facts Flashcards
Vivaldi life and death
1678-1741
Bach life and death
1685-1741
Handel life and death
1685-1759
Haydn life and death
1732-1809
Mozart life and death
1756-1791
Beethoven life and death
1770-1827
Schubert life and death
1797-1828
Chopin life and death
1810-1849
Berlioz life and death
1803-1869
Bizet life and death
1838-1875
Debussy life and death
1862-1918
Stravinsky life and death
1882-1971
Bernstein life and death
1918-1990
Louie year born
1949
Adams year born
1947
The Four Seasons, op. 8 “Spring”
composer
Vivaldi
The Well-Tempered Clavier, Book 1, Prelude and Fugue in B flat Major, BWV 866
composer
Bach
Messiah, HWV 56 Part 1: Overture, “There were shepherds…”, “Glory to God”, “Rejoice Greatly”, Part 2: “Hallelujah”
composer
Handel
String Quartet, op. 76, no. 3 (“Emperor”) 2nd movement
composer
Haydn
Eine Kleine Nachtmusik, K525
composer
Mozart
Symphony No. 5 in C Minor, op. 67
composer
Beethoven
Erlkönig, op. 1, D328
composer
Schubert
Polonaise in A flat Major, op. 53
composer
Chopin
Symphonie fantastique, 5th movement: “Songe d’une nuit du sabbat”
composer
Berlioz
Carmen act 1: “Quand je vous aimerai?”, “L’amour est un oiseau rebelle”, act 2: “Votre toast, je peux vous le render”
compsoer
Bizet
Prélude à l’après-midi d’un faune
composer
Debussy
The Rite of Spring Part 1: Adoration of the Earth: Introduction, Dance of the Youths and Maidens, Game of Abduction
composer
Stravinsky
West Side Story act 1: “Maria”, “America”
composer
Bernstein
Changes (from “Music for Piano”)
composer
Louie
Short Ride in a Fast Machine
composer
Adams
true or false
Vivaldi contributed to the development of the three-movement concerto structure.
true
true or false
Vivaldi is known as the father of the symphony
false
true or false
Vivaldi composed exclusively for keyboard instruments
false
true or false
Vivaldi was a leader in establishing ritornello form
true
true or false
Vivaldi was a virtuoso violinist, conductor, and a prolific composer
true
true or false
Vivaldi was a virtuoso organist, as reflected in his organ and keyboard works
false
true or false
Vivaldi’s works are written in a generic style, and can be easily be played on any instrument
false
true or false
Vivaldi developed idiomatic writing for strings and exploited string virtuosity
true
true or false
Vivaldi’s works are identified by key and opus number only; the title “The Four Seasons” was added later by a publisher of his music
false
true or false
Vivaldi incorporated programmatic writing and descriptive titles
true
true or false
Vivaldi composed only instrumental music
false
true or false
along with a large number of instrumental works, Vivaldi also composed over 40 Italian operas that were very popular in his day
true
true or false
Bach composed orchestral, chamber, keyboard, organ, opera, and vocal music
false
true or false
Bach composed orchestral, chamber, keyboard, organ, and vocal music
true
true or false
German myths and legends were aprimary source of inspiration for Bach
false
true or false
Bach’s personal faith was a source of inspiration as demonstrated by over 200 church cantatas
true
true or false
Bach’s career focused entirely on composing, and he was not active or accomplished as a teacher, conductor, or performer
false
true or false
Bach was a virtuoso organist, as reflected in his organ and keyboard works
true
true or false
Bach was a bold innovator who rarely used existing forms or genres
false
true or false
Bach perfected existing forms rather than defining new ones
true
true or false
Bach was not influenced by musical styles outside of the German tradition
false
true or false
Bach absorbed influences of international styles (German, French, and Italian)
true
true or false
Bach’s compositions were largely homophonic, with mostly chordal textures and very little contrapuntal writing
false
true or false
Bach was a master of the contrapuntal art, as demonstrated in the fugues of The Well-Tempered Clavier
true
true or false
Bach’s music represents the beginning of a new musical practice, breaking away from Baroque traditions to forge a new style
false
true or false
Bach’s music represents a high point in over one hundred years of Baroque musical practice, and his personal style synthesized the leading musical development of this era
true
true or false
despite having spent time in Italy, Handel maintained a typically German approach to composing, with no international influences in his style
false
true or false
Handel wrote in a cosmopolitan style combining the international currents of the day: German counterpoint, Italian opera, French overture, and English choral style
true
true or false
Handel avoided contrasting textures, preferring to maintain either strictly iimitative, or completely chordal texture throughout entire work or movements
false
true or false
Handel frequently contrasted homophonic and polyphonic passages for a dramatic effect, as is the case in the “Overture” and “Hallelujah” from Messiah
true
true or false
Handel’s writing for the voice was always in a simple recitativo secco style
false
true or false
Handel’s writing for the voice was often viruosic, marked by breathtaking runs and vivid word painting
true
true or false
Handel contributed to the development of English opera (composing over 40 operas), and created the Italian oratorio (nearly 30 oratorios)
false
true or false
Handel contributed to the development of opera seria (composing over 40 operas) and created the English oratorio (nearly 30 oratorios)
true
true or false
Handel was not interested in depicting the meaning of the text through the music
false
true or false
Handel made effective use of word painting
true
true or false
Handel’s music has baffled audiences, and is rarely performed today due to its complex and obscure nature
false
true or false
Handel’s use of very basic musical elements such as chordal passages and scale figures make his style accessible and appealing
true
true or false
Handel’s music is uinderstated and introverted, and most works were written for private reflection rather than public performance
false
true or false
Handel wrote many works that were performed at public events, conveying a sense of pageantry and dramatic theatrical stle through gradiose gestures
true
true or false
Haydn’s music remained faithful to all aspect of Baroque style
false
true or false
Haydn’s music embraced aspects of the main currents of his time, including style galant Sturm and Empfindsamer Stil
true
true or false
Haydn is regarded as the “father” of the oratorio and fugue because of his significant contributions to establishing both genres
false
true or false
Haydn is regarded as the “father” of the symphony and string quartet because of his significant sontributions to establishing both genres
true
true or false
Haydn avoided using sonata fomr in his compositions, preferring to focus on work sthat preserved BAroque style and traditions
false
true or false
Haydn contributed to the development of sonata form, which he utilized in his symphonies, sonatas and string quartets
true
true or false
Haydn contributed to the development of sonata form, which he utilized in his symphonies, sonatas, and string quartets
true
true or false
Haydn had little interest in rustic folk music, and aimed to capture a refined aristocratic approach in all his composition
false
true or false
Haydn was influenced by folk songs and dances, and often used simple diatonic melodies
true
true or false
For Haydn, music was no laughing matter, and there are very few example of humour or comedy in his works
false
true or false
In Haydn’s music, humour and playfulness is demonstrated by sudden dynamic changes or abrupt silences
true
true or false
Haydn avoided using dramatic gestures or descriptive writing in order to keep his compositions completely free of any extra-musical associations
false
true or false
In Haydn’s music, dramatic elements include sudden accents and bold changes of chord or keys; for example, his use of a loud C major chord in The Creation to depict the word “light”.
true
true or false
Haydn’s short life included few public performances, and his music received little acclaim until after his death
false
true or false
Haydn had a long and distinguished career as a composer, and was admired and revered throughout Europe
true
true or false
Mozart exemplified Viennese Classical ideals in only a limited number of works
false
true or false
Mozart exemplified Viennese Classical ideals: elegance, balance, poise, refinement, sophistication in cirtually all Classical genres
true
true or false
Mozart rebelled against the Classical ideal of symmetry and balance and utilized irregular phrase lengths and structures wherever possible
false
true or false
Mozart utilized mainly symmetrical phrase structures (i.e. four measure phrases)
true
true or false
Mozart avoided sonata form, and instead preferred to use rounded binary form in his first movements
false
true or false
Mozart contributed to the development of sonata form
true
true or false
Johann Sebastian Bach influenced Mozart’s development of the piano concerto
false
true or false
Johann Christian Bach influenced Mozart’s development of the piano concerto
true
true or false
Influenced by Antonio Vivaldi, Mozart’s orchestral writing expanded the use of figured bass and continuo
false
true or false
influenced by the famous Mannheim orchestra, Mozart’s orchestral writing expanded the use of wind instruments
true
true or false
opera was cetral to Mozart’s career, and as an Austrian composer, he wrote all of his operas in German, based on serious plots
false
true or false
opera was central to Mozart’s carrer; he made important contributions to three styles: opera seria (Idomeneo), opera buffa (The Marriage of Figaro), and Singspiel (The Magic Flute)
true
true or false
Mozart cultivated two distinct styles of melodic writing; lyrical lines in vocal compositions, and angular “percussive” lines for instrumental works
false
true or false
Mozart absorbed vocal qualities and melodic lyricism into his instrumental writing; this is especially evident in slow movements
true
true or false
Mozart had a long and distinguished career as a composer, and was admired and revered throughout Europe
false
true or false
Mozart struggled with the constraints of the patronage system throughout his career, and experienced financial difficulties and challenges despite his remarkable talent
true
true or false
Beethoven was a conservative traditionalist, who embraced the musical style of the early 18th century with only minimal changes
false
true or false
Beethoven was a bold innovator and a highly original and influential figure
true
true or false
Beethoven used themes characterized by long, lyrical melodies that did not lend themselves to motivic development
false
true or false
Beethoven’s thematic material often grows out of short, incisive motives
true
true or false
Beethoven adopted the four-movement sonata cycle model as seen in the works of Mozart and Haydn without any significant innovations
false
true or false
Beethoven’s innovations include replacing the graceful menuet and trio with the more dramatic scherzo and the use of cyclical structure (Symphony No. 5)
true
true or false
Beethoven’s innovations to the symphony include expanding the Baroque string orchestra to include woodwinds, brass, and percussion families for the first time
false
true or false
Beethoven’s innovations to the symphony include incorporating programmatic elements (Symphony No. 6) and expanding performing forces to include chorus and soloists (Symphony No. 9)
true
true or false
Beethoven did not indicate dynamic contrasts in his scores, preferring to allow performers to decide individually how best to interpret the music
false
true or false
Beethoven utilized explosive accents and extreme dynamic contrasts
true
true or false
Beethoven expanded to role of the basso continuo to provide additional colour and texture in the orchestral sonority
false
true or false
Beethoven incorporated addiontal orchestral wind instruments, including the piccolo, trombone, and contrabassoon
true
true or false
Beethoven rejected the piano of his day in favour of the harpsichord; and instrument that he felt best conveyed the range of emotion and feeling required in his works
false
true or false
Beethoven exploited new features and improvements in the pianos of his day to convey the range of emotion and feeling required in his works
true
true or false
Schubert was a true Romantic composer in that he abandoned Classical formal structures and rejected the symphony, sonata, and string quartet as viable genres for musical expression
false
true or false
Schubert is considered a transitional composer in that his music combines elements of both Classical and Romantic style
true
true or false
Schubert wrote his own original poetry for his many Lieder
false
true or false
Schubert composed many Lieder inspired by poems of Johann Wolfgang von Goethe, a German Romantic poet
true
true or false
Schubert maintained traditional key organization and used primarily diatonic harmony
false
true or false
Schubert often juxtaposed major and minor tonality and used unexpected modulations
true
true or false
In Schubert’s Lieder, the piano provides a pleasant, yet netural, musical backdrop over which poetry is sung
false
true or false
In Schubert’s Lieder, the piano accompaniment often depicts specific elements of the poem
true
true or false
Schubert’s melodies are often percussive and angular, making them difficult to sing
false
true or false
vocal lyricism pervades all of Schubert’s works
true
true or false
Schubert introduced new psychological intensity into individual songs and song cycles
true
true or false
Schubert’s music is characterized by a cool, intellectual objectivity
false
true or false
Chopin’s work can be divided into two main categories: works for solo piano and symphonies
false
true or false
Chopin wrote almost exclusively for piano (including piano with voice or instruments)
true
true or false
Chopin’s melodic lines are strictly pianistic, with only the bold display of virtuosity in mind
false
true or false
Chopin’s melodic lines have vocal qualities inspired by the bel canto style in Italian opera
true
true or false
Chopin preserved traditional harmonic vocabulary, favouring strictly diatonic chord progressions and modulations only to closely related keys
false
true or false
Chopin explored a new harmonic language: chromaticism, unexpected modulation, unusual juxtapositions of chord and keys, and model inflections
true
true or false
Chopin maintained a traditional and conservative approach to writing for the piano, most often using Alberti bass patterns to accompany melodic lines
false
true or false
Chopin used original and innovative pianistic figurations: unusual spacing of chords, sweeping arpeggiation, expanded range
true
true or false
Chopin composed most of his works away from the keyboard, and was unuware of changes to the piano during his lifetime
false
true or false
Chopin exploited new capabilities of the piano, employing greater virtuosity in response to technological advances
true
true or false
Chopin’s works unfold in a very predictable and organized manner, and require metronomic accuracy and control for musically satisfying performances
false
true or false
improvisatory qualities are displayed in many of Chopin’s works, such as his preludes
true
true or false
after leaving Poland to settle in Paris, Chopin turned away from his national roots and adopted a new purely French style of composing
false
true or false
Chopin’s musical nationalism was expressed through the composition of Polish dances, including polonaises and mazurkas
true
true or false
Chopin was isolated from the music of other composers, and developed his unique style without the influence of any other models
false
true or false
Chopin was influenced by Bach’s counterpoint, Mozart’s lyricism, and the Italian bel canto style
true
true or false
Berlioz’s compositional style is closely tied to the piano, and builds on the style established by Chopin, the poet of the piano
false
true or false
Berlioz did not play the piano, so his compositional style demonstrates a unique approach to writing that is unrestricted by the conventions of the piano
true
true or false
Berlioz avoided programmatic music throughout his career, preferring to create music free of extra-musical associations
false
true or false
Shakespeare’s work influenced many of Berlioz’s programmatic compositions, including his concert overture King Lear
true
true or false
Berlioz is the first composer to use a recurring theme throughout a large-sclae work to organize and unify the composition
false
true or false
cyclical elements strongly influenced by Beethoven pervade much of Berlioz’s compositional output
true
true or false
Berlioz used instruments in unique ways to create new sounds that helpe shape his programmatic associations
true
true or false
Berlioz was the master of small forms such as the art song and miniature character pieces for piano
false
true or false
Berlioz is best remembered for his large-scale forms, including symphony and oratorio
true
true or false
Berlioz is considered a transitional composer in that his music ombines elemtns of both Classical and Romantic style
false
true or false
Bizet focused entirely on opera and vocal works, and was considered a weak orchestrator
false
true or false
Berlioz’s musical style is highly unique and individual, embracing the true spirit of Romanticism
true
true or false
Bizet contributed to a broad range of genres, but focused mainly on opera
true
true or false
Bizet was acclaimed as the greatest 19th-century opera composer and enjoyed great popularity in his lifetime
false
true or false
Bizet enjoyed limited success during his lifetime
true
true or false
all of Bizet’s operas were set in his native France, and demonstrated his profound nationalism in the use of French Baroque dance rhythms
false
true or false
Bizet used a simple, primarily diatonic harmonic language
false
true or false
Bizet’s harmonies were rich and frequently tinged with chromaticism
true
true or false
Bizet kept the chorus and the solo aria as distinctly separate components in his operas
false
true or false
Bizet integrated the chorus into the musical fabric of his operas and experimented with musical structures such as blending the chorus into the solo aria
true
true or false
like Bach, Handel, and Haydn, Bizet’s career unfolded over a long and full life
false
true or false
like Mozart, Schubert, and Chopin, Bizet left a lasting legacy, despite a short life
true
true or false
Debussy wrote music in a very predictable manner that relied upon styles and practices inherited from past traditions
false
true or false
Debussy wrote music in a very predictable manner that relied upon styles and practices inherited from past traditions
false
true or false
Debussy was a highly original and innovative composer
true
true or false
initially attracted to Impressionist painters, Debussy later rejected that mindset in favour of a musical approach that was free of any extra-musical influences
false
true or false
influenced by Impressionist painters, Debussy’s compositions reflect their ideals through his choice of subject matter, instrmental colour, subtle nuances, and obscured metric pulse
true
true or false
Debussy set the poetry of Symbolist poets, including Stéphane Mallarmé, to music
true
true or false
like the Realist poets, Debussy preferred a precise expression of his musical thoughts
false
true or false
like the Symbolist poets, Debussy experimented with unorthodox approaches to grammar and syntax through formal structure and phrasing; evoking rather than narrating, suggesting rather than depicting
true
true or false
Debussy based his music entirely on Western scale systems, following the models of the Viennese masters
false
true or false
Debussy explored non-Western scale systems including whole-tone, pentatonic, and modal scales
true
true or false
Debussy used harmony in very traditional ways. he continued mushc of the harmonic practice established in the Classical era
false
true or false
Debussy used innovative approaches to harmony including parllel chord streams, open fifths, and octaves
true
true or false
Debussy avoided the use of programmatic elements as much as possible as he felt this was in opposition with impressionist ideals
false
true or false
Debussy’s music often incorporated programmatic elements such as mythological subjects, pastoral themes, water imagery, sunlight, and moonlight
true
true or false
Debussy’s music, though popular in its time, has had limited appeal and little influence
false
true or false
Debussy is the most influential French composer of the late 19th and early 20th century
true
true or false
Stravinsky’s music exhibits a distinct character, which was established in his youth and remained in place throughout his lifetime
false
true or false
due to the broad spectrum of musical styles encompassed, Stravinsky’s music may be divided in four periods
true
true or false
music composed in the early years of Stravinsky’s life is characterized by a neo-Classical style with emphasis on formal design and emotional restraint
false
true or false
music composed in the early years of Stravinsky’s life is characterized by Russian nationalism, with a primitive style featuring rich orchestration, the use of dissonant harmony, polytonality, ostinato, syncopation, and polymeter
true
true or false
representative works from Stravinsky’s early years are Symphony of Psalms, Ebony Concerto, The Rake’s Progress
false
true or false
representative works from Stravinsky’s early years are The Firebird, Petrushka, The Rite of Spring
true
true or false
during the trasitional years, Stravinsky created more intimate works with reduced forces, such as The Wedding and The Soldier’s Tale, in response to the devastation wrought by WWI
true
true or false
music composed in the middle years of Stravinsky’s life is characterized by a neo-Classical style with emphasis on formal design and emotional restraint
true
true or false
representative works from Stravinsky’s middle years are Symphony of Psalms, Ebony Concerto, and The Rake’s Progress
true
true or false
during his final years, Stravinsky embraced Arnold Schoenberg’s twelve-tone method, used sparse textures as inspired by Anton Webern, and explored miniatures
true
true or false
representative works from Stravinsky’s final years are The Wedding and The Soldier’s Tale
false
true or false
representative works from Stravinsky’s final years are Agon, Vanticum Sacrum, and Eight Instrumental Miniatures
true
true or false
Bernstein’s music is influenced by popular and jazz styles only, as he dismissed classical forms and idioms early in his career
false
true or false
Bernstein’s music is influenced by classical forms and idioms
true
true or false
Bernstein wrote either classical or popular music, but never a combination of the two
false
true or false
Bernstein’s melodic style fuses popular and classical elements
true
true or false
as an American nationalist, Bernstein rejected all other influences, and was paricularly opposed to using Latin rhythms
false
true or false
in his music, Bernstein integrated American, Hispanic, and Jewish elements
true
true or false
in his music, Bernstein absorbed elements of rock & roll, country & western, and rap music
false
true or false
in his music, Bernstein absorbed popular, jazz, and musical theatre elements
true
true or false
Bernstein’s rhythms are based on classical models, most often organized as symmetrical phrases
false
true or false
Bernstein’s rhythms are frequently drawn from popular dance styles, a notable example of this is his incorporation of the mambo and cha-cha
true
true or false
Louie’s style is primarily traditional, with a conservative approach to harmonic language
false
true or false
Louie’s style combines traditional elements with a contemporary language
true
true or false
Louie’s work represents a pan-ethnic perspective, combining traditional Asian music with influences from Western musical styles
true
true or false
Louie’es work includes programmatic elements
true
true or false
Louie’s work represents a purely minimalist approach
false
true or false
Louie’s work contains influences of minimalism
true
true or false
Louie has chosen not to explore electronic technology in any of her works
false
true or false
in some works, Louie incorporated electronic technology
true
true or false
Louie uses a varied harmonic language that embraces tonality, modality, extreme dissonance
true
true or false
Louie’s piano music is mostly dissonant and percussive, treating the piano as a primarily rhythmic instrument and avoiding the instrument’s expressive quality
false
true or false
Louie’s piano music draws on the instrument’s expressive quality through extensive use of epdal and delicate figurations
true
true or false
Adams came to embrace the emerging minimalist style developed in the 1960s and 1970s by composers such as Steve Reich and Philip Glass
true
true or false
Adam represents “the old generation” of minimalist composers; he is often termed the father of minimalism
false
true or false
Adams represents “the next generation” of minimalist composers; he is often termed a post-minimalist
true
true or false
Adams’ works are usually atonal; he consciously rejected the tonal and/or modal models to which he was exposed as a student
false
true or false
Adams’ works are usually tonal and/or modal; he consciously rejected the atonal models to which he was exposed a student
true
true or false
Adams’ approach to rhythm and meter reflects minimalism’s penchant for incessant, driving rhythm (moto perpetuo)
true
true or false
Adams avoided repetitive patterns like ostinatos in order to retain a sense of rhythmic flexibility and spontaneity in his music
false
true or false
Adams frequently uses ostinato patterns, syncopation, and complex polyrhythms that result in a “rhythmic dissonance”
true
true or false
Adams’ orchestral works lean toward programmatic elemts, including evocative titles
false
true or false
drawn to the theatre, Adams has written many operas in collaboration with leading librettists (Alice Goodman) and groundbreaking stage designers/directors (Peter Sellars)
true
true or false
Adams is frequently drawn to controversial themes (politics, terrorism, war, natural disasters) in search of the human stories buried among the rubble of world conflict and crisis
true
