Download - UNIT V - Class 37
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BusinessA Volunteer Please
Hand-Back Exam III
Discuss Final Exam:
Part I. The Twentieth Century
A. 10 DefinitionsB. 5 Listening ExamplesC. Mini Essay
Part II. Semester in Review
A. 10 Short AnswersB. 5 Listening Examples
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Wrapping Up/Taking Stock
From the beginning:
What is music?
Musical Contingency:
Music means different things to different people in different places at different times
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The Middle Ages
Music begins as Monophony
Music as ritual, spiritual devotion: plainchant: music in the abbeys and monasteries
Music as entertainment: courtly secular music: the Troubadours and Trouvères
Development of polyphony – Organum = Notre Dame School (Ars Antiqua)
Secular polyphony – Machaut and the 14th century motet (Ars Nova)
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The RenaissanceBegins with a simplification of texture: Homophony
Codification of the Mass
Development of Imitation (Josquin), leads to greater complexity
Reforms of Palestrina: new simplification, concentration on the words, and careful treatment of dissonance and counterpoint (Prima Pratica)
Early development of independent instrumental music
Madrigal
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The Baroque
Monteverdi and Opera (Seconda Pratica)
Figured bass and functional harmony
Rigid, ornate, static, stylized form of expression
Flowering of instrumental music (trio sonatas, instrumental suites, concertos[Vivaldi])
Late developments: Bach (fugue) and Handel (oratorio)
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The Classical Era
Roots in Galant Style: reaction against high seriousness and artificiality of baroque style – pleasing and direct
Self-conscious simplification: regular phrases, emphasis on melody and straightforward harmonies
Haydn: codifies classical symphony and string quartet
Mozart: brings concerto and opera up to date with greater expressivity, flexibility and dramatic relevance
Sonata Form
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The Nineteenth CenturyBeethoven: internalizes and then supersedes the high Viennese Classical style; emerges as quintessential romantic genius/artist
Literary connections abound, from Schubert’s Lieder to the Character Pieces of Chopin and Schumann to:
Program Symphony – Berlioz, Liszt, Tchaikovsky
“Neo”-Classical elements (preference for inherited genres and forms, clarity) – seen in Brahms, as well as some Schumann, Mendelssohn, Tchaikovsky, Dvorak
Emerging Nationalism
Opera: Continuous Opera (Verdi and Wagner); Gesamtkunstwerk, Lietmotiv (Wagner)
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The Twentieth Century and the Present
ImpressionismPrimitivismAtonality and ExpressionismNeo-ClassicismSerialismExperimentalismConservatismTotal SerialismFluxusMinimalismPost-MinimalismNeo-RomanticismNew Simplicity
Toru Takemitsu(1930-1996)Japanese
Arvo Pärt(b. 1935)Estonian
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Jimi Hendrix – White Men Can’t Jump:The difference between listening and hearing
A final Appeal