Music History Final Review PDF

Preview

Summary

Final Review...

Description

Music History Final Review Format: Listening (6-8) Multiple Choice (10-15) Essays (2-3) Comparison (2-3) Timeline: Classical to Present Classical(1750’S-1820’S): Scarlatti*, CPE Bach, Haydn, Mozart, Beethoven* Early Romantic(1820’s-1850’s): Schubert, Mendelssohn, Schumann, Chopin, Liszt, Berlioz Late Romantic(1850’s-1900): Brahms, Mahlen, Wagnen, Verdi, Tchikovsky, Mussorgsky Early Modernist(1890’s-1940’s): Debussy*, Stravinsky, Schoenberg, Webern, Berg, Ives Traditionalist(1900-1940’s): Ravel, Prokofiev, Rachmaninoff, Bartok, Copland Post-WWII Avant Garde(1950’s-1960’s): Cage, Varese*, Ligei, (Boulez, Carter) Music Toward the End of Millennion(1970’s-present):  Minimalism – Reich, Glass, Adams  New Expressionism – Saariho  Neo-Romanticism – Thomas Ades, (Corigliano)  Eclecticism – Summation of all styles/variety of styles -----------------------------------------------------------------------------------------------------------Classical: Balance, symmetry, structure. ***Important Bridge Composers***  Beethoven (Classical to Romantic)  Dubbusy (Late Romantic & modernism)  Scarlatti (Baroque & Classical)-keyboard sonatas Character Pieces Lied & Program Music (bridge between two):  Songs without words in F# Minor–Mendelssohn o Scherzando: Staccato notes o Light, quick paced music, whimsical

LISTENING Classical Period Mozart’s Symphony no. 40 G Minor (i. Molo Allegro)  Sounds like chase music (tom & jerry)  Chromatic

   

Strum un drang Sonata form Dynamic ascent & descent Thematic transformation

Haydn’s Symphony no. 95 in C Minor  ii. Andante Cantible o Stil Galant o Theme & Variation o Expressive & virtuosic harmony in coda (fortissimo) o Major to Minor & piano to forte  iii. Menuetto (DIFFERENT FROM MOZARTS) o Menuet & trio o Aristocratic ballroom dance (Menuet) o Country Dance (Trio) o Whimsical grace notes & fermattas o Slower cello solo  iv. Finale Vivace o Rondo o Stil Galant o o o o

Fugato Fugal expression & stretto Fermata C Section strum un drang “stormy” Minor & fortissimo

o Figato, stil gallant, & strum un drang all in one movement Mozart’s String QT no. 14 G Major  iv. Molto Allegro o Learned & gallant style o Short violin notes o Mix of two styles (serious vs. comical) – double fugue o Chromatic at points

Mozart’s Don Giovanni  Overture: o Big orchestra; starts off dramatic & loud & then almost a fermata & gets calm.

o Adagio in D Minor: Drama giocoso, strum un drung, tragedy/terror, supernatural element, chromatic ascent and descent, syncopation, somber o Allegro in D Major: Opera buffa, operatic dialogue, tone color, sonata form, stil gallant, diatonic, no repeating exposition, “false” recapitulation, chromatic idea within that undermines the complete feeling of comedy. 

Leporello’s Catalogue Aria o Comical – Don Giovanni being promiscuous o Word Painting  Big women – long notes  Little women – short notes o Comical use of descending scale o Ends in minor (exemplifies darkness although it is comical)



La Ci Da Rem La Mano o Duet between Zerlina & Don Giovanni o Sweet sounding – ironic o Turnary form o Half-steps in her replies (ambivalence)

Beethoven (Bridge Composer) String Qt no. 6 op. 18 B-flat Major (La Malincolia)  Schleifers (Turn figures)  Violin  Mysterious  Slow, fast, slow  Recap: use of Allegro theme in Adagio (happy theme made sad) Piano Sonata no. 14 in C# Minor (“Moonlight”)  Attacca (one movement goes right into another) o Not typical sonata form (exemplifies Beethoven)  Strum un drang / Broken chords  Ongoing triplets for dissonance String Qt no. 14 in C# Minor:  Hymn/Chorale  Dark, mysterious, chromatic, expressive  Looked back to Bach  Fugues, bagatelles, quartets  C# Minor (used earlier in moonlight sonata)

Early Romantic Schubert’s Der Erlkonig:  Major mode / piano motif  Father, Son, Erlkonig  Narrator (opening & closing stanza)  Erlkonig: deceptively sweet tone (major)  Supernatural & preoccupation with death  Through Composed: each stanza (character) gets different music Schumann’s Dichterliebe (“In the wonderfully Lovely Month of May”):  Unrequited love  Piano prelude/interlude/postlude  Declamatory  Strophic form: two stanzas (same music)  Does not end in tonic key (romantic yearning & longing) Schubert’s Moment Musical no. 2 A Flar Major  Piano/Lyricism  Extended Turnary form  (A) Opening theme: Chorale style (spiritual, serene)  (B) Contrasting Episode: Lied (homophonic texture)  Episode 2: Came back ferocious & anxious  Tempestuous  Juxtaposition of calm & anxious emotions Chopin’s Nocturne (Night Piece) F# Major:  Romantic  Tempo Robato: robbing time (flexible & free flowing tempo)  Chromatic idiom/Poetic lyrical improvisation  Filigree: Decorative texture (many notes on right hand, few notes on left) Schumann’s Carnaval  One of his most colorful early piano cycles  Eusbius: His dreamy side (Reflective)  Florestan: His firey side (Manic)  Chiraina: Clara (His wife) –slightly more atonal Mendelsshon’s Midsummer Night’s Dream  Shakespeare’s Comedy



        

Two Themes: o Fairy: (Scherzando) –whimsical, supernatural o Lovers: Lied (songs without words) –human E# Minor Early Concert Overture: Self-contained, singular movement, Sonata form, not followed by a play or opera, independent entirety Romantic Program Music Fairy theme & Lovers theme Fairies – scherzando (playful) / Pizicato (Plucked Strings) Sonata form Tone Color (strings & winds) Starts with “Magical Chords” Dissonant harmony

Berlioz Symphonie Fantastique (Dream of a Witches’ Sabbath):  Program Symphony: Extra-musical, based on something else;  Starts with creepy ass brass  Finale (Dreams of a Witches Sabbath): o Idiee Fix (Theme associated with a certain person or idea) – Shakespearian actress.  Parody in music  Grotesque version of original melody  Funeral Bells  Dies Irae: Funeral theme (Old Gregorian Chant)  Grace notes, trills, distorted rhythm  Fugato Style: Witches round dance (heard in Bach)  Imitative Polyphony  Strettos Late Romantic: Tchaikovsky’s Overture-Fantasy, Romeo & Juliet  Symphonic Poem (invented by Liszt)  Contrast: Vendetta Theme (Revenge) vs. Love Theme  Tempo Robato  Syncopated symbols  Counterpoint  Exemplifies Russian Nationalism  Romantic legato  End: Love theme turns Minor (Rare) Mussorgsky’s Pictures at an Exhibition



Promenade: Folk Song o Starts with solo trumpet then more come in o Alteration between monophony to homophony o Bold, pompous, constant repetition of simple melody o Unusual metric alteration



Gnomus: Nutcracker (Russian Folk lord Character) o Peeking behind a tree in a forest o Grotesque: Chromatic, tritones, fermattas, darting/lurching rhythms, quick tempo changes, diabolic trill, spooky

Brahm’s Violin Concerto in D Major  iii.Allegro Giocoso o Gypsy Tune (Main Rondo Them) o Scratchy violin (double stops: playing on 2 strings at once) o Virtuosic o Thematic Transformation of meter o Developing Variation (ornamenting) o Balances structure & emotion o Surprise at end (like Haydn’s style) 20th Century & Beyond ****Debbusy’s Three Nocturnes **** i. Clouds  First 3 notes sound like Beauty & The Beast  New Techniques: *Pentatonic Scale (all (5) black notes)- exotic feeling of nonWestern music (Asian)  Vague Turnary form  Parallel chords  Symphonic Poem  Gateway to modern music  Atmospheric/Impressionist: Static quality, harmonic, less tonally directed. Stravinsky’s The Rite of Spring  Radical Subject Matter: Barbaric Style (primitivism)  Ballet  Avant Gard (Bizarre) Style o Rhythm: rational o Upset meter: accents on weak beats o Harsh dissonance & chromaticism

o Girl dances herself to death o Dance of The Adolescents  Intense strings (imitative dramatic)  Drums o Round Dances of Spring  Sexy French sounding  Harmonic Rhythm  Slow & syncopated ostinato  Rhythmic interjections  Dissonant Chords Schoenberg’s Perrot Lunaire (Moonstruck)  “Moonfleck” – annoying women singing  Sprechtstimme (Speech song) - anguish & anger in feelings  Completely Atonal  Diabolicial tritones  Chromatic, dissonant, irregular rhythms  Moon Imagery (also in Berg’s opera vodsec, Moonlight Sonata, Claie de lun) Ive’s Second Orchestral Set ii. “The Rockstrewn Hills Join in the People’s Outdoor Meeting”  Juxtaposition of many types of American musical melodies o Ragtime, cakewalk, dance, hymn, & march  Scherzo movement Ravel’s Piano Concerto in G Major i. Allegramente  Begins with piccolo  Eclectic Style  Jazzy sonata form  No development section  Third theme*  Cadenza quotes & harmonizes third theme  Tonally directed parallel chords at end (one of the first) Bartok’s Music for Strings ii. Allegro  Starts with pizzicato & drum  Folk music into classical music with striking rhythms

     

Hungarian Folk Style Dynamic Structured & virtuosic Sonata form Clear cadences 5 themes o Theme 1: Imitative polyphony/contrapuntal o o o o

Theme 2: Syncopation/grotesque folk theme Theme 3: Rhythmic drive Theme 4: Dissonant/string trill Closing Theme: Ostinato Rhythm

Copland’s Appalachian Spring  Traitic use of harmony/ little dissonance/tonal center/neoromantic string writing Section 1:  Quiet/dreamy  Word painting  Solo instruments in counterpoint Section 2:  Intense & loud  Irregular rhythm  Joyful & apprehensive (bride to be & farmer husband)  Dance Section 5:  Simple & expressive  “Simple Gifts” –Shaker Song Varese’s Poeme Electronique  Music Concrete: using songs from environment  Electronic (avant gard)  Robotic  Making music out of noise (philosophical mission) Reich’s Music for 18 Musicians  Minimalism: gradual buildup of layers in harmony  Simple melodies & repeating harmonies (Electronic hypnotic sounds)  Got annoying after a while  Layers of harmony built from ostinato

 Chamber Music Saariaho’s From the Grammar of Dreams  Two soprano singers; creepy; annoying  Freaky as fuck  Grotesque dialogue  Highly emotional  Harsh, tonal, dissonant  Words are exaggerated & broken up.

Comparison Mozart’s 40th Symphony Haydn’s 95th Symphony  Recap in Major  Ends in Minor  Use of techniques like fermatas & fluctuating dynamics  Usual sounds of Classical  Mixture of many musical styles (strum un drang, stil gallant, period fugato)  Strum un drang  Recap mirrored the exposition  Creative & imaginative recap  Slower (strange) trio in third movement  Quick trio in third movement  More expressive  More traditionally classical Mozart’s String Qt 14  Double Fugue Dedicated to Haydn  Closing themes in opera buffa  Other themes chromatic & dissonant  Ends happy

Beethoven’s String Qt 6  Schleifers (Turn figures)  Mysterious  Early seeds of romantic style  More expressive

Mendelssohn’s Midsummer Night’s Dream  Program Music  Contrast of fairies & lovers theme  Sonata Form  Dissonant harmony  Tone color (strings & winds)  Fairy theme (comical)

Beethoven’s String Qt 14  Depressing  Dark register  Expressive chromaticism  Bridge composition  7 Movements (usually 4)

Tchaikovsky’s Romeo & Juliet Overture Fantasy  Program Music  Twice as long  Example of Russian Nationalism  Symphonic Poem  Contrast love & vendetta themes  More tragic

  

Scherzando & pizzicato Ends happy Magical Chords

Schubert’s Der Erlkonig  Through composed  Ironic (Erlkonig in Major mode)  Element of supernatural & fixation with death  Ends in tonic key  Tells a story

    

Love theme ends in minor Contrapuntal Tempo robato Chromatic & dissonant Sonata form w/ slow intro (weird)

Schumann’s Dichterliebe  Strophic  Ambiguous (unclear) use of tonality  Ends on hanging chord (unresolved)  Romantic yearning  Declamatory  Doesn’t end in tonic key  Not based on anything

***The Romantic Era***  Focus on nature & emotion.  Immediate expression of emotions.  Ideal of subjectivity & inner feelings.  Melody became dominant feature  Elements of folk music to express cultural identity  Dissonance & chromaticism  Symphonic poem/character pieces/concert overture/etc. ***Bridge Composers*** Beethoven (Classical to Romantic) o Replaced menuet with scherzo (faster)



o Free formed, more creative & expressive o Scales & use of dynamics o Music conveys urgency o Early Movements based on Haydn & Mozart o Middle Movements based on heroic (Napoleon) o Late Movements more introverted, more about himself, dissonant, Dubbusy (Late Romantic & Modern) o Less tonal direction o Rich new harmonies o Sensual tone colors o New scales (pentatonic & whole tone scale) o Fragmented & tentative Themes

o Clouded tonality & vague harmonies 

Scarlatti (Baroque & Classical) o Created the keyboard sonatas (classical) o Thematic contrast o Multifaceted styles o Different Textures...