MUS 206 FINAL

"Puer natus est"

-Middle Ages
-Introit: Gregorian chant
-Proper of the Mass
-neumatic/syllabic style

Kyrie eleison

-Middle Ages
-Gregorian chant
-Ordinary of the Mass
-melismatic
-nine-fold pattern (3+3+3)
-Greek

"Viderunt omnes"

-Middle Ages
-Gradual: Gregorian chant
-Proper of the Mass
-mostly melismatic
-large cantor solo (syllabic)

Perotonius: "Viderunt omnes"

-Middle Ages
-gradual (organum)
-polyphonic arrangement of the gradual "viderunt omnes"
-alteration between organum and plainchant, and within that, alteration between sustained-note/pure organum and discant style
-counterpoint

"Agnus Dei" from Mass for Four Voices by William Byrd

-Renaissance
-genre: polyphonic mass

Characteristics:
-imitative polyphony
-points of imitation
-counterpoint
-paired imitation
-canon
-suspensions
-ordinary

"This sweet and merry month of May" by Byrd

-Renaissance
-genre: madrigal
-word painting
-imitative polyphony
-6 voices

"Can she excuse my wrongs" by John Dowland

-Renaissance
-genre: lute song
-strophic
-Elizabethan musical instrument arrangements (viol, lute, virginal, etc.)
-monody (or homophony?)

Erle of Essex Galliad / Can she excuse by wrongs (arrangements with various composers)

-renaissance
-genre: arrangements
-stropic
-Elizabethan musical instrument arrangements (viol, lute, virginal, etc.)
-monody

Monteverdi's Orfeo: Opening Ritornello and Prologue

-Baroque
-genre: opera
-Musica singing
-special recitative
-basso continuo

Monteverdi's Orfeo: "Vi ricorda, o boschi ombrosi" (Act 2)

-Baroque
-genre: opera
-Orfeo singing
-aria
-basso continuo

Monteverdi's Orfeo: "Tu se' morta" (Act 2)

-Baroque
-genre: opera
-Orfeo singing
-dramatic recitative
-text painting

Monteverdi's Orfeo: "Posente spirito" (Act 3)

-Baroque
-genre: opera
-Orfeo singing
-special recitative
-basso continuo

"There were Shepards"

-Baroque
-Handel's Messiah (genre: oratorio)
-recitative
-alteration between dry and accompanied recitative (or recitativo secco and recitativo accompagnato)
-basso continuo

"Comfort ye, my people"

-Handel's Messiah (genre: oratorio)
-accompanied recitative (similar to an aria)
-basso continuo

"Hallelujah"

-Baroque
-Handel's Messiah (genre: oratorio)
-genre: chorusterm-44
-monophony: entire choir union
-imitation: one voice enters and sings a phrase, then continues as another voices enters on the same phrase
-basso continuo

"He trust in God"

-Baroque
-Handel's Messiah (genre: oratorio)
-genre: chorus
-exposition section: each voice enters with a statement of the subject
-episodes: periods that lack a complete subject
-statement: when the subject is presented
-basso continuo

"Ev'ry Valley"

-Baroque
-Handel's Messiah (genre: oratorio)
-genre: aria
-opens with ritornello
-word painting
-cadenza: an ornamented version of the final cadnce
-melismatic
-basso continuo

Prelude and Fugue in C minor by Bach

-Baroque
-genre: prelude and fugue
-pedal point: starts with the key, varies, and returns to the key to establish it as the tonic
-subject
-countersubject
-counterpoint
-imitation

Concerto in F Major by Bach

-Baroque
-genre: concerto
-alternates between soloists and orchestra (ritornello form)
-3 movements
-opens with orchestra ritornello
-basso continuo

Overture Suite in D Major by Bach

-Baroque
-genre: french overture
-two parts: A x2 B x2 then sometimes A again
-A has double-dotted notes
-B has counterpoint
-exposition
-subject
-movements ?
-basso continuo

Gregorian Chant

A monophonic, unaccompanied style of liturgical singing in Latin that takes its name from Pope Gregory the Great

monophony

A single line of music

cantor

leader of singing

Proper of the Mass

texts that change with the liturgical year

Ordinary of the Mass

the five sung portions of the Mass for which the texts are invariable

strophic music

Has at least two verses set to the same music

Madrigal

polyphonic secular music

counterpoint

the art of creating simultaneous independent melodies

canon

a continuous imitation

suspensions

sharply dissonant notes that clash with prevailing harmonies

text painting

using musical tones to reinforce the images in the text of a madrigal or solo song

basso continuo

Baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument.

Mozart's Don Giovanni

-Classical era
-opera buffa

Act 1, Scene 1: "Notte e giorno faticar"

-Classical
-genre: aria
-song by Leporello
-uses musical convention of bass and baritone range to distinguish servant and master
-patter style
-switch to more melodic, conjunct singing when he imitates a gentleman

Act 1, Scene 1: Ensemble

-Classical
-genre: ensemble
-trio between Don Giovanni, Leporello, and Donna Anna
-plot advances
-dramatic pacing: changes to a walking andante pace after the Commedatore dies to reflect the seriousness of the plot

Act 1, Scene 5: Catalog Aria

-Classical
-genre: aria
-Leporello
-binary form A (x2) B (x2)
-A section is allegro, B section has triple meter and dotted rhythm

Act 1 Scene 9: Duet

-Classical
-genre: duet between Don Giovanni and Zerlina
-binary form
-A is the slow, seductive section
-B is the lively, dancelike section that they sing together
-Don Giovanni and Zerlina alternate lines in A, switching every 4 lines, then 2, then every other line
-Sing B section together

Act 1 Finale

-Classical
-genre: ensemble
-Don Giovanni, zerlina, Leporello, Masetto, Donna Anna, Donna Elvira, Don Ottavia
-includes ballroom scene: Mozart uses the minuet, contradance, and Deutscher to characterize each person and their social class

Beethoven Symphony No. 5 I: Allegro con Brio

-Classical
-genre: symphony
-sonata form
-introduces short-short-short-long motif present throughout symphony
-exposition
-development
-recapitulation
-coda

Beethoven Symphony No. 5 II: Andante

-Classical
-genre: symphony
-slow variation form

Beethoven Symphony No. 5 III: Allegro

-Classical
-genre: symphony
-schertzo or minuet (A) and trio (B)
-ABA form; expanded it looks like AABB CCDD AB
-dancelike

Beethoven Symphony No. 5 IV: Allegro

-Classical
-genre: symphony
-rondo form: rondo refrain with contrasting sections
-AbAcAdA.....
-fast and lively

Schubert, The Trout (Die Forelle)

-Classical
-genre: Lied
-modified strophic: 2 strophes with same music, break from pattern to minor key and chords, then return to triplet pattern
-AA'BCC form within each strophe
-irony

Schubert: Erlking (The Elfking)

-Classical
-genre: lied
-through composed
-4 characters differentiated by changing vocal ranges, accompaniment, and singing styles

opera buffa

a comic opera, typically in Italian, especially one with characters drawn from everyday life. Includes high, middle, and low styles.
-recitatives, arias, and ensembles

opera seria

-a serious opera with high ranking characters that display the virtues of nobility
-includes high and middle styles, virtuous singing, arias and recitatives, and does not include men in the bass range

Patter style

fast, syllabic, words and disjunct motion

symphony

multi-movement composition for orchestra

sonata form

follows structure |: A :| ? A' |
-modified rounded binary
-primary theme, bridge, secondary theme, closing theme within A
-development, recapitulation, then coda

fugue

polyphonic composition based on single theme aka the subject

double fugue

has two or more voices with a countersubject

countersubject

a musical line that is played every time the subjects appears (secondary melody)

counterpoint

combination of individual, independent voices

imitation

one voice plays the music that another voice has just finished

movement

a self-contained part of a longer work

Berlioz: Symphonie Fantastique
1) reverie-passions

-Romantic/19th century
-genre: symphony
-program music: music that tells a story using words
-idee fixe

Berlioz: Symphonie Fantastique
4) March to the Scaffold

-Romantic/19th century
-genre: symphony
-sounds like a march: dotted rhythms, descending melody, lots of timphanni
-idee fixe at end, then loud bang for execution

Berlioz: Symphonie Fantastique
5) Dream of a Witchs' Sabboth

-Romantic/19th century
-genre: symphony
-uses religious funeral chant Dies Irae
-witches' dance
-eerie
-mock of idee fixe
-fugue and countersubject

Mendelssohn: Violin Concerto in E minor, Op. 64
1) Allegro molto appassionato

-Romantic/19th century
-genre: concerto
-different from classical concerto: no double exposition, opens with soloist, cadenza is earlier during development instead of recapitulation and is written out

Schumann: Carnival
a) Florestan

-Romantic/19th century
-genre: cycle of character pieces
-faster tempo, series of flurries
-represents Schumann's extroverted alter ego
-Sphinxes: riddles or recurring motifs through the pieces

Schumann: Carnival
b) Eusebius

-Romantic/19th century
-genre: cycle of character pieces
-slower with odd number of notes in right hand
-composed of only 2 phrases repeated
-represents introspective side of Schumann
-sustaining pedal

Wagner: The Valkyrie Act 1
a) Prelude (storm)

-Romantic/19th Century
-Genre: opera or music drama
-storm (up and down scale) and Donner leitmotives

Wagner: The Valkyrie Act 1
b) Scene 1 (sigmund and Sieglinde meet)

-Romantic/19th Century
-Genre: opera or music drama
-Siegmund and Sieglinde sing
-Siegmund, Sieglinde, and two love motifs
-cello solo

Wagner: The Valkyrie Act 1
c) Scene 2 (Sigmund and Sieglinde in love)

-Romantic/19th Century
-Genre: opera or music drama
-opens with Hunding's motif
-minor version of Sieglinde's motif in oboe
-trumpet leitmotive
-only singing is Hunding

Wagner: The Valkyrie Act 1
d) Scene 3 ("Wintersturme wichen...")

-Romantic/19th Century
-Genre: opera or music drama
-most like an aria
-Siegmund singing most of the time, Sieglinde enters at end
-how to tell: CONSTANT SINGING

Stravinsky: Rite of Spring
b) Signs of Springs: Girl's dance

-20th Century
-genre: ballet
-polychord repeated in 4 beat rhythm
-varying accents
-trombone and bassoon solos interrupt accented rhythm

Romanticism

19th century artistic movement that appealed to emotion rather than reason

nationalism

promotion of common identity based on political state, language, or commonly held culture; in music a trend (particularly in the nineteenth century) in which composers seek to express the identity of a place, a people, or a country

character piece

brief, evocative composition, often for piano solo and intended for private entertainment; the mood or theme is often indicated by a fanciful title

absolute music

music that is not explicitly associated with a specific image or storyline

program music

instrumental music that is intended to describe a scene or tell a story

idee fixe

recurrent melody, used obsessively in different forms throughout Berlioz's Symphonie Fantastique ("fixed idea" - French)

orchestration

how composers handle the instruments of the orchestra to produce certain musical effects

monomania

excessive concentration on one idea or subject

col legno

playing with the wooden part of the bow

cycle (of piano pieces or songs)

a single, integrated work, often for voice and piano (song cycle) or solo piano, made up of a collection of smaller pieces (nineteenth century)

Gesamtkunstwerk

Wagner's name for the ideal of a combination of music, drama, and stagecraft (German for "total work of art")

Stabreim

alliterative verse typical of ancient Teutonic legend, and used by Wagner in "The Ring of the Niebelung"

music drama

Wagner's term for his own works in the genre of opera, meant to indicate a deep exploration of character and emotion, and a full integration of music, literature, and other theatrical elements

leitmotif

recurring musical motive used to represent a person, thing, or idea (Wagner)

pedal point

single note maintained in the bass, as with a pedal of a church organ, while harmonies in the upper voices change

antecedent phrase

in music, a "question" phrase that is answered by a consequent phrase

conjunct

in melody, moving by step to adjacent pitches

consequent phrase

a musical phrase that answers an antecedent phrase to form a larger unit

disjunct

in melody, moving by skip between pitches (disconnected)

arpeggio

cascading chord-tones

double-stop

playing two strings at the same time

intermezzo

musical interlude, generally a separate movement within a larger work

slur

legato connection between notes

tremolo

a fast alternation between two notes

vibrato

expressive pulsation of tone produced by changing a pitch slightly and rapidly, using variation in breath or finger placement

virtuosity

instrumentalist or singer whose performance is distinguished by a display of technical proficiency

animato

animated

commedia dell'arte

improvised theater of Italian fairgrounds, prevalent from the Renaissance onward; staple characters such as Pierrot and Columbine appear in literature and theater

cross-rhythms

effect of two meters at once

musical quotations

directly quoting another work in a new composition

pianoforte

keyboard instrument in which strings are struck with padded wooden hammers that are activated when a player presses the keys

piano miniatures

small, intimate solo or chamber work, suitable for performance in a salon, common in the nineteenth century

ritenuto

tempo indication meaning held back, slower