music history final

woodwinds

flute, saxophone

brass

trumpet

strings

cello, harp

percussion

piano

what family consists of instruments that use reeds to play them?

woodwinds

which of the following counts as ternary form

ABA

what musical texture consists of only ONE PITCH sounding at a time

monophony

which is longer, a motive or a phrase?

phrase

Short Answer: Why are consonance and dissonance considered culturally specific terms? include the definitions.

consonance (notes a pitches that sound satisfying and pleasant to the ears) and dissonance (ones that sound uncomfortable, suspenseful, and/or tense) are subjective, varying by culture. for instance, a traditional song from India might sound dissonant to my ears because I am used to that sound being considered dissonant. But, someone from that culture may hear consonance, because they were taught to and traditionally heard it that way.

What compositional techniques are used to help build a fugue? include the definition

a fugue is in polyphonic form. The theme develops through imitative counterpoint. The same melody and theme is played by each instrument (in orchestra), thus showcasing the sounds of each instrument and instrument family.

Anonymous, Kyrie: performing forces

male voices

Anonymous, Kyrie: language

Greek

Anonymous, Kyrie: the work would likely have been sung or played in what context?

part of the Mass Ordinary

Anonymous, Kyrie: genre

mass ordinary

Farmer, "Fair Phyllis": performing forces

male and female voices

Farmer, "Fair Phyllis": language

English

Farmer, "Fair Phyllis": the work would likely have been sung or played in what context?

for entertainment, domestic music making

Farmer, "Fair Phyllis": genre

madrigal

Machaut, "Ma fin est ma commencement": performing forces

male voices

Machaut, "Ma fin est ma commencement": language

french

Machaut, "Ma fin est ma commencement": the work would likely have been sung or played in what context?

entertainment, domestic music-making

Machaut, "Ma fin est ma commencement": genre

chanson

Monteverdi, "Si chi'io vorrei morire": performing forces

male and female voices

Monteverdi, "Si chi'io vorrei morire": language

italian

Monteverdi, "Si chi'io vorrei morire": the work would likely have been sung or played in what context?

entertainment, domestic music making

Monteverdi, "Si chi'io vorrei morire": genre

madrigal

palestrina, "Gloria, from Pope Marcellus Mass": performing forces

male and female voices

palestrina, "Gloria, from Pope Marcellus Mass": language

latin

palestrina, "Gloria, from Pope Marcellus Mass": the work would likely have been sung or played in what context?

part of the Mass Ordinary

palestrina, "Gloria, from Pope Marcellus Mass": genre

mass ordinary

Mass Proper

Introit, Gradual, Offertory

Mass Ordinary

Kyrie, Agnus Dei

musical illustration of words

word painting/text painting

part of the Mass; text changes with calendar

mass proper

long passage of notes over a single syllable

melisma

part of the mass; text is the same (all year)

mass ordinary

french song; performed by troubadors/trouveres

chanson

counter reformation composer who "saved polyphony"

Palestrina

Notre Dame composer who expanded organum

perotin

abbess/composer who was in charge of a convent

hildegard

troubadour who specialized in chansons

machaut

composer of motets and used imitation

josquin

musical characteristics of Gregorian Chant (texture, rhythm, melody, etc)

monophonic, sacred, no harmonies

why is the "Notre Dame School" of the medieval era significant for music? What composers were a part of it and what did they contribute to the genre of chant?

The Notre Dame School contributed Gregorian Chant (Pope Gregory). It also contributed organum, two or more voices together with the intent of sounding like an organ. Leonin wrote the "Book of Organum," and Perotin expanded on organum, bringing about Duplum, Triplum, and Quadruplum. Medieval motets were in French, while Renaissance motets were Italian.

What is a madrigal? What topics did they talk about? Is a madrigal secular or sacred? what two languages of madrigal did we study in this unit?

A madrigal is a medieval or Renaissance song in either English or Italian. Madrigals are secular. They are intended to be performed, not in religious settings, but in homes or at social events. English madrigals are more lighthearted

Can you tell me briefly the difference between the Medieval motet and the early motets of the Renaissance? What language were they typically sung in?

Medieval (14th century) motets used the Cantus Firmus. Tenors sang only one line, apart from the rest of the choir. Renaissance (15th century) motets did not have the Cantus Firmus. The tenors were now equals with the choir. Medieval motets were in French, while Renaissance motets were in Italian. An example of a Medieval motet is Machaut's "Ma Fin Ests Ma Commencement."

Strozzi, "Amor Dormiglione": performing forces

female voice and lute

Strozzi, "Amor Dormiglione": language

italian

Strozzi, "Amor Dormiglione": texture

homophonic

Strozzi, "Amor Dormiglione": genre

da capo aria

Bach, "orchestral suite no. 3, air": performing forces

string orchestra

Bach, "orchestral suite no. 3, air": at the beginning, what technique is used in the lower voices below the melody in the violins?

ground bass

Bach, "orchestral suite no. 3, air": texture

homophonic

Bach, "orchestral suite no. 3, air": genre

orchestral suite

Mozart, "Piano concerto in G Major K. 453": performing forces

piano and orchestra

Mozart, "Piano concerto in G Major K. 453": texture

homophonic

Mozart, "Piano concerto in G Major K. 453": true or false: the composer of this piece wrote this for his student at the time.

true

Mozart, "Piano concerto in G Major K. 453": genre

concerto

Beethoven, "symphony no. 5, " 1st mvt: performing forces

symphony orchestra

Beethoven, "symphony no. 5, " 1st mvt: this piece has a 4 note _ that is heard throughout the movement and heard in later movements

motive

Beethoven, "symphony no. 5, " 1st mvt: form

sonata allegro form

Beethoven, "symphony no. 5, " 1st mvt: genre

symphony

handel, "halleluja" from the Messiah: performing forces

male/female chorus and orchestra

handel, "halleluja" from the Messiah: language

english

Handel, "halleluja" from the Messiah: when the chorus enters, what type of texture are they singing in?

homorhythmic

handel, "halleluja" from the Messiah: the genre that this song comes from

oratorio

genre with a soloist/group against a larger ensemble Italian words for comic opera

opera buffa

when the main melody of a fugue enters in a second voice in response to the first voice

answer

mulitmovement work that includes recitatives, arias, choruses and is accompanies by orchestra

cantata

french word for air; used in operas during a time where action has stopped

aria

a dance of french origin, used in baroque suits

courante

a genre with a soloist/group against a larger ensemble

concerto

composer who coined the "ritornello" form

vivaldi

composer who wrote over 200 cantatas and wrote instrumental music using fugues

JS Bach

composer who published more arias than her male counterparts

strozzi

this composer wrote his most famous oratorio in 24 days

handel

child prodigy; wrote 41 symphonies and died at the age of 35

mozart

wrote 9 symphonies and was deaf for the last decade of his life

Beethoven

sonata allegro form

exposition (theme)--> development--> recapitulation-> coda (vertical)

3 new and different elements of the baroque era compared to the previous renaissance era

more focus on virtuosity; draw more on emotions; more complex harmony and structure

composers and their employment: can you tell me about how did each composer's job affect what they composed? (Bach and Haydn)

due to their employment, they were both required to make a certain amount of music per period of time. This employment not only meant they had to quickly pump out music, they also did not have much creative freedom with it; they were fully under the instruction of their employer. Haydn was employed by the Esterhazy family, which meant he had to get permission to leave and go on tour.

2-3 things that are different with how Beethoven composed his 5th symphony compared to the symphonies of Mozart and Haydn.

Beethoven was heavier, while Bach was lighter. Beethoven's 5th had a longer development. This longer development created more tension.

Lied; role of piano helps to make this tone poem-esque; Schubert's role in lifting the Lied to new levels; Romanticism; Schubert;

LG 28, "Die Erlkönig"

Character piece; virtuosity; Chopin; piano; homophonic, modified strophic

LG 31, Etude Op. 10 No. 12, "Revolutionary"

Character piece; virtuosity; cycle (set of character pieces), Hensel; piano; polyphonic, ternary

LG 32, "September" from The Year

Program symphony; idée fixe; Dies Irae; thematic transformation; orchestration; Berlioz; sonata-like

LG 33, Symphonie Fantastique, IV and V

Concert overture, Program music, Mendelssohn; orchestra; sonata-allegro, homophonic

LG 34, Overture to A Midsummer Night's Dream

Symphony, Absolute Music, Brahms; orchestra, ABA'

LG 36, Symphony No. 3 in F Major, mvt 3.

Italian opera; bel canto style opera; cavatina; role of orchestra (big guitar); Italian nationalism, Verdi; quartet

LG 37, Rigoletto, excerpts

Wagner; German Romantic opera; role of orchestra (more important; tells the story); Leitmotif; Gesamtkunstwerk; German nationalism; continuous music

LG 38: Die Walküre, excerpts

Requiem NOT IN LATIN but in GERMAN; meant to be mass for living not the dead; Brahms; choir

LG 39, German Requiem, mvt 4.

Tone poem, ballet, program music, impressionism, symbolism; Debussy; orchestra; homophonic, ABA'

LG 42, Prelude to the Afternoon of a Faun

String Quartet piece, nationalism; Dvorak; homophonic, sonata-allegro form

LG 43, String Quartet in F Major 'American,' mvt 1

Spiritual, Fisk Jubilee Singers; quartet; homophonic, strophic

LG 44, Swing Low, Sweet Chariot

Song cycle; Atonality; Expressionism; Symbolism; Sprechstimme; Modernism; Schoenberg; voice w 5 instruments, complex counterpoint

LG 46, Pierrot Lunaire, No. 19

Ballet; Octatonic scale; Pentatonic scale; Ballets russes; Nijinsky; ostinato; folk tunes; Stravinsky; orchestra

LG 47, Rite of Spring, excerpts

32 bar song form (A-A-B-A), Big band, written for Duke Ellington & his orchestra;

LG 51, Strayhorn, Take the A Train

Still; Chamber music; Harlem Renaissance; Stride bass; Walking bass; Ragtime; Syncopation; Augusta Savage; Gamin

LG 52, Suite for Piano and Violin, III

Concerto, American vernacular; Gershwin; piano, orchestra, and jazz band; homophony alternates with polyphony; recurring themes and motives

LG 53, Rhapsody in Blue

Ballet; Martha Graham; "American" style; Theme and variations; Copland

LG 55, Appalachian Spring, excerpts