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Music Theory Qualifying Exams - Terms > Composers/Works-Baroque, Classical > Flashcards

Composers/Works-Baroque, Classical Flashcards

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1
Q

Monteverdi

A

L’Orfeo -1607

  • Early Italian Opera (Early Baroque)
  • No strong cadential material. Some modal movement
  • Look for Ritornello form, Italian text, imitative vocal entrances, possible figured bass. Changing meter to fit the text.
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2
Q

Lully

A

Armide - 1686

  • French Opera (Mid Baroque)
  • Not a lot of strong cadences
  • French text
  • Figured bass beneath text
  • Changing meter to accompany lyrics
  • Almost feels more modal than tonal - look for lack of 7ths
  • Limited harmonic modulation - minor I to V due to limitations on instruments
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3
Q

Purcell

A

Dido and Aeneas - 1689

  • English Baroque Opera (mid Baroque)
  • Unison, homophonic choruses (in English), some imitative texture
  • More square, clear harmonies. Stronger cadences
  • Violin doubles lead voice
  • Modal mixtures without implying functional, classical modal mixtures
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4
Q

Well Tempered Klavier

A

Bach, Well Tempered Klavier - 1722

  • Keyboard preludes/fugues in all 12 keys
  • Preludes - typically 1 part forms
  • Fugues- Usually are 3 part fugues
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5
Q

Vivaldi

A

Vivaldi, Four Seasons - 1723
• Violin concerto - Concerto solo form
• Alternation between soloist and orchestra

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6
Q

Brandenburg Concerto 3

A

Bach, Brandenburg Concerto No. 3 - 1721

  • Sequences, clear cadences in 1st mvt
  • Alternates between groupings of instruments vs. unisons
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7
Q

Brandenburg Concerto 4

A

Bach, Brandenburgo Concerto No. 4 - ca. 1720

  • Violin soloist and 2 flute soloists (Active parts, orchestra joins them throughout as punctuation)
  • Look for typical Bach sequences (much like violin Sonatas/partitas) for harmonic analysis.
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8
Q

Orchestral Suite in D

A

Bach, Orchestral Suite 3 in D - 1731

  • Late Baroque orchestral work
  • Elements of fugue in B section (fugato?). Lots of imitative textures
  • Retonicization of new tonal centers throughout
  • Lots of AABB (Rounded, continuous binary)
  • Movements based on French dance suite
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9
Q

Wachet Auf

A

Bach, Wachet Auf Cantata - 1731

  • Late Baroque Cantata (Voices plus orchestra, sacred music sung in secular language)
  • Not full orchestra - 2 oboes, baroque oboe, strings, voices, continuo
  • Imitative vocals, German text
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10
Q

Messiah

A

Handel, Messiah - 1741

  • Clearer cadences than Bach, a bit easier to follow chord progressions
  • English lyrics. Some solo singers, some choruses (multi part)
  • Some imitative instrumental writing
  • Stays in one key center longer (than Bach) usually. Alternates between harmonies, much less harmonic sequencing
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11
Q

B Minor Mass

A

Bach, B Minor Mass (H Moll)- 1749

  • Late baroque Lutheran mass (more parts than just Kyrie and Gloria)
  • Larger instrumentation - 2 flutes, 2 oboes, bassoon, strings, continuo, voices (note 2 soprano parts)
  • Imitative voices. Kind of structured like Bburg concertos. Has fugal moments
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12
Q

Stamitz

A

Stamitz, Symphony in D - ca. 1750
• Strings, pairs of horns, flutes, oboe and bassoon
• Straightforward harmonies, but changes key centers over longer amounts of time.
• Last mvt. rounded binary - AABB. First section ends in Dominant key, B section modulates back to D.
• Fast-slow-fast symphony movements

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13
Q

Haydn String Quartet

A

Haydn, String Quartet in Eb, op 33 No.2 - 1781

  • Rounded binary 1st two movements, last movement is rondo with long coda
  • Very clear formal structure, Moving from 1-V, starting new sections in V, etc. Typical classical key and form.
  • Sectional binary forms, some double period material as well
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14
Q

Mozart - Eine Kleine

A

Mozart, Eine Kleine Nachtmusik - 1787

  • Lots of I and V, clear retonicization of V
  • AABB in first mvt,
  • 2nd mvt in C, parallel middle section in C minor
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15
Q

Haydn Symphony 94

A

Haydn, Symphony 94 - 1791
• Strings, plus pairs of Ob, Fl, Bsn, horn, trumpets. First one with timpani
• Starting to see more interesting orchestration than earlier pieces
• Cycles a bit between I and V, but remains in one key center for longer
• Sonata form - AA, then development (harmonically less stable)
• Movements change keys. 2nd mvt. theme and variations. Clear phrases

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16
Q

Haydn 101

A

Haydn Symphony 101 - 1794

  • Flute, oboe, clarinet, Bassoon, trombone, timp, strings
  • 1st mvt in Sonata form, 2nd movement rondo? 3rd minuet and trio
17
Q

Mozart - Wind Serenade

A

Mozart, Wind Serenade no. 10 - 1781

  • Mvt 1 - Introduction, then sonata form(?)
  • Homogenous writing -lots of unison rhythms from sections of the ensemble, or accompaniment figures with melodic material above
18
Q

Mozart - Don Giovanni

A

Don Giovanni - 1787
• Italian lyrics
• Simple orchestration, lots of V-I and I-V
• Fl, Ob, Bsn, Hrn, strings.
• Voices conversing, not a lot of unison voices.

19
Q

Mozart - Sonata No. 11

A

Sonata No. 11, A major - 1783
• Opening is example of period
• Theme and variations in AABB form (Simple, continuous binary)

20
Q

Mozart - Symphony 40

A

Symphony 40 - 1788
• Classic symphony in G minor
• Examples of clean cut phrases (periods) and harmonic movements.
• Sonata forms, minuet and trio, etc.

21
Q

Mozart - Magic Flute

A 
Magic Flute - 1791
• Easy Roman numeral analysis
• Short melodic/harmonic sequences
• Arias are somewhat through-composed.
• less clean cut phrases in arias
• Singspiel - has some spoken elements
22
Q

Mozart -Requiem

A 
Requiem - 1791
• Unfinished when he died
• Larger inst
• Latin text, multiple singers
• Some formal repetition
• CAREFUL, could have figured bass markings (not baroque!) Instrumentation should be the giveaway.
23
Q

Schubert - Unfinished symphony

A

Unfinished symphony (no. 8) - 1822
• Lots of chromatic passing tones, chromatic neighbor notes
• Sonata form 1st mvt.
• Andante in E major,

24
Q

Schubert - Erlkonig

A

Erlkonig - 1815
•German text w/piano accomp
• Lots of secondary dominants (esp. transitions)
• Key changes
• Somewhat through-composed (with some text repetition in different key centers)

25
Q

Beethoven - Archduke

A

Archduke Trio - 1811
• Violin, cello, piano trio
• Classical harmonies, but bridges out of the clear forms of Mozart.
• Ex: 1st mvt in Bb. LIkely sonata form, but secondary theme in G major. N6 of V is Eb, which also hints at Bb major.

26
Q

Beethoven - Moonlight

A

Moonlight Sonata - 1801
• Piano solo
• Chromatic mediants, closely related key modulation
• Lots of outlined chords. Should be easy to analyze

27
Q

Beethoven Pathetique

A

Pathetique sonata - 1798
• Lots of diminished chords
• More complex piano solo (Beethoven capable of playing)
• Rondo 2nd movement has lots of thematic repetition (ABB almost period-like phrases)

28
Q

Beethoven 5

A

5th symphony - 1808
• 1st mvt. sonata form
• Opening bars = Sentence

29
Q

Beethoven 6

A

6th Symphony - 1808

30
Q

Beethoven 9

A

9th symphony - 1822-24
• With choir
• 2nd movement - changes keys and time signatures, but returns back to same tonal center as beginning.

31
Q

Beethoven String Quartet

A

String quartet in C# minor - 1826

• Fugue 1st mvt.

Music Theory Qualifying Exams - Terms (8 decks)

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