Now Hear This is a digital textbook that helps students connect their natural enthusiasm for music with deeper listening skills. By placing the SOUND of the music at the center of study, it encourages students to reflect on their own assumptions and approach unfamiliar music as an anthropologist would study a new culture. This reflective approach helps them overcome prejudices, expand their listening, and build lasting curiosity.

With more than 100 embedded and YouTube examples, interactive activities, and concise writing, the text moves beyond memorization to develop critical listening and cultural awareness. Designed for both face-to-face and online teaching, it includes ready-to-use PowerPoint and Keynote presentations, curated YouTube playlists, and seamless LMS integration to make adoption simple in any format.

For Educators

Teaching Music Appreciation: A Different Approach

Teaching the appreciation of music requires two things: facts and skills. We give students the historical facts that surround music, and we also teach listening skills to enrich their experience. Yet too often at the end of a music appreciation course, I find that students can answer factual questions about music history but still struggle to recognize the melody in an instrumental piece. They may be able to describe performers from the Medieval period but not distinguish the sound of monophonic from polyphonic textures. And when asked whether they’ve discovered any new music they enjoy, I am frequently met with silence or reluctance.

Most of my students genuinely like music—they often choose Music Appreciation because it fulfills an academic requirement with a subject they already enjoy. So why do so many finish the course without having connected their personal enjoyment of music to a wider range of listening skills and musical styles?

This text addresses two major reasons for that gap:

1. Hidden Prejudices and Cultural Barriers

   Students often carry unrecognized artistic prejudices shaped by cultural and psychological backgrounds. Their musical experiences may be narrow, and they sometimes internalize beliefs that classical music is too difficult, inaccessible, or socially irrelevant. They are usually unaware of how strongly they cling to the familiar—and how much discomfort the unfamiliar can create.

    

   To break through these barriers, chapter one immediately asks students to reflect on their own assumptions and comfort levels, encouraging them to think like anthropologists encountering an unfamiliar culture. This empowers them to take ownership of their openness to new musical ideas.

2. The Need for Listening Tools

   Students also need practical tools for listening, understanding, and analyzing music. This text provides those tools through a mix of text, audio, and video. The use of video has been particularly powerful, since it allows concepts to be presented aurally, visually, and verbally at once. Most importantly, students are asked not only to read about concepts but to hear them, which is essential for building real engagement with music.

   The questions throughout the text are also designed to move beyond simple recall. For example:

   • Instead of “Who composed this piece?” → “This composer is well known for which of these innovations?”
   • Instead of “What is the title of this piece?” → “What elements in this music reveal the influence of jazz?”

   This higher-order questioning develops critical listening and helps students connect what they hear with broader stylistic traits and cultural influences.

Only after these hurdles are addressed does the text introduce music in its historical context. The writing style is intentionally direct and concise, keeping students focused on sound while guiding them quickly to the most important historical insights. It is less critical that they memorize Beethoven’s birth year than that they can recognize his music and understand how it bridges the Classical and Romantic periods. The priority remains developing listening skills first, then connecting them to historical knowledge.

Practical Use in the Classroom and Online

In addition to its pedagogical approach, Now Hear This is designed for flexibility in both in-person and online classes. To support instructors, it includes ready-to-use PowerPoint and Keynote presentations for classroom teaching, along with curated YouTube playlists that bring the listening examples directly into lessons. The book’s structure is paced at one chapter per week, with some flexibility near the end of the semester. Chapter 11 is slightly longer, providing an ideal point to assign a concert report that reinforces real-world listening and reflection.

Assessment is also designed with instructors in mind: questions require students to demonstrate recognition, analysis, and contextual thinking rather than simply recalling names and dates. This allows instructors to evaluate deeper listening skills and cultural understanding while still streamlining grading through question banks and automatic tools.

Conclusion

By first asking students to confront their own assumptions, and then engaging them with multimodal presentations, higher-order questioning, and flexible resources, I find they respond with far more curiosity and confidence. Keeping the prose succinct and the focus on listening allows them to connect factual knowledge with lived sound. In the end, students not only leave the course with stronger skills and deeper understanding, but also with a lasting curiosity—equipped to continue exploring music far beyond the classroom.

How to Use This Text

Now Hear This is designed to work equally well in online, face-to-face, or blended courses. Instructors have access to ready-to-use PowerPoint and Keynote presentations that make classroom teaching seamless, along with curated YouTube playlists that bring the listening examples directly into lessons. For online courses, the same materials are integrated into the text so that students experience a consistent flow of reading, listening, and assessment. This flexibility allows instructors to adopt the text in whatever format best suits their course.

The textbook integrates text, video, listening examples, activities, and assessments into a single resource. Chapter quizzes and the final exam come with standard question sets as well as additional banks of questions, allowing instructors to tailor assessments to their own teaching style and mode of delivery.

Each chapter begins with an ungraded opening question to spark student engagement and curiosity. Content is delivered through a blend of text, images, and listening activities. Ungraded checkpoints throughout the chapters divide the material into manageable sections, encourage critical thinking, and reinforce key ideas. Every chapter closes with a quiz that includes listening-based questions tied directly to the musical examples explored.

• Chapter 1 introduces music as human artistic expression and applies an anthropological lens, asking students to reflect on their own assumptions and approach music with openness.
• Chapters 2–3 equip students with essential tools for analyzing and organizing music, including the science of sound, the elements of music, and the classification of instruments and ensembles—always reinforced through audio examples.
• Chapters 4–9 trace the historical periods from the Medieval through the Romantic era. Each chapter begins with an overview of the cultural, scientific, political, and artistic background, then explores music through focused groupings such as styles, forms, composers, and instruments. Sidebars, resources, and activities invite deeper exploration.
• Chapters 10–13 turn to twentieth-century and contemporary developments, including film music, jazz, modernism, and postmodernism. Instead of placing history up front, these chapters weave relevant historical context directly into each musical development.

The text concludes with a comprehensive final exam built from chapter quiz content, including listening-based assessments that measure not just factual recall but real critical listening skills.

Student Learning Outcomes

• Exhibit active listening, demonstrated by distinguishing musical components such as melody, harmony, texture, meter, instrumentation, and dynamics.
• Recognize and classify musical instruments, both orchestral and non-orchestral.
• Demonstrate the ability to understand and utilize a basic musical vocabulary of common terms.
• Associate the stylistic and aesthetic developments of music history with the concurrent developments of cultural history.
• Identify characteristics and aurally recognize distinguishing features of music from the major style periods of Western music.
• Explain the contributions of major composers and identify their musical styles.
• Understand the place of the Western musical tradition within the context of global music.

Goals of the Author

• Encourage open-mindedness toward unfamiliar music
• Help students overcome barriers to experiencing a wide variety of music
• Provide practical tools to improve listening skills and deepen engagement
• Develop analytical tools for exploration and interpretation
• Build a working vocabulary of musical terms and concepts
• Introduce instruments and ensembles, and explain how they function
• Present the historical context of innovations, styles, and periods in music, including indicators that reveal their origins
• Foster emotional and cultural connections that inspire curiosity and exploration
• Highlight the role of music within broader cultural and historical contexts
• Provide biographical knowledge of major composers and their contributions
• Trace the evolution of music across history
• Explore emotional communication through music, from the composer to the performer and ultimately to the listener
• Offer an integrated experience that combines listening by ear with the ability to place musical aspects in historical and cultural context