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Music History II > Exam 2 > Flashcards

Exam 2 Flashcards

(45 cards)

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1
Q

Romanticism

A

Organic unity, spontaneous emotion, death, unrequited love, nature, supernatural

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2
Q

Ludwig van Beethoven (1770-1827)

A

German composer, pushed bounds of form

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3
Q

bildungsroman

A

formative, coming of age novel

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4
Q

Heiligenstadt Testament (1802)

A

Beethoven’s letter to his brothers regarding his coming to terms with his deafness and his continued passion for art

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5
Q

Karl Friedrich Zelter (1758-1832)

A
  • Second Berlin school, conservative mind
  • Goethe
  • felt that music only provided a medium for the text
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6
Q

volkston/volkstümlichkeit

A

folk tone, in the sense of folk sound; suggests both folklike simplicity and reflection of national folk character

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7
Q

Lieder

A

German art songs, strophic

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8
Q

Strophic variation

A

“modified strophic” characteristic of Schubert, comparable to variation form in instrumental music

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9
Q

Franz Schubert (1797-1828)

A

-Viennese composer
-piano, chamber, symphony
-music=text in lied
Die schone Müllerin, Erlkönig, Winterreise

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10
Q

Robert Schumann (1810-1856)

A
  • German composer and journalist
  • Neue Zeitschrift fur Musik (New Music Journal)
  • discusses music and literary form via Davidsbundler
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11
Q

song cycle

A

collection of songs unified in theme and progression

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12
Q

Gioachino Rossini (1792-1868)

A

-Italian opera
-dramma and opera buffa
-lyrical and improvisatory, more dramatic music
Il barbiere di Siviglia, Otello, Guillaume Tell

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13
Q

Carl Maria von Weber (1786-1826)

A

-German Romantic opera
-Dresden opera
Der Freischutz (The free marksman), Euryanthe

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14
Q

Der Freischütz

A
  • Weber
  • 1821
  • reminiscence themes, organic continuity, magic bullets and musical drama
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15
Q

Bel canto opera

A

“beautiful singing”, embellished melodies and improvisational cadenzas, emphasizes vocal agility and technique

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16
Q

Scena ed aria

A

recitative/arioso-style + cavatina (slow) and cabaletta (fast)

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17
Q

Vincenzo Bellini (1801-1835)

A
  • light Italian opera

- more Romantic approach than Donizetti

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18
Q

Gaetano Donizetti (1797-1848)

A

-Italian opera
- more traditional approach than Bellini
Lucrezia Borgia

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19
Q

La Sonnambula (1831)

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A

The Sleepwalker, Bellini

20
Q

Felice Romani (1788-1865)

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A

Italian librettist,

21
Q

French Grand Opera

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A

-more Romantic
-elaborate sets, costumes and stage effects
Meyerbeer, Auber

22
Q

Giuseppe Verdi

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A

-Romantic Italian opera
–librettos from literary sources (Hugo, Byron, Schiller, Shakespeare)
-librettist Francesco Piave
-emotional situations reflect life situations (father figure, dead family)
Nabucco, La Traviata

23
Q

Niccolò Paganini (1782-1840)

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A
  • violin virtuoso

- “demonic playing”

24
Q

Franz Liszt

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A
  • Hungarian piano virtuoso

- big tours, regulated the solo recital

25
Clara Schumann
- composed chamber and piano music - performed after Robert's death - established solo recitals from memory
26
Frédéric Chopin
- Polish/French pianist - incorporated native dances (mazurka, polonaise) - lyrical style, expressivity, passing chromatic harmonic overloading - more fluid and less fiery than Liszt
27
Mazurka
Polish dance
28
Salon
Intellectual gatherings in homes to discuss culture
29
Felix Mendelssohn
- German, orchestral music | - concert overture (like an opera overture, with classical sonata or symphonic poem form)
30
Hector Berlioz
program symphony - idee fixe - Symphonie fantastique: Episode de la vie d'un artiste (the romantic artist)
31
New German School
- more musical revolutions - founded by Liszt and Wagner - Liszt- art is the masterpiece of humanity and humanity is the masterpiece of nature - expression over structure
32
Richard Strauss
German composer -tone poems, harmonic and structural freedom Till Eulenspiegels lustige Streiche, Don Quixote, Tod und Verklärung
33
Symphonic Poem
poems expressed in tones rather than words, Lisztian single-movement orchestra works with programmatic content
34
Richard Wagner
New German School -Gesamtkunstwerk (universal/collective artwork) -Oper und Drama/ music drama The Ring, Gotterdammerung, Tristan und Isolde
35
leitmotiv/Grundthemen
musical motive associated with a character in musical dramas
36
Eduard Hanslick
- anti-Wagnerian music critic - Vom musikalisch Schonen (defines music as only beautiful in sound and structure) - pro-Brahms
37
Der Ring des Nibelungen
- four music dramas - Norse mythology - political libretto exposing the lust for wealth and power
38
Johannes Brahms
- German composer trained in traditions of Mendelssohn and Schumann - traditional forms and style on steroids - counterpoint master - anti-New German School poster child
39
Gustav Mahler
-Viennese progressive out of Romanticism -German folk poetry and music Kindertotenlieder, Das Lied von der Erde
40
Nationalism
movement towards national identity (and musical style) and belief in national unification
41
Exoticism
Western attempt to adopt other musical traditions (e.g. Madama Butterfly, Carmen)
42
Verismo
Italian realist opera, lots of stabbing - Cavalleria rusticana (Mascagni) - I pagliacci - violent contrast - La Boheme (Puccini)
43
Puccini
Italian opera after Verdi Verismo La Boheme (Romantic realism) Tosca
44
The Mighty Five (moguchaya kuchka)
``` Alexander Borodin (Prince Igor), Cesar Cui, Mily Balakirev, Modest Musorgsk (Boris Godunov) , Nicolai Rimsky-Korsakov -incorporated folk and nationalist styles ```
45
Second New England School
``` German influence, American folk and subcultures ◦ John Knowles Paine ◦ Arthur Foote ◦ George Chadwick ◦ Amy Beach ◦ Edward MacDowell ◦ Horatio Parker ```

Music History II (2 decks)

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