Unit II Exam Study Guide Music History II

Hey Folks, Same deal, DO NOT add anyone that won’t contribute. We had this issue last semester and there were people that got added last minute and they literally sat there with the cursor over one word for hours. We WILL take people out. Thanks. Also, if you see something you think is wrong or incomplete, check it! We want this to be thorough and correct. This link is for the online quizzes: http://global.oup.com/us/companion.websites/9780195379884/student/chapter3/quiz/mc_quiz/ THINGS TO CONSIDER 1. Describe several examples of organic connection in multi­movement musical genres. Name specific works that illustrate this principle and explain how the organic unity occurs in each case. Beethoven’s Fifth

­ Demonstrates Organicism through recurring themes and movements transitioning into each other

­ HE’S KICKING THE GODDAMN DOOR DOWN!!!(I’m in the library, keep your voice down please)

Der Freischutz (Weber) ­ Similarly to Beethoven, Weber weaves themes throughout the work to represent

dramatic ideas, but, rather than make an exclamatory statement like Beethoven, Weber is telling a story of a man’s deal with the devil in opera form.

Wagner’s Ring Cycle

­ Pretty much everything Wagner wrote was organic, but this was the most studied piece of work.

­ The work clearly identifies entrances of certain characters and dramatic ideas with certain themes (ex. Flight of the Valkyrie)

­ Not only do these themes present themselves with each character, they are also recognizable in the first movement a.k.a. the overture where all of the themes are presented.

­ Wagner’s music had some notable influence, especially in the areas of orchestral developments and chromatic harmony.

2. Discuss the contributions to Romantic music of three different historical figures who were not musicians themselves.(Tyler McMillan?)

­ William Shakespeare ­ inspired many lyrical and textual elements to opera and lieds ­ Also important because the Romantic era was somewhat reminiscent of

the Renaissance era ­ Napoleon Boneparte

­ Inspired Beethoven to compose his Symphony No. 3 “Eroica”, or “Hero” which presents a victorious and triumphant sound to it. Ironically, Beethoven scribbled out the dedication to Napoleon because he invaded Vienna at the time Beethoven finished composing the work.

­ 3. Explain several different ways in which the lives of Romantic composers affected their compositions. Hector Berlioz fell in love with an Irish actress named Harriet Smithson. In order to get her attention, he wrote a symphony for her, and he called it

Symphonie Fantastique.

Berlioz wrote a specific program to go along with the piece, to tell the story

with words and music. (Program Symphony)

(Camille) Giuseppe Verdi had lost many wives and children, leading him to be heart­broken, in which that anguish bleed into his music. One of his operas, “La Traviata” shows

his very hurt in losing someone dear and loved. (Two people in love, girl a courtesan and boy poor. They come together in the end only for her to die of TB, which is a sexually transmitted disease.)

(Camille) Robert Schumann had a severe disease of schizophrenia. He had multiple personalities which would come into play in some of his compositions. (His dissociative identity disorder led to him having Davidbund, which would show in his works, such as manic or depressed. His work No. 5: Eusebius(depressive) and No. 6: Florestan(manic)) these pieces included a duple simple meter written like ⅞ which was asymmetrical/polymetric/hemiolic, with no resolution.

4. How were the conventions of Classic musical structure suited to adaptation to the characteristic and programmatic musical styles of Romanticism?

Classicism in music emphasized objectivity, clarity, equilibrium, serenity, grace,

elegance, and wit; classical forms were rational and restrained. The primary goal was the

cultivation of symmetry and proportion as illustrated in the sonata form with its three sections:

exposition (of two contrasting musical themes), development (of the two themes), and

recapitulation (a reconciliation of the themes). This was the musical outline of the first

movement of the classical keyboard sonata, symphony, string quartet, trio, and so on. The

building blocks of the sonata form were four­measure phrases and clear­cut harmonic patterns

endowed with specific formal functions. Throughout the last decades of the eighteenth century

sonata form was one of the primary means of musical architecture, the very embodiment of

classical conciseness, order, and logic.

The musical forms of the earlier part of the nineteenth century remained, generally

speaking, those of the classical period. But the Romantic composer had an inclination for

exaggeration and lack of balance that resulted in the reforging of the size of musical works: thus

the abundance, in the first three or four decades of the century, of miniature forms—both vocal

and instrumental—often arranged in sets or cycles and sometimes related either through a

musical or a literary or autobiographical theme. The taste for miniatures was also prompted by

the fashion of soirées (evening literary and musical gatherings of the aristocracy and bourgeoisie,

of which of most enduring fame were the Schubertiads, associated with the composer Franz

Peter Schubert. Most Romantic composers were adept at penning small­scale piano pieces such

as impromptus, waltzes, nocturnes, barcarolles, arabesques, and the like to be played in salons.

At the other end of the compositional spectrum there was the fascination with the sublime

and colossal, which in turn brought about the swelling of the symphony to previously unheard of

dimensions. The sheer number of measures of the usual four movements was increased to

sometimes almost unbearable lengths: a first step in this direction was taken by Beethoven in his

Third Symphony, of which the first movement was double the size of corresponding movements

in his first two symphonies of Classical extraction. ( DavidDJ

5. Discuss in what ways the “music of the future” movement in the late nineteenth century rejected the musical assumptions established in the Classic phase of musical style, and in what ways it remained based on those assumptions.

(Camille) There were two divides in the movement, some following Wagner’s/Lisztian inclination of music, and those who followed the classical inclination. Those who followed Wagner and Liszt, they wanted to push musical composition forward. Those who followed the classical inclination wanted to create music for music’s sake, that was goal driven (teleology) and was based on harmony. Those following Wagner and Liszt went away from triadic chords and into fourths/quintal chords (Alexander Scriabin) and created song cycle. 6. Both Russian and American composers in the late nineteenth century found themselves geographically at the periphery of the mainstream European cultural tradition. How and why did their approaches to musical style differ?

(Camille) Nationalism was now taking part of the romantic era of music, in which nationalities were trying to come up with their own music that established their nationality for their people.

Russia: Tritones in operas, primarily choral in works. United States: Marches and Brass band were the high end of nationalism for America.

Terms, Concepts, and Works (Pat, Wes, Camille) Romanticism ­ Novelistic, concentrating on emotional conflict and climax. (p.304) Period of “Externalization,” “Heroic Period” ­ A period where Beethoven experimented heavily and became famous for exploring the potential of dramatic expression in his music. (p.310, also in class notes (March/5th)) Period of “Introspection” ­ A period where Beethoven lost his hearing completely and in embarrassment, he completely isolated himself from others and achieved fulfillment in his compositions. (p.316, I COULD BE WRONG BUT THIS IS WHAT I FOUND)(This is correct!)(This is a toaster!) Heiligenstadt Testament ­ A letter that was written by Beethoven to his brothers Carl and Johann when he retreated from Vienna to the spa town of Heiligenstadt to attempt to heal his ear infection, and ultimately accepted that he would lose his hearing. (p.310) character variation ­ The manner in which variations not only decorate the theme, but also give it a different emotional context or personality. (p.314) scherzo ­ literally “joke”, generally a quick, light­hearted piece. (Class notes (p.312, class notes (March/5th)) cyclicism ­ Multiple movements of a piece sharing thematic material elision ­ Using the cadential chord of one phrase as the initial chord of another Symphony No. 3, “Eroica” ­ Beethoven’s “Heroic” third symphony, dedicated to Napoleon Bonaparte. However, upon Napoleon’s ascension to emperor, Beethoven scratched his name off. This symphony is also widely credited with starting the Romantic era, due to less structured changes in emotion.

Symphony No. 5 ­ An early example of cyclicism, in which the opening motif is repeated throughout the entire symphony, and the final two movements lead directly into each other. Symphony No. 9, “Ode to Joy” ­ Brought back the heroic feeling of the third symphony, with a grand tie­in of the themes through the piece in a final, famous movement An die ferne Geliebte ­ a song cycle by Beethoven, thought to be dedicated to his “Immortal Beloved”, Antonie Brentano song cycle ­ songs that started to tie movements together for a sense of unity in a piece rather than separate movements being almost like separate pieces Lied (pl. lieder) modified strophic form (Camille) combines features of both strophic form and through­composed.

Volkstümlichkeit ­ Implies folk­like simplicity and reflection of the national folk character ballad ­ generally through­composed, narrative and dramatic rather than poetic in nature Neue Zeitschrift für Musik (1834­present) ­ A journal started in 1834 that is still published today, and in one article Franz Liszt published an essay defending program music, saying it allows the artist to pursue beauty without having to fear failure Davidsbund ­ Mythical league created by Robert Schumann to combat musical “Philistines”, or people uneducated in music. (p.333­34) character piece ­ A generic term for short, one­movement pieces that express a particular character. (p.345) bagatelle ­ Beethoven’s term for character pieces. (p.345) impromptu ­ One of Chopin’s terms for character pieces. (p.345) moment musical ­ One of Chopin’s terms for character pieces (p.345) nocturne ­ Piano style that resembled cavatina in opera. (p.345)

Lied ohne Worte ­ Song without words. (p.345) aria di sorbetto ­ Arias of minor characters, during which box holders would eat and talk until the main performer came out again, gaining them the nickname “sherbet aria” (p.323) dramma ­ The term Gioacchino Rossini prefered to use to describe his serious operas rather than opera seria. (p.325) scena ed aria

(Camille)Two parts: Scena:recitative Aria: ­cavatina

­tempo di mezzo (transition) ­cabaletta (faster with embellishments) cavatina ­ A slow lyric movement in an aria. (p.336) cabaletta ­ A faster and more embellished concluding movement to an aria. (p.336) Singspiel ­ A dramatic work that incorporated both spoken word and singing to convey story, rather than only singing as in opera. melodrama ­ When characters speak rather than sing over an expressive or evocative orchestral accompaniment. (p.326). bel canto let voice resonate rubato­subtle rhythmic manipulation and nuance in performance (MD) grand opera ­ A genre generally regarded as beginning with Auber’s La Muette de Porticci. A way of distinguishing between the opera comique, with its spoken dialogue, and opera that was sung throughout. (p.339) opera comique ­ A movement that took topics from the life of the oppressed classes and depicted tier characters as conditioned by situations that led them to unhappy ends they were powerless to escape. (p.374) mazurka ­ A native dance in the romantic era in stylized piano settings. (p.342).

polonaise ­ Another native dance in the romantic era in stylized piano settings. (p.342). concert overture ­ Musical section that bridges the recitative with the aria. incidental music ­overture music and movements to come between the acts of a spoken drama program symphony ­multi­movement work with explicit literature meaning idée fixe ­ Obsession (p.347) Dies irae ­ “Day of wrath” (p.453). Requiem ­ Used music originally intended for a collaborative work to commemorate Rossini, but was finished by Verdi alone and dedicated to his friend Alessandro Manzoni. (p.371). col legno ­ Playing with the wood of the bow, rather than the hair. (p.349). plot archetype ­ A Romantic literary shape found in program symphonies. (p.350) New German School ­ What progressive composers were identified as and they adopted their slogan “the music of the future.” The founders were Liszt and Richard Wagner. They insisted that emotional content superseded abstract form.(p.356). “The Music of the Future” ­ The New German School’s slogan. symphonic poem ­single movement orchestral work in which form is not determined by abstract compositional procedures but by the program. Gesamtkunstwerk ­ A universal artwork or collective artwork that represents the collective experience of the culture from which it proceeds and also synthesizes into one entity gestural, verbal, and musical types of expression. (p.359) music drama ­ What the gesamtkunstwerk was later called. The structure is that of the drama, dictated by the artistic content. It serves as a means to carry out the dramatic purpose. (p.360).

unendliche melodie ­ melody that intentionally avoided defining form by largely removing indicators such as cadences and obvious filler, and as such seemed to be endless. Der Ring des Nibelungen ­ Libretto composed by Richard Wagner for four music dramas, with different keys signifying different places, making the musical construction and plot follow a single dramatic contour Tristan und Isolde ­ Tragic love story by Wagner, famous for the almost­unresolved “Tristan” chord “Tristan” chord ­ Unresolved chord in Tristan und Isolde, while it is a half­diminished seventh chord, in Tristan und Isolde it could also be a subdominant II with a suspended 13 grundthemen (leitmotiv) ­ “basic themes” as they were called by Wagner, a leitmotiv is a theme that denotes a character or place lyric opera ­ focused on expression of feeling rather than the spectacular nature of the grand opera mélodie ­ French songs, called differently from chanson and based off of the German lied tone poem ­(also known as a symphonic poem) single movement orchestral work with an explicit program, usually poetic or narrative in nature. realism ­ topics based on the oppressed classes, leading characters to unhappy endings that they were powerless to escape. This movement was derived from Romantics’ pessimistic realization that they were not going to right the injustices of society. verismo ­ Violent opera. Contains much more demanding vocal lines, reinforced by heavy orchestral backing, including chromatic harmony to add to the tension. exoticism ­ The application of new tonal patterns and inspiration derived from musical styles from outside the leading musical nations of Europe.(p.375) Universal Exhibition of 1889 ­ First large­scale exposure of western Europeans to music from the Far East, performed by native musicians

Nationalism ­ The effort of many countries, both in and out of music, to attempt to achieve independence from one to another Moguchay kuchka (Mighty Five) ­ Five Russian composers who relied on folk music rather than traditional conservatory training to achieve a unique musical style for Russia. Consisted of chemist Alexander Borodin, military engineer César Cui, civil servant Modest Musorgsky, naval officer Nicolai Rimsky­Korsakov, and the only professional musician, Mily Balakirev. Second New England School ­ A group of American composers who followed the German pattern of study; the three most prominent composers were John Knowles Paine, Treatises, Collections, and Works Traité d’instrumentation (1843) Das Kunstwerk der Zukunft (1850) Names: Johann Wolfgang von Goethe (1749­1832) Ludwig van Beethoven (1770­1827) Friedrich Schiller (1759­1805) Johann Rudolf Zumsteeg (1760­1802) Carl Maria von Weber (1786­1826) Giacomo Meyerbeer (1791­1864) Eugène Scribe (1791­1861) Giocchino Rossini (1792­1868) Franz Schubert (1797­1828) Gaetano Donizetti (1797­1848) Vincenzo Bellini (1801­35) Hector Berlioz (1803­69) Fanny Mendelssohn Hensel (1805­47) Felix Mendelssohn Bartholdy (1809­47) Frédéric Chopin (1810­49) Robert Schumann (1810­56) Franz Liszt (1811­86) Giuseppe Verdi (1813­1901) Richard Wagner (1813­83) Adolphe Sax (1814­94)

Antonin Dvořák (1841­1904) Charles Gounod (1818­1893) Clara Wieck Schumann (1819­96) César Franck (1822­90) Bedřich Smetana (1824­84) Anton Bruckner (1824­96) Eduard Hanslick (1825­1904) Stephen Collins Foster (1826­64) Louis Moreau Gottschalk (1829­69) Johannes Brahms (1833­97) Georges Bizet (1838­1875) Arrigo Boito (1842­1918) Giacomo Puccini (1858­1924) Hugo Wolf (1860­1903) Gustav Mahler (1860­1911) Richard Strauss (1864­1949) Alexander Scriabin (1872­1915) Edvard Grieg (1843­1907) Edward Elgar (1857­1934) Isaac Albéniz (1860­1909) Mikhail Glinka (1804­1857) Alexander Borodin (1833­87) Cesar Cui (1835­1918) Mily Balakirev (1837­1919) Modest Mussorgsky (1839­81) Nicolai Rimsky­Korsakov (1844­1908) Pyotr Il’yich Chaikovsky (1840­1893) John Knowles Paine (1839­1906) George Whitefield Chadwick (1854­1931) Edward MacDowell (1860­1908) Horatio Parker (1863­1919) Amy Beach (1867­1944)

Unit II Listening and Score Study Guide Example 1 Symphony: Ludwig van Beethoven, Symphony No. 3 in E­flat Major: Allegro con brio (movement one) https://www.youtube.com/watch?v=ft9lJBXW5rg (DavidDJ)

Form: Sonata Allegro (Expanded) Example 2 Lied: Franz Schubert, “Gretchen am Spinnrade” https://www.youtube.com/watch?v=MY0eeotSDi8 (DavidDJ) Form: Strophic/Rondo Instrumentation: FortePiano, Vocalist ­ Female Example 3 Character Pieces: Robert Schumann, Carnaval, Op. 9: Excerpts https://www.youtube.com/watch?v=VELPD6FVylA (DavidDJ) Example 4 Character Piece: Frédéric Chopin, Nocturne in D­flat Major, Op. 27, No. 2 https://www.youtube.com/watch?v=WJ8RVjm49hE (DavidDJ) Form: Rondo ­ ABA’CA Coda Texture: Homophonic Solo Piano Example 5 Keyboard Work: Franz Liszt, Trois études de concert: No. 3: “Un sospiro” https://www.youtube.com/watch?v=Pq­y9KGqssc (DavidDJ) ­ “Keyboard gymnastics” ­ mostly arpeggiated bass, simple melody line Example 6 Program Symphony: Hector Berlioz, Symphonie fantastique, “Dream of a Witches’ Sabbath” (movement five) https://www.youtube.com/watch?v=RVUAR8Nk8xQ (DavidDJ) (Tyler McMillan) ­tempo changes hint at section changes ­ Example 7 Chamber Work: Clara Wieck Schumann, Piano Trio in G Minor, Op. 17: Andante (movement three) https://www.youtube.com/watch?v=JJ­RkjbXDlY (DavidDJ)

Example 8 Early Romantic Opera: Carl Maria von Weber, Der Freischütz, Act II, Finale: “Wolf’s Glen Scene” https://www.youtube.com/watch?v=IDI3Kstg5Ok (DavidDJ)

­ Based on diminished chord ­ Both chorus and solo singers featured ­

Example 9 Mature Romantic Opera: Giuseppe Verdi, La traviata, Act III, Scena and Duet https://www.youtube.com/watch?v=0qnIBXK6LUc (DavidDJ) Male/Female Duet Example 10 Late Romantic Symphony: Johannes Brahms, Symphony No. 4 in E Minor, Op. 98: Allegro energico a passionata (movement four) https://www.youtube.com/watch?v=EhmCNkWCUtA (DavidDJ) Form: Theme and Variations (Original theme stated in the first eight bars, 30 variations throughout rest of the piece) (DavidDJ) Example 11 March: John Phillip Sousa, The Stars and Stripes Forever https://www.youtube.com/watch?v=­mRn9chmRAY (DavidDJ) Example 12 Orchestral Song Cycle: Gustav Mahler, Kindertotenlieder: No. 1, “Nun will die Sonn’ so hell aufgeh’” https://www.youtube.com/watch?v=hqTyEKB64EE (DavidDJ)

Multiple Choice Quiz - 19 Anthony Bernabel

An important model for the success of a heroic personality in political life at the

turn of the nineteenth century was Napoleon Bonaparte.

Beethoven's middle period is sometimes known as his heroic period.

The Heiligenstadt Testament was Beethoven's reflection on his deafness and his

vocation.

The poet who wrote the text Beethoven used in his Ninth Symphony was Friedrich

Schiller.

Two important examples of the song cycle are An die ferne Geliebte and Die schöne

Müllerin.

Franz Schubert combined the folk ideal in song with personal interpretation of the

song text.

William Shakespeare was idealized by early Romantic opera librettists because

he provided a model of a great artist who succeeded despite his disregard for

standard rules of artistic form.

Italian opera composers in the early nineteenth century often used the process of

parody to recycle their music in order to keep up with the demand for new works.

The rescue opera was created in France around 1800.

Schubert never achieved much public acclaim and relied for his daily living on the

generosity of his friends.

Multiple Choice Quiz – 20

Anthony Bernabel

The composer Robert Schumannworked as a music critic and founded the

Neue Zeitschrift für Musik, an independent music journal.

The Italian composers of the Romantic period developed a structure for the large solo operatic number in two large parts. The "dissimilar duet" was designed to express dramatic conflict in opera by the composer Gaetano Donizetti. Eugène Scribe made his important contributions to the history of music as a librettist. . Nicolo Paganini made his important contributions to the history of music as a virtuoso performer.

1.

The mazurka was a type of character piece for piano based on a Polish dance and used by Chopin.

Berlioz's Symphonie fantastique is an example of the genre program symphony.

The composer Hector Berlioz was one of the most imaginative orchestrators of the Romantic period and even wrote a treatise on the subject.

Cyclic unification stands as an abstract symbol in music of the Romantic thinker's search for the unity in all things.

The conductor Felix Mendelssohn Bartholdy has an important place in music history for his role in reviving the works of preceding generations in his performances.

Multiple Choice Quiz - 21

Anthony Bernabel.

The progressive composers working in Germany in the period after 1850 became

known as the New German School.

In his symphonic poems, Liszt employed thematic transformation to develop

structural coherence in unconventional forms.

Wagner's Tristan und Isolde is an example of the genre he called music

drama.

A musical idea in Wagner's mature works, often associated with an idea or

character in the plot and developed in symphonic style in the orchestra, is usually

called a Leitmotiv, a term the composer himself did not use.

The composer Brahms took up the tradition of Mendelssohn and Schumann and

later provided important support to the career of Dvořák.

Verdi's last two operas were both adapted from works of William Shakespeare, who

was an important figure in nineteenth­century literary thought.

The post­Romantic composer Gustav Mahler based several of his symphonies on

material taken from his own Lieder.

The verismo opera employed plots that featured violent emotional outbreaks in

characters from the lower classes and a musical style based on declamatory singing

and powerful orchestration.

Composers seeking to revitalize the European musical tradition in the late nineteenth

century turned to exoticism, the use of materials derived from musical styles from

outside the leading nations of Europe.

The moguchay kuchka was an important group of nationalist composers in the

late nineteenth century.

Thanks for this Tony, this was a good idea to post the mult choice questions