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Music History II > Exam 2 > Flashcards

Exam 2 Flashcards

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1
Q

Romanticism

A

Organic unity, spontaneous emotion, death, unrequited love, nature, supernatural

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2
Q

Ludwig van Beethoven (1770-1827)

A

German composer, pushed bounds of form

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3
Q

bildungsroman

A

formative, coming of age novel

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4
Q

Heiligenstadt Testament (1802)

A

Beethoven’s letter to his brothers regarding his coming to terms with his deafness and his continued passion for art

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5
Q

Karl Friedrich Zelter (1758-1832)

A
  • Second Berlin school, conservative mind
  • Goethe
  • felt that music only provided a medium for the text
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6
Q

volkston/volkstümlichkeit

A

folk tone, in the sense of folk sound; suggests both folklike simplicity and reflection of national folk character

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7
Q

Lieder

A

German art songs, strophic

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8
Q

Strophic variation

A

“modified strophic” characteristic of Schubert, comparable to variation form in instrumental music

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9
Q

Franz Schubert (1797-1828)

A

-Viennese composer
-piano, chamber, symphony
-music=text in lied
Die schone Müllerin, Erlkönig, Winterreise

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10
Q

Robert Schumann (1810-1856)

A
  • German composer and journalist
  • Neue Zeitschrift fur Musik (New Music Journal)
  • discusses music and literary form via Davidsbundler
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11
Q

song cycle

A

collection of songs unified in theme and progression

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12
Q

Gioachino Rossini (1792-1868)

A

-Italian opera
-dramma and opera buffa
-lyrical and improvisatory, more dramatic music
Il barbiere di Siviglia, Otello, Guillaume Tell

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13
Q

Carl Maria von Weber (1786-1826)

A

-German Romantic opera
-Dresden opera
Der Freischutz (The free marksman), Euryanthe

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14
Q

Der Freischütz

A
  • Weber
  • 1821
  • reminiscence themes, organic continuity, magic bullets and musical drama
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15
Q

Bel canto opera

A

“beautiful singing”, embellished melodies and improvisational cadenzas, emphasizes vocal agility and technique

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16
Q

Scena ed aria

A

recitative/arioso-style + cavatina (slow) and cabaletta (fast)

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17
Q

Vincenzo Bellini (1801-1835)

A
  • light Italian opera

- more Romantic approach than Donizetti

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18
Q

Gaetano Donizetti (1797-1848)

A

-Italian opera
- more traditional approach than Bellini
Lucrezia Borgia

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19
Q

La Sonnambula (1831)

A

The Sleepwalker, Bellini

20
Q

Felice Romani (1788-1865)

A

Italian librettist,

21
Q

French Grand Opera

A

-more Romantic
-elaborate sets, costumes and stage effects
Meyerbeer, Auber

22
Q

Giuseppe Verdi

A

-Romantic Italian opera
–librettos from literary sources (Hugo, Byron, Schiller, Shakespeare)
-librettist Francesco Piave
-emotional situations reflect life situations (father figure, dead family)
Nabucco, La Traviata

23
Q

Niccolò Paganini (1782-1840)

A
  • violin virtuoso

- “demonic playing”

24
Q

Franz Liszt

A
  • Hungarian piano virtuoso

- big tours, regulated the solo recital

25
Q

Clara Schumann

A
  • composed chamber and piano music
  • performed after Robert’s death
  • established solo recitals from memory
26
Q

Frédéric Chopin

A
  • Polish/French pianist
  • incorporated native dances (mazurka, polonaise)
  • lyrical style, expressivity, passing chromatic harmonic overloading
  • more fluid and less fiery than Liszt
27
Q

Mazurka

A

Polish dance

28
Q

Salon

A

Intellectual gatherings in homes to discuss culture

29
Q

Felix Mendelssohn

A
  • German, orchestral music

- concert overture (like an opera overture, with classical sonata or symphonic poem form)

30
Q

Hector Berlioz

A

program symphony

  • idee fixe
  • Symphonie fantastique: Episode de la vie d’un artiste (the romantic artist)
31
Q

New German School

A
  • more musical revolutions
  • founded by Liszt and Wagner
  • Liszt- art is the masterpiece of humanity and humanity is the masterpiece of nature
  • expression over structure
32
Q

Richard Strauss

A

German composer
-tone poems, harmonic and structural freedom
Till Eulenspiegels lustige Streiche, Don Quixote, Tod und Verklärung

33
Q

Symphonic Poem

A

poems expressed in tones rather than words, Lisztian single-movement orchestra works with programmatic content

34
Q

Richard Wagner

A

New German School
-Gesamtkunstwerk (universal/collective artwork)
-Oper und Drama/ music drama
The Ring, Gotterdammerung, Tristan und Isolde

35
Q

leitmotiv/Grundthemen

A

musical motive associated with a character in musical dramas

36
Q

Eduard Hanslick

A
  • anti-Wagnerian music critic
  • Vom musikalisch Schonen (defines music as only beautiful in sound and structure)
  • pro-Brahms
37
Q

Der Ring des Nibelungen

A
  • four music dramas
  • Norse mythology
  • political libretto exposing the lust for wealth and power
38
Q

Johannes Brahms

A
  • German composer trained in traditions of Mendelssohn and Schumann
  • traditional forms and style on steroids
  • counterpoint master
  • anti-New German School poster child
39
Q

Gustav Mahler

A

-Viennese progressive out of Romanticism
-German folk poetry and music
Kindertotenlieder, Das Lied von der Erde

40
Q

Nationalism

A

movement towards national identity (and musical style) and belief in national unification

41
Q

Exoticism

A

Western attempt to adopt other musical traditions (e.g. Madama Butterfly, Carmen)

42
Q

Verismo

A

Italian realist opera, lots of stabbing

  • Cavalleria rusticana (Mascagni)
  • I pagliacci
  • violent contrast
  • La Boheme (Puccini)
43
Q

Puccini

A

Italian opera after Verdi
Verismo
La Boheme (Romantic realism)
Tosca

44
Q

The Mighty Five (moguchaya kuchka)

A 
Alexander Borodin (Prince Igor), Cesar Cui, Mily Balakirev, Modest Musorgsk (Boris Godunov) , Nicolai Rimsky-Korsakov
-incorporated folk and nationalist styles
45
Q

Second New England School

A 
German influence, American folk and subcultures
◦ John Knowles Paine
◦ Arthur Foote
◦ George Chadwick
◦ Amy Beach
◦ Edward MacDowell
◦ Horatio Parker

Music History II (2 decks)

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