History of the Musical Experience
Exam #2 Notes
Know the composers and genre of the following works:
| Work |
Composer |
Genre |
|
Work |
Composer |
Genre |
| Aïda | Verdi | Opera
| |
Also Sprach Zarathustra | R. Strauss | Sym.Poem |
| Belshazzar's Feast | Walton | Oratorio
| |
Carnival | Schumann | Piano |
| Christus am Ölberge | Beethoven | Oratorio
| |
Das Lied von der Erde | Mahler | Sym.Poem |
| Der Rosenkavalier | Strauss | Opera
| |
Der Ring des Nibelungen | Wagner | Opera |
| Dichterliebe | Schumann | Song cycle
| |
Die Schöpfung | Haydn | Oratorio |
| Die schöne Müllerin | Schubert | Song cycle
| |
Die Winterreise | Schubert | Song cycle |
| Don Juan | Strauss | Sym. Poem
| |
Don Quixote | Strauss | Sym. Poem |
| Ein deutsches Requiem | Brahms | Oratorio
| |
Elijah | Mendelssohn | Oratorio |
| King David | Honegger | Oratorio
| |
La Bohème | Puccini | Opera |
| Madama Butterfly | Puccini | Opera
| |
Mazurkas | Chopin | Piano |
| Missa in tempore belli | Haydn | Mass
| |
Otello | Verdi | Opera |
| Pastoral Symphony | Beethoven | Sym.Poem
| |
Petrushka | Stravinsky | Ballet |
| Quartet for End of Time | Messiaen | Sym.Poem
| |
Rigoletto | Verdi | Opera |
| Salome | Strauss | Opera
| |
St. Paul | Mendelssohn | Oratorio |
| Symphonie fantastique | Berlioz | Sym.Poem
| |
Symphony of Thousand | Mahler | Sym.Poem |
| The Nutcracker | Tchaikovsky | Ballet
| |
Till Eulenspiegel | Strauss | Sym.Poem |
| Tosca | Puccini | Opera
| |
Tristan und Isolde | Wagner | Opera |
Terms--Classical, Romantic, Twentieth Century
| Term |
Definition |
| Sonata form |
exposition, development, recapitulation; classical
| | Opera seria |
dealt with historica, legendary, or fictional heroes
| | Opera buffa |
comic opera in Italy
| | Nationalism |
devotion to the interests or culture of one's own country
| | Sprechstimme |
"spoken voice," melody without specific tonal designation
| | Leitmotif |
particular instruments or melodies are used to identify and characterize individuals
| | Sturm und Drang |
a movement in the Classical period (a literary movement); emphasizes dynamic power and high emotion
| | Aleotoric music |
music of indeterminacy, where elements of chance dictate the course of the piece
| | Missa brevis |
brief mass (Mozart)
| | Grand opera |
as much spectacle as possible; lots of people, equipment, costumes, etc.; probably best exemplified by Meyerbeer
| | Lyric opera |
somewhat between opera comique & grand opera; main appeal through its melody; subject was something romantic or a fantasy of some kind; Spoken dialogue (Carmen, Bizet)
| | Opera comique |
less pretentious; used spoken dialog; plots were comic or semi-serious; smaller in scope (Boildui, Le Dam Blanche)
| | Symphonic poem |
an invention of Liszt; comprises one continuous movement, usually based on the principle of variations of a theme; inspired by a program or a literary idea
| | Verismo |
realism
| | Dodecaphonic |
twelve-tone serialism
| | Combinatoriality |
the ability of mixing parts of a tone row in unique but correct ways
| | Exoticism |
composition in the vernacular of a foreign culture
| | Musique concrete |
the sounds of life
| | Indeterminacy |
a compositional style which produces music that can be altered in great ways by elements beyond the control of the composer
| | Concerto |
a work for solo instrument and orchestra in the pattern of the sonata
| | Enlightenment |
a shift from traditional Christian theology to a morality based on social equality, and a shift from absolutes in governmental authority to greater independence and freedom of though and behavior
|
Twentieth-Century Composers
| Style |
Composers |
| Twelve tone and Serial Techniques |
Arnold Schoenberg, Anton Webern, Alban Berg, Olivier Messiaen, Pierre Boulez, Igor Stravinsky (late), Milton Babbitt |
| Influence of Folk and Popular Idioms |
Ralph Vaughan Williams, Béla Bartok, Zoltán Kodály, Darius Milhaud, Charles Ives, Aaron Copland, Virgil Thomson, George Gershwin, William Grant Still, Carlows Chávez, Hector Villa-Lobos |
| Impressionism |
Claude Debussy, Maurice Ravel |
| Expressionism |
Arnold Schönberg, Alban Berg |
| Primitivism |
Igor Stravinsky (early), Carl Orff |
| Neo-Classicism |
Igor Stravinsky (middle), Sergei Prokoviev, Arthur Honegger, Paul Hindemith |
| Neo-Romanticism |
Samuel Barber, David Del Tredici, Jacob Druckman, Joseph Schwantner, John Corigliano |
| Electronic Music & Tape Techniques |
Edgard Varčse, Otto Luening, Vladimir Ussachevsky, Luciano Berio, Karlheinz Stockhausen, Milton Babbitt, Steve Reich |
| Influence of Non-Western Music & Pholosophy |
John Cage, Colin McPhee, Henry Cowell, Lou Harrison |
| Minimalism |
Philip Glass, Steve Reich, John Adams |
| Mysicism (Holy Minimalism) |
Arvo Pärt, John Tavener, Henryk Górecki |
| Sui Generis |
Benjamin Britten, Dmitri Shostakovich, Roger Sessions, Elliott Carter, Alberto Ginastera |
Be able to list three important works by each of the following composers:
| Composer |
Seminal Works |
| Haydn | The Creation, The Seasons, The London Symphonies (nos. 93-104)
| | Mozart | Eine Kleine Nachtmusik, Cosí fan tutte, Die Zauberflöte
| | Beethoven | Fidelio, Sonata in C minor (Pathétique), Missa Solemnis
| | Mendelssohn | Elijah, Lieder Ohne Worte, St. Paul
| | Berlioz | Symphonie Fantastique, Roméo et Juliette, L'enfance du Christ
| | Liszt | Mephisto Waltz, No. 1; Transcendental Études; Hungarian Rahpsodies
| | Puccini | La Bohčme, Tosca, Turandot
| | Verdi | Rigoletto, Aida, Il Trovatore
| | Strauss | Der Rosenkavalier, Don Juan, Don Quixote
| | Stravinsky | Petrouchka, The Rite of Spring, The Firebird
| | Copland | Fanfare for the Common Man, Appalachian Spring, Billy the Kid
|
Essay Questions
- Oratorio‹an opera of sacred subject matter
- Points
- We don't really know that it wasn't staged
- Opera may have had its start here as the church was looking for things to bring people in
- La Rappresentatione di anime et di corpo
- Probably not staged
- Used choir and narrator to tell Bible stories
- Handel
- Elevated the importance of the chorus
- 2. Enlarged the scope of expressive elements
- Works & Composers
- Handel, Messiah
- Haydn, Creation
- Mendelssohn, Elijah
- Sacred Music in the Romantic Period
- Oratorio
- Mendelssohn--Elijah
- Berlioz didn't base his on earlier models; wrote "L'enfance du Christe"
- Liszt--Il Legende von Heiligen; Christus (uses plainsong in both)
- Elgar, Parker
- Masses (Catholic music)
- Largely emphasized the Sicilian movement (like the Oxford movement)
- A return to earlier music and a purging of Protestant influences
- People were doing transcriptions and translations pieces into modern language
- Came from the Romantic period interest in things from the past
- Sought to use that knowledge to reform the church to recapture formative qualities
- Specific things done in music
- A move away from orchestral qualities (use of winds)
- Return to white-note, alla breve notation
- Works & Composers
- Bruckner
- A church organist; used orchestra to accompany organ (?)
- Wrote several masses; three significant works in his maturity
- Mass in E minor--pays homage to Palestrina by using a point of imitation on a Palestrina theme in the "Sanctus"
- Brahms--Ein Deutsches Requiem
- Verdi--his Requiem was written for Manzone
- The Enlightenment and Music
- Ideas & Thinkers
- Key shifts from Christian theology to a morality-based on social equality, and from governmental authority to greater independence in thought & behavior
- Rationalism--reason as the sole guide in life
- Rene Descartes ("Discourse on Method")
- Baruch Spinoza ("Tractatus Theologico-Politicus")
- Empiricism--only the sensory experience is the true way to knowledge; intellectual pursuits were the key to life and looked down upon the feelings as suspiscious
- Francis Bacon ("Novum Organum")
- Thomas Hobbes ("Leviathan")
- John Locke ("An Essay Concerning Human Understanding")
- Immanuel Kant ("Critique of Pure Reason")
- Works & Composers
- Christoph Gluck---Orfeo ed Euricie
- Franz Joseph Haydn--worked for Esterhazy
- Mozart
- Father said, "To find one man in a thousand who is your true friend from unselfish motives is to find one of the great wonders of this world."
- Return to Greek plays as a basis for Opera
- Theatre as a moral institution
- Free Masonry role in Vienna & on the period of political and aristocratic society
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