Romanticism in Classical Forms Flashcards

1
Q

choral music prestigiousness

A

less than orchestra and opera, written mostly for ammatrues (maybe talented, but unpaid)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

3 main types of 1800s choral music

A
  • short works on secular texts with or w/o accompinament
  • oratorios on sacred texts, like opera but not staged and religious
  • liturgical works, anthems, hymns, other sacred pieces for church choirs, congregations, or home performance
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

choral societies 4

A
  • amateur chorusses with members paying for expenses
  • popular first for wealthy women (Berlin Singakademie)
  • men and orchestra added
  • developed unity, occupy leisure time, eleveate taste, encourage spiritual and eithical values, practice democracy
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

festivals 2

A
  • for singers across region
  • forst in 1759, centered on Handel
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

partsong 5

A
  • choral parrallel to lied or parlor song
  • 2+ voices unaccompanied or voices doubled on piano/organ
  • schubert’s die nacht
  • syllabic
  • attuned to poetry
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

mendellson oratories 5

A
  • rooted on baroque tradition while creating something new
  • wide variety of stules and textures
  • unifying motives, links between movemnts
  • st paul, ab paul’s conversion w/ comments and interpretation for modern audiance
  • conducted bachs st matthew passion, began revival of bach’s music
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

handel and haydn 2

A
  • oratories core of rep for large chorusses
  • handel and hayden society founded in boston 1815
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

hector berlioz’s requiem and te deum

A

patritic, grande, long, need many musicians for, inspired by fr revol

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

recetive

A

in oratorio to move story along

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

catholic music 3

A
  • clerics and churchboys, women often excluded
  • promoted a cappella (came to mean w/o accompaniment, instead of “in the chapel”
  • schuberts masses in ab and eb
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

jewish music

A

often borrowed protestant melodies to make own hymns

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

protestant music 3

A
  • building from past
  • for services or home devos
  • women could perform, oxford movement wanted only men
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

usa church music 3

A
  • divided by race instead of sect
  • white similar yo europe
  • black developed own style, used shape notes indicating solmization syllables for easy sightreading and reconception of syllables
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

lowell Mason 5

A
  • encouraged modest euro style
  • president of h+ h society
  • helped found bostom academy of music
  • introduced music to regular curriculum
  • composed over 1000 hymns
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

chamber music 4

A
  • often as important as symphonies
  • often modelled after beet
  • string 4tets
  • literally for living room, but becomes more concert based and serious
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

schubbert chamber music 4

A
  • tried to outdo beet
  • best is string 5tet (extra cello), treats all insturments as =s
  • schuberts lyricisim mixed with beets style, one instrument pitted against 2 pairs, strong contrast b/w movements
  • modelled mozart and haydn
17
Q

robert schumann chambet music 2

A
  • thought 4tets should be like 4-way convo
  • built on past composers but didn’t imitate
18
Q

clara schumann 2

A
  • wrote piano trio in gm that combined baroque, classic, and romantic models, inspired by robert
  • songlike themes, polyphony, developement through motive fragmentation
19
Q

orchestras 2

A
  • mostly men, women often played harp, besides a few all-women orchestras
  • players increased from 40 to 90
20
Q

conductor 3

A
  • orchestras used to be led by harpsicord or violin
  • developed from audible beating to silent gestures and conducting phrasing
  • started to draw intention to themslves as interpretters of music, against romantic indl ideals
21
Q

concert programming

A

changed, more serious and audience expected to sit and be quiet

22
Q

dead composers music

A

started gaining popularity, cheaper and easier for ammateurs

23
Q

themes

A

seen by many, specidically schubert, as most important element

24
Q

schubert symphonies

A

unfinished symphony and great symphony in c minor

25
Q

berlioz 5

A
  • shaped symphonies around a series of emotions that tell a story
  • idee fixe: fixed idea/obsession (aka motif)
  • symphony fantastique included autobiographic program to be read silently along to understand what’s represented
  • used cyclic form, where one or mnore themes recur or are recollected in later mvments
  • leader of reomantic redicalism
26
Q

mendellson orchestra pieces

A

symphonies, overtures, conertos (best is violin conerto in em), midsummer night’s dream