Test 3 Concepts and Terms Flashcards
What is strophic form?
Strophic form describes a type of song which consists of the same music for each successive stanza in a poem. Generally, strophic songs are simple and lyrical, whereas songs that are through-composed (where the music is different for each stanza) is more dramatic and complex.
What were the performance circumstances for lieder and for piano music in the 19th century?
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Describe changes in the piano from the 18th to the 19th century.
The piano was changed to an iron frame, sustain pedal was significantly improved, and the concept of overstringing was developed.
What was the War of the Romantics?
- The “War of the Romantics” was a schism that took place in the second half of the 19th century and the opposing arguments were voiced by some of the most prominent musical figures of the day.
- The primary topics being “fought” included musical structure, the comparison between program music and absolute music, and the legitimacy and chromatic harmony and to what extent it was effective.
- One of the most significant points of discussion between each side was the issue of traditional forms as opposed to new forms.
- The conservatives touted Adolf Marx’s (theorist of the early 19th century) codified forms that had been used by all of the great classical composers. A particularly vocal school that praised these forms at this time was the Berlin/Leipzig school. The most significant figures included Clara Schumann, Joseph Joachim, Johannes Brahms, and the late Robert Schumann (of whose legacy they believed they were preserving).
- The Weimar school (“New German”) included such liberals as Liszt (he was the primary figure), Wagner (although sometimes considered enemy on both sides), the critic Richard Pohl, Draeseke, Klindworth, Hans von Bulow, William Mason, and Peter Cornelius (all composers). These figures became very interested in developing new musical forms and also developed a tendency towards creating large varieties of program music, much of which was highly pictorially suggestive.
Describe the idea of a “program”. What was program music?
A “program” is an extra musical idea intended to inform the listener of the musical intentions that the composer has in mind. A good example of this is Tchaikovsky’s “secret” program for his Sixth Symphony. “Program music” describes music with this kind of an agenda, and so it was intended to evoke or suggest to a greater or lesser extent a certain mood, character, or idea associated with the music.
What was an “idée fix?”
Literally, it means “fixed idea”. This was a term that Berlioz used to describe his primary thematic idea in Symphonie fantastique–an idea which is used throughout all of the movements of the symphony, effectively unifying the piece in much the same way as a leitmotiv.
What were some of the new genres and forms developed in the 19th century?
Symphonic poem, program symphony, German romantic opera, nocturne, piano quintet, music drama
What was bel canto?
• In Italian, it means “beautiful singing”.
• Generally, it refers to the Italian vocal style that was common everywhere in Europe during the 18th century and the first half of the 19th century, although it is probably best to associate the term with the 19th century.
• Certain vocal characteristics were associated with this style of singing, such as: seamless legato technique throughout a singer’s entire range, clarity of attack, perfect breath control, beautiful sounding and well-developed timbre, a technique capable of fast and precise ornamentation, and more.
• The bel canto style favored much ornamentation, in the form of trills, runs, mordents, roulades, and appoggiaturas and acciaccaturas; as well as much use of marcato and staccato, messa di voce, scales, and wide leaps.
IT IS IMPORTANT TO REMEMBER THAT BEL CANTO EMPHASIZED PERFECTION IN THE LYRICAL STYLE OF SINGING RATHER THAN THE DECLAMATORY STYLE (OR SPOKEN STYLE) COMMON TO GERMAN OPERA
Describe the typical scene structure in 19th century opera.
The typical melodramatic scene structures of 19th century opera are as follows:
A COMPLETE (not always this full) Scene ed aria structure consisted of a scena (an introduction and recitative), and an aria (cantabile, tempo di mezzo, and a cabaletta)
A COMPLETE Duet structure consisted of a Scena (recitative) and a Duet (a Tempo d’attacco, a cantabile, a tempo di mezzo, and a cabaletta)
What is a scena?
A scena is a scene in an opera.
What is a cantabile?
A cantabile is a slow/reflective movement found in both a scena ed aria structure and also in a duet structure.
What is a cavatina?
An introductory solo aria.
What is a tempo d’attacco?
A tempo d’attacco is an interaction movement found in a duet structure; it generally consists of alternating solos followed by dialogue.
What is a tempo di mezzo?
A tempo di mezzo is a middle section movement found in the aria section of a scena aria and also as a possible third movement in a duet structure. Its function is to provoke a change in mood.
What is a number opera?
A number opera is a type of opera that consists of individual pieces of music strung together that can be effectively performed outside of the context of the opera. Tristan und Isolde is a departure from this type of opera.
What is a melodrama?
From Wikipedia: a melodrama is a dramatic work that exaggerates plot and characters in order to appeal to the emotions.
Describe some of Wagner’s concepts of melody.
• This was Wagner’s ideal of music and drama that constantly flows from the beginning to the end of an opera.
• Through this aim of always sustaining a melody and drama from beginning to end, Wagner created a very compelling sense of timelessness.
• Wagner outlined this ideal in his essay Music of the Future.
• To accomplish this ideal of “endless melody” and thereby transport the audience fully into the realm of his operatic worlds, he abandoned the conventional arias, ballets, choruses, recitatives, and such found in other operas of his day.
• With the removal of such functional structural forms, Wagner had to innovate a new structural form to unify his music: the leitmotiv.
undendliche Melodie
What is a leitmotiv?
- Literally translates to “melodic ideas” or “melodic moments”
- A leitmotif is a short musical pattern, phrase, or idea that is subjected to repetition and is generally associated with a person, place, or idea.
What is Gesamtkustwerk?
• Translated as “total work of art” or “ideal work of art”
• Wagner first introduced the term in his essays
• It is a work of art that combines many different forms of art
• He spoke of an ideal artwork as being integrated in every sense of the word including the integration and unification of every kind of art imaginable.
EXAMPLE: The music is a perfect reflection of the unfulfilled love between Tristan and Isolde as can be heard in the prelude which is forever building in tension but never resolving.
• The work probably sums up Wagner’s entire aesthetic philosophy
• Wagner was highly critical of the trends that opera was exhibiting at the time, such as meaningless plots, emphasis on sensational stage effects, and singing that was ultimately showy and superficial.
Name the titles of the works that make up the Ring Cycle:
In order:
- Das Rheingold (The Rhine Gold)
- Die Walküre (The Valkyrie)
- Siegfried
- Götterdämmerung (Twilight of the Gods)
What were some of the influences on Wagner’s style and ideas?
(RESEARCH MAY UPRISING IN DRESDEN) He was a political activist and was involved, etc.)
What was Wagner’s impact on music?
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What is a three-key exposition and what is its significance?
Also, practice identifying these three keys in the score of the exposition (NAWM 148).
A three-key exposition is an exposition of a sonata form movement that modulates to three different keys. The Brahms Quintet for Piano and Strings, Op. 34 First movement is an example of this.
Describe the process or principle of “developing variation”. How does this process relate to sonata principle?
- “Developing variation” is a term used by Arnold Schoenberg to describe a process very common in Brahms’s music; that is, the process of developing one idea into another idea through slight variation and over a period of time.
EXAMPLE: In the exposition of Brahms’s Quintet for Piano and Strings, Op. 34 Movement 1, Brahms developed all of the themes gradually and all of them can be related to the first measure of the piece. - This process relates to sonata principle in that the music is always “returning” or “relating back” to what preceded it. (Sonata principle requires themes that are stated in a key other than the tonic to be restated in the tonic key or at least brought into closer relation to the tonic before the end of the piece. In the process of “developing variation”, music is being developed and varied rather than introduced, so it is constantly being related back to the music that preceded it.)
For the Schubert “Gretchen am Spinnrade” and the Schumann “Im leuchtenden Sommermorgen”, explain the role of the piano in both of these lieder, identify significant dramatic moments and explain how psychological states are conveyed musically.
For the “Gretchen am Spinnrade”: The rising and falling figures in the top line of the piano part is meant to represent the rotations of a spinning wheel; the rhythmic texture in the middle line represents the treadle (the pedal that must be pressed to keep the wheel spinning). The unceasing motion of the accompaniment is also representative of Gretchen’s anxiety about her loved one.
A SIGNIFICANT DRAMATIC MOMENT: the wheel stops spinning at measure 66 (ultimately 68) and then it slowly regains motion, suggesting Gretchen’s absolute desperation.
Explain Schumann’s use of musical “cipher” and his approach to form in his Symphony no. 4 in D minor; explain how Liszt uses key area and motive to project the issues of his protagonist in his “Hamlet”; be able to recognize the “idée fixe” (know what the actual theme sounds and looks like) and explain its deformations in Berlioz; recognize standard characteristics of a nocturne for the Chopin Nocturne in D-flat Major
Schumann would commonly derive his themes from ciphers. For example, in this symphony, it is commonly believed that the first five notes of the theme were inspired by the musical cipher for Schumann’s wife Clara (C-B-A-G#-A). Regarding form, the first movement of this piece is in sonata-form with a slow introduction. The other movements include a slow movement in ternary form, a scherzo in minuet-and-trio form, and a finale which is also in sonata-form. These are the standard forms that the conservatives were interested in preserving at the time and that were championed by Beethoven. THEREFORE, THE FORM OF THIS PIECE IS BOTH TRADITIONAL AND INNOVATIVE BECAUSE NOT ONLY DID SCHUMANN PRESERVE THE TRADITIONAL FORMS BUT HE ALSO UNIFIED THE PIECE WITH THE THEMATIC MATERIAL DERIVED FROM HIS MUSICAL CIPHER.
Liszt juxtaposes the keys of b minor and E-flat major to produce a tension that never resolves. This is meant to represent the psychic struggles of his protagonist and a happy ending that never comes.
(IF TIME): EXPLORE THE DEFORMATIONS OF THE IDÉE FIXE AND BE PREPARED TO EXPLAIN
The characteristics of a nocturne are that it is melodious, relatively simpler accompaniment in the left hand, perhaps more arpeggiation than counterpoint, and they are also generally less technically challenging than large virtuosic piano works, such as sonatas and concert etudes.
be able to correctly identify sections within the scene structure of these works, and explain how they serve the drama (just review and practice identifying them briefly with the NAWM; the scene structure concepts and terms are already listed above)
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be able to explain features of the Weber scene that influenced Wagner (from Weber’s Der Freischütz, Act II finale “Wolf’s Glen scene”); be able to apply Wagner’s concepts about opera and music to his works
Samiel = devil (depicted with diminished seventh chord; this influenced Wagner’s development of leitmotiv)
Endless melody (the piece has a tendency to not resolve tension)
know other possible instrumentation for a quintet
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