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mus 302 final > music examples > Flashcards

music examples Flashcards

1
Q

Winterreise No. 5, Der Lindenbaum

A

schubert

  • modified strophic
  • expression in piano part
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2
Q

Jeanie with the Light Brown Hair

A

foster

  • parlor/sentimental
  • attached to theatrical prods. (considered more pop than art song)
  • themes of loss/love/nature
  • strophic form
  • muted musical expression of text compared to German trad. but there
  • elements of folk ballads from British Isles
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3
Q

Nocturne in D flat major

A

chopin

  • hidden virtuosity
  • shows off new innovations of piano
  • very quiet LH compared to RH (characteristic of nocturnes)
  • song-like melody from opera
  • pretty chromatic for time period
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4
Q

Concert Etude: Un Sospiro

A

liszt

  • reflects his piano skills w/ huge leaps/hand crossing, melody on black keys
  • expressivity (“a sigh”, program)
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5
Q

Souvenir de Porto Rico (Marche des Gibaros)

A

gottschalk

  • character piece
  • subtitle = Puerto Rican peasants
  • theme derived from folk song
  • variations (shows off, Latin American rhythms)
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6
Q

Scherzo

A

clara schumann

  • Scherzo: prev. minuet, more intellectual, not dance based but often in 3 (musical ex.)
  • Score as representation of precise work → primacy of composer
  • V aware of tradition → commentary on historical genre, elaborate for a scherzo
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7
Q

Im wunderschonen monat mai

A

robert schumann

  • “in the beautiful month of may”
  • no ending cadence (sense of longing)
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8
Q

Ich grolle nicht

A

robert schumann

  • (“I’m not grumpy”)
  • ex. of romantic irony (says he’s not complaining but he is)
  • steady stubborn 8th note pulse (inc. importance of inst. music)
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9
Q

Symphony No. 4 in D minor, mvmt 1

A

robert schumann

  • both traditional and innovative
  • basic elements of sonata cycle:
  • Played w/o break (attacca, Beethoven)
  • Joined by harmonic, thematic lines
  • No true recap in 1st mvmt → but then 2 themes from expos reappear in finale
  • Whole symphony can be interp. as big sonata form mvmt (1. Expos, beginning of dev 2/3. dev 4. Recap and coda)
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10
Q

Symphony No. 3, “Scottish” mvmt. 4

A

mendelssohn

  • folk music everywhere in music at this time (political move)
  • larger orch (Classical)
  • emotional extremes (Romantic)
  • rhythms (Scottish)
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11
Q

Barber of Seville, “una voce poco fa”

A

rossini

  • roots in 18th c. comic opera (esp. Mozart)
  • cavatina
  • no tempo di mezzo
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12
Q

Lucia di Lammermoor

A

donizetti

  • Avoids cadences
  • Uses musical material to signify/tell events in the story
  • Expansive approach to scena ed aria form, unbalanced melodies, emotional extremes, increased importance of orchestra (Romanticism)
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13
Q

Les Huguenots

A

meyerbeer

  • Plot: Catholic massacre of protestants in 16th c.
  • Music: Rossinian Plan (Scena ed Aria)
  • Big chorus
  • Quote of lutheran hymn
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14
Q

Der Freischütz

A

von Weber

  • Elevated singspiel (Orch, Folk → Hunter’s Chorus)
  • “Wolf’s Glen” scene:
  • Interesting harmonic relationships
  • Huge orch, contributes greatly to narrative
  • Form in service to narrative
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15
Q

Symphonie fantastique

A

berlioz

  • Programs, idee fixe (cyclical)
  • 4th mvmt “March to the Scaffold” → moment by moment depiction of scene, orchestration: ophicleide, march form
  • 5th mvmt “Witches Sabbath” → orchestration: E-flat clarinet, col legno strings, Dies Irae melody used to rep. death, massive fugue at the end
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16
Q

how schumann’s symphony no. 4 is interpreted as one big SONATA FORM movement

A
  1. Expos, beginning of dev
    2/3. dev
  2. Recap and coda
17
Q

4th mvmt of symphonie fantastique

A

4th mvmt “March to the Scaffold”

  • moment by moment depiction of scene
  • orchestration: ophicleide, march form
18
Q

5th mvmt of symphonie fantastique

A

5th mvmt “Witches Sabbath”

  • orchestration: E-flat clarinet, col legno strings
  • Dies Irae melody used to rep. death
  • massive fugue at the end
19
Q

Ring Cycle

A

wagner

  • 4 opera cycle
  • combination of German/Norse stories
  • Die Walkure is second one: leitmotifs (each one represents a character/theme)
  • descending notes rep. fire god
20
Q

Tristan und Isolde

A

wagner

  • Tristan chord
  • modernism (rejecting past musical traditions)
  • wrote his own libretto
  • no sep. #s (continuous)
  • leitmotifs
21
Q

La Traviata

A

verdi

  • Rossinian
  • orch. plays narrative role
  • realistic characters/situations/emotions in his current time
22
Q

Madame Butterfly

A

puccini

  • Japanese music that was westernized (“hybrid style”)
  • used pentatonic scale in Japanese motive, later becomes more Western when she wants to convert to his religion
23
Q

Boris Godunov

A

mussorgsky

  • NOT wagner (not continuous, pauses before arias)
  • a lot of people on stage (serfs = poor)
  • no lush theme/idee fixe
  • not functional harmony/doesn’t resolve
  • rare ex. of him borrowing folk tune
24
Q

Symphony No. 6, “Pathetique” (1893)

A

tchaikovsky

  • Combination of influences from Germany, Italy, France as well as strategic “non-other-nation-ness”
  • Unusual structure
  • 3rd mvmt operates as climax
  • March → (w/ Russian military history) more like sonata without development
  • Main theme gradually emerges
  • Filled with Nationalism
  • 4th mvmt completely different
25
Q

3rd mvmt of pathetique symphony

A

3rd mvmt operates as climax

  • March → (w/ Russian military history) more like sonata without development
  • Main theme gradually emerges
  • Filled with Nationalism

(4th completely diff)

26
Q

“After the Ball”

A

harris

  • Sentimental waltz
  • 32 bar form → aaba, verse-chorus
  • Teaching women “appropriate social code” for white middle class
27
Q

Symphony No. 4, mvt. 4

A

brahms

  • Developing variation
  • Chaconne (Baroque form of dance, repeating bass line w/ variations on melody)
  • Modeled on e minor chaconne by Buxtehude
  • Relationships between variations similar to works by Francois Couperin
  • Basso Ostinato modeled on a mvmt from J.S. Bach cantata
  • Other models → Beethoven Eroica symphony & J.S. Bach Partita No. 2 D minor
28
Q

what symphony no. 4, mvmt 4 was modeled on

A
  • e minor chaconne by Buxtehude
  • Relationships between variations similar to works by Francois Couperin
  • Basso Ostinato modeled on a mvmt from J.S. Bach cantata
  • Other models → Beethoven Eroica symphony & J.S. Bach Partita No. 2 D minor
29
Q

Quintet for Piano and Strings

A

brahms

  • 19th c. chamber tradition
  • retrospective/classicist in itself
  • Schubert string quartet
  • Developing variation, hemiola
  • Emphasizes in more expanded way the melodic gesture
30
Q

Don Quixote

A

strauss

  • Tone poem
  • A lot of visuals (i.e. wind mill) → similar to programaticism from Berlioz
  • Theme and variations: Don Quixote and Sancho Panza theme, each variation has a new texture
  • Huge orch, deploying every expressive tool imaginable within limits of Common Practice Era rules:
  • Tonality, diatonicism, primacy of melody, etc.
  • Non-tonal “sheep” part, cello = Don Quixote
31
Q

Gretchen am Spinnrade

A

schubert

  • poem is strophic, music is NOT
  • through composed
  • piano plays role of spinning wheel (also her mind going in circles)
  • sudden modulations = restlessness

mus 302 final (3 decks)

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