Music 15 Final Study Guide(with answer) PDF

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Music 15, Winter 2018 Final Exam Study Guide Final date: Wednesday, March 21, 12:000m—2:00pm The final will consist of three questions requiring answers in the form of short essays. Each essay should keep to two to three paragraphs. You must bring a blank BlueBook to the midterm exam. Key Terms, People, and Musical Works to Know Arcangelo Corelli Cardinal Pietro Ottoboni Patronage Franz Joseph Haydn Symphony No. 94, “Surprise” Prince Nikolaus Esterházy Johann Peter Salomon Symphony Ludwig van Beethoven Symphony No. 3, “Eroica” Canon Fanny Mendelssohn Hensel “September,” from Das Jahr Clara Wieck Schumann Piano Trio in G minor, Op. 17 Chamber music Amy Beach Gaelic Symphony Opera Ballad Opera George Frederic Handel Giulio Cesare John Gay The Beggar’s Opera Jazz Duke Ellington Black and Tan Fantasy “Jungle Sound” Darius Milhaud La creation du monde (The Creation of the World) William Grant Still Afro-American Symphony New Objectivity Zeitoper Ernst Krenek Jonny spielt auf Epic Theater Bertolt Brecht Kurt Weill Mahagonny Songspiel The Threepenny Opera

Study Questions Unit 1 • What made Arcangelo Corelli so important in the aspirational social scene of late seventeenthcentury Rome? -

Competition within Rome o powerful people competing over control, uses Art as a medium  powerful people: Italian families reside in Rome, cardinals o competition to sponsor the best artistic figures  display of wealth and power  powerful patronage shows higher social status o Ex: Arcangelo Corelli “Concetro Grosso in D Major, op.6, No.4”  Employed full orchestra  Instrumental works majority (uncommon at that time)  Nearly all instrumental musicians are led by Corelli  Patron: Ottoboni  Corelli became the “cultural capital” to represent social status and power  People who hire Corelli gets prestige

• What might Corelli’s patrons have stood to gain from the act of patronage? -

Display of wealth and power Representation of the social status symbol and the power holding

• What unique aspects of Rome’s power structure/social scene led to Corelli’s success? -

Pope doesn’t have absolute control in the society o Art does not need approval  In France, Louis 14 has absolute over Arts and music o Art as a part of the power system  as a medium to compete for control  representation of wealth and power  patronage system:  wealthy want Corelli (cultural capital) to showcase their high status

Unit 2 • Think about Haydn’s various roles as a composer during his lifetime. How did his economic circumstances/job responsibilities affect his compositional output? -

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Haydn worked as a court servant o working for a patron – Esterhazy family (Prince Nicolas)  limited to compose music based on request the patron  not allowed to publish music later on transitioned to a public celebrity in London o More freedom to compose music after Prince Nicolas died o Johann Peter Solomon invited Haydn to compose public music performance in London  Importing musician

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Compositional Output: o Catch audience’s attention o Entertainment (something new, more excited) o Pleasing audience by flipping their prior experience and expectation of the performance o Ex: “Surprise Symphony 94”  Variation = not repeating the surprise  unexpected loud movement that plays out of the audience’s expectation  catch attention

• Consider Haydn’s time in Esterháza with Prince Nikolaus and his time in London with Salomon. How do both settings reflect concert culture in their respective locations? -

Esterhaza: (Prince Nicolas) o In Esterhaza Hadyn composed for private events o This showed how classical music at the time was mostly presented to nobles at private events o New pieces were expected to be performed for each event o Composers were expected to write on demand  Haydn had to write puppet and Baryton music for the Prince Nicolas o Weren’t allowed to publish music publically

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London: (Salomon) o In London performances were more public  Haydn wrote several symphonies for the public concerts o Concerts were social events where people talked during performances  Always performed first after intermission so that people paid attention o Ex: Haydn “Surprise” Symphony 94

Consider concert culture in Vienna in the early 1800s and Beethoven’s relationship with his patrons. How did these circumstances affect Beethoven’s career and compositional output? How did Beethoven’s patron relationship differ from Haydn’s? Be prepared to discuss how specific works support your answers. -

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Vienna o Started making music in private homes o Beethoven’s income depends on his “mobility”  Income from patron’s gifts, commissions…  Depends on stipends  Having independent freedom  Thank his patrons by dedicating works to them Beethoven relationship with patrons: o Personal interaction with the patrons  Paid high annual salary to stay in Vienna for the patrons  Prince Lobkowitz o Complete ownership of Beethoven o Giving he the independence to compose any genres of music o Name his works after his patrons (to thank them) o See himself as equal to the patrons (equal status) Effects of the good relationship:

o The freedom of composing music  Write about whatever he wants o Beethoven doesn’t have to make sure he entertained and satisfied the audience -

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Differences from Haydn’s patron relationship o Independence and freedom as a musical composer o Able to publicly performed his music o Haydn: entertain audience / Beethoven: produce music freely Symphony No.3 in E-Flat Lobkowitz “Eroica” o Dedicated to Price Lobkowitz o Publically perforce in Lobkowitz’s palace

Unit 3 • Since your first paper dealt with the material from this unit, there will be no questions on the midterm that relate solely to Unit 3. Some issues related to the canon do come up in study questions from Unit 4. Unit 4 • Think about how gender roles affected the musical lives of Fanny Mendelssohn Hensel and Clara Wieck Schumann. How did these roles affect their careers (or lack thereof) in performance and composition? Be prepared to discuss how specific works support your answers. -

Fanny Hensel o Wealthy social status o Discourage by her father (baker) = family not supported  Being forced to fit into the social mode of “girling” process o Only allowed to perform at the family salons  Salon: family and friends gathering o Gender expectation  She can’t publish and can’t perform her works publically o Class expectation  high status family’s women DO NOT work, focus on family (domesticity)  Making her pieces difficult and complex (personal piece) in order to show off her skill and talent in the family salon performances  Inappropriate for her to make a career out of music, so her brother performed some of her pieces o Ex: September from Das Jahr = piano piece  Difficult and challenging, skills needed

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Clara Schumann o lower class status o Father was a music teacher o Able to tour as a musician and composer extensively o Not pressured to fit into the social mode  Performed publicly o Ex: Piano Trio in G Minor op. 17  Still held back

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 Piano = appropriate for a woman to play Main Difference between Hensel and Schumann: Class Difference

• Be prepared to discuss the idea of chamber music in the nineteenth century. What place does the piano trio occupy in the domestic and/or professional musical spheres of the nineteenth century? Why might Clara Schumann have decided to compose piano trios? What type of critical reception did this piece receive? Why is this important? -

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Chamber Music: small ensemble, one musician per part Piano Trio: o A type of “serious” chamber music with combos of instruments  Piano, violin, cello Piano Trio takes place in the musical sphere: o Expected women in a certain class to play o Show the ability as a composer is to write chamber music pieces  Challenging and difficult Clara Schumann composes piano trios:  Ex: Piano Trio in G Mino or Op.17  Had a good reception by the audience  Chamber music mostly presented in salons, first presented as a concert performance  Considered as an influential musician  “couldn’t believe it’s a woman who wrote it”  the notion of gender o Why is that important?  Gender discourse  Male composers are male = the natural version  Gender always plays a role in the discussion

• Consider again the way gender roles affected professional musical life in the late nineteenth century, as well as the role the canon played in reception of works by female composers. How did Amy Beach adhere to societal expectations of her gender? How did she defy them? ’ -

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Unit 5

Canon Culture: Male dominated composers o Works of women were considered as “hobby work” instead of professional works o The rise of canon reinforcing the cycle = women less likely to become professional composer  Less likely to be in the canon because less likely to be a composer o Women combat with the stereotype of “piano girl” that is used to define the “accomplishment” of women How did my Beach adhere to the social expectations? o Composed and published under her married name How did she defy it? o Wrote long galactic symphonies to prove her musical ability o Ex: Gaelic Symphony  Well-received

• Consider the audience for Italian opera in eighteenth century London. How would you describe this audience socially and culturally? What do they value as consumers? Be prepared to discuss how specific works support your answers. Audience: -

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Socially: o Opera = public entertainment that pleases the public (luxury import) o Audience from middle / upper class  People bought out boxes for the entire season = become attached to them because of the presentation of high social prestige / patronage 贊助  Consisted of patrons that enhanced their social status  It’s a privilege to be entertain  Because of the popularity of the Italian opera, the audience wants real Italian singers from Italy Culturally: o went to performances to experience the Italian opera virtuosity  hearing the famous Italian singers for their unique voice  audience wants challenging performance o Italian opera became a cultural landscape of London Value of consumers: o Valued aria:  Emotional, lyrical, and melodic o Recitative:  Speech like, plot action o elaborate sets that required machines o Virtuoso parts for singers o recitative display / spectacle ! Specific works: o George Frederic Handel: Spent three years in Italy then moved to London and become most popular composer of the Italian operas - Giulio Cesare:

• Consider the audience of ballad opera in eighteenth century London. How would you describe this audience socially and culturally? What do they value as consumers? Be prepared to discuss how specific works support your answers. -

Ballad opera = English style comic opera = based on Italian opera’s conventions

Audience: -

Socially: o Audience from Lower class o Uses simple and recognizable tunes with new lyrics (satire) o non-professional singers

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o Topics related to contemporary social issues / life  Change characters to daily life citizens o Using “satire” (irony) to make fun of Italian opera The value: o Operas in English (understandable) o Topics approachable Specific Works: o Ex: John Gay “The Beggar’s Opera”  Simple, easy to understand  Character: prostitute  Made fun of Italian opera through the ironic lyrics in the recognizable tunes

Unit 6 • What is exoticism? What is the spectrum of exoticism according to Ralph Locke? • What are the exotic elements of Georges Bizet’s Carmen? Where would this piece fall on the spectrum of exoticism and why? How is the character Carmen treated differently than the character Don José? • What is the importance of the Paris Exposition Universelle of 1889 to our discussion of gamelan music? What are the exotic elements of Claude Debussy’s Pagodes? Where would this piece fall on the spectrum of exoticism and why? Unit 7 • Where would Colin McPhee’s Tabuh-tabuhan fall on the spectrum of exoticism and why? • How and why are gamelan styles used in Benjamin Britten’s Death in Venice? Unit 8 • What is a Lied? Who would have played or listened to them? How was the music written to be appealing to its audience? How was the audience intended to approach this music? Be prepared to discuss using Schubert’s “Gretchen am Spinnrade” and Schumann’s “Im wunderschönen Monat Mai.” • What musical characteristics were valued by the audience for Italian opera in the early nineteenth century? How did these characteristics differ from the vocal music often heard in domestic spaces of the time? Be prepared to discuss using Rossini’s aria “Una voce poco fa.”

Unit 9 • Who were the intended consumers of Duke Ellington’s “Jungle Music” at the Cotton Club in Harlem? How might this connect with what we have described as “imagined” ideas of Africa?

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Intended audience: White people o The Cotton Club is a segregated nightclub in NYC that is for White people only (servant is Black / Manager and audience are White) “Black and Tan” Fantasy by Duke Ellington o “Jungle sound” o Jazz type music (African American genre music)  Associations:  Shows often being stereotypes, marginalized, primitive  Associating “Africa” with “primitive”  Stereotyped performances of an “imagined Africa”

• Why did Darius Milhaud incorporate jazz elements into his La creation du monde? What are some of these elements? How might this connect with what we have described as “imagined” ideas of Africa? -

“La Creation du Monde” by Darius Milhaud o The creation of the world through African myths  A setting of African travel  Connecting African with Jazz music o Jazz elements:  Instrumentations  Jazz-like melodies  Syncopation  Imitates improvisation o Association of Jazz music with the imagined primitive African-ness  Exoticising Jazz to present African Americans

• Why does William Grant Still incorporate jazz elements into his Afro-American Symphony? What are some of these elements? How might this connect with what we have described as “imagined” ideas of Africa? How might it also be more complicated? -

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Part 1: o Incorporating Jazz elements to connect with African American but DID NOT do it to create stereotypes Part 2: Jazz elements o Blue-like melodies o Jazz Traditions  Swung rhythms  Imitative jazz instrumentations Part 3: “Imagined Idea” of Africa o Whites live in an idyllic white world and have grown up in a “sheltered” world o White live in a society that has taught them to think of African Americans in reference to slavery and plantations o A type of cultural appropriation that exoticize Jazz to represent African American Part 4: Why complicated? o This can be complicated as Still is a composer in a European society that is primarily White o Still wants to appeal to the White individuals, but also respect African American culture. o It also presents the expectation Still has on his background and race

Unit 10 • Be able to briefly describe the origins of jazz in Weimar Germany. Do modern scholars consider German jazz of the 1920s to have been based on “legitimate” American jazz? Be able to briefly explain their reasoning. -

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Germany o After WW2, Europe touring opened o Allowed European musicians to visit America  Jazz was a big hit in England and France  Records imported  Heard on radio  Jazz was described as a central feature of the Weimar culture Scholars: German Jazz is more complicated o Race labels not imported o Heard on radio but listenership not broad  Mainly urban middle class o Radio technology limited playing of records playing records German Jazz o Most Jazz heard were from native German band  Made up (Invented) Jazz  Based on sheet music, books, add noisy elements and info about American Jazz

• What things did jazz represent in the operas of Weimar Germany? What did it represent and/or why was it used by Ernst Krenek in Jonny spielt auf? What did it represent and/or why was it used by Kurt Weill in Mahagonny Songspiel and The Threepenny Opera? -

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Jazz in Weimar Germany:  African-Americanness  Americanness  Modernity o The new objectivity  Reaction against emotional intensity and focuses on objective  Use familiar and popular musical elements to drew attention on contemporary issues Ernst Krenek “Jonny Spielt Auf” o It utilizes Jazz band instrumentation o Connect to the African American character and connect to America and the sense of modernity o Using Jazz as plot reason Kurt Weill in Mahagonny Songspie o Epic Theater  Audience should be not over emotionally involved in the play  Awareness of the constructed nature of theater  Awareness of the constructed nature of one’s own reality  Technique: alienation, lake of flow play o Mahagonny Songspie  Use non-operatic singers and use popular song for the alienation purpose  Alabama song: English song  Presentation of social critique

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The Threepenny Opera o Based on John Gay’s Beggar Opera o Use Jazz-inspired music and non-operatic singers  Popular jazz dance style  Jazz elements: steady beat and rhythm o Presentation of social critique on capitalism and the society

What is a Zeitoper? What elements make Krenek’s Jonny spielt auf fit within this genre? How does the music in Krenek’s Jonny spielt auf contribute to the work’s contemporaneity? -

Zeitoper = “opera of the times” = a short-lived genre associated with the Weimar Germany

• How does The Threepenny Opera engage with ideas of social responsibility? What is the work’s goal? How do Weill and Brecht try to accomplish this goal? How does the music help to further these goals? -

escape from emotion and subjectivity of romanticism remarking how American culture was taking over the world o Jonny shows rats were to go (symbolizes the world with America) Mahogany –about city of sin and how God destroys it Era between critique of socialism o Critique of capitalism Threepenny Opera is a critique of societal values o Social critique is important and Jazz is a part of that...