FINAL

Question 1

Johannes Brahams dates and origin

Answer 1

1833-1897

Germany

Question 2

Brahams song
1833-1897
German

Answer 2

1833-1897

Intermezzo in A Major, Op. 118, No. 2

Question 3

Braham’s Intermezzo in A Major, Op. 118, No. 2 form

Answer 3

-Composite sectional ternary (ABA)

A-f#-A

Question 4

Braham’s Intermezzo in A Major, Op. 118, No. 2 Traditional/Classical Aspects

Answer 4

-Motivic Development (melodic inversion)
-Hemiola (at cadences)
-Invertible counterpoint
4-note canon (F# section)

Question 5

Braham’s Intermezzo in A Major, Op. 118, No. 2

Innovative/Romantic aspects

Answer 5

• Metric displacement

- Avoidance of root position tonic triad

Question 6

Braham’s Intermezzo in A Major, Op. 118, No. 2

Answer 6

The excerpt at B begins in a relative minor (f#) and modulates back to the original tonic using a retransition

Question 7

Frédéric Chopin dates and origin

Answer 7

1810-1849

Poland

Question 8

Frédéric Chopin 1810-1849 info

Answer 8

Composed almost exclusively for the piano, bringing the instrument to new heights of melodic expressiveness

Question 9

Chopin’s Ballad in G minor, Op. 23

Answer 9

No clear-cut form, but a musical narrative; affirms Chopin’s affinity for poetry

Question 10

Chopin’s Ballad in G minor, Op. 23

Opening Harmony

Answer 10

N6- Ab major chord

Question 11

Chopin’s Ballad in G minor, Op. 23 measures (68-77)

Answer 11

-Functional harmony in Eb major with several dominant 13th chords and circle of fifths progression

Question 12

Chopin’s Mazurka in F Minor, Op. 68, No. 4

Answer 12

Sectional ternary (A-BA’)

Question 13

Chopin’s Mazurka in F Minor, Op. 68, No. 4

Part 1

Answer 13

chromatic linear harmony that becomes functional as the cadence approaches

Question 14

Chopin’s Mazurka in F Minor, Op. 68, No. 4

Part 2

Answer 14

contains circle of fifths progression with dominant 7th chords

Question 15

Franz Liszt dates and origin

Answer 15

1811-1886 (Hungarian)

Question 16

Franz Liszt bio

Answer 16

1811-1886 (Hungarian)

Piano virtuoso and champion of new music. Helped the career of Richard Wagner.

Question 17

Liszt song

Answer 17

Nuages Gris

• Based on a gypsy scale
• Parallel augmented triads abate a tonal center or any sense

Question 18

Richard Wagner bio and origin

Answer 18

1813-1883 (German)

Question 19

Richard Wagner bio

Answer 19

1813-1883

The most influential figure in German Romanticism, leading the way to eventual demise of tonality.

Question 20

Richard Wagner

Gesamtkunstwerk

Answer 20

-means “total art work”

most associated with him, and his later operas called music dramas

Question 21

Richard Wagner

song

Answer 21

Tristan and Isolde, Prelude

• tristan chord fø7
• a half diminished 7th chord that is a result of a combination of melodic lines
• measures 1-17

Question 22

Modest Mussorgsky

dates and origin

Answer 22

1839-1881

Russian

Question 23

Modest Mussorgsky

bio

Answer 23

1839-1881
Self-taught composer who endeavored to incorporate decidedly Russian elements into his music
-Unique sound of music had a significant influence on the French composers Debussy and Ravel

Question 24

Richard Wagner

composing song infos

Answer 24

-used leitmotifs, greatly expanded orchestra, and radical expansion of major-minor tonal system

Question 25

Mussorgsky | Boris Godunov, Coronation Scene Opening

Answer 25

Only uses AbMm 6/5 and DMm 4/2 Sonority in measures 1 and 2 of the excerpt is a tritone (C-F#) -Share a common tone

Question 26

Mussorgsky Pictures at an Exhibition Promenade

Answer 26

- Opening uses penatonic scale - non traditional use of diatonic harmony - Homorhythmic/homophonic texture

Question 27

Mussorgsky | composing facts

Answer 27

uses: - coloristic harmony - tends to favor tritone relationships - sought to emulate Russian speech inflections

Question 28

Mussorgsky Pictures at an Exhibition No. 5 Dance of Unhatched Chickens

Answer 28

- Continuous ternary form | - non-functional/ coloristic harmony

Question 29

Gabriel Fauré | dates and origin

Answer 29

1845-1924 | French

Question 30

Gabriel Fauré | bio info

Answer 30

The most innovative 19th century composer before Debussy - composed over 100 melodies - influential in fostering the rise of French music in the 2nd half of the 19th cenury

Question 31

Gabriel Fauré Two Songs Op. 46 1. Les Presents

Answer 31

- modified strophic - starts with mixolydian scale form - the harmony near the beginning is coloristic with unresolved 7ths and subtle use of modality

Question 32

Gabriel Fauré Two Songs Op. 46 2. Clair de Lune

Answer 32

- Through composed - measures 1-2 subtle use of Dorian mode - "Aucal.."(before she says "Clair de Lune") measures 38-42 subtle use of Lydian mode

Question 33

Gabriel Fauré | styles he uses

Answer 33

- Coloristic harmony, with functional and unresolved 7ths - Subtle use of modality - Atypical melodic phrases

Question 34

Hugo Wolf | dates and origin

Answer 34

1860-1903 Austrian -poetry is of equal importance of music

Question 35

Hugo Wolf | -Mörike-Lieder, No. 6 "Er ist's"

Answer 35

-harmony in the beginning is chromatic harmony with a modulation to a tritone away from o.g. key -hormonic and melodic material at end of excerpt is pentatonic scale with a Gadd6 chord

Question 36

Hugo Wolf | composing styles

Answer 36

- poetry is on equal footing with the music - piano is not mere accompaniment, but provides mood and atmosphere - functional and coloristic harmony are interspersed freely

Question 37

-Mörike-Lieder, No. 6 "Er ist's" (conti.)

Answer 37

- Distant modulation from G to D# major | - G major doesnt come again until the last syllable of the poem

Question 38

Richard Strauss bio and origin

Answer 38

1864-1949 | German

Question 39

Richard Strauss | info

Answer 39

1864-1949 Considered the most important German composer to emerge after Wagner -Extreme chromaticism evident warrants the designation "Post Romanticism"

Question 40

Richard Strauss | -Four Songs, Op. 27, No. 1 "Ruhe, meine Seele"

Answer 40

Measures 1-2: CMm6/5 -f#m4/3 coloristic harmony | Measures 4-13: a sequence of major-minor 7th chords in a circle-of-fifths