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Music 132 > Midterm > Flashcards

Midterm Flashcards

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1
Q

French Revolution Impacts

A

created ideas of liberty, equality and brotherhood
possibility and freedom
new nationalism

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2
Q

How French Revolution impacted music

A

messages of revolution
government supported opera
symphony, large choral works

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3
Q

Beethoven major works

A

Pathetique sonata: passionate, fantasia-like slow introduction, energetic main theme

Op 18 string quartets: slow movement inspired by Romeo and Juliet

Symphony No 1: slow intro, woodwind prominence, scherzo-like 3rd movement

Eroica (3rd) Symphony: heroic,

Fidelio (opera): French revolution opera

5th symphony: struggle for victory, Cm-CM

Pastoral Symphony: scene from life in country; character piece

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4
Q

Beethoven’s influence

A

defined romantic view of artist, compositions immediately popular, self-experssion

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5
Q

Beethoven’s 3 eras

A
  1. youth in Bonn & early Vienna years (1770-1802)
  2. new level of drama and expression (1803-1814)
  3. introspective late works (1815-1827)
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6
Q

How did the French revolution change society?

A

peasents & workers became citizens
economy
musicians free agents
instrument manufacturing
used as social control

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7
Q

What does “Romanticism” entail?

A

distant, legendary, fantastic

first applied to literature

reactions of myths, dreams, supernatural

allows for individual expression of emotion

organicism: reflect new concept of organic musical form

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8
Q

Music and literacy integration

A

operas, songs for poems, influenced emotion

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9
Q

The Lied

A

Nature common theme

poetic genre (short, stoic poem, like a hymn)

ballad, romantic adventures

song collections and song cycles

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10
Q

Franz Schubert (overview)

A

master of lied

freelance composer

song texts by many writers, two song cycles

form suited shape and meaning of text, strophic

gift for beautiful melodies, capture mood, setting, character

set standards for songs composers tried to match

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11
Q

Robert Schumann (overview)

A

120 lieds

focused on love songs, expressing passion and love

emphasis on music and poetry

Dichterliebe: 16 poems, a poets love

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12
Q

Clara Schumann (overview)

A

lieds

song parallel’s to Roberts

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13
Q

British and North American Song

A

parlor songs: songs for home performances, musical theater

James P Clarke.: most noteable Canadian song composer

Stephen Foster: leading American song composer

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14
Q

Piano work purposes

A
  1. teaching
  2. amateur enjoyment
  3. public performance
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15
Q

Schubert (piano)

A

amateur market, waltz, dances, short lyrical pieces

Wanderer Fantasy: virtuosity, 4 movements without breaks

11 piano sonatas, 3 keys in exposition, slow songful movements

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16
Q

Felix Mendelssohn (overview)

A

leading German composer

romantic expression with classical techniques

age 11 composing

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17
Q

Mendelssohn (piano)

A

Lieder ohne Worte (songs without words

technically demanding

absolute music, did not need words or explanation

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18
Q

Schumann (piano)

A

Carnaval
20 short dance like pieces (Eusebius, Florestan, Coquette)

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19
Q

Fanny Mendelssohn (piano)

A

Das Jahr, character piece, cyclic links between movements, large scale,

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20
Q

Fryderyk Choplin (piano)

A

closely identified with piano, composed almost exclusively for piano

etudes: specific technique, played in concert

preludes: cover all major and minor keys, mood picutres, inventiveness of figuration, rich harmonies

dances: waltz, polonaise, mazurka

nocturnes: short mood piece, embellished melodies, style draws on bel canto

nocturne in D flat: parallel 3rds and 6ths in RN, steady 16th in LH, viruoso elements

3 piano sonatas, all have 4 movements

Sonata no 2, most famous piece, funeral march

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21
Q

Choplin’s achievement

A
  1. polish nationalism
  2. concentration on piano music
  3. curiosity for performance
  4. works appealed to amateurs
  5. idiomatic sounds and figurations
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22
Q

Franz Liszt (piano)

A

most electrifying piano virtuoso of his era

devised new playing techniques, innovations in form and harmony

as teacher: invented master class

many solo recitals, first to play all from memory

influences: Hungarian/Romani melodies
Chopin’s melodic lyricism

Un sospiro: illistrates technique, slower moving melodies, difficult leaps, chomatic harmony

character pieces and sonatas: vast range of expression

Sonata in B Minor: 4 themes, themes transform

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23
Q

Liszts reputation

A

virtuoso pianist

developed new playing technique

model

important contributions as composer

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24
Q

Gottschalk

A

first American composer with international reputation

Souvenir de Porto Rico: Puerto Rican song, designed to appeal to middle class, syncopation

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25
Q

Romantic Legacy

A
  1. Home music making
  2. Lieder of Schubert and Schumann formed core song repertoire
  3. Piano works by Mendelssohn, Schumann, Chopin became central to repertoire
  4. Attitudes toward women change
  5. Romantic concepts of absolute music remained influencial
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26
Q

Choral music (overview)

A

for amateurs

3 types: short choral works, oratorios, liturgical (anthems, hymns)

tradition of choral music: 19th century looked back on previous eras, big number of people participated in choral music

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27
Q

Amateur choirs

A

choral societies (leisure time, develop unity, elevate music taste)

festivals: sings from across regions gather to perform

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28
Q

Schubert (partsongs)

A

100 partsongs

Die Nacht: short, lyric poem, important works emphasised with melodic peaks, relatively easy

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29
Q

Oratorios & other large works

A

Handel & Haydn core repertory for oratorios

Mendelssohn oratorios: St. Paul (dramatic effects: Romantic style)

Berlioz Requiem: partiotic tradition inspired by music festivals of French Revolution, huge dimensions

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30
Q

Music for religious services

A

church music also sung at home and public gatherings

Catholic music: choirboys, Schubert’s Mass, Rossini’s Stabat mater

Protestant churchs: lutheran composes, women sang in church choirs

Reformed Judaism: adopted Protestant practices: congregational hymns, organs and choirs

America: divided by sect and race, African-American churches own style

Lowell Mason: introduced music into school curriculum

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31
Q

Chamber music (overview)

A

string quartets increasingly played in public concerts

played by professionals

treated as seriously as symphonies

Beethoven’s middle quartets as defining model

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32
Q

Schubert (chamber)

A

early works, home performance, modeled on Mozart and Haydn

late works, dramatic concert music

String quintet in C Major: Schubert’s lyricism with Beethoven’s drama style, 1st movement sonata form

33
Q

Mendelssohn (chamber)

A

chamber music traces evolution as composer

works from youth

Octet for Strings earliest masterpiece

Sing Quartets in A Minor: influence of late Beethoven’s quartets

Piano trios: tuneful themes, classical genre and forms

34
Q

The Schumanns (chamber)

A

Robert: Op 41 strings quartets, interchange among parts, reflects Haydn, Mozart, and Beethoven
Piano Trios No 1: study of Bach, influential works on German composers

Clara: Piano Trio in G Minor: inspiried Robert’s trios, songlike themes, development through imitation, fugue, slow third movemen

35
Q

Orchestral Music (Overview)

A

central to public concert life

size and composition shifted, new and redesigned instruments, wider range of color

conductions: began at Paris Opera, baton to beat of time

36
Q

Audiences and concerts (orchestra)

A

middle class

piano transcriptions

prestige, lasting impression of Beethoven symphonies

diversity of works

37
Q

Schubert (orchestral)

A

songlike melodies, adventurous harmonies, colorful instrumentation

Unfinished Symphony: first large scale symphony, completed only 2 movements

Symphony No. 9 in C major: known as the Great, romantic lyricism, expanded classical form, not performed in his lifetime; long, slow introduction, 3 key exposition, elements of horn melody return

38
Q

Berlioz (orchestral)

A

Programmic

Symphonie Fantastique: establish Brlioz leader
outlines of traditions symphony (reccuring themes, array of colors)
5 movements: 1(slow), 2 (waltz), 3 (pastorale), 4 (dreams of own death), 5 (demonic)

Harold en Italie: solo viola, recurring viola theme, heroism

later symphonies: depart from traditional model

concert overtures: follow Beethoven and Mondelssohn precedents

39
Q

Berlioz achievement

A
  1. leader of Romantic radical wing
  2. created new harmony, color, expression and form
40
Q

Mendelssohn (orchestral)

A

classically sounding

Symphonies: No 5 in D minor, No 2 in B flat major, No 3 in A minor, Italian Symphony,

concert overtures: A midsummer nights dream: set standards for all overtures, imaginative

piano concertos: 4 own performances,

Violin Concerto in E Minor: 3 movements played without pause, violin and orchestra equal parts,
first movement; variant of sonata form, soloist states main theme

41
Q

Schumann (orchestral)

A

1841 orchestral year

models: Schuberts Great Symphony, Mendelssohn symphonies and concertos

Symphony No 1 Spring

Symphony No 4 D Minor: rethinking symphonic form, 4 movements without break

42
Q

Romanticism and the Classical Tradition

A
  1. torrent of new music
  2. emergence of musical classics
  3. elements of Romanticism blended in 18th C
    4.
43
Q

Golden age of opera

A

opera theaters built all over western Europe

Opera in elite and popular culture

Focus on singer, paid more than composers

Strong plots, interesting character, wide audience appeal

44
Q

Opera Nationalism

A

french Revolution, Napoleonic Wars: spread concept of nation, unified people, identity through shared characteristics

Germany and Italy divided since Middle Ages, foundation for unification: common language, literature, music, other arts, presence of national elements in Opera

Use of exoticism

45
Q

Italian Opera (overview)

A

Opera invented and popularized in Italy

40+ produced each year

Emphasis on voice, less on orchestra, bel canto; want to look easy, power of the voice

COMPOSERS: Rossini, Bellini, Donizetti,

46
Q

Rossini (Opera)

A

One of the most popular and influential composers of his generation

best known for comic operas

BEL CANTO: elegant, effortless technique

General style: catchy melodies, snappy rhythms,
“Rossini crescendo”: repeating phrases louder each time, often at high pitch

The Barber of Seville: comic opera with bel canto tradition, chaotic plot, CANTABILE & CABALETTA

Guillaume Tell: written for Paris Opera, timely themes of rebellion, 4 sections,

47
Q

Bellini (Opera)

A

After Rossini

dramas of passion, fast, gripping action

Norma, Casta Diva; Italian yearnings for freedom, constant vocal movement, chorus plays important role

48
Q

Donizetti

A

oratorios, cantatas, chamber and church music: melodies capture character, situation, or feeling, constantly moves drama forward

49
Q

French Opera

A

Most prestigious genre

Opera centered in Paris and shaped by politics

Napoleon restricted theaters

Defeat of Napoleon, monarchy restored

Opera Comique: spoken dialogue instead of recitative, fewer singers and players, straightforward comic or serious drama

Ballet: Gieselle, music by Adolphe Adam

50
Q

Grand Opera

A

designed to appeal to newly well-to-do middle class

librettos on romantic level

Les Huguenots: Meyerbeer, 5 acts, enormous cast, ballet, dramatic scenery; closing scene: deep, personal feelings, variety of styles and gestures

Impact: Meyerbeer’s approach admired and emulated, genre spread to Germany, London, and elsewhere, influence on Wagner

51
Q

German Opera

A

Interaction between music and literature developed fully, elements from French opera

Weber:
Der Freischutz: established German Romantic opera, plots drawn from medieval history, legend, fairy tale, musical styles from other countries
Wolf Glen Scene: spoken dialogue with background music, casting of bullets, entire scene centers on dimished 7th chord
Influence: model for Wagner

52
Q

Russian Opera

A

Nationalism: subject matter, set designed, costumes, music; tool of propaganda, government use

Mikhail Glinka: recognized equally by Russians and western Europeans
A Life for the Tsar: pro-government historical drama; major Western operatic traditions, distinctive Russian characters

53
Q

American Opera

A

Important part of musical life

European opera in New Orleans, New York, and San Francisco

widespread as popular entertainment

No demand for American composers to produce opera

Minstrel shows: white performers blackened their faces, most popular for of musical theatre in 1830-70’s, impersonating African American’s, propagated offensive stereotypes, explored issues of social and political power, able to behave outside social norms

54
Q

Technology, Politics and the Arts in the 19th C

A

Europe and America industrial powerhouses

1848 revolutions

Political reforms

National unification

55
Q

Richard Wagner (overview)

A

One of the most influential musicians of all time

Gesamtkunstwerk: total or collective artwork; could help form society, art not undertaken for profit, controversial views on nationalism

56
Q

Wagner Early Operas

A

Rienzi: grand opera in Meyerbeer mold

Der Fliegende Hollander: based on Germanic legend

Tannhauser: adapted Germanic legend, sin and redemption

Logengrin: medieval legend, German folklore, suffused with nationalism

57
Q

Wagner’s the Ring Cycle

A

cycle of 4 dramas

Collective title Der Ring des Nibelungen

First complete performance in Bayreuth

Leitmotive: leading motive

58
Q

Wagners Later Operas

A

Tristan und Isolde
Prelude: desire, inexpressible yearning
Act 1: magical love potion

59
Q

Wagner influence

A

operas quickly became central to wolrdwide operatic repertoire
more written about Wagner than any other musician

60
Q

Verdi

A

Epitome of romantic drama and passion

dominant figure in Italian music for 50 years after Donizetti

camouflaged patriotic messages in historical dramas

Approaches to Opera: works of theatre, librettos, working methods (wrote with certain singers in mind)

Rigoletto: musical characterization, dramatic unity, melodic invention

La Traviata: one of first tragic operas set in present

Recpetion: phenomenal success in his lifetime
performed more often than any other Italian composer

61
Q

Later Italian Opera

A

Verismo: literary realism

62
Q

Puccini

A

Most successful Italian opera composer after Verdi

exoticism, another form of realism; added appeal of unfamiliar (Madame Butterfly, Nagasaki)

Style: blend of Verdi (focus on vocal melody), Wagner style’s (recurring leitmotives)

63
Q

France Later 19th C

A

Paris remained centre for production of new works

Grand opera, ballet, and lyric opera popularity

French exoticism: several operas exploited interest in exoticism, example Carmen by Bizet, Spanish centred piece

64
Q

Spain Later 19th C

A

artists sought to create distinctive national tradition

65
Q

Bohemia later 19th C

A

Opera was specifically nationalist project

Smentana and Dvorak

66
Q

Russia later 19th C

A

2 approaches to modernization: nationalists (“Slavophiles” idealized Russian distinctiveness)
internationalists (“westernizers” adapted European technology)

Influence: Tchaikovsky and Mighty 5 developed strongly individual national style; influenced later 19th C early 20th C western Europe composers

67
Q

Tchaikovsky

A

most prominent Russian composer of 19th C

Operas based on novels of Aleksander Pushkin

Ballets, most famous and in permanent repertory

68
Q

The Mighty 5

A

Mily Balakirev (leader)
Aleksander Borodin (many unfinished works)
Casar Cui (14 operas)
Modest Musorgsky (considered most original, Coronation scene)
Nikolay Rimsky-Korsakov (

stood against professionalism of conservatories

69
Q

Other Nations late 19th C

A

Poland divided between Russia, Austria-Hungary, Germany

Britain dominated by foreign opera

New York, 1883: Metropolitian Opera Company opened

Brazil: Antonio Gomes

70
Q

Operetta

A

spoken dialogue

both funny and romantic

The Pirate of Penzance

71
Q

Music for the Stage and its Audience

A

Wagner and Verdi brought opera of their nations to a peak never surpasses

Split between elite and popular music: Verdi wanted to please the public, Wagner did not care

72
Q

Old verses new repertory desire

A

Audience wanted more familiar sounding pieces, revival of past music

audience gaining new appreication for older composers

Revival of national pride

73
Q

Brahms vs Wagner

A

conflict in ideologies
Brahms: carries on old technique, classical ways
Wagner: saw Beethoven as absolute ideal for music

German-speaking land dispute around Brahms and Wagner
absolute vs programmatic, innovation vs tradition

had mutual respect for each other

strong nationalism in instrument, song and choral music

74
Q

Johannes Brahms

A

Leading German composer of his time

Unique personal style, worked very slowly, well-versed in music of the past

Wrote 4 Symphonies:
No 1 took over 20 years to compose, conventional sequence of movements, echoed Beethovens 5th Symphony
No 3: wide melodic spans opening measures (classic Brahms), conflict between major and minor recurs in finale
No 4: chaconne, reflects fascination with Baroque music

Chamber Music: built off ideas in previous measures, developing variation

Piano music: individual piano style, 3 large sonatas, waltz and Hungarian dances

Songs: Schubert model, over 200 Lieder, piano varied in texture

Choral works: all composed for amateur performances, A German Requiem

Influence: path breaker, introduced new elements into traditional forms, developed subtle and complex techniques, appealed to amateurs

75
Q

Franz Liszt later 19th C

A

12 symphonic poems

part of Wagnerians

influences: symphonic peoms taken up by many composers, chromatic harmonies

76
Q

Anton Bruckner

A

absorbed Wagner’s style

liturgical approach to sacred texts

Symphonies: Beethoven symphony No 9 as model, influence of Wagner

77
Q

Hugo Wolf

A

adapted Wagners method’s to German Lied
250 Lieder

78
Q

Richard Strauss

A

dominant figure in German musical life

programs based on literature and personal experience

Tone Poems

Music 132 (3 decks)

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