Written Exam 1

Question 1

Age of Enlightment

Answer 1

18th century and the growth of an intellectual outlook that stressed humanity potential to understand and improve its condition through the application of reason and the power of the individual, granted sufficient liberty to pursue life of self fulfillment. Immanuel Kant, “Man’s emergence from his self-imposed immaturity

Question 2

The Classical Era

Answer 2

Emergence of genuine homophony. Obbligato accompaniment. Periodic phrase structure. (antecedent/consequent). Slowing of harmonic rhythm– in Baroque, harmonies often change every beat. Classical is much less frequent (once or twice in measure, perhaps)

Question 3

Dichotomies between art and nature

Answer 3

Plays itself out in an artist who must combine genius, with technique. Nature: genius, inspiration, unconscious, effortlessness, divine, not teachable. Art: technique, craft, conscious, hard work, human, teachable.

Question 4

obbligato accompaniment

Answer 4

secondary voices contribute material essential to the musical fabric of a work.

Question 5

rondo form

Answer 5

AB retransition AB retransition A coda. Haydn: String Quartet in C major, Op. 33, No. 3, fourth movement

Question 6

harmonic rhythm

Answer 6

rate of harmonic change within an individual phrase or series of phrases.

Question 7

periodic phrase structure

Answer 7

antecedent and consequent structure.

Question 8

sonata form, and parts.

Answer 8

most important formal innovation of the Classical Era. Applies to organization of individual movements in sonatas, symphonies, and quartets. Exposition, development, recapitulation, sometimes coda.

Question 9

How the sonata developed (from binary)

Answer 9

expanded from binary that modulates within first reprise and usually involves more than one theme.

Question 10

Alberti Bass

Answer 10

Provides Harmonic support. Well known in the classical era. Type of harmonic support that the chords are presented in the order lowest, highest, middle, highest. This pattern is then repeated. Broken chord helps to create a smooth, sustained, flowing sound on the piano. Used in J. C. Bach Sonata in D major, Op. 5, no. 2 first movement.

Question 11

Fantasia

Answer 11

Genre wihtout formal conventions. Typically a keyboard piece. Typically lacks a central theme around which the work as a whole is organized. Often opens with Rhapsodic quasi-improvisatory flourishes on a triad. C.P.E. Bach’s Fantasia in C minor

Question 12

Ritornello

Answer 12

music that returns

Question 13

Empfindsamkeit

Answer 13

Expressive style that refers to the keen awareness of and empathy of others. Sensitive and emphatic style. Can be viewed as a reaction to the rationalism of 18th century Enlightenment.

Question 14

C.P.E. Bach

Answer 14

Son of Bach. Fantasia in C minor.

Question 15

J.C. Bach

Answer 15

Son of Bach. Sonata in D major, Op. 5, no. 2, first movement

Question 16

Georg Matthias Monn

Answer 16

Symphony in B major, first movement.

Question 17

Johann Stamitz

Answer 17

Symphony in D major, Op. 3, No. 2, first movement

Question 18

Immanuel Kant

Answer 18

German philosopher who said that the Age of Enlightenment was “mans emergence from his self imposed immaturity.” He said that people needed to be courageous during the age of enlightenment with the expression sapper aude! (“dare to know”)

Question 19

Haupatz

Answer 19

key concept in Classical analysis of instrumental music in rhetorical terms. Inner coherence of an instrumental work depends on the way the composer manipulates and sustains it. “head sentence”

Question 20

Minuet

Answer 20

Minuet- one of the interior four movement cycles. Derived from Baroque dance form. Always in triple meter.

Question 21

Trio

Answer 21

often consists of contrasting mood and typically has a distinct theme or themes of its own, might also be a different key or mode.

Question 22

Strum und drang

Answer 22

“storm and stress” minor mode, large melodic leaps, jagged syncopations and sudden dynamic contrasts. overall result is a sense of heightened emotional intensity. Franz Josef Haydn: Piano Sonata in C minor, Hob. XVI:20

Question 23

String quartet

Answer 23

new to the classical era. (invention of Haydn). Two violins, viola, violoncello (homogeneous timbre). No basso continuo line. Domestic genre for performance the house or salon to a small and select audience. Typically three four or five movements. First- fast Second- Slow Third-Minuet and trio Fourth-Fast Fifth-variable

Question 24

Symphony/order of movements in a Symphony

Answer 24

Formed around the 1720s with three movement works (fast-slow-fast) independent of any opera or oratorio. Grew in size during second half of the 18th century. Four movements because a standard around 1768. first movement- typically weightiest setting the expressive tone. Sonata form, with slow intro. Second movement- slow movement usually and can take a variety of forms: sonata, sonata form without development, theme and variations or ABA.
third movement- minuet, dance-inspired. fourth(finale)- usually lighter, often sonata form, rondo, or sonata rondo.

Question 25

Italian overture

Answer 25

theatre genre possessing three movements (fast-slow-fast)

Question 26

Franz Josef Haydn

Answer 26

1732-1809. young prodigy at the age of eight (sent to Vienna) Sang in the choir at the St. Stephens Cathedral but was removed after his voice broke. Musical director for the Morzin family in 1758, but achieved his famous appointment to the court of Prince Paul Anton Esterhazy–later his brother Nikolaus. directed one of the finest orchestras in Europe. Fame known throughout the continent (publishers forged his name to music he had not written. After Nikolaus death in 1790 he did two tours to England and composed some of his most famous (“london’”) symphonies. Provided Beethoven with his first lessons in counterpoint and composition. 106 symphonies, The creation and The season (oratorios), string quartet (father of the genre), keyboard sonatas.

Question 27

Concerto Form

Answer 27

Principal genre for instrumental virtuosos to showcase their talent. Ideals of spontaneity and improvisation exerted a powerful influence–cadenzas in every movement. Expected soloists to improvise on the spot. Beethoven wrote his cadenzas out. First movements employ a variant of sonata form called double exposition form.

Question 28

Double Exposition

Answer 28

Presents two expositions: first for full orchestra (tutti exposition) and the second for soloist (solo exposition). Form: tutti exposition, solo, exposition, development, recapitulation, cadenza and coda. Key: tonic then tonic–to secondary unstable then finish tonic

Question 29

Opera Buffa

Answer 29

Opera buffa. New style of opera that emerged in Italy with many elements not found in opera seria. Subject matter was humorous not serious. Librettos about everyday characters, not heroes, rulers, or gods. singers included basses not castrati. Gave more emphasis to ensemble singing (duets, trios, quartets) and avoided da capo arias. Melodies were simple and in periodic phrase structure. Origins in the intermezzo. Provoked controversy throughout Europe, and the debate raged with particular virulence in France.

Question 30

Opera Seria

Answer 30

LIterally, “serious opera.” type of opera cultivated in the period ca1680–1810., particularly in Italy. Its characteristic features were a strict division between recitative and aria, an emphasis on virtuoso singing, particularly in da capo arias, and the use of castrati. Typically drawn from ancient mythology or history.

Question 31

Intermezzo

Answer 31

A work intended for performance between the acts of larger, more serious operas.

Question 32

War of the Buffons

Answer 32

Guerre des Buffoons that was ignited by the debut of Pergolesi’s La serve pardon in Paris, 1752.

Question 33

Christoph Willibald Gluck

Answer 33

1714-1787. Born in Bavaria, but was at home throughout Europe. Settled in Milan in 1737, also had important stays in Paris and London. Also received commissions for his operas in Vienna, Prague, and Copenhagen. Opera Seria was his main genre and became models for 19th century French grand opera. Many of his italian operas would be revised to French, as with Alceste. Principle figure in the synthesis of music and drama, much like Wagner, who was looked at as a model (not Mozart, remarkably). Alceste Act II, Scene 3 (1776)

Question 34

Glucks reforms to Opera Seria

Answer 34

outlined basic principles to eliminate “abuses” that “disfigured” Italian opera. No da capo arias. Little to no opportunity for vocal improvisation. No long melismas. Syllabic setting of texts. less repetition within an aria. Less Recitative. Accompanied (accompagnato) recitative, not secco. Overture Linked to ensuing action. Simpler, flowing melodic lines. More prominence to chorus.

Question 35

Singspiele

Answer 35

“singing play” german language spoken drama with interpolated musical numbers (arias, duets, trios…). The singspiel of the 18th century was an important forerunner of the later operetta and musical.

Question 36

Wolfgang Amadeus Mozart

Answer 36

(1756-1791) The epitome of a child prodigy. His father, a renowned composer in his own right taught both of his talented children. But also exploited them throughout Europe. Wolfgang began composing before age 5. Had an equally stunning talent for hearing works once and writing them out from memory. Not as popular in adult life, although very well known. Perhaps too complex of a composer? Don Giovanni.

Question 37

Lorenzo da Ponte

Answer 37

Librettist who worked with Mozart on Don Giovanni, Le Noze de Figaro, and Cosi fan tutte. Coined the term Dramma giocoso

Question 38

Dramma giocoso

Answer 38

coined by Lorenzo da Ponte meaning comic drama. It was his own description for the collaboration of Don Giovanni.

Question 39

secco recitative

Answer 39

spoken recitative. “dry recitative” accompanied by basso continuo only. also known as simple recitative.

Question 40

Don Giovanni

Answer 40

Da ponte coined it drama giocoso. Based on the legend on Don Juan, who pursues pleasures in the name of liberty. He slays the commendatore (father of Donna Anna) whose statue in the end of the opera drags Don Juan down to hell. It integrates opera buffs and opera seria. Overture sets the tone, much like Gluck’s creed to opera. Ominous foreboding, juxtaposes tragedy and farce.

Question 41

Exposition

Answer 41

First repairs in Sonata Form. Begins with one or more themes in primary key. (P) followed by transitional (T) modulation to one or more themes in secondary key area.

Question 42

Development

Answer 42

First part of second reprise. It develops thematic ideas of the exposition. Unstable key area.

Question 43

Recapitulation

Answer 43

second part of the second reprise. Balances the development with stability and predictability.

Question 44

Constant elements in Sonata form

Answer 44

Modulation from primary to secondary key in exposition Major key Primary is I and Secondary is V (modulating primary using V7/V). In minor key Primary is i and secondary is in III.
Departure from these harmonic areas in development. Return of opening idea and recapitulation In major key Primary and secondary are in I, in minor both are in i. Even with these no two renderings are entirely alike.

Question 45

Point of furthest remove

Answer 45

when in a major sonata form you modulate to the relative minor of the tonic.

Question 46

da capo arias

Answer 46

type of aria consisting of three sections: an opening A section, a contrasting B section, and a return of the A section. In performance, singers were expected to embellish and elaborate the notated music, particularly in the return of A.

Question 47

minuet proper

Answer 47

the first binary form in a minuet. at the end of the trio, it is repeated much like a da capo aria

Question 48

Baroque and Classical

Answer 48

Adornment of performers, versus the music being the music important. Two primary themes next to each other in Baroque. Da capo arias versus non repetitive aria. Opera serial vs opera buffa. We began to see rise of more secular music versus sacred.

Question 49

Sonata form

Answer 49

It is an expanded binary form that modulates within the first reprise and usually involves more than one theme. Has Exposition, development, recapitulation, and coda. No two sonata form pieces will ever sound the same. Because you can transition to any key in the development.

Question 50

Operas Mozart Composed

Answer 50

Explored every subgenera of opera. Idomeno reflects Gluck’s reforms. La CLemenza di Tito is in the tradition of Opera Seria. Has Sinspiele such as Die Zauberflote. Le Nozze di Figaro, Don Giovanni and cosi fan tutte represent integration of opera serial and opera buffa.

Question 51

Haydns genres

Answer 51

Symphonies, String Quartets, Keyboard Sonatas, Sacred Music. 106 symphonies, Most famous are called his “London” symphonies that feature a gimmick to resonate with a wide audience. Considered the father of the string quartet. The Creation is one his well known sacred oratorio.