 21, 1st movement
Chapter 24 - America: Tragedy & the Coming of Age
Anthony Philip Heinrich: The War of the Elements and the Thundering of Niagara: Capriccio Grande
Stephen Foster: “I Dream of Jeanie with the Long Brown Hair;” “Beautiful Dreamer”
Alabama Minstrels: “Down in Mobile Long Ago”
Louis Moreau Gottschalk: “The Banjo”
John Philip Sousa: march, “The Stars and Stripes Forever”
Charles Harris: “After the Ball”
Arthur Lamb / Harry von Tilzer: “A Bird in a Gilded Cage”
Charles Ives: “Putnam’s Camp” from Three Places in New England
Leo Ornstein: “Danse Sauvage;” “Suicide in an Airplane”
Henry Cowell: The Tides of Manaunaun; The Banshee
Chapter 25 - Jazz: A Uniquely American Music
Scott Joplin: “Gladiolus Rag”
Gertrude “Ma” Rainey: “Barrelhouse Blues;” “Prove It on Me Blues”
Jelly Roll Morton: “Dead Man Blues”
Louis Armstrong: “West End Blues”
Duke Ellington: “Harlem Air Shaft”
Chapter 26 - Responses to Jazz; Neoclassicism
Stravinsky: “Three Dances” from A Soldier’s Tale
George Gershwin: from Act I, Scene 1 from Porgy and Bess
Paul Hindemith: Kammermusik No. 1, Op. 24, movements 1 and 2
Stravinsky: Symphony of Psalms, 3rd movement
Chapter 27 - Late Modernism: Émigrés & the Americas
Edgard Varèse: Ionisation
Béla Bartók: Concerto for Orchestra, movements 1 and 4 ( movement 4)
Kurt Weill: The Threepenny Opera, 8. “Seeräuber Jenny” and 16. “Eifersuchtsduett”
Silvestre Revueltas: Sensemaya
Chapter 28 - Manifestations of Populism
Gilbert and Sullivan: “Major General’s Song” from H.M.S. Pinafore
Victor Herbert: “Ah, Sweet Mystery of Life” from Naughty Marietta
John Lomax: “Sweet Betsy from Pike” (performed by Johnny Cash); “Git Along Little Dogies” from West of the Badlands
Lead Belly: “Irene, Goodnight Irene” and “Cotton Fields”
Cole Porter: “In the Still of the Night” from Rosalie; “So In Love” from Kiss Me Kate
Kern and Hammerstein: “Old Man River” from Show Boat
Aaron Copland: Suite from Appalachian Spring
Bernard Herrmann: Suite from the film Journey to the Centre of the Earth
Leonard Bernstein: West Side Story, “America” and “Tonight”
Chapter 29 - Traditionalists and Mavericks
Sergei Rachmaninoff: Rhapsody on a Theme of Paganini
Sergei Prokofiev: Piano Concerto No. 3, 1st movement
Benjamin Britten: opera, Peter Grimes, Act III: End of Scene 1 to Scene 2
Dmitri Shostakovich: Symphony No. 5, Op. 47, 2nd movement
Olivier Messiaen: Quartet for the End of Time, 1st movement (“Liturgie de cristal”) and 6th movement (“Danse de la fureur, pour les sept trompettes”)
Chapter 30 - Jazz: Bebop and Beyond
Charlie Parker: “Bloomdido”
Thelonious Monk: “Round Midnight”
Miles Davis: Kind of Blue
Ornette Coleman: “Lonely Woman” and “School Work”
Keith Jarret: The Köln Album
Chapter 31 - The Digital Age: The Postwar Avant Garde
Pierre Boulez: Le Marteau sans maître, 3rd movement (“The Furious Artisan”)
Karlheinz Stockhausen: Gesang der Jünglinge
Chapter 32 - Popular Music & the Media Explosion
Bing Crosby / Irving Berlin: “White Christmas”
Muddy Waters: “Got My Mojo Workin’”
Bill Haley: “Rock Around the Clock”
Chuck Berry: “Maybellene;” “Roll Over, Beethoven”
Fats Domino: “Blueberry Hill”
The Carter Family: “Will the Circle Be Unbroken?”
Elvis Presley: “That’s Alright (Mama);” “Blue Moon Over Kentucky;” “Don’t Be Cruel;” “Jailhouse Rock”
Buddy Holly: “Peggy Sue”
Chapter 33 - The Counterculture
Pete Seeger: “Down By The Riverside”
The Beatles: “Twist and Shout;” “I Want to Hold Your Hand;” “Sgt. Pepper’s Lonely Hearts Club Band;” “Fixing a Hole;” “She’s Leaving Home”
Chapter 34 - After Peace & Love
Iron Maiden: “The Trooper”
Van Halen: “Runnin’ with the Devil”
The Ramones: “Blitzkrieg Bop”
Chapter 35 - Postmodernism
John Cage: Aria with Fontana Mix
Astor Piazzolla: L’histoire du tango, 1st movement (Bordello)
György Ligeti: Lux Aeterna for 16-voice a cappella mixed chorus
Chapter 36 - Minimalism & Its Ethos
La Monte Young: Excerpt from The Well-Tuned Piano
Terry Riley: In C
Steve Reich: It’s Gonna Rain; Come Out; Piano Phase; Music for Eighteen Musicians
Arvo Pärt: Spiegel im Spiegel
John Adams: Nixon in China, Act I: “News Has a Kind of Mystery”
Chapter 37 - After Minimalism
Joan Tower: Sequoia; Fanfare for the Uncommon Woman
Ellen Taaffe Zwilich: “Eyesight” from Passages for Soprano and Instrumental Ensemble
Chapter 38 - Everything Is Everywhere
Julia Wolfe: Cruel Sister; Reeling; Anthracite Fields
Missy Mazzoli: These Worlds In Us
Chapter 39 - Music & Instruments of China
Chapter 40 - Music of the Middle East
Chapter 41 - Bulgarian Folk Music
MITA’s alliance with Universal Music Group (including Decca, London, Deutsche Gramophon, Archiv, and L’oiseaux lyre), along with contributions from labels such as Nonesuch, Teldec, and Chandos, makes our carefully chosen offerings of unrivaled quality.
MITA’s content has been carefully designed to fit a wide range of music courses, from non-major music appreciation courses to music-major history surveys to graduate composition seminars, and any course in between. If there is material that doesn’t fit your course, MITA’s modular (vs. page-by-page serial) approach makes it easy to skip.
This approach also means that the content you need is there if you know where to look. Start with An Eventful Story’s tables of contents (just select “An Eventful Story” from the home screen), which allow you to organize history eight different ways, such as by chronology, geographical region, or musical work.
The Deep Glossary, in addition to its default alphabetical ordering, can be organized into a Musical Languages Guide (just select “Deep Glossary” from the home screen and choose “View the Guide” from the green box on the right), which presents musical terms in categories like harmony, color, and musical notation.
Make connections between the realms of history, theory, and performance by following MITA’s links and buttons to different sections; when studying Berlioz in An Eventful Story, for example, you might instruct students to follow the glossary link to “orchestration” and make that topic a focus of your lesson.
Finally, use the search function (find the magnifying glass in the menu bar at the bottom of each page) to find all mentions of a term in MITA.
Digital spaces render narrowcasting textbook constraints obsolete. MITA does not throw you into the deep end of the pool. Instead, its layered approach lets you put your feet on the first step of the shallow end and walk in at your own speed (later on you can jump into the deep end). How does this work?
- The narrative of “An Eventful Story” is aimed at motivated college freshmen in either non-major music appreciation courses or music-major history surveys (though MITA has been used successfully by middle- and high-school students as well). Compact definitions of not only musical terms but of more than a thousand regular vocabulary words are available with a single click.
- The more than 150 Listening Guides are geared to those who do not read music or have any special training. They invite the student to click and listen at their own speed. Many Listening Guides include a Level 2 that challenges more expert listeners to hear at a deeper level.
- The 110+ Interactive Scores are accessible to complete novices because MITA’s trademark bouncing blocks follow the music as it plays. Beginners learn to navigate scores the same way they picked up spoken language as toddlers. For experts or professionals, both the bold red comments and the “More” feature provide ample fodder for in-depth discussions.
- All entries in the Deep Glossary begin with a concise definition that instructors can specify, or they can delve more deeply at their discretion. The Deep Glossary contains entries on methodologies such as ethnomusicology, cultural theory, gender studies, feminist musicology, and disability studies.
With its built-in flexibility, MITA can support (and/or supplement) beginner to advanced courses in music appreciation, music history, theory, orchestration, form and analysis, pedagogy, or courses that explore issues such as race and gender. The beginner will not feel overwhelmed; the expert will find plenty to chew on. Besides serious college courses, MITA has engaged (in its English version!) 125 six-to-nine-year-old Chinese piano students in a 2-hour public presentation without any loss of enthusiasm or concentration because they came to the stage one after the other and ran the program themselves.
Recent research has shown that the overwhelming majority of college and university students—97 percent—own either a laptop or a desktop computer. Due to the demands of today’s campus environment, the remaining three percent who don’t own computers have workarounds in place, which often involve the use of institutional machines. If you anticipate having a small group of students who do not own computers, we recommend securing subscriptions to MITA on institutional machines to which those students have access. Students sometimes also sign up for MITA via a friend or roommate’s computer. Most students—including those who may need to use MITA at the library—will thank you for MITA’s cost savings compared to traditional music textbooks.
By the way, we recently purchased a 13” Windows laptop online for $200. MITA looks and runs great on it.
MITA’s minimum file sizes and audio/video compression mean that our program runs smoothly on modest Wi-Fi setups. It is more important that systems be steady and reliable in order not to disrupt service. Our testing has shown that many students can use the program simultaneously without degrading performance. If you plan to be using MITA in a classroom or auditorium and have any reservations about the Wi-Fi coverage, try out the program at your institution before adopting.
MITA is the most integrated, affordable music learning resource currently available, with Monthly, 6-Month, and Annual Subscription options to fit the individual needs of your students. See the latest pricing information on our Subscription page.
Instructors and their teaching assistants in courses using MITA receive a complimentary subscription for the duration of the course. Instructors can supply names and email addresses of TAs when requesting their free subscription here.
MITA has been used intensively since 2010 in both undergraduate and graduate classes at UCLA (and other southern California campuses), ranging from freshman General Education courses to graduate seminars. As the most diverse campus in the United States, UCLA has provided an ideal test bed, and dozens of student suggestions have been incorporated into MITA’s content and user interface.
Seeing Is Believing (and hearing, too!)
The free MITA Sampler allows you to explore coverage of a single work, experience a range of MITA’s features, and consider how the program might serve your pedagogical goals. Complete the mini-form below to launch your Mac/Windows download now and get started immediately.
Request a Demo of the Full Version of MITA
If you’re considering MITA for your course, chances are you’ll want to fully vet it to make sure it’s the right fit. Request a demo of the full Subscription version of MITA by completing the form below. We’ll review your request and provide you with a license key to unlock MITA’s full contents within three business days.