Chapters 19-24 19-20 centuries

Question 1

Romanticism in music

Answer 1

melody: brief motives, song-like (more phrAasing)
Scoring: larger instrumentation (especially percussion)
Dynamics: greater range (and notated, among other notations for vibes)
Harmonics - CHROMATICISM, modulation to distant keys other than I-V
Form - variances seen within conventional forms (cyclically unifying structure, idee fixe)

Question 2

Dance based music

Answer 2

Polonaise, waltz, mazurka

Question 3

piano character pieces

Answer 3

nocturnes (thoughts of evening), songs without words (thoughts of person/character, thought, emotion), romances

Question 4

Orchestral music in romanticism

Answer 4

Programatic (evocative, will make you feel things without words)
Overtures. overloading on harmony/instrumentaiton

Question 5

Wagner

Answer 5

Leit motif (idee fixe but less). one associated with each character.
Chromaticism and tristan chord.
Gesamtkunstwerk (complete work of visual and musical art) lowers stage, dims lights, adds props to opera
Very nationalistic. too nationalistic.
Librettist. he thought this was great

Question 6

Wagner era composers/new german school

Answer 6

Liked Wagner:
Verdi
Lizst
Wolf
Disliked Wagner:
Brahms
Berlios
Bruckner

Question 7

Performance in 19th century

Answer 7

Musicians went on tour (trains made this possible)
Virtuosos (played inhumanely well)
Performances in Salons (exclusive, sophisticated, academy-like, invite-only)
Parlors/drawing rooms - amateurs only

Question 8

2nd School of Vienna

Answer 8

Schoenberg
Webern / Berg, students of Shoenberg
Music of the future (first school was Haydn Mozart and Beethoven)

Question 9

Desublimators

Answer 9

Music is no longer sublime/deep
Satie; Ives & Milhaud made collage music

Question 10

Primativism

Answer 10

Uncivilized, raw emotion
Stravinski, Anthel, Bartok

Question 11

Tonal Serialism

Answer 11

Systematization of rhythm dynamics, articulation.
Liberates piece from human habit of resolution.
12tone system
Mode de Valeurs - Olivier Messiaen
Babbitt
Ruckus

Question 12

Georges Anthel

Answer 12

New german school leader
Writer of Ballet Mechanique
American pianist
Music in the style of Rite of Spring (primative)

Question 13

Chance music

Answer 13

Performace is up to performer. Time, emotion, inspiration are given.
John Cage’s One
Morton Feldman’s Projection

Question 14

Neo-Classicism

Answer 14

Sticking to older traditions rather than branching into abstraction
Stravinski, Prokofiev
Shostakovich’s String Quartet no 8 - questions social/soviet realism. piece that commemorates/resembles him

Question 15

Verdi

Answer 15

Late 19th century - symphony
Rigoletto (opera) - 1851
Italian nationalist - political

Question 16

Wolf

Answer 16

Late 19th century - romantic
No folk base, contrary to current trends
New german school
atonal-esque, Wagner-like

Question 17

Mahler

Answer 17

Late 19th century - romantic
Massive effects
Folk merged with high art

Question 18

RK + Missorsky

Answer 18

Late 19th century - Romantic
Many symphonies

Question 19

Stravinsky

Answer 19

Modernist - Early 20th century
Unconventional
Rite of Spring: ballet, primative (aggressive), breakaway from Wagner, mythical/folklore, irregular

Question 20

Debussy

Answer 20

Emphasis on sensation
Impressionism/symbolism
No form, unmetered
Early 20th century modernist
Poetry in music
Anti-Wagner
Whole-tone, pentatonic scales

Question 21

Schoenberg (first phase)

Answer 21

Self-proclaimed continuation of Wagner
Modernity (atonality, following Wagner)
Pierrot Lunaire

Question 22

Schoenberg (second phase)

Answer 22

12 tone system: no pitch repeats until all 12 tones have been played. Row can be reversed, inverted, both, transposed.
Binary form (matrixes)
verklarte nacht

Question 23

Beethoven first phase

Answer 23

“spirit of mozart” good pianist. sketchbooks where he noted on his technique

Question 24

Beethoven second phase

Answer 24

Begins to go deaf
Eroica symphony
heroism, napoleon, french revoluton

Question 25

Beethoven 3rd phase

Answer 25

napoleon is beaten
sense of pride is taken away
extreme experimentation (9th symphony, including chorus/symphony)
depressed, family issues.
final compositions: string quartets, experimental, intimate

Question 26

Synphonie Fantastique Beliroz

Answer 26

Romantic (supernatural)
The Witch’s Sabbath (?)
Programmatic symphony:(overarching narrative storyline), brief description of show for accessibility, cyclic symphony, idees fixes.
Big instrumentation

Question 27

Napoleon - Beethoven

Answer 27

First movement longer than most
Delayed cadences (important: classicism is big on cadences)
Bigger instrumentation

Question 28

Erlkönig - Schumann

Answer 28

“king of the fairies” in german
German Lied (solo piano-voice art song)
Not pragrammatic or folksy
Different registers for different characters
Romantic (supernatural) themes

Question 29

Mazurka - Chopin

Answer 29

Piano
Polish dance (focus on Polish nationalism - poland was not whole, nationalism had focus on recreation of country)
accent on 2nd or 3rd beat
Similar to dance suite genre

Question 30

Carnaval - Schumann (guy with the hand)

Answer 30

Programmatic piece
Character piece collection
Represents characters at a carnival
Florestan - Schumann’s impulsive extraverted side, and Eusebius - the thoughtful solitary side

Question 31

Tristan / Isolde - Wagner

Answer 31

Tristan chord (no resolution)
Chromatic
Repeated motifs
Leitmotivs
Big instrumentation
HIS OWN LIBRETTO!!!

Question 32

Brahms 4th symphony

Answer 32

Based on passacaglia
Sonata form
Romantic tonality (3rds, 6ths, dissonance, sweet melody)

Question 33

Mahler’s 1st symphony

Answer 33

Cyclic (unified by common musical themes)
Folksy (nationalism)
3rd movement..?
Funeral march movement, canon in another

Question 34

Debussy - Voiles

Answer 34

Pedalpoint - sustained low pitches
piano piece
whole tone / pentatonic
Cascading figures (imagery)

Question 35

Stravinsky - Rite of Spring

Answer 35

Primative
Tonal language: somewhat atonal, polytonal (overlapping melodies that clash with one another.. some accidentals in some part and not in others)
Audience was pissed about dancers being unable to follow, stravinski went to conduct them himself

Question 36

Pierrot Lunaire - Schoenberg

Answer 36

Atonal
Sprechstimme - german term. somewhere between singing and speaking.

Question 37

Shostakovich - String Quartet No.8

Answer 37

Soviet realism (appealing to soviet leaders, lighter/happier)
Not atonal
Spells his name in the piece (Leitmotiv)