Top Three Reasons
to Adopt Take Note
for Your Music
Appreciation Course
A Progressive Listening Approach
This innovative music appreciation text helps students become active and attentive listeners through an in-depth examination of a recurring repertory of core musical works.
Historical Coverage
With a three-chapter overview of Western music from the medieval period to the
present, brief composer biographies, and boxes relating music to the other arts
throughout the text, Take Note connects students with the fascinating stories of the
people, places, and events that shaped the development of Western music.
Robust Support Package
Take Note offers a full suite of teaching and learning tools to help you and your
students achieve your Music Appreciation course goals—from streaming
audio, interactive listening guides, and auto-graded assessments to teaching
strategies, PowerPoint® presentations, access to Oxford Music Online, and
more!
Turn the page to learn more . . .
Progressive Listening
Approach Emphasizing
Core MusicalContents
Works
Contents in Brief v
Take Note explores the elements of music
through the lens of a select
Contents vii
group of musical works that were carefully
chosen to reflect a variety
Guide to the Core Repertory of Musical Works xxii
of styles (piano, winds, brass, and percussion)
and
genres
Letter from the
Author
xxiii (jazz, lieder,
the Author
xxiii
world, and choral music). Starting withAbout
simpler
examples
and progressPreface
xxiv
ing to more complex pieces, students will develop their listening skills
Acknowledgments xxviii
while getting to know these core selections.
Full chapters devoted to each
of the basic elements of the musical
experience—form, timbre, rhythm, meter,
melody, harmony, and texture—give students a deeper understanding of how all of
these elements come together to make music
work. Special chapters on Music in Context
show how music and text are combined in
Chapter vocal
9 Harmony
andand
Texture
235dramas.
works
musical
ooperate. When
consistent with
evision, and two
ct an argument.
ons, which often
rhaps you have
eard that someat these, too, are
ng that the piece
e, known as the
ay of explaining
music on a grid,
e horizontal eleo or more tones
e feel increasing
se are questions
ether, but it perDoes each note
mpanying role?
ubordinate lines
hod for crafting
layed or sung at
hey give music a
n Western music
he use of coun-
ny will be front
Chapter
Objectives
Define texture and
harmony, and learn how their
relationship has evolved
through various musical
periods.
Distinguish between
monophonic and polyphonic
textures, as well as dissonance
and consonance.
Understand counterpoint
as a significant musical
development of the Middle
Ages and Renaissance.
Recognize and distinguish
between major and minor
chords, and identify the way
functional harmony serves as
a building block for musical
form.
Hear how harmonic
elements have evolved from
the Romantic period to the
present.
Tonic: The main note and/or
chord of a key, or of a piece
written in that key.
ChAPteR 1
Learning to Listen Actively
1
take Note 1
Chapter Objectives 2
Chronology of Music Discussed in this Chapter 2
Active Listening 2
The Listening Situation
2
A Core Repertory of Works 3
Key elements of Music 3
Form 4
Timbre 4
Rhythm and Meter
Melody 5
Harmony 5
Texture 6
4
Music in Context 6
Music and Text 6
Music and Drama 6
Listening Practice 7
An Emotional Response to Music
7
Learning to Listen guide: Dvořák: Slavonic Dance in E minor,
72, no. 10 8
Chapter Objectivesop.open
Focus On Antonín Dvořák (1841–1904) 8
each chapter, providing a quick
In History Dvořák’s Slavonic Dance in E minor, op. 72, no. 10 9
guide to the contents to beFrom
covered
Emotional to Active Listening 9
and the key ideas that students
Learning to Listen guide: Mozart: Symphony no. 40 in G minor, K. 550
should learn.
Focus On Wolfgang Amadeus Mozart (1756–1791) 12
If You Liked This Music 12
Learning to Listen guide: Bach: Concerto in D minor for harpsichord
and strings, BWV 1052 14
Focus On Original Instruments 15
Learning to Listen guide: Crumb: Black Angels
Focus On George Crumb (b. 1929) 17
17
11
Chapter 4 The Twentieth Century and Beyond: Modernism and Jazz
Learning to Listen
Guides throughout the text
give timed explanations of
each recorded work to help
students identify the basic
musical elements.
97
LEARNING TO LISTEN GuIdE
TAKE NOTE OF TIMBRE AND TEXTURE
What to Listen For: The unusual orchestral sonorities; the often
chant-like enunciation of the text.
Streaming audio track 63.
Stravinsky: Symphony of Psalms
I: Exaudi orationem
date: 1930
Instrumentation: Large orchestra and four-part mixed choir
Key: Variable key centers
Meter: Variable meters
Core Repertory Connection: Stravinsky’s Symphony of Psalms will be discussed again in Chapters 6 and 9.
TIME
ORIGINAL TExT
TRANSLATION
COMMENT
0:00
The introduction features the distinctive sound of
Stravinsky’s orchestra, which includes two pianos.
0:34 Exaudi orationem meam,
Domine
Hear my prayer, O Lord
0:53 Et deprecationem meam.
and give ear unto my cry;
1:03
The next phrase is sung by the full choir.
A brief orchestral interlude features the oboe.
1:09
Audibus percipe lacrimas
meas.
1:29
Ne sileas.
1:39
Quoniam advena ego sum apud
te et peregrinus,
For I am thy passing
guest,
Sicut omnes patres mei.
a sojourner, like all my
fathers.
Remitte mihi, prius quam
abeam et amplius non ero.
Look away from me, that
I may know gladness,
before I depart and be
no more.
2:27
The first phrase of text is sung by the altos alone.
LEARNING TO LISTEN GuIdE
hold not Thy peace at my The third phrase of the text is again sung by the
tears!
altos, followed by a resounding chord played by
the full orchestra.
The words “ne sileas” (“do not be silent”) are
sung by the altos and basses with a faster-moving
accompaniment.
The accompaniment slows down again for the
next two phrases, which are sung first by the altos
and basses and then by the full choir. At the word
“mei,” the orchestra becomes noticeably louder
and more active.
From this point on, the choir sings continuously,
Chapter 9 Harmony and Texture
although the texture of the orchestral
accompaniment shifts several times.
253
Ps. 39: 12–13 (RSV)
Online interactive
listening
guides available
anything
a 20th-century
composition, just
as there is no chance
of mistaking
The
lack of harmonic
resolution,
which
makes this
What to Listen
For:but
a skyscraper for a cathedral spire. The short, detached chords at the opening, the
music sound
restless and unsettled.
on
the
book’s
Dashboard
website
percussive timbres of the pianos used in combination with the orchestral winds,
Streaming audio track 51.
dissonant
the sudden shifts and changes heard throughout the
Wagner: Tristanthe
und
Isolde,harmonies,
Prelude, and
beginning
combine a visual representation
piece all mark it as a product of its own time.
date: 1859
of key works with running comInstrumentation: Large orchestra
Key: A minor
Meter: 6 (two slowly moving groups of three beats per measure) mentary to help students follow
8
along in real time while they
TIME
PROGRESSION
COMMENT
listen
the bymusic.
0:00
Opening motive
The motive representing
Tristanto
is stated
the cello, with the winds adding
TAKE NOTE OF MELODY AND HARMONY
04-Wallace-Chap04.indd 97
05/12/13 1:32 PM
the harmonies that make up the famous “Tristan chord” progression.
If You Liked This
Music boxes encourage
students to expand their playlists and listening skills beyond
the core repertory by offering
additional listening suggestions
throughout the text.
0:21
Repetition
The opening is repeated at a higher pitch.
0:41
Repetition and continuation
It is repeated on yet a higher pitch and then extended.
1:35
Love theme
The theme representing the love between Tristan and Isolde is played by the
cellos. This is the first music heard so far that can be played on the white
keys alone.
If You Liked This Music . . .
A Quick Listen to Wagner
Wagner’s operas are long and daunting, but for
a quick glimpse at his dramatic genius, the
following are recommended:
• Wotan’s Farewell from Die Walküre—The
scene in which the king of the gods leaves his
daughter Brünnhilde defenseless except for
the ring of magic fire with which he
surrounds her is deeply affecting, especially
if you listen to the duet that precedes it
(approximately the last 40 minutes of Act III).
• The song contest from Die Meistersinger von
Nürnberg. The conclusion of Act III of
Wagner’s only mature comic opera contrasts
Walther von Stolzing’s stunning prize song
with a very funny misreading of it by his
rival Beckmesser.
• The Liebestod from Tristan und Isolde—Isolde’s
“love death,” with which the opera concludes,
is frequently paired with the prelude in
performance.
• After listening to these examples, you
might also consider watching the Star Wars
movies and paying particular attention to
John Williams’s music. Williams
deliberately imitated many of Wagner’s
techniques, particularly the use of pregnant
motives to represent characters and ideas
in the plot.
In technical terms, the harmony now contains more dissonance than consonance. Traditional musical syntax dictates that a dissonant chord be followed by a
consonant one. To follow a dissonance with another dissonance, and then another—
as Wagner does here—is like writing a sentence consisting almost entirely of verbs.
Historical Coverage
In order for students to fully appreciate and understand music, Take Note
contains numerous chapters and features that explore the development
of Western music over time.
266
Part 3 Bringing It All Together
Chapters 2, 3, and 4 provide
an overview of Western music from
the Medieval period to the present.
Chapter
Objectives
Describe the different ways
music and text can work
together.
Consider what happens
when a composer makes the
text deliberately hard to
understand, or when the music
seems to subvert the text.
Chapter
3
Distinguish among
Classical and
semantic,
Romantic
Music phonetic, and
syntactic qualities of text, and
understand how they may all
Compositions from the Classical and Romantic periods illustrate the major
be
reflected
a musical
tendencies of classical music
to create
aesthetically pleasingin
and expressive
music. Although the historical period known as Romanticism ended long
setting.
ago, it continues to influence the culture and style of our time.
Take NoTe
Giovanni Pierluigi da Palestrina (ca. 1525–1594)
Chapter
Medieval, Renaissance,
and Baroque Music
2
Indicate how music can
suggest meanings that are less
evident when one simply reads
the words.
In this chapter we will examine the historical periods in music commonly called
Classical and Romantic, which roughly correspond to the late 18th and 19th centuries. Works from these periods still form the heart of the repertory performed by
most classical musicians. There is also no clear dividing line between them, which is
why Beethoven is often considered a part of both periods.
62
Take NoTe
Igor Stravinsky (1882–1971)
History is a silent but supportive partner in the active listening process. Compositions from the Medieval, Renaissance, and Baroque periods lay the back-
03-Wallace-Chap03.indd 62
ground for what has come to be the standard repertory of classical music.
Although the performance of music always takes place in the present, music also
represents the time in which it was created. This makes history another enormously
important topic in the understanding of music. Knowing the factors that influence
the creation of music—whether cultural, economic, technological, religious, or
political—provides another dimension to one’s exploration of music. History is a
silent but supportive partner in the active listening process.
33
to as the text. In opera, the lyrics are
spoken text and words to be sung (se
When music has words, the active
tions. What is the relationship betw
composer have for combining these
the text? Is it possible for music and
How might the skillful combinatio
more effectively than either of these
In this chapter, we will see how te
in our mind and arouse emotional re
spond to the sounds and structure o
tion of the text’s meaning, perhaps b
techniques were common in the Rom
art song. Therefore, we will concent
also looking at some music from oth
music with text may challenge our ex
Fitting Music and
Some music is so elaborate that the t
think of a well-known song in whic
In many cases, the music also enhan
Modernism and Jazz
nique commonly known as text pai
Little Star, for example, the phrase “u
begins on a high note before it descen
Chronology of Music
melodic jump at the opening also i
Discussed in this Chapter
ascends far above the note it started
manner that resembles an inverted
Mid-14th century
Guillaume de Machaut p. 271
painting upside down by having the
Lasse! comment oublieray/Se
indicated by the text. When Johnny C
j’aim mon loyal/Pour quoy me bat
mes maris?, motet
in Ring of Fire, the notes are rising,
notes dropping down.
1828
Franz Schubert p. 266, 280
Creating a purposeful connectio
Winterreise: Der Lindenbaum;
many art songs from the Romantic p
Die Post; Der Leiermann
work from the classical music reperto
1840
often provides a musical setting for a
Robert Schumann
cally feature a singer and piano acco
Dichterliebe: Ich grolle nicht,
p. 278; Die alten, bösen Lieder
crucial role in reinforcing and interp
p. 282
Chapter
05/12/13 12:39 PM
Recognize the different
The Twentieth
voices (personas) from which
Century
Beyond:
music texts
can be and
interpreted.
4
Take NoTe
In the Modern period, the musical mainstream moved away from Western
Timelines and Chronologies of Works
place selections and key developments in music history
in the context of world history.
02-Wallace-Chap02.indd 33
05/12/13 12:35 PM
64
Timeline 3.1 The ClassiCal era (1750–1825)
World evenTs
MusiCal MilesTones
Christoph Willibald Gluck (Bohemian/Austrian—1714–87)
Joseph Haydn (Austrian—1732–1809)
Johann Stamitz named director of instrumental music at
Mannheim, home of the first modern symphonic orchestra (1750)
1750
Wolfgang Amadeus Mozart (Austrian—1756–1791)
James Watt improves the design
of the steam engine (1765)
Ludwig van Beethoven (German/Austrian—1770–1827)
American and French
Revolutions (1776–89)
Eli Whitney invents the cotton gin (1793)
First documented performance of an opera in
America, in New Orleans (1796)
Napoleon is Emperor of France (1804–15)
Robert Fulton invents practical
steamboat (1807)
Congress of Vienna (1815)
The War of 1812 between the United
States and United Kingdom (1812–15)
1800
American popular music rose to assert itself as a major counterforce to the
European classical tradition. Works of jazz provide an excellent listening
example for exploring the basic elements of music.
91
04-Wallace-Chap04.indd 91
Carl Philipp Emanuel Bach (German—1714–1788)
Seven Years War in Europe (1756–63)
Europe to encompass composers from Eastern Europe and America.
1938–1941
Luigi Dallapiccola p. 284
Canti di prigionia (3 movements).
05/12/13 1:31 PM
Schubert: Winterreise, D
We have already examined one song
an example of modified strophic for
songs, was written by Wilhelm Müll
of Schubert. Despite the text’s predi
Müller’s imagery to create vivid em
musical images, and Schubert’s mu
Chapter 3 Classical and Romantic Music
Clear and vivid maps
help students connect each
musical piece and artist with
places around the world.
65
Baltic
Sea
North
Sea
Chapter 4 The Twentieth Century and Beyond: Modernism and Jazz
101
GERMANY Weimar
Focus On boxes draw
from Oxford’s own distinguished Grove Music Online
reference site to offer students
concise background information on composers and other
music-related topics. Students
who purchase a new copy of
Take Note will have access to the
entire contents of Grove Music
Online within Oxford Music
Online.
Across the Arts boxes
examine parallels between
music and the other arts, allowing students to discover what
music has in common with
poetry, storytelling, painting,
architecture, and drama.
200
Part 2 Listening Through Musical Elements
Across the Arts
The Medieval Worldview
Focus On
Erasbach
Erasbac
Claude Debussy (1862–1918)
Salzburg
French composer. One of the most important
musicians of his time, his harmonic innovations
had a profound influence on generations of Bay of
Biscay
composers. He made a decisive move away from
Wagnerism in his only complete opera, Pelléas et
Mélisande, and in his works for piano and for
orchestra he created new genres and revealed a
range of timbre and color that indicated a highly
original musical aesthetic. (François Lesure and
Roy Howat, Grove Music Online.)
Vienna
Rohrau
AUSTRIA
Claude Debussy
(1862–1918). Debussy
composed many volumes
of colorful and evocative
music for piano, as well as
ensemble and vocal music.
Adriatic
Sea
Grove Music Online.
(© adoc-photos/Lebrecht Music
& Arts)
In 1948, 30 years after the death of Claude
Debussy, American composer Virgil Thomson wrote, “Modern
music, the full flower of it, the achievement rather than the hope,
stems from Debussy. Everybody who wrote before him is just an
ancestor and belongs to another time. Debussy belongs to ours.”
Thomson’s essential insight still applies today. All great composers
have broken rules, but Debussy was one of the few who have been
able to reinvent the language of music. Like the Impressionist
painters to whom he is often compared, he worked with colors,
272
Part 3 Bringing It All Together
both instrumental and Musical
harmonic, inElements
ways that defied
traditional
of the
Classical Repertory
expectations. While hisWhile
music
has become
it for
hasitsnot
lost
Baroque
music is“classical,”
often known
ornamental
complexity, Classical music
its edge; it still surprises
us.straightforward, at least on the surface. On closer hearing, all
canand
be delights
disarmingly
Aegean
Sea
Composers of the
Classical Era.
Map 3.1
In History
is not always as it seems. Classical forms may be clear and easily followed, but
Classical composers delight in surprising the listener. You can expect to hear lots
of short-term contrast andSchubert’s
change in this Winterreise
music, especially when compared to that
of the Baroque. You mayWinterreise
hear “flashes”
of instrumental
changes
(Winter’s
Journey),color;
written
only in timbre,
or tone color, are one of the
ways
in
which
Classical composers
to add
interest
months before Schubert’s
death inlike
1828,
was
and complexity to their music.
As a piece
progresses,
a richer
timbre
may signal
the second
of his
two genuine
song
cycles.
an expressive high point. So
mayit aand
more
complex
or unexpected
harmonic
Both
the
earliertexture
Die Schöne
Müllerin (The
changes.
Beautiful Maid of the Mill) deal with unrequited
love, one of the favorite subjects of the
Romantics. They both consist of settings of a
series of poems told from the point of view of
a rejected lover and implicitly ending with his
death. Winterreise, however, is particularly
severe. The lover has already been rejected
when the cycle begins, and his love is
03-Wallace-Chap03.indd 65
described only in retrospect. The images in
the poetry are unrelentingly somber, and
Schubert’s music follows suit.
Landscape at Vétheuil, c. 1890, by Pierre-Auguste Renoir. This painting
by the French
It is something
of a cliché to say that this
impressionist master shows the same experimentation with color effects and blurring
subject is an expression of the alienation and
of traditional lines that are widely associated with Debussy’s music. (Ailsa Mellon Bruce
loneliness so frequently expressed in modern
Collection)
art of all kinds. In fact, similar images of
isolation from a beloved occur in the
troubadour poetry of the late Middle Ages.
These songs can be linked in many ways,
however, to their historical moment.
One is their abundance of nature images,
including the linden tree with its rustling
leaves and the fierce winter wind. In his
101
poems, Müller treats nature as a place to
escape the pressures of modern urban life.
Readers of English literature often find this
theme in the writing of the early Romantics,
such as the poetry of William Wordsworth.
Rest as a metaphor for death and release was
also a favorite theme of the Romantics. In Ode to
a Nightingale, for example, John Keats yearns “to
cease upon the midnight with no pain,” much as
Schubert’s singer-hero longs to lie down
beneath the tree and its sheltering branches.
The idea of the rootless wanderer as a heroic
figure is also typical of Schubert’s time; his own
The rhythm of Lasse! comment oublieray/Se j’aim
mon loyal/Pour quoy me bat mes maris? is difficult
for us to understand, but it made perfect sense
to medieval listeners. In the medieval worldview, the universe itself was built in interlocking
layers, thought to operate according to musical
proportions. If you have trouble perceiving
Machaut’s rhythms, consider that the proportions of the universe cannot be seen or heard
04-Wallace-Chap04.indd
either, at least in ordinary terms. Yet in the medieval cosmology they dictate the terms on
which life is lived in the visible world.
In this photo, Music is personified in the
panels on the left, while the panels on the right
illustrate the three levels of the musical
universe. On top is musica mundana, better
known as the “music of the spheres,” showing
that the universe is constructed according to
musical proportions. In the middle is musica
humana, the “music of human life.” Musica
instrumentalis, sounding music, appears only in
the bottom panel, and the female figure of
Music points at it reprovingly, as though to
remind it that it is only a pale imitation of the
higher levels.
This view of music was most notably
expressed by Boethius (ca. 480–524), the late
Roman philosopher who also provided the
text for the second movement of
Dallapiccola’s Canti di prigionia. Though it was
based on ideas from the ancient world,
This famous illustration shows the medieval view of the world
Boethius’s musical worldview helped to define as consisting of three different kinds of music.
(© Lebrecht Music and Arts)
the way the universe was understood for
centuries after his death.
06/12/13 1:39 PM
Wanderer Above the Sea of Fog, by Caspar David Friedrich
(1774–1840). Restlessness, longing, and the power of nature
were
primary
of the Romantic spirit. (bpk/Berlin,
05/12/13
1:33components
PM
Art Resource, NY)
song The Wanderer served as the basis of one
of his most famous piano works, the Wanderer
Fantasy. German artists such as Caspar David
Friedrich (1774–1840) often depicted this figure
as well.
So if there is such a thing as the Zeitgeist,
or “spirit of the times,” these songs convey it
in a particularly poignant and powerful way.
Schubert’s music, which does so much to
amplify Müller’s texts, is a uniquely suitable
vehicle for the outlook of the Romantic period.
In History boxes discuss the
greater cultural and social contexts of key
works in history, compelling students to
think beyond the music.
10-Wallace-Chap10.indd 272
Most later music also has multiple rhythmic layers, even if they are not as predictable as Machaut’s. In Dvořák’s Slavonic Dance, for example, the measures are
grouped in pairs, and the pairs of measures are grouped in pairs as well, as are
the pairs of pairs, resulting in regular phrases (a term used to describe musical
thoughts, which are much like phrases in language) of four and eight measures
and even regular groups of such phrases. Such large-scale metrical patterns are
Robust Support Package
www.oup.com/us/wallace serves as the gateway to everything that you
and your students will need for your Music Appreciation course.
Dashboard for Take Note
Streaming audio, interactive listening guides, musical instrument videos, and a wealth of additional resources for Take Note are available in Dashboard by Oxford University Press. Dashboard delivers quality content,
tools, and assessments to track student progress in an intuitive, web-based learning environment.
A streamlined interface connects instructors
and students with the functions that they perform the
most and simplifies the learning experience by putting
student progress first.
Interactive Listening Guides and Streaming Audio put students in full control of the
listening experience. Interactive listening guides combine a visual representation of key works
with running commentary to help students follow along in real time while they listen to the music. Additionally, all of the audio examples discussed in the text are available in streaming audio format.
• Discover View offers
an overview of the piece,
including the basic structure
of each section.
• Listen Closely View displays all the
information about the piece, including the
melodic “shape” for each instrument so that
students can follow the music as it unfolds.
Auto-graded assessments
allow instructors to easily check students’
progress as they complete their assignments.
The color-coded gradebook illustrates
students’ strengths and weaknesses at a
glance, allowing instructors to adapt their
lectures to student needs.
Instrument videos bring individual pieces of
the orchestra to life, giving students a closer look at the
instruments and actions behind what they hear.
A bonus, online Chapter 13,
“Actively Listening to Additional Works,”
is available for students who would like to
practice active listening skills on additional
works.
Access to Dashboard
can be packaged with
the text at a discount
(978-0-19-938588-1),
stocked separately by
your college bookstore
(978-0-19-934282-2), or
purchased directly at
www.oup.com/us/wallace.
Actively Listening
to Additional Works
Special Supplement to Take Note by Robin Wallace
Bonus Online
Chapter
13
Th is bonus chapter provides supplementary listening activities for Take Note by
Robin Wallace. It is only available online from the Take Note companion website.
It is provided for those students and instructors who would like to practice active
listening skills on additional works. Th is chapter introduces four major works
spanning Medieval to Modern music.
TAKE NOTE
Active listening skills can be applied to any musical experience. Draw upon the
fundamental elements of music to appreciate familiar and unfamiliar works.
Take Note Bonus Online Chapter 13, Actively Listening to Additional Works © 2014 Oxford
University Press USA
13-Wallace-Chap13.indd 1
W1
31/10/13 3:05 PM
Robust Support
Package
Oxford Music Online
A free 12-month subscription to Oxford Music Online is included for
students with all new copies of this text. Within Oxford Music Online,
students will have access to Grove Music Online, the leading online
resource for music research with thousands of articles to search or
browse. Throughout Take Note, you and your students will find reference
to specific articles in Grove that offer more in-depth information on the
topics covered in the text.
Additional Teaching Tools
Instructor’s Manual, PowerPoint Slides, and Test Bank are
available online (www.oup.com/us/wallace) or on CD. Instructors who
adopt Take Note will be given an access code allowing them to view the
instructor’s manual for the text, which features chapter summaries,
teaching strategies, sample test and essay questions, sample in-class and
assignable activities, and links to websites featuring related materials. In addition,
a downloadable set of PowerPoint ® slides is offered to accompany in-class
lectures or for posting on class websites for student review. An automated test
bank, that can be used to create custom exams, is available to adopters. Questions
can be edited or rewritten, and additional questions can be added to the bank.
An ebook is available through CourseSmart ©
(www.coursesmart.com)
Visit www.oup.com/us/wallace for links to and
additional information on all of these resources
for Take Note.