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MUAR 211 > midterm 2 > Flashcards

midterm 2 Flashcards

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1
Q

vienna, austria

A

18th century capital of the latter day holy roman empire. City associated with Haydn, Mozart and Beethoven

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2
Q

Esterházy family 6a

A

PAPA Haydn
At the age of 29, he entered the service of the Esterházy family, the wealthiest most powerful of the Hungarian royal families, close relatives of the imperial family in Vienna

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3
Q

patron / patronage / patronage system

A

increase in wealth = power among the middle working classes was accompanied by a parallel decline in inherited wealth and the power of the aristocracy. This cultural shift had consequences for how, where and for whom art was created , funded and received.

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4
Q

Joseph Haydn

A

(1732-1809)
Patron esterhazy family, he kapellmeister.
Responsible for codifying the structure of the string quarte

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5
Q

Wolfgang Amadeus Mozart

A

(1756-1791)
Born in Austria.
His symphonies and string quartets are considered canonic literature. He was known as a great pianist and his ability to improvise (in the cadenzas of concertos). Composer of opera in various styles. Supported himself through arranging subscription concerts. They were like a variety show.

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6
Q

Ludwig van Beethoven

A

(1770 - 1827)
Born in Germany, keyboard virtuoso and renowned for his skill at improvisation
He had no single patron
Supported himself thru a combination of annual stipend or single gifts from members of the aristocracy; income from subscription concerts, private piano and composition lessons

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7
Q

invention of piano/ pianoforte / fortepiano

A

1700

hammers hit keys, silenced by dampeners. Old pianos much more wood, sound muddier. Can play piano and forte.

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8
Q

orchestra (changes that occur during the 1800s)

A

based on core of bowed strings
played at least 4 separate parts
larger than baroque orchestra

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9
Q

bowed strings of the orchestra

A

1st violins, 2nd violins, cellos (violoncellos), double basses

  • violin viola
  • cello (violoncello)
  • double bass (contrabass)
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10
Q

woodwinds of late 18th-century orchestra

A

2 flutes, 2 oboes, 2 clarinet, 2 bassoons

  • flute clarinet (bass clarinet in 19th c.)
  • most common double-reed woodwind instruments
  • oboe bassoon (contrabassoon in 19th c.)
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11
Q

common brass instruments of romantic orchestra

A

2 horns, 2 trumpets

  • horn (‘French’ horn) trumpet
  • trombone tuba (invented in 19th c.)
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12
Q
  • percussion: timpani (greatly expanded in 19th c.)
A

2 timpani

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13
Q

chamber music

A

classical music that is composed from a small group of instruments (google)
most popular type in late 18th century is the string quartets

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14
Q

social/social domestic music making

A

pretty sure he means music at home (as opposed to public performance), like Fanny Hensel would do. Or daughters of wealthy ppl would play piano and/or sing in their homes/salons organized in their homes.

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15
Q

tonality / functional tonality / tonal music 5b

A

system of using major/minor keys (and their related scales). Hierarchical sys: some pitches more imp. Within this sys every possible chord in any given key has a functional relationship to the other chords in that key.

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16
Q

key / key area

A

limited collection of 7 pitches organized around a central pitch: the tonic. key: hierarchical network of interval relationships: certain pitches chord emphasized. Interval relationship with tonic and each other. Key: limits the pitches u can use in a melody (7 not 12). Tonic: most restful/stable pitch.

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17
Q

scale

A

Specific pattern intervals spanning an octave. (defined set of ordered pitches). Ex.: C major scale: CDEFGAB(c)

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18
Q

major key

A

interval pattern: 1 1 ½ 1 1 1 ½

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19
Q

minor key

A

interval pattern: 1 ½ 1 1 ½ 1 1

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20
Q

chromatic scale

A

moves exclusively by ½ steps. Includes all 12 possible pitches. does not define a key.

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21
Q

chromatic harmony

A

use of chords and pitches that do not fct normally within the diatomic tonal system
it creates heightened emotional or evocative effect while loosening the listeners aural sense of key and tonic

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22
Q

tonic

A

most imp pitch in any key, the most stable one. Gives name to key. Root of tonic chord.

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23
Q

dominant

A

5th note in a scale. Perfect 5ht, 2nd most imp, since usually precedes tonic in cadences (strongest cadence).

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24
Q

modulation

A

Change of key within piece music.

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25
'modulating to the key of the dominant’ 5b
common in classic music
26
ternary form ABA
minuetto form
27
minuet / minuet & trio form (A-B-A) 6a
dance mov, ¾ meter, mov type. 2nd 3rd mov of 4 mov symphony/string quartet.
28
scherzo / scherzo & trio form (A-B-A) wiki, Britannica
a movement that replaces the minuet as the third movement in a four-movement work. rounded binary form, but usually repeated scherzo creates ABA form. The B section played by trio.
29
sequence
short musical motive (frag melody) repeated in diff pitch levels. Often in modulatory sections.
30
staccato
articulation marking: play/sing notes in a short/separated manner (notation: dot above note)
31
legato
articulation marking: play/sing notes in a long/full/connected manner (notation: horizontal lines above notes)
32
lyrical (as in 'lyrical melody')/cantabile
song like, style of melody (like minuet)
33
theme
has many motives | the first melody in the piece comes back again and again in the tonic key
34
opus/opus number
a separate composition or set of compositions by a particular composer, usually ordered by date of publication.
35
virtuoso / virtuosity
virtuoso conductor is the one who stands before and leads an ensemble but doesn’t play an instrument during performance. Mozart was a keyboard virtuoso Beethoven trained as a piano virtuoso
36
classical period
1750 - 1800 +
37
romantic period
1800 - 1900 +
38
nationalism [know an example from list above]
the desire among composers and other artists to recreate, represent, and/or celebrate their own ethnic or national ID irlande and slovanic dances
39
exoticism
the desire among composers and other artists to recreate, represent, and/or celebrate a foreign ethnic or national ID (or scene) they are more of audience expectations than on real knowledge of the foreign people madama butterfly
40
program music
not a genre. Instrumental music inspired by an extra-musical phenomenon (scene, literature, art, etc.). usually descriptive title. ex.: Gaelic symph. Beach
41
- absolute music
not a genre. Instrumental music not intended to portray a message or imagery. Generic title. Ex.: Notturno in G minor.
42
form in art song
strophic form modified strophic form through composed
43
strophic form
each poetic verse (aka strophe or stanza) is set to the same, repeating music. (e.g. Robert Schumann Im wunderschönen)
44
modified strophic
some of the poem’s verse are set to the same music but there are other parts of the music that differ most often near the end of the song (e.g. clara schumann der mond)
45
through composed
music of the song is composed all the way through the piece and therefore contains no repeated sections; no 2 stanzas (poetic verse) are set exactly alike (e.g. Franz Schubert art song Der Erlkönig)
46
postlude / piano postlude (as in an art song)
the dramatic last movement of the cycle concludes with a piano postlude it is a substantial portion of piano music occurring at the end of an art song after the vocalist has presented all of the text
47
rubato / tempo rubato
to vary the ‘time’ the otherwise steady beat of the musical by slowing down or speeding up in an expressive manner. Often used before strong cadences or before some other dissonance is resolved, thereby temporarily clinging to the most dissonant points of music, heightening the listeners anticipation. With Chopin, it is an element of a performance practice
48
Frédéric Chopin
1810 - 1849 Polish composer, piano virtuoso who is associated with the musical scene of Paris and the salons of Parisian high society. He composed only music for the piano alone or with other instruments. He had polish nationalist works (Mazurka or polonaise) “most famous composer of character pieces”
49
hector berlioz
1803 - 1869 French composer and music critic. 19th C taste maker. Progressive: advocate program music. orchestras: expressive tour de force
50
Treatise on Orchestration 9a
By H Berlioz, orchestration manual. Inspired/used by: R Strauss and N Rimsky-Korsakov.
51
importance of William Shakespeare (1564-1616)
I think the impart is that ppl started writing operas for Shakespeare’s plays in the 19th C.
52
Giuseppe Verdi
1813 - 1901 “most famous and important Italian opera composer of the 19th century before Puccini.” He preferred librettos. Many of his libretti are on historical topics
53
prima donna
the leading female singer in an opera company of the singer of the principal female role in an opera
54
- nature and subject matter of librettos in late 19th-century opera, both Italian and German 8a and 8b
8b: the librettos of grand opera were often based on historic topics, larger than life characters and events of large scope. Verdi’s librettos are on historical topics, though others like La trivata are contemporary Puccini librettos were based on popular contemporary novels and plays 8a: Librettos were drawn from medieval German epics and Norse mythology
55
- know basic story line of Madama Butterfly, esp. when and why she sings “Un bel di” and what specifically the libretto of that aria conveys 8b read the plot synopsis
tragic opera based on John Luther Long’s short story which in turn was based partly on Pierre Lori’s tale Madame Chrysantheme. Un bel di is a celebrated aria she pictures the scene of Pinkertons return and her own joy
56
Richard Wagner
1813 - 1883 The most important and influential figure in the history of German opera His followers were called the new German school and their slogan “the music of the future” Do we need more????? Progressive, not conservative, advocated programmatic music (ex.: programmatic symph+symph poem)
57
The Ring Cycle (The Ring of the Nibelung) 8a
Most famous achievement. 4 music dramas. Wagner himself wrote the massive libretto. The characters and acts are drawn from Norse mythology, but the libretto is also political
58
Peter Ilyich Tchaikovsky
1840 - 1893 Russian composer 19th C. Promoted nationalistic music. Ballet: Ballet score (music genre designation) + choreography (genre).
59
Swan Lake [ballet] 9a
Composed by Tchaikovsky
60
Nutcracker [ballet] 9a
A holiday favorite, Composed by Tchaikovsky.
61
The Russian Five / “The Mighty Handful” Wikipedia
worked together to create a distinct Russian classical music: Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. Late 19th C.
62
Antonín Dvořák
(1841-1904), Czech composer 9b Based himself on folk dance music: bohemian, illiterate traditions, to create nationalistic Czech music. Went to US to create nationalistic US music, used negro melodies (African American music) and indigenous music. Invited by Thurber, director conservatory. Ppl didn’t like his inspiration said it didn’t rep all music there, Amy said: need also consider Scottish Irish Inuit music. Ppl/beach also said a foreigner should not dictate how write American music.
63
Symphony #9 in E Minor, From the New World also called The New World Symphony (1893) 9b
Inspired by African American melodies, songs common to plantation workers and black-face minstrelsy. Mature symphony: slow intro to fast 1st mov.
64
Amy Beach
1867 1944 | 2nd new England school. Most famous 19th C large scale composer. Inspired by Wagner.
65
Symphony in E Minor, Gaelic Symphony (1894)
Gaelic symphony, inspired by Irish. 2h40: Scottish theme which closes the sonata form.
66
minstrel music / black-face minstrelsy wiki
American theater, popular 1830 40, white ppl played African Americans (blackface makeup).
67
art song genre
genre in fashionable salons. Basically a monody I guess, cuz its piano + voice.
68
ballet / ballet score (genre)
ballet as a genre include both the dance and music the proper term for music alone is ballet score the proper term for the dance alone is choreography
69
character piece (know the following titles)
- Etude, nocturne, prelude 7c: Form ternary ABA as it is typical in Chopin’s character pieces It is a new genre in the 19th century They are one movement miniatures for solo piano, usually brief with more of less descriptive titles
70
étude nocturne prelude 7c
Frederic Chopin character pieces are called etudes. They were technical studies for his piano. Thus they are technically difficult pieces
71
concerto (solo concerto) 5a
end 18th C, stopped putting word solo to designate 3 mov for 1 solo instrument + orchestra
72
concert overture 9a
1-mov work in sonata form, scored for orchestra, descriptive title. Concert opener. Titled overture.
73
double concerto 5a
concerto w 2 soloists
74
grand opera
- used a lot of effect ike machinery, dance, animals etc. mostly historical topics, larger than life characters and war/politics.
75
- opera buffa 6c
``` comic Italian opera. Generally, in 2 acts using recitative and arias. Plots involve contemporary situations and characters including servants and common folk. Wider appeal for middle class audiences than did opera seria never uses spoken dialogue ```
76
- opéra comique 8b
genre of comic operas in French. They use spoken dialogue
77
- opera seria 6c
serious Italian opera in 3 acts, using recitative and arias; plots drawn from classical history or from legends. Arias contain long melismas. This is the oldest genre of opera and associated with aristocratic taste never uses spoken dialogue
78
- orchestral art song / orchestral Lied ????? google
- same as lied, except instead of piano u have an orchestra accompanying.
79
- piano trio [know instruments typically included] google
piano violin and cello
80
- piano quintet [know instruments always included] 5a
piano, 1st violin, 2nd violin, viola, cello. | Multi-mov work (3 or 4+)
81
- Singspiel 6c
Light and/or comic German genre, use spoken dialogue (no recitative) along with arias, duets and choral numbers. Associated with German middle class audience and it was supported by the Hapsburg emperor Joseph II
82
- sonata [two different types] 6a
Solo sonata: genre of chamber music. In one of two formats: 1. multi-movement genre for one piano (harp, guitar, organ, etc.) alone 2. a multi-movement genre for an instrumental soloist with piano accompaniment
83
- string quartet [know instruments always included] 6a
4 movement musical genre for 1st violin, 2nd violin, viola and cello
84
- suite / orchestral suite 9b
its def follow the same used in baroque period; multi-movement collection of dances, in this case, written for orchestra
85
- symphonic poem (tone poem) 9a
1-mov work, descriptive title, free form. Scored for orchestra. Anywhere on concert program. Titles may be drawn from lit.
86
- symphony 6a
- multi mov work for orchestra alone, usually 4 mov in classical period. In sonata form. SEE TABLE 6A for 4 mov outline.
87
- woodwind quintet 5a
multi-mov | flute, clarinet, oboe, bassoon, French horn (brass, not woodwind).
88
- Common ensemble terms designating number
- 1 solo 2 duet 3 trio 4 quartet 5 quintet 6 sextet 7 septet 8 octet 9 nonet
89
- Where did Antonín Dvořák look for “authentic” sources of indigenous music on which to base his Czech nationalist works?
Bohemian (east European) folk music. Never quoted, evoked spirit/rhythm.
90
- While in the United States, where did Dvořák suggest that Americans should look for sources of indigenous American music? What kind of “American” musical sources did he use in his Symphony No. 9, subtitled From the New World, which he composed while in the United States in the 1890s? 9b
African American and Amerindian. “negro melodies” black-face minstrelsy.
91
- In what way is Amy Beach’s Symphony in E Minor, Op. 32, subtitled Gaelic Symphony, a response to Dvořák? 9b
In that she thought that his American nationalistic music, being inspired by African American and Amerindian music, was not truly representative of the diverse ethnicity of the USA. She wanted to include music of Irish Scottish Inuit musical traditions.
92
- In what ways were Dvořák and Beach in general agreement regarding what constituted appropriate musical source material for the creation of a nationalistic music in any country Q teacher
The best way to create a national style is to find some indigenous music. Seems to be relating it more to illiterate traditions. He went more for dancing folk bohemian music. She went for Gaelic music. He argued for negro music. Both had an essentialist idea of what it takes to create national music, needs to be smth that had roots in the country, historical somehow.

MUAR 211 (2 decks)

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