Art of Listening - Quiz 2 Study Guide copy PDF

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The Art of Listening - Quiz 2 Study Guide THE CLASSICAL ERA :Vienna and the Hapsburgs As the capital of the powerful Austrian empire under the Hapsburgs, Vienna was uniquely • situated to support the development of classical style Maria Theresa secured Vienna’s reputation as a wealthy capital, and her son, Joseph II (1780- • 1790) advanced his “enlightened” reforms (emancipated the peasant class, rise of public ( education and literacy, decreasing the power of the clergy :The Enlightenment & Music The Enlightenment shifted the focus from the purely scientific and intellectual to include the • social: social justice became a major concern The Classical period refers to classicism that dominated the arts at the time, classicism being • marked as formal and restrained. It is straightforward, clear, with a preference for simplicity and elegance as well as highly structured forms Rise of the salon, gatherings of the elites (mostly instigated by women) where development in • literature, science, music, etc. were discussed and promoted Coffee house became another site of meeting activists, artists, and thinkers • Public concerts • Art must please • Rococo: a light, ornamental style characteristic of this period • Art should instruct/reflect “natural” life • Rousseau and opera reform: changing style to more direct music (i.e. against the extravagant • Baroque style) and plots that reflect real life The novel becomes hugely popular in the mid century and informs opera plots, specifically • “comic” (buffa) operas Public concerts • Oxford opens the first concert hall in 1748 • In Paris, Concert spirituel began in 1725 that was originally a vehicle to present sacred vocal • music, but the presence of orchestras allowed for a shift in emphasis to orchestral music The stylistic traits of the classical era is driven by the two main strands: “natural” (accessible, • ( clear, simple, diatonic) and “pleasing variety” (way to avoid being boring, overly simplistic :Pleasing variety • Exploring rhythmic diversity as a way to further variety • Variety in dynamics dominate: orchestral crescendo (gradually growing louder) were very • effective with audiences; the piano (forte) becomes the avatar of this new emphasis on dynamics (i.e. keyboard instruments that could play a variety of dynamics, unlike the ( harpsichord that cannot change dynamic levels Orchestral colour (timbre): the classical orchestra becomes standard with strings, woodwinds • (pairs of flutes, oboes, clarinets, bassoons), brass (pair of trumpets and French horns), and percussion Counterpoint not the center of musical expression as it was in the Baroque, but used in key • moments to add variety and a learned style Natural • Melodies/tunes • Homophony • Form: how did the composers guide their listeners (who now came from various backgrounds) •

?through form Repetition: themes are immediately repeated so as to reinforce recognition, then they come • back later in the piece reinforcing their prominence Preparation: musical themes are prepared by musical passages that do not have specific • melodic content, but create a sense of urgency and drive Closed: themes are discreet (i.e. closed/contained) where the thematic material comes to a firm • closure via cadences - a lexicon of cadential formulae helped audiences understand where ” musical sections came to a conclusive end: added a form of musical “punctuation :The Symphony The defining orchestral genre of the classical period • Rose in prominence due to the change in the sociology of music • Public concerts: public access to orchestral music created a space to the rise of a new genre • to cater to the rising taste for orchestral music A typical classical symphony has four movements, and a specific pattern developed that • :( audiences came to expect (see chart on page 159 First movement usually began with an (often stately) introduction and the rest of the • movement was laid out in sonata form. Fast/moderate tempo The second movement provided contrast to the first, typically slower and with a contrasting • mood. A variety of forms were employed in this movement The third movement was inevitably the minuet and trio, a hold over from Baroque orchestral • ( music and dance (the minuet was an elite court dance The last movement brought the symphony to a close with a fast tempo, typically in sonata or • rondo form :Sonata Form Sonata form met the tastes of the enlightenment for “natural”/accessible themes and “pleasing • ”variety Large-scale structure of A B A’ (A = Exposition, B = Development, A’ = Recapitulation). See • chart on page 162 Sonata form can be portrayed as a journey (i.e. the music begins at “home,” goes on a journey • through various keys and figurations in the development and then returns home in the recapitulation or as heroic drama (i.e. the musical “characters” are introduced in the exposition, they contend with each other in the development, and reach a sense of peaceful coexistence in ( the recapitulation (Exposition (A • Open in home (tonic) key, and presents the first theme • After a bridge or transition (modulation to a new key) a second contrasting theme is • presented in a new key The closing theme (or cadence theme) brings the exposition to a firm close in the new key • (Development (B • Heightens the tension, developing themes from the exposition in a variety of keys and • figurations The development is brought to a close in the home key via a re-transition, a section of music • that leads to a return of the opening musical material (’Recapitulation (A • Retains the patten of the exposition, but now all themes are presented in the home key • Often brought to an end with a coda or a section of music that reinforces closure •

:Mozart Symphony No. 40 in G Minor Sonata form • No introduction - jumps right into the first theme • Exposition follows what we expect of sonata form: first theme, bridge, second theme (in • contrasting key), cadence Development beings with the first theme, then a section of contrapuntal play, concluding with a section of the fragments the first theme and functions as the re-transition leading to the recapitulation Recapitulation presents all the material from the exposition in the home key (G Minor) with a concluding coda :Theme and Variations Another expression of the preference for “pleasing variety” is theme and variations form • The point is to explore potential moods and musical possibilities of the composed theme. In the classical era, the theme was two part-a b-and both parts are varied as the piece projected :(Haydn’s Surprise Symphony 2nd Movement (1791 Example of Haydn’s sense of humour and use of “gimmicks” (i.e. the sleepy theme punctuated ( by a loud chord as if to wake up sleeping audience members Haydn presents four sets of variations on the initial theme (a a b b) and even varies some • (’ variations (such as in variation 3 and 4: a3 a3’ b3 b3’ and a4 a4’ b4 b4 ? What are different tactics Haydn uses to vary the theme • :String Quartet A genre of chamber music, or music intended for performance in rooms (chambers) and small concert halls String quartet - 2 violins, viola, cello-developed during the classical era • Typically in four movements (see chart on page 184) and in many ways mirrors the layout of the symphony, but on a smaller scale (i.e. use of sonata form, theme and variations, minuet and (.trio, etc :(Haydn String Quartet in D Major The Lark (1790 Named The Lark because of the first songbird inspired theme • First movement in sonata form, but pay attention to the recapitulation and how Haydn subverts audience expectations by varying the form with an extra statement of the lark theme

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OPERA IN THE LATE 18TH CENTURY :Opera buffa Comic opera, or opera buffa, rose in prominence as the eighteenth century progressed, • especially in the wake of the enlightenment (remember Rousseau’s attacks on what he felt was ( “unnatural” Baroque Opera conventions The castrato voice faded from popularity, and a preference for lower male voices, such as the • so-called buffo bass voice Comic opera often flipped the script of portraying aristocrats as pristine noble beings with a • divine birthright, showing how power can cause them to act inappropriately and exposing behaviour that society had tacitly condoned. Denouements were often moralistic, with

characters banding together to reproach those who abuse their power Comic opera brought an emphasis on a more naturalistic approach to opera acting, reflecting • ” the classical-period emphasis on “natural Opera buffa from Italy became the predominant genre of comic opera, but there were also • parallel developments in France, England, and Germany (Mozart’s famous Magic Flute, was a (” German comic opera or “singspiel In Baroque opera seria, the two elements of recitative and aria dominated, but with opera buffa • and the desire for more naturalism and flow, arias, duets, trios, etc. (no longer in strict ABA form) served to further the dramatic action, and a new element became prominent: the ensemble The ensemble allowed for characters to process information in real time, rather than reflect in • static arias, and was a way for a composer to demonstrate their abilities in depicting action and handling a lot of musical material in flux :(Don Giovanni (1787 Comic opera” did not always mean comedic, but rather reflected a dramatic approach that “ • was “lighter” or included characters in primary roles that were not nobility (i.e. the kind of ( Rousseau type “natural” characters Mozart’s comic operas combined elements of comedy and drama • This opera is an interaction of the Don Juan story of a nobleman that abuses his power by • serially seducing, abandoning, and otherwise engaging in sexual misconduct (often nonconsensual) with women. (Note: the textbook’s characterization of Don Giovanni is ( inappropriate and does not reflect the viewpoints of your instructor or McGill University The opera begins with Don Giovanni in a failed attempt to engage Donna Anna in such an • encounter, a situation that ends with Don Giovanni killing her father, the Commandment, in a duel. This sets in motion a series of events, some even supernatural, that leads to the downfall of Don Giovanni Your listening examples (Act 1, scene iii) shows one instance of Don Giovanni leveraging his • power and position to engage Zerlina in a sexual encounter (promising to marry her and allow ( her access to the aristocracy she would otherwise not have To clear his path to Zerlina, Don Giovanni first dispatches with her betrothed Masetto, who • responds in a furious aria that sees through Giovanni’s machinations, with rather ugly accusations towards Zerlina. This aria shows the break from Baroque arias (no longer in da capo form and advances the action), and how Mozart was able to capture a variety of emotions and social commentary in his music (notice the way he presents Masetto’s social position with choppy, simple phrases, but switches to a “sarcastic tune” when mimicking Don Giovanni and ( aristocrats, and almost spits his insults at Zerlina After Masetto exits, Don Giovanni invites Zerlina to his villa in a section of secco recitative. • Mozart was a master of recitative, combining speech-like patterns with subtle musical inflections that portrayed the characters (notice the way Mozart coloured certain words, such ([ as “visetto d’oro” [glowing face] or “Quel viso inzuccherato” [your sweet face The duet “Là ci darem la mono” is a famous example of Mozart’s ability to craft beautiful • tunes that also furthered the action. This duet, like Masetto’s aria, moves the drama along by taking Zerlina from a place of hesitance to acquiescence via Don Giovanni’s seductive music BEETHOVEN :Beethoven

Between the Viennese Classical style and the emerging Romantic style (which had already • infiltrated literature): more urgent, extreme, and personal Beethoven’s works are divided into three stages: early (classical), middle (“heroic” with • works like Eroica and Fifth Symphonies), late (more abstract musically with predominantly ( smaller forms like piano sonata and string quartet Beethoven’s music represents new demands and extremes • In registers, dynamics, rhythms, accents, and dissonance • Expanded use of orchestra: virtuosity of the orchestra and new instruments, such as • trombones Form: new forms, like the scherzo [joke] to replace the minuet (but still retaining some of the • hallmarks of the minuet in form and meter), and an expansion of existing forms :Fifth Symphony 1808 With Beethoven, there is an emphasis on unity throughout a large-scale work • : Three main features • Rhythmic drive: built into the main motive/theme of the work with an almost incessant • drive throughout Motivic consistency: famous so-called “fate motive” (da-da-da-daaa) not only informs the • first movement, but is woven throughout the whole piece, giving it what analysts label as ( organic quality (i.e. everything grows out of it Psychological progression: Beethoven’s music marks a trent towards a kind of • psychological expression, in this instance a wrestling with the feeling of an inevitable “fate knocking on the door” to the perceived triumph over fate in the final movement First movement: sonata form • Exposition begins with explosive fate theme, separated from the more lyrical, gentle second • theme (even if the first theme is still rumbling underneath it) by a brief bridge theme in the horns Development starts by exploring the fate theme, followed by an extended development of the • horn bridge theme via fragmentation (i.e. fragmenting the theme by isolating first just two pitches, then only one). Beethoven builds the tension throughout as well as disrupts it with drastic shifts of mood and dynamics not seen to this extreme in Classical era symphonies Recapitulation is almost straightforward, but adds a new element of the oboe cadenza [brief • moment for a solo oboe] at the end of the first theme Coda is expanded almost like another development section and includes a distinct march • section before the final affirmation of the fate knocking theme It’s important to trace the theme as it appears throughout the work, but remember that it is not • always a direct repetition, but transformed as it progresses Second movement, a traditional theme and variations, the rhythmic fate theme crops up at • ( certain places (like after the trumpet fanfare in the second theme In the Scherzo, the theme appears in the French horns in the b of the scherzo theme and in the • soft timpani leading into the final movement There is no clear break between the Scherzo and the final movement (in sonata form) but • moves seamlessly into a kind of triumphal march, the fate motive informing especially the second theme of the fourth movement :Piano Sonata in E Major Example of Beethoven’s late style • Formal ambiguity while retaining the hallmarks of sonata form •

Classical sensibility still present in terms of transparency, repetition, and variety, but with • subtle turns that defy listener’s expectation of clear and contained sections to a more “organic” approach that seems to ceaselessly lead from theme to theme and section to section Contrast (important in Classical era music) is highlighted, whereas extended thematic • development is much less prevalent Expressive possibilities of the piano explored (dynamics, range, technique): sets it up as the • quintessential instrument of the 19th century TERM LIST :Classical Period Enlightenment - Shifted the focus from the purely scientific and intellectual to include the social: social justice became a major concern Joseph II - Maria Theresa’s son. Advanced his “enlightened” reforms (emancipated the peasant ( class, rise of public education and literacy, decreasing the power of the clergy Opera reforms - Changing style to more direct music (i.e. against the extravagant Baroque style) and plots that reflect real life Jean Jacques Rousseau - Viewed music as more “natural,” and therefore more basic and archaic, than speech. So he launched a great attack on the aristocratic music of the late Baroque era. This meant attacking opera, the most important and glamorous musical genre of the time. For Rousseau, the complicated plots of Baroque operas were as impossibly artificial as their complicated music. He demanded a page151kind of opera that would portray real people in actual life—simple people, close to nature, singing natural music. Results in comic opera Vienna - As the capital of the powerful Austrian empire under the Hapsburgs, Vienna was uniquely situated to support the development of classical style Public Concerts - Public access to orchestral music created a space to the rise of a new genre to cater to the rising taste for orchestral music Concert spiritual - Began in 1725 that was originally a vehicle to present sacred vocal music, but the presence of orchestras allowed for a shift in emphasis to orchestral music. The stylistic traits of the classical era is driven by the two main strands: “natural” (accessible, clear, simple, ( diatonic) and “pleasing variety” (way to avoid being boring, overly simplistic Natural - “Natural” (accessible, clear, simple, diatonic). Melodies/tunes and homophony Pleasing variety - “Pleasing variety” (way to avoid being boring, overly simplistic). Exploring rhythmic diversity as a way to further variety Rococo - A light, ornamental style characteristic of this period Classical orchestra - Becomes standard with strings, woodwinds (pairs of flutes, oboes, clarinets, bassoons), brass (pair of trumpets and French horns), and percussion Exposition - First part of Sonata. The main melodic ideas, or themes, are introduced First theme, second theme - The first theme is always in the tonic key. A short, modulatory passage called a bridge leads to the second theme, which is in a related but dissimilar key Bridge - The transition between the two themes of a sonata form

Development - Heightens the tension, developing themes from the exposition in a variety of keys and figurations. The development is brought to a close in the home key via a re-transition, a section of music that leads to a return of the opening musical material Recapitulation - Retains the patten of the exposition, but now all themes are presented in the home key. Often brought to an end with a coda or a section of music that reinforces closure Coda - Another section in the tonic is often added at very end, a postmortem or wrap-up. This optional section is called the coda (in fact, coda is a general term applied to a concluding section .( in any musical form Minuet and trio - A common form used in classical music composition. It turns up often as the third movement of symphonies and string quartets, and has also been used extensively in the . piano works of Mozart and Beethoven Theme and variations - A form and another expression of the preference for “pleasing variety”. The point is to explore potential moods and musical possibilities of the composed theme. In the classical era, the theme was two part-a b-and both parts are varied as the piece projected Chamber music - A form of classical music that is composed for a small group of instruments— traditionally a group that could fit in a palace chamber or a large room Aria - An extended piece for solo singer that has much more musical elaboration and coherence than a passage of recitative. Comes from the word for “song”: a time for a character to reflect on the action of her emotions Recitative - Technique of declaiming words musically in a heightened, theatrical manner. Mimics the rhythm and often contour and range of “natural”. The way that it propels action is that it mirrors and exaggerates the natural ups and downs that occur as an actor raises his or her voice at a question, lowers it in an aside, or cries out in distress Ensemble - A group of musicians who perform together.. Allowed for characters to process information in real time, rather than reflect in static arias, and was a way for a composer to demonstrate their abilities in depicting action and handling a lot of musical material in flux Scherzo - A vigorous, light, or playful composition, typically comprising a movement in a symphony or sonata Beethoven’s...