Things to know

Question 1

Enfindsamkeit

1. Describe the important stylistic characteristics
2. Name composers associated (with decade)

Answer 1

1. minor mode
2. chromatisism and disssonance
3. non-regular periodicity
4. complex rhythms
5. freely performed (rubato)

Composers: CPE Bach 1760

Question 2

Galant Style

1. Describe the important stylistic characteristics
2. Name composers associated (with decade)

Answer 2

1. Slow harmonic rhythm
2. diatonic (not chromatic)
3. major mode
4. short ornaments
5. ‘scotch snap’ rhythms
6. uses regular periodicity (4 m. phrases)
   composers: Hasse (1730), Stamitz (1750), Pergolesi (1730)

Question 3

What are the most important innovations in galant opera seria and comic opera?

Answer 3

1. Metastasio streamlined librettos (fewer characters, more focused plot)
2. Gluck reforms (see other notecard)
3. Jomelli and Traetti: more accompanied recititives, more orchestra and chorus involvment

Question 4

What are the different types of comic opera, and what are their distinct or defining characteristics?

Mention names of composers and pieces that represent each genre.

Answer 4

1. Opera buffa - full length comic opera, lower-class outsmart the upper-class, fewer ornaments (second-rate singers), abrupt changes in rhythmic values and texture (to highlight comic elements)

Opera buffa composer: Mozart, Don Giovanni

2. Intermezzo - comic interlude performed between acts of an opera seria

Intermezzo composer: Pergolesi, La serva padrona

Question 5

Describe Gluck’s reforms

Answer 5

1. words more important, music less
2. didn’t like da capo form because the words repeat (story does not progress)
3. fewer ornaments
4. more accompanied recititive
5. chorus an essential part of the storyline
6. overature establishes the mood for the first scene

Question 6

What are Mozart’s contributions to opera?

Name the 2 Mozart Operas we studied.

Answer 6

1. continued all of Gluck’s reforms
2. the use of ensembles - group of singers at one singer per part (different from a chorus as singer are lead characters), moves the plot forward
3. orchestra creates drama

pieces we studied: Idomeneo (opera seria), Don Giovanni (comic opera)

Question 7

Classical style

1. Describe the important stylistic characteristics
2. Name composers associated (with decade)

Answer 7

1. increased use of counterpoint
2. use of topics to convey a specific mood
3. less ornamentation (than Galant style)
4. regular periodicity with frequent pauses (rests) at the ends of phrases.
5. Sturm und Drang
   composers: Haydn (1790), Mozart (1780)

Question 8

What is the form of the first movement of a concerto?

Answer 8

alternates orchestral ritornellos with solo episodes, tradition for soloist to improvise a cadenza before final orchestral ritornello

Question 9

How does Haydn achieve balance between the instruments in a string quartet?

Answer 9

1. first through the use of a fugue
2. later through dialoguing - small spurts of imitation allowing each instrument to get to play the theme (op.33)

Question 10

Name 3 poets used by lied composers.

Answer 10

1. Goethe
2. Heine
3. Robby Burns (Scottish)

Question 11

Lieder

1. Describe the important stylistic characteristics
2. Name composers associated (with decade)

Answer 11

1. solo song for voice and piano
2. voice and piano are of equal importance
3. words are tightly related to the music
4. sets high art poems to music
5. 1 mvovement
   composers: Schubert (1810), Schumann (1840), Wolf

Question 12

Name and define the 3 forms of Lieder.

Answer 12

1. strophic - the same music for each stanza (each stanza is the same length and has the same meaning)
2. strophic variation - modified music for subsequent stanzas (each stanza is the same length, but slight variation in topic between stanzas)
3. though-composed - new music for every stanza (stanzas are of different length and/or tell a story)

Question 13

Compare the different musical styles of lieder of Schubert, Schumann, and Wolf.

Answer 13

Schubert: lyrical step-wise melodies, less variety in thythmic values

Schumann: more lyrical piano parts than schubert (“could the piano part make sense on its own?”), more dissonant than Schubert

Wolf: dramatic melodies with leaps, more variety in rhythmic values (speech-like rhythms),

Question 14

Describe development to piano building in the 19th century.

Answer 14

1. expansion from 6-8 octaves
2. refinements to the hammer
3. mechanisms get larger and more complicated
4. introduction of metal strings and cross strings
5. expirimentations with lots of different kinds of pedals

Question 15

Compare the specific styles of piano music by Schumann, Chopin, Liszt, and Gottschalk.

Answer 15

Schumann: quick contrasts and hemiola

Chopin: mazurka and polonaise dances, writes out long ornaments, “pretty” harmonies with innovative harmonies, varies articulations on repeats, nocturne - lyrical melody in right hand, arpegios in left hand

Liszt:: unconventional harmonies, uses octatonic scale, virtuosic style - melody moves quickly through extreme ranges, arpegios in left hand, but can always hear the melody

Gotschalk - virtuosic style, afro-caribbean rhythms, droning fifths

Question 16

Define character piece.

Answer 16

character piece - a solo piano piece that depicts or suggests a mood, personality, or scene

Question 17

Define developing variation and name a composer who used it.

Answer 17

developing variation - the use of tiny motives woven into the fabric of the piece to create melodies and accompaniment variation, very subtle

composer: Brahms

Question 18

Compare the three styles of Beethoven, in detail and name a piece we studied for each.

Answer 18

1st Period:

• Studies counterpoint with Albrechtsberger
• Studies scores, teaches himself
• develops own style

piece we studied: Piano Sonata op.13

2nd Period:

• Everything gets bigger

piece we studied: Eroica mvt.1

3rd Period:

• pieces become very complex, difficult to perform/analyze
• more introspective
• completely deaf, paranoid, etc.

piece we studied: String Quartet op.31