1. Music 105 Final Review

2. Fundamentals of Music Tempos: from slowest to fastest: – Largo, Adagio, Andante, Moderato, Allegro, Presto – Be able to order three tempos from slowest to fastest. Major and minor: distinguish between the two --major is often regarded as “happier” Ex. Mozart, Piano Concerto No. 23, I Ex. Beethoven, Symphony No. 5 in C Minor, IV --minor is often regarded as “sad” Ex. Mozart, Symphony No. 40 in G Minor, I Ex. Beethoven, Symphony No. 5 in C Minor, I

3. Music Textures Monophony (monody): a single line of melody; ex. In Paradisum, anonymous composer, 9 th c. Polyphony: two or more independent melodic lines; ex. Fugue in C Major, Well-Tempered Clavier, Book I, J. S. Bach; Josquin Despres, Kyrie, Pange Lingua Mass (imitative polyphony) Homophony: harmony; one primary melodic line with chords underneath. Generally all voices have the same rhythm. Ex. Beethoven, Symphony No. 5 in C Minor, IV, beginning 20 seconds or so.

4. Musical Instrument Families Strings: violin, viola, cello, contrabass (double bass) Woodwinds: flute, clarinet, oboe, bassoon Brass: trumpet, French horn, trombone, tuba Percussion: snare drum, timpani (kettle drums), bass drum

5. Music Eras Middle Ages: 476-1450 – Hildegard of Bingen, Columba aspexit – Anonymous, In Paradisum – Guillaume de Machaut, “Dame de qui toute ma joie vient” Renaissance: 1450-1600 – Guillaume Dufay, Ave maris stella, homophony – Josquin Despres, Kyrie from Pange Lingua Mass; polyphonic

6. Baroque Era Baroque 1600-1750 Tonality, functional harmony, basso continuo Dissonances resolve. – Monteverdi, The Coronation of Poppea (genre: opera seria) – Handel, Julius Caesar, “La Giutizia” aria (genre: opera seria – J. S. Bach, Well-Tempered Clavier, Book 1, Prelude and Fugue in C Major. (genre: fugue for keyboard)

7. Classical Era Classical 1750-1820 Tonality, functional harmony, sonata form—key relations are important. Tonic key, dominant key. – Mozart, Symphony No. 40 in G Minor, I – Mozart, Don Giovanni, “La ci darem la mano” – Early Beethoven, Symphony No. 5 in C Minor, I

8. Romantic Era Romantic 1820-1900 Characteristics: rubato; chromaticism; program music; both miniatures and grandiose compositions. – R. Schumann, “Eusebius” from piano cycle Carnaval— piano character piece; program music. – R. Schumann, Lied “In the Lovely Month of May” from song cycle Dichterliebe. Doesn’t resolve. Harmony is less functional; expression of emotion more important. – F. Chopin, Nocturne in F Sharp—piano character piece; program music.

9. Modern Era Modern Era 1900-present – Impressionism, Claude Debussy, Clouds (Nuages): dissolution of tonality; whole tone and pentatonic scales. Still tonal-sounding, but what about resolution? Functional harmony—no. Resolutions are avoided. Modernism: Igor Stravinsky, Rite of Spring, “Dance of the Adolescents”. Functional harmony: no. Tone cluster chords—very dissonant, not resolving. Octatonic scale. Expressionism: Arnold Schoenberg, Pierrot Lunaire. Atonal, “the emancipation of dissonance.” Sprechstimme.

10. Modern Era, continued Experimentalism: John Cage. Sonatas and Interludes for Prepared Piano (1946-1948). Piano Sonata No. 5. – Concrete music –the use of recorded ambient (environmental) sounds (Varese’s Poeme electronique) Minimalism: Steve Reich, Music for 18 Musicians; tonal, major mode, rhythmic pulse throughout piece. Post-Minimalism: David Lang, Cheating, Lying, Stealing; tonal, melodic development, more complex form than Reich’s work.