Listening IDs for Final Flashcards
- Metric pulse and then quasi homophonic and quasi polyphonic harmony
- Exists nowhere in time
- Importance of silence
Arvo Part’s Sarah was Ninety Years Old (1977)
- Looping
- String ensmeble w/ electric effects
- Juxtapose layers of time
Steve Reich’s Different Trains (1989)
- Self-conscious of going to concerts of new music
David Lang’s Are you experienced - On Being Hit on the Head (1992)
Leonard Bernstein’s “Cool” from West Side Story (1957)
Leonard Bernstein’s “Meeting Scene” from West Side Story (1957)
Music as organized sound
Edgar Varese’s Electronic Poem (Poeme Electronique) (1958)
Symphony
Wolfgang Amadeus Mozart’s Symphony No. 40 in G Minor (1788)
Use rhythm, melody and harmony, vocal range to define characters - Leporello
Wolfgang Amadeus Mozart’s “I Work Night and Day” (Notte e giorno faticar) Act 1, Scene 1 from Don Giovanni (1787)
Secco Recitative
Music Controlling
Don Giovanni and Zerlina
Wolfgang Amadeus Mozart ‘s “There We Will Entwine Our Hands” (Là ci darem la mano) from Don Giovanni (1787)
Longest symphony at the time
Ludwig van Beethoven’s Symphony No. 9, Movement 1: Allegro ma non troppo, un poco maestoso (1824)
Transcendence, People coming together, Expansion of forms, Hybrid of vocal and instrumental forms
Ludwig van Beethoven’s Symphony No. 9, Movement 4: Presto - Allegro assai (w/ final chorus from Schiller’s ode to joy)
Idee Fixe
Dies Irae
Program music
Hector Berlioz’s The Fantastic Symphony, Movement 5: Dream of a Sabbath Night
Musical clues about journey
Through-composed
Four different voices
Franz Schubert’s “The Elfking” (Erlkonig) (1815)
Beginning of the cycle
Doesn’t really conclude
Floating
Strophic
Robert Schumann’s A Poet’s Love - Im wunderschonen Monat Mai (In the Wonderful Month of May) - 1840
End of the cycle
- Musical irony
- Music keeps going long after text ends
Robert Schumann’s Die alten, bosen Lieder (The Old, Hateful Songs) from A Poet’s Love (Dichterliebe) (1840)
Conflict between good and evil
Exchanging musical values
Geometric construction
Pyotr Tchaikovsky’s “Rose” Adagio, Scene 1 from Sleeping Beauty
Leitmotif
Tristan chord
“Death in Love”
Richard Wagner’s “Liebestod” from “tristan und Isolde” (1859)
Living in a symbolist’s world
Half man, half creature
132 measures for 132 line poem
Claude Debussy’s Prleude to the Afternoon of a Faun (Prelude a l’apres-midi d’un faune) (1894)
Whole tone scale
Group of pitches
No cadence
No root, tonic or starting place
Claude Debussy’s “Sails” (Voiles) from Preludes, Book 1 (1910)
Number 6
Sprechstimme
Arnold Schoenberg’s “Madonna” from “Moonstruck Pierre” (Pierrot Lunaire) 1912
Flute comes and flutters in this distorted way
Arnold Schoenberg’s “The Ailing Moon” from “moonstruck Pierre” (Pierrot Lunaire) (1912)
Mad cascade of sound as he tries to brush light of
Passages of counterpoint
Example of Free-Atonality
Two simultaneously unfolding canonic passages
Arnold Schoenberg’s “The Moonfleck” by Moonstruck Pierre (Pierrot Lunaire) *1912)
Synesthesia
Invocation of mythology
Last piece in cycle
Arnold Schoenberg’s O Ancient Scent from “Moonstruck Pierre” (Pierrot Lunaire” (1912)
Pretty peaceful, sounds like a bird at the beginning but with underlying tension
Igor Stravinski’s Introduction to The Rite of Spring (1913)
Ostinato
Augur’s Chord
Igor’s Stravinsky’s Dances of the Young Girls (Scene 1) from The RIte of Spring (Le Sacre du Printemps) (1913)
More harried, scattered
Igor Stravinski’s Mock abduction (Scene 2) from The RIte of Spring (Le Sacre du Printemps) (1913)
Something peaceful but very unsettling, there is a flutter
Igor Stravinsky’s Spring Round dance (Scene 3) from The RIte of Spring (Le Sacre du Printemps) (1913)
Cantata - back to bach
Tonal music with post-tonal accompaniment
Benjamin Britten’s “For I will Consider my Cat Jeffrey” from Rejoice in the Lamb (1943)
Dry, consonant but hollow
March and choir
SO consonant it becomes dissonant
Socialist
Paul Hindemith’s Opening Chorus from Let’s Build a Town (Wir bauen eine Stadt) (1930)
Imitative polyphony texture
Return to infant bliss
Maurice Ravel’s The Child is good and Wise from the Child and the ENchanted Objects (1925)
Punctuated strings
Aaron Copland’s Scene 2: Fast from Appalachian Spring (1944)
ALternating waltz feel
Aaron Copland’s Scene 3: Moderato from Appalachian Spring (1944)
Light and chipper
Aaron Copland’s Scene 4: Fast from Appalachian Spring (1944)
Playful and a little off-kilter
Aaron Copland’s Scene 5: Still Faster from Appalachian Spring (1944)
Musical thief of traditional Americana
Bitonality intervals between 4th and 5th sections
Difficult to play
Organ
Charles Ives’ Variations on America (1905)
Dealing with the meaning of existence
-Perennial question is stated unchanged every time
String quartet, trumpet, flute quartet
-Question is atonal
-Way the answer responds or doesn’t respond to question
Charles Ives The Unanswered Question (1906)
