Music: An Appreciation 10th Edition by Roger Kamien

Music: An Appreciation 10th Edition by Roger Kamien
Part I Elements 2011 © McGraw-Hill Higher Education

Music—vital part of human society
Provides entertainment, emotional release, accompanies activities Heard everywhere in modern life Recorded music is a 20th century innovation Internet access, portable audio Live performance—special excitement Experience affected by emotional state of both performer and audience Evaluating music performances Background music vs. alert, active listening Perceptive listening enhances enjoyment Knowledge of musical elements enhances perception

Ch. 1 - Sound: Pitch, Dynamics, and Tone Color
Our world is filled with sounds Sounds can be pleasant or unpleasant Humans are able to focus on specific sounds Can ignore sounds that do not interest us Sound Begins as result of a vibrating object Transmitted through a medium - air Our eardrums vibrate, too Impulses sent to brain for processing Music: organization of sounds in time Four main properties of musical sounds Pitch Tone color Dynamics Duration

Pitch: Highness or Lowness of Sound
Determined by frequency of vibration Fast vibration=high pitch; slow vibration=low pitch Generally, smaller vibrating objects=higher pitches In music, definite pitch is a tone Tones have specific frequencies e.g., 440 cycles (vibrations) per second = A Irregular vibrations create sounds of indefinite pitch Interval: distance between 2 tones Octave: doubling/halving of frequency Tones an octave apart seem to blend together Western music divides octave into 12 tones Non-western music may divide into different number Range: distance between voice or instrument’s highest & lowest possible tones

Tone Color – also called timbre
Quality that distinguishes tones Can be bright, dark, mellow, etc. Changes in tone color create variety and contrast Tone colors add a sense of continuity Specific melodies with specific tone colors Unlimited variety of tone colors Composers frequently blend sounds of instruments to create new tone colors Modern electronic techniques create new tone colors

Listening Outlines, Vocal Music Guides, and the Properties of Sound
Helps focus attention on musical events as they occur Preceded by description of the music’s main features Listening Outline - points out notable musical sounds Vocal Music Guide – helps the listener follow the thought, story, or drama Listening Outlines * Suggestion: while listening to one passage, look ahead to what is next.

Dynamics Relative loudness of a sound
Related to amplitude of vibration producing sound Changes in dynamics may be sudden or gradual Accent: tone played louder than tones near it Italian terms used to indicate dynamics pianissimo pp very soft piano p soft mezzo piano mp moderately soft mezzo forte mf moderately loud forte f loud fortissimo ff very loud Extremes: ppp, pppp, fff, ffff Crescendo: gradually louder Decrescendo (diminuendo): gradually softer

Listening Lohengrin, Prelude to Act III (1848) by Richard Wagner
Basic set, CD 1:01 Listening Outline: p. 8 Listen for: Dynamic & mood contrasts Texture of the full orchestra

Listening Prelude in C Minor for Piano, Op. 28, No. 20
by Frédéric Chopin CD 1:05 Listening Outline: p. 8 Note: Contrasts in dynamics Tempo – constant throughout

Listening The Firebird, Scene 2 (1910) by Igor Stravinsky CD 1:08
Brief Set: CD 1:01 Listening Outline: p. 9 Note: Tone Colors through instrumentation Dynamic contrasts

Listening C-Jam Blues (1942)
by Duke Ellington and His Famous Orchestra Listening Outline: p. 9 Basic set, CD 1:10 Brief set, CD 1:03 Listen for: Tone Colors Repeated note melody Improvised solos Muted brass instruments

Ch. 2 - Performing Media: Voices and Instruments
Voices – unique ability to fuse words & musical tones Voice range is based on physical makeup & training Voice classifications Female Male Soprano (highest) Tenor Mezzo-soprano Baritone Alto Bass (lowest) Vocal music is frequently performed with instrumental accompaniment

Musical Instruments – mechanism (other than the voice) that produces musical sounds
Western instruments: 6 broad categories String Woodwind Brass Percussion Keyboard Electronic Made in different sizes for range Tone color varies with the register Provide entertainment; used for accompaniment Instruments’ popularity rises & falls with changing musical tastes (See modern symphony orchestra)

String Instruments Sound produced by vibrating a tight cable
The longer the string, the lower the pitch Orchestral bowed instruments Violin Viola Cello (violoncello) Bass (double bass) Common playing techniques Double stop Pizzicato Vibrato Mute Tremolo Harmonics Some string instruments not played with bow Guitar & harp use plectrum (small wedge—pick)

Woodwind Instruments Traditionally, woodwinds made of wood
In 20th Century, metal & plastic became common The longer the tube, the lower the pitch Holes along instrument serve to lengthen the tube Main orchestral woodwinds and ranges: Flute Family Clarinet Family Oboe Family Bassoon Family Piccolo Flute Clarinet Oboe English horn Bass clarinet Bassoon Contrabassoon Woodwinds—single note instrument Sound produced by blowing—player’s breath “Whistle mouthpiece” Single reed Double reed Saxophone—single reed inst. common in jazz

Brass Instruments Orchestral brasses (in order of range):
Trumpet, french horn, trombone, tuba Cornet, baritone horn & euphonium used mainly in concert and marching bands Sound produce by blowing into mouthpiece Vibration of player’s lips produces sound Sound exits through flared end called bell Pitch changed in 2 ways: Pressure of player’s lips (together or against mouthpiece) Lengthening the instrument via slide or valves Trombone uses sliding tubes Others use valves connected to additional tubing Generally, the longer the tube, the lower the pitch Tone color is altered by inserting mute into bell Brass provides power and emphasis in music

Timpani (kettledrums)
Percussion Instruments Sound (generally) produced by striking, shaking, or rubbing the instrument Instruments of definite pitch produce tones Those of indefinite pitch produce noise-like sounds Definite Pitch Indefinite Pitch Timpani (kettledrums) Snare drum (side drum) Glockenspiel Bass drum Xylophone Tambourine Celesta Triangle Chimes Cymbals Gong (tam-tam) Membranes, pieces of wood or metal vibrate Percussionists must play many instruments Percussion traditionally emphasizes rhythm 20th Century music—greater use of percussion

Keyboard Instruments Use piano-type keyboard for control Best known:
Capable of several notes at once Best known: Piano Created ~1700 & refined through ~1850 Sound created when felt hammer strikes tight string Pedals affect sound 88 keys Harpsichord Important ~1500 through ~1775 Sound produced by small wedges plucking string Pipe Organ Most prominent ~1600 to ~1750 Wide range of pitch, dynamics, & tone color Sound produced by air being directed to pipes Pipe sets of various materials produce different tone color Pipe sets put in play by using knobs called stops Accordion Air bellows drives reeds controlled by keyboard & buttons

Electronic Instruments
Produce or amplify sound using electronics Invented ~1904, significant impact only after 1950 Modern technology blurs lines between instrument types, recording, computer, and hybrid devices Tape studio: main electronic tool of 1950s Synthesizers came into use in 1960s Huge machines first built in mid-1950s Analog synthesis dominated until ~1980 Digital (FM) synthesis came to forefront in 1980s Effects devices were integrated into digital synthesizers Sampling technology advanced in 1990’s MIDI (1983) allowed connection of devices Small computers develop in 1970s & 80s Modern composers connect these devices, use software, and write new types of music

Listening The Young Person’s Guide to the Orchestra, Op. 34 (1946)
by Benjamin Britten Listening Outline: p. 29 Basic set, CD 1:18 Brief set, CD 1:11 Listen for: Theme, variations Contrast Repetition Various orchestral instruments

Listening The Stars and Stripes Forever (1897) by John Philip Sousa
CD: 1:43 Listening Outline: p. 31 Note: Band Instrumentation March

Ch. 3 - Rhythm Beat Meter Accent and Syncopation
~ Flow of music through time ~ Particular arrangement of note lengths Beat Recurrent pulsation Divides music into equal units of time Meter Grouping of beats 2’s & 3’s and strong & weak beats Accent and Syncopation Accent: note is emphasized Syncopation: emphasis placed on an unexpected note or beat

Tempo The speed of the beat, the pace
Associated with emotional effect Tempo indicated at beginning of piece As with dynamics, Italian terms are used Molto, non troppo, accelerando, ritardando Metronome—indicates exact tempo

Ch. 4 - Music Notation Notating Pitch Written music stores information
Allows composers to communicate their ideas to others Notating Pitch Letter names: A B C D E F G Staff Grand staff G Clef or Treble F Clef or Bass

Notating Pitch Keyboard note naming with notation Keyboard note naming

Notating Rhythm Notating Silence
Music notation indicates length of tone in relation to other tones in the piece How note looks indicates duration Notating Silence Rests indicate notated silence

Notating Meter The Score
Time signature indicates the meter of a piece of music Appears at beginning of piece Appears again later if meter changes Written as two numbers, one above other 2 Top number: how many beats per measure 3 4 2 Bottom number: what type note counts 1 beat Common & cut time, duple & triple meter The Score Includes music for every instrument Can include 20+ lines of music at once See example in text

Ch. 5 - Melody A series of single notes that add up to a recognizable whole Begins, moves, ends Tension & release Stepwise vs. leap motion Climax Legato vs. staccato Made of phrases (parts) Sequence within melodies Cadence: Complete vs. Incomplete

Ch. 6 - Harmony Consonance and Dissonance
The way chords are constructed and how they follow each other Chord: 3 or more tones sounded at once Chord is simultaneous tones Melody is series of individual tones Progression: how chords follow each other Consonance and Dissonance Stable, restful chords—consonant Unstable, tense chords—dissonant Degree of dissonance—more & less dissonant Resolution—movement away from dissonance

The Triad Broken Chords (Arpeggios) Simplest, most basic chord
Made up of three notes Notated on 3 adjacent lines or spaces Triad built on 1st scale note called tonic Most stable, restful chord Pieces usually begin & end on this chord Triad built on 5th scale note: dominant Most unstable, tense chord Dominant to tonic movement feels conclusive Broken Chords (Arpeggios) Chord tones sounded in series

Ch. 7 - Key The Major Scale The Minor Scale
Centering of a melody or harmony around a central note The Major Scale Whole steps and half steps occurring in a predetermined order Bright, happy sound The Minor Scale Whole steps and half steps occurring in a different predetermined order Dark, sad sound

Listening Prelude in E Minor for Piano, Op. 28, No. 4
(1839) by Frédéric Chopin CD 1:52, Brief Set 1:36 Listening Outline: p. 47 Note: Harmony for variety and movement

The Key Signature The Chromatic Scale
Pieces using major scales—major key Pieces using minor scales—minor key Number of sharps or flats played determines scale and key Also determines key signature Key signature notated at beginning of piece between clef sign and time signature The Chromatic Scale Utilizes all 12 notes within the octave Includes both black and white piano keys This scale does not define a key

Modulation: Change of Key
Provides contrast within longer piece Modulation like temporary shift in gravity New tone and key becomes “home” Tonic Key The main key of a piece Modulations away usually return to the tonic key Return to tonic creates feeling of conclusion Return to tonic usually occurs near end of piece

Ch. 8 - Musical Texture Monophonic Texture Polyphonic Texture
Layering of sound, how layers relate Monophonic Texture Single, unaccompanied melody Literally “one sound” Polyphonic Texture 2 or more equally important melodies sounding simultaneously Homophonic Texture One melody with chordal accompaniment Changes of Texture Within a piece, creates variety and contrast

Listening Farandole from L’Arlésienne Suite No. 2 (1879)
by Georges Bizet Listening Outline: p. 56 Basic set, CD 1:53 Brief set, CD 1:37 Note contrasting textures

Ch. 9 - Musical Form Techniques that Create Musical Form
Organization of musical elements in time Techniques that Create Musical Form Repetition—restating musical ideas Contrast—avoiding monotony w/ new ideas Variation—reworking ideas to keep them new Types of Musical Form Ternary Simple A B A Subdivided aba Subdivided aba cdc aba Subdivided aba cdc

Listening Dance of the Reed Pipes from Nutcracker Suite (1892)
by Peter Ilyich Tchaikovsky Listening Outline: p. 59 Basic Set, CD 1:58 Brief Set, CD 1:42 Note ternary form

Types of Musical Form Binary A B A A B A B B A A B B

Listening Bourée from Suite in E Minor for Lute (1710)
by Johann Sebastian Bach Listening Outline: p. 61 Basic Set, CD 1:61 Brief Set, CD 1:45 Note binary form

Ch Performance The Performer brings to life the printed symbols laid out by the composer The Conductor leads a group of musicians Recorded and Live Performance Judging Performance: musicians can play the same notes and yet make different statements in the way that they perform.

Ch Musical Style Characteristic way of using melody, rhythm, tone color, dynamics, harmony, texture, and form Western art music can be divided into: Middle Ages— Renaissance— Baroque— Classical— Romantic— 20th Century to 1945 1945 to present Shaped by political, economic, social, and intellectual developments

Part II The Middle Ages 2011 © McGraw-Hill Higher Education

Time Line Middle Ages (450-1450) Rome sacked by Vandals—455
Beowulf—c. 700 First Crusade—1066 Black Death— Chaucer, The Canterbury Tales – Joan of Arc executed by English—1431

The Middle Ages A thousand years of European history
Early - a time of migrations, upheavals & wars Later – a period of cultural growth Romanesque churches & monasteries; Gothic cathedrals; Crusades to recover the Holy City from the Muslims Class Distinctions Nobility sheltered in fortified castles; knights in armor; amused themselves with hunting, feasting & tournaments Peasants vast majority of population; lived miserably; subject to feudal overlords Clergy Roman Catholic church exerted power; monks held a virtual monopoly on learning

Ch. 1 - Music in the Middle Ages
Church was the center of musical life - Important musicians were priests - Women were not allowed to sing in church, but did make music in convents - Only sacred music was notated Music primarily vocal and sacred Instruments not used in church Few medieval instruments have survived Music manuscripts did not indicate tempo, dynamics or rhythm

Ch. 2 - Gregorian Chant The Church Modes
Official music of the Roman Catholic church No longer common since 2nd Vatican Council ( ) Represents the voice of the church rather than an individual Monophonic melody set to Latin text Melodies tend to move by steps in a narrow range Flexible rhythm - without meter and sense of beat Named for Pope Gregory I (r ) Later the melodies were notated Notation developed over several centuries The Church Modes Basic scales made of different whole & half-step patterns

Listening Alleluia: Vidimus stellam Gregorian Chant Monophonic texture
(We Have Seen His Star) Vocal Music Guide: p. 76 Basic Set, CD 1:63 Brief Set, CD 1:47 Gregorian Chant Monophonic texture Ternary form: A B A

Listening O successores (You successors) Chant
Hildegard of Bingen Vocal Music Guide: p. 79 Basic Set, CD 1:66 Brief Set, CD 1:50 Chant Originally written without accompaniment This recording includes a drone—long, sustained notes Note extended range of melody Written for nuns by a nun (sung in a convent)

Ch. 3 – Secular Music in the Middle Ages
Composed by French nobles who were poet-musicians Troubadours (southern France) Trouvères (northern France) Performed by jongleurs (traveling minstrels) Song topics: love, Crusades, dancing, spinning songs Instrumental dances

Listening - Estampie Medieval dance music Strong beat (for dancing)
Single melody line is notated Performers improvised instrumental accompaniment Basic Set, CD 1:67 Brief Set, CD 1:51

Ch. 4 – The Development of Polyphony: Organum
Between a 2nd melody line added to chant Additional part initially improvised, not written Paralleled chant line at a different pitch added line grew more independent Developed its own melodic curve (no longer parallel) c note-against-note motion abandoned 2 lines w/ individual rhythmic and melodic content New part, in top voice, moved faster than the chant line School of Notre Dame (Paris): Measured Rhythm Leonin & Perotin developed notation of precise rhythms Chant notation had only indicated pitch Medieval theorists considered interval of 3rd as dissonant Modern chords built of 3rds, considered consonant

Listening Alleluia: Nativitas (The Birth; 1200?) by Perotin
CD 1: 68 Organum in three voices Cantus firmus Note: clearly defined meter

Ch. 5 - Fourteenth-Century Music: The “New Art” in Italy and France
Secular music more important than sacred Changes in musical style – known as new art ars nova (Latin) New music notation system evolved Beats could be subdivided into 2 as well as 3 Syncopation became important rhythmic practice

Listening Ecco la primavera (Spring has come; Fourteenth Century)
by Francesco Landini Basic Set, CD 1:69 Vocal Music Guide: p. 85 Syncopation Ballata

Listening Puis qu’en oubli sui de vous
(Since I am forgotten by you; around 1363) by Guillaume de Machaut Basic Set: CD 1: 72, Brief Set: 1:52 Vocal Music Guide: p. 86 Vocal Melody accompanied by two lower parts Syncopation

Listening Agnus Dei from Notre Dame Mass by Guillaume de Machaut
Basic Set, CD 1:73; Brief Set, CD 1:53 Vocal Music Guide: p. 88 Polyphonic; triple meter; syncopation Ternary form: A B A (form results from the text)

Part III The Renaissance 2011 © McGraw-Hill Higher Education

Time Line Renaissance (1450-1600) Guttenberg Bible—1456
Columbus reaches America—1492 Leonardo da Vinci: Mona Lisa—c. 1503 Michelangelo: David—1504 Raphael: School of Athens—1505 Martin Luther’s 95 theses—1517 Shakespeare: Romeo and Juliet—1596

The Renaissance Rebirth of human creativity
Time of exploration & adventure Voyages of Christopher Columbus, Vasco da Gama and Ferdinand Magellan Age of curiosity & individualism Leonardo da Vinci Intellectual Movement – Humanism Captivated by ancient Greece & Roman cultures Visual arts depicted realism w/ linear perspective and illusion of space & depth Catholic Church far less powerful Education a status symbol for the aristocracy & upper middle class

Ch. 1 - Music in the Renaissance
Invention of printing widened the circulation of music Musicians worked in churches, courts, & towns Church remained an important patron of music Church choirs grew in size (all male) Musical activity shifted to the courts Town musicians played for civic processions, weddings Musicians enjoyed higher status & pay Composers sought credit for their work Italy became leading music center

Characteristics of Renaissance Music
Words and Music Vocal music more important than instrumental Word painting Wide range of emotion w/o extreme contrasts Texture Polyphonic Imitation among the voices Sounds fuller; expanded pitch range; consonant chords are favored w/ use of triads Rhythm and Melody Rhythm a gentle flow rather than sharply defined beat Melodic line has greater rhythmic independence Melody usually moves along a scale w/ few large leaps

Ch. 2 - Sacred Music in the Renaissance
Motet – Josquin Desprez Short polyphonic choral work Latin text usually overlaid with vernacular text Mass – Giovanni Pierluigi da Palestrina Polyphonic choral composition of the Catholic church Made up of 5 sections: Kyrie Gloria Credo Sanctus Agnus Dei

Listening Ave Maria…virgo serena Four voice motet Polyphonic imitation
Josquin Desprez Vocal Music Guide: p. 100 Basic Set, CD 1:76 Brief Set, CD 1:56 Four voice motet Polyphonic imitation Overlapping voice parts

Listening Kyrie from Pope Marcellus Mass by Palestrina (1525 – 1594)
Vocal Music Guide: p. 103 Basic Set CD 1:79 Brief Set 1:59 Rich polyphonic texture – 6 voices Vocal imitation Spirit of Gregorian chant Palestrina’s work became the model for mass composers

Ch. 3 - Secular Music in the Renaissance
Vocal Music Music was an important leisure activity People were expected to play a musical instrument and read notation Madrigal for several solo voices set to a short poem, usually about love Combined homophonic & polyphonic textures Word painting & unusual harmonies Renaissance Lute Song Song for solo voice and lute (plucked string instrument) Popular instrument in the Renaissance home Homophonic texture Lute accompanies the vocal melody

Listening As Vesta was Descending (1601) Madrigal Note text painting:
by Thomas Weelkes Vocal Music Guide: p. 105 Basic Set, CD 1:82 Brief Set, CD 1:62 Madrigal Note text painting: Pitches rise on “ascending” Pitches fall on “descending” “Running down” “Two by two,” “three by three,” “all alone”

Listening Flow My Tears (about 1600) by John Dowland (1563 – 1626)
Vocal Music Guide: p. 106 Basic Set, CD 1:83 Brief Set, CD 1:63 Very popular Lute Song (Recorded by rock star, Sting) Expression of melancholy - descending four-note pattern Three brief musical sections: A B C

Instrumental Music Still subordinate to vocal music
Instrumentalists accompanied voices Harpsichord, organ, or lute More music written specifically for instruments Instrumental music intended for dancing Pavane or passamezzo in duple meter Galliard in triple meter Distinguished between loud & soft instruments Outdoor (loud): trumpet, shawm Indoor (soft): lute, recorder

Ch. 4 - The Venetian School: From Renaissance to Baroque
Focal point for music in Venice – St. Mark’s Cathedral Giovanni Gabrieli and the Polychoral Motet Plaudite (Clap Your Hands) Vocal Music Guide: p. 112 Basic Set, CD 2:03

Part IV The Baroque Period 2011 © McGraw-Hill Higher Education

The Baroque Period Time Line Shakespeare: Hamlet-1600
Cervantes: Don Quixote-1605 Jamestown founded-1607 Galileo: Earth orbits Sun-1610 King James Bible-1611 Newton: Principia Mathematica-1687 Witchcraft trials in Salem, Mass.-1692 Defoe: Robinson Crusoe-1719 Swift: Gulliver’s Travels-1726

The Baroque Style Time of flamboyant lifestyle
Baroque style “fills the space” Visual Art Implies motion Busy Architecture Elaborate Change in approach to science Experiment-based, not just observation Inventions and improvements result

Ch. 1 - Baroque Music Two giants of Baroque composition
Johann Sebastian Bach (period ends w/ Bach’s death) George Frideric Handel Other noted composers Claudio Monteverdi Henry Purcell Arcangelo Corelli Antonio Vivaldi Period divided into three phases Early: favored homophonic texture Late: dominant chord to the tonic Middle: major & minor scales

Characteristics of Baroque Music
Unity of Mood Expresses one mood throughout piece Rhythm Rhythmic patterns are repeated throughout Provides compelling drive & energy Melody Opening melody heard again and again Continuous expanding of melodic sequence Dynamics Volumes are constant with abrupt changes – terraced dynamics

Characteristics of Baroque Music
Texture Late Baroque mostly polyphonic Extensive use of imitation Chords and the Basso Continuo Chords meshed with the melodic line Bass part served as foundation of the harmony Basso Continuo: accompaniment played by keyboard instrument following numbers which specifies the chords – similar to modern jazz & pop “fake book” notation Words and Music Text painting/word painting continues Words frequently emphasized by extension through many rapid notes

The Baroque Orchestra Based on violin family of instruments
Small by modern standards Varying instrumentation Strings, woodwinds, brass, & percussion Nucleus was basso continuo unit Composers specified instrumentation Tone color was subordinate to melody, rhythm, & harmony Composers obtained beautiful effects from specific tone colors

Baroque Forms Common basic forms:
Instrumental music frequently made up of movements Movement: a piece that sounds complete in itself, but is part of a larger composition Performed with pause between movements Unity of mood within individual movements Movements often contrast with each other Common basic forms: Ternary A B A Binary A B A A B A B B A A B B

Ch. 2 - Music in Baroque Society
Music written to order New music, not old-fashioned, was desired Courts: Music indicated affluence Court Music Director Good prestige, pay, and other benefits Still considered a skilled servant

Some aristocrats were musicians
Church music was very elaborate Most people heard music only in church Some, though few, public opera houses Music careers taught by apprenticeship Orphanages taught music as a trade

Ch. 3 - The Concerto Grosso and Ritornello Form
For small group of soloists and orchestra Multi-movement work Usually 3 movements Fast Slow (usually quieter) Fast (sometimes dance-like)

Ritornello Frequently used in 1st & last movements of concerto grosso
Theme repeatedly presented in fragments Contrast between solo sections and tutti

Listening Brandenberg Concerto No. 5 in D major by Johann Sebastian Bach For string orchestra and group of soloists Soloists: flute, violin, and harpsichord First movement Ritornello form Listening Outline: p. 129 Basic Set, CD 2:4 Brief Set, CD 2:1

Ch. 4 - The Fugue Cornerstone of Baroque music
Polyphonic composition based on one main theme Vocal or instrumental Subject Main theme Presented initially in imitation Each voice enters after previous voice has completed presenting the subject

Listening Organ Fugue in G Minor by J. S. Bach
Note individual voice entry on same melody (subject) Listening Outline: p. 133 Basic Set, CD 2:17 Brief Set, CD 2:06

Ch. 5 - The Elements of Opera
Drama sung to orchestral accompaniment Text in opera is called libretto Music is written by a composer Libretto is written by a librettist Opera can be serious, comic, or both Two primary types of solo songs: Recitative: presents plot material Aria: expresses emotion—usually a “show-off” vehicle for the singer Other types: duet, trio, quartet, quintet, etc. Three or more singers make up an ensemble

Chorus: groups of actors playing crowd parts
The prompter—gives cues to singers The orchestra pit – sunken area in front of stage Prelude or overture - instrumentals that open opera acts Modern questions concerning text in opera Translation of text and effects upon text painting Supertitles-projection of text above the stage

Ch. 6 - Opera in the Baroque Era
Result of musical discussions of the Camerata in Florence 1st known opera: Euridice (Peri-1600) Orfeo (Monteverdi-1607) 1st large scale (great) opera Opera composed for court ceremonies Display of magnificence and grandeur Patrons compared to ancient heroes 1st public opera house 1637 in Venice Rise of virtuoso singer—chief was castrato Secco vs accompanied recitative

Ch. 7 - Claudio Monteverdi
Italian, early Baroque composer Wrote first great operatic work, Orfeo Worked last 30 years at St. Mark’s in Venice Composed both sacred music and secular music for the aristocracy Only 3 of his 12 operas still exist

Listening Tu se’ morta from Orfeo by Monteverdi
Note: Homophonic texture Use of text painting Vocal Music Guide: p. 142 Basic Set, CD 2:20 Brief Set, CD 2:09

Ch. 8 - Henry Purcell Ground Bass English composer (1659-1695)
Highly regarded, held court positions Buried beneath the organ in Westminster Abbey Dido and Aeneas Ground Bass Repeated musical idea in bass Variation form—melodies above change Also called basso ostinato

Listening Dido’s Lament from Dido and Aeneas by Purcell
Note: Recitative followed by aria Aria makes use of ground bass Vocal Music Guide: p. 144 Basic Set, CD 2:21 Brief Set, CD 2:10

Ch. 9 - The Baroque Sonata Instrumental work
Multi-movement piece for one to eight instruments Trio sonata Three melodic lines: basso continuo and two above Written as three parts, but performed by four players Sonata da chiesa—church sonata (dignified) Sonata du camera—chamber sonata (more dance-like, intended for court performance)

Ch. 10 - Arcangelo Corelli Trio Sonata in A Minor, Op.3 No. 10
by Arcangelo Corelli For 2 violins and basso continuo Basic Set, CD 2:23 and 2:24 - p. 146 Note: Polyphonic texture Multi movement work Contrast between movements

Ch. 11 - Antonio Vivaldi Late Baroque Italian composer
Il prete rosso (the red priest) Taught music at girls orphanage in Venice Girls performed at mass hidden behind screen Wrote sacred and secular vocal and instrumental music Famous as a virtuoso violinist & composer

Listening La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) by Vivaldi Listening Outline: p. 148 Basic Set, CD 2:25 Brief Set, CD 2:12 Concerto for violin and string orchestra Note: Polyphonic texture & ritornello form Baroque program music Descriptive effects (trills for bird songs, string tremolos for thunder)

Ch. 12 - Johann Sebastian Bach
German, late Baroque composer Organist and violinist Deeply religious (Lutheran) Worked in sacred and secular positions Weimar/Cothen/Leipzig Large family Known during lifetime as keyboardist Wrote in every form except opera Recognized for technical mastery Highpoint of polyphony combined w/ harmony All music majors study Bach’s compositions He is the model for learning to write music

Listening Prelude and Fugue in C Minor, from The Well-Tempered Clavier, Book I by Bach Listening Outline: p. 154 Basic Set: CD 2:33 Ornamental passage in the style of improvisation Concludes with bright C major harmony Pedal point

Ch. 13 - The Baroque Suite Instrumental, multi-movement work
Written for listening, but based upon dance Movements usually in binary form—AABB Often began with a non-dance overture French overture—2 sections 1st slow, dignified 2nd faster, often beginning as a fugue Forerunner of forms used in the next period

Listening Suite No. 3 in D Major (~1730)
by J. S. Bach, 2nd, 4th, & 5th mvts. Basic Set, CD 2:41 Brief Set, CD 2:21 Listening Outline p. 161 Note: Extensive polyphony Contrast of dance forms and tempo in various movements

Ch. 14 - The Chorale and Church Cantata
Lutheran church service was social event of the week Lasted 4 hours with 1 hour sermon Music was major part of worship service Congregation participated in singing chorales Chorale: hymn tune w/ German text Cantata Multi-movement church work for chorus, soloists, and orchestra Vernacular religious text Resembled opera in its use of choruses, recitatives, arias, and duets

Listening Wachet auf, ruft uns die Stimme (Awake, A Voice Is Calling Us) by J. S. Bach (1731), Movements 1, 4, & 7 Vocal Music Guides: pp Basic Set, CD 2:47 Brief Set, CD 2:23 Note: Vernacular (German) text Chorale tune basis Polyphonic until chorale in movement 7 Movement 7—provides for congregation to join in

Ch. 15 - The Oratorio Like opera: Unlike opera:
Large-scale work for chorus, soloists, and orchestra Contains arias, recitatives, ensembles Unlike opera: No acting, scenery, or costumes Based upon biblical stories Not intended for religious services Commonly performed today in both churches and concert halls

Ch. 16 - George Frederic Handel
Born in Germany—same year as Bach Not from musical family Father wanted him to be a lawyer Studied music in Germany, then to Italy to study opera, finally England to work Became England’s most important composer Wrote many operas in London Had own opera company Worked as composer, performer, & impresario Buried in Westminster Abbey

Listening From The Messiah by G. F. Handel (1741)
Ev’ry Valley Shall Be Exalted Vocal Music Guide: p. 174 Basic Set, CD 305 Brief Set, CD 2:27 For unto Us a Child Is Born Vocal Music Guide: p. 175 Basic Set, CD 3:06 Hallelujah Chorus Vocal Music Guide: p Basic Set, CD 3:09 Brief Set, CD 2:39

Part V The Classical Period 2011 © McGraw-Hill Higher Education

The Classical Period Time Line Seven Years’ War-1756-1763
Louis XVI in France Am. Declaration of Independence-1776 French Revolution-1789 Napoleon: first French consul-1799 Napoleonic Wars Goethe: Faust-1808 Austin: Pride and Prejudice-1813

The Classical Era Scientific advances changed world view Visual Art
Faith in the power of reason Undermining of traditional authority Social organization Religious establishment Age of Enlightenment Rise of the middle class worker Visual Art Moved away from ornate Baroque style Favored light colors, curved lines, & graceful ornaments

Ch. 1 - The Classical Style
Transition to Period: ~ C.P.E. and J.C. Bach—early pioneers Concentrated on simplicity and clarity Term classical Greek and Roman antiquity Supreme accomplishment of lasting appeal Anything that is not rock, jazz, folk, or popular Music and visual arts stress balance and clarity of structure Three main composers Joseph Haydn Wolfgang Amadeus Mozart Ludwig van Beethoven

Characteristics of the Classical Style
Contrast of Mood Contrasts both between & within movements Flexibility of rhythm Multiple rhythmic patterns for variety Texture Mostly homophonic, but with frequent shifts Melody Tuneful, easy to remember Composers borrowed popular tunes Dynamics Emotions expressed in shades of dynamics Use of gradual dynamic changes Related to development of the piano – soft/loud End of the Basso Continuo

The Classical Orchestra
Increase in size of orchestra – standard group of four sections Strings: 1st & 2nd violins, violas, cellos, double bass Woodwinds: @2 – flutes, oboes, clarinets, bassoons Brass: @2 – French horns, trumpets Percussion – 2 timpani Composers exploited individual tone colors Each section had a special role Strings most important w/ violins taking the melody Woodwinds added contrasting tone Horns & trumpets brought power to loud passages Timpani used for rhythmic bite and emphasis

Classical Forms Instrumental works consist of several movements that contrast in tempo & character 1st—Fast 2nd—Slow 3rd—Dance-related 4th—Fast The movements might use different forms A B A Theme and Variations Sonata Minuet and Trio Rondo Movements often contrast themes vividly By movement’s end, musical tensions are resolved

Ch. 2 - Composer, Patron, and Public in the Classical Period
Changing society affected musicians Haydn: worked 30 years for aristocratic family Mozart: began at court, broke away, died broke Beethoven: successful as independent musician Prospering middle class wanted aristocratic pleasures (theatre, literature, music) Public, ticket buying concerts became common Demand for printed music, instruments & music lessons Composers wrote playable music that would sell Serious compositions flavored by folk and popular music

Vienna Became the musical capital of Europe
Musicians came to study and seek recognition Aristocrats wintering there would bring their orchestras Musicians, including Mozart and Beethoven, frequently played gigs in wealthy homes Many musicians also worked in serenading street bands

Ch. 3 - Sonata Form Also called sonata-allegro form
Refers to form of a single movement Ternary form (A B A)—3 main sections Exposition Initial statement of 1st and 2nd themes Entire section usually repeated Development Tension building section Themes broken into fragments—motives Recapitulation Resolution of tension Re-statement of 1st and 2nd themes Often concludes with a “tag” or tail—Coda

Listening Symphony No. 40 in G Minor, K. 550 Note: Sonata Form
by Wolfgang Amadeus Mozart Fourth movement Listening Outline: p Basic Set, CD 3:30 Note: Sonata Form Exposition Development Recapitulation Coda

Ch. 4 - Theme and Variations
Single part form—no large contrasting “B” section (A A’ A” A”’…) Basic idea presented and then repeated over and over Each repeat alters (varies) the musical idea Each variation is about the same length as the original idea Variations may alter melody, harmony, rhythm, dynamics, timbre, or all of these

Listening Symphony No. 94 in G Major Note: Theme and Variations form
(Surprise; 1791) by Franz Joseph Haydn Second Movement Listening Outline: p. 197 Basic Set, CD 3:37 Brief Set, CD 2:43 Note: Theme and Variations form Countermelody

Ch. 5 - Minuet and Trio Ternary form based upon stately court dance of the Baroque Each ternary part is itself ternary: Minuet Trio Minuet A B A ||: a :||: b a’ :| |: c :||: d c’ :| | a b a’ || Return of the Minuet is usually marked on the music as da capo

Listening Eine kleine Nachtmusik (A Little Night Music; 1787), K. 525
by Wolfgang Amadeus Mozart Third Movement Listening Outline: p Basic Set, CD 3:51 Brief Set, CD 2:49 Note: Minuet and Trio form Minuet Trio Minuet A B A ||: a :||: b a’ :||: c :||: d c’ :|| a b a’ ||

Ch. 6 - Rondo Features a tuneful main theme which returns over and over Lively, pleasing and simple to remember Main theme alternates with other contrasting sections Common rondo patterns: A B A C A (small rondo) A B A C A B A (large rondo) Note the similarity to modern pop-music form

Listening String Quartet in C Minor, Op. 18, No. 4 (1798-1800)
by Ludwig van Beethoven Fourth movement Listening Outline: p. 201 Basic Set, CD 3: Brief Set, CD 3:01 Note: Rondo form A B A C A B A

Ch. 7 - The Classical Symphony
Extended, ambitious composition lasting for minutes Multi-movement instrumental work 1st Fast—frequently Sonata form 2nd Slow—often Sonata form, sometimes Theme and Variations 3rd Dance—usually Minuet and Trio or scherzo (fast, dance-like) form 4th Fast—frequently Sonata or Rondo form Themes in one movement rarely appear in another movement

Ch. 8 - The Classical Concerto
Work for instrumental soloist and orchestra lasting minutes Usually three movements: Fast—Slow—Fast (no Minuet movement) Combines soloist’s virtuosity with power and timbres of orchestra Break near end of 1st and sometimes last movement called cadenza Showpiece for the soloist (orchestra waits) Originally improvised, Classical composers seldom notated cadenzas

Ch. 9 - Classical Chamber Music
Designed for the intimate setting of a room, rather than concert hall Small group of 4-9 instrumentalists Each player shares thematic material Most important setting is string quartet 2 violins, viola, cello Four movements Usually Fast—Slow—Dance—Fast Other popular settings: Sonata for violin and piano Piano trio (violin, cello, and piano) String quintet (2 violins, 2 violas, cello)

Ch Joseph Haydn —early and mid-Classical Period Austrian composer (long life) Talent recognized early Age 8—sent to Vienna to be a choir boy Dismissed from school—voice changed Worked in Vienna and continued studies Esterhazy’s composer for 30 years Employment status as skilled servant Became famous in Europe at this time Moved to Vienna at Prince’s death Made concert trip to London Prolific composer

Listening Trumpet Concerto in E Flat Major (1796) by Haydn
Third movement Listening Outline: p. 211 Basic Set, CD 3:58 Note: Virtuoso trumpet part for soloist Combination of sonata-allegro and rondo forms called sonata-rondo

Ch. 11 - Wolfgang Amadeus Mozart
(mid-Classical composer) Austrian Son of a professional musician Leopold Mozart, violin, worked for Archbishop of Salzburg Child prodigy At 25—freelance musician in Vienna Partly due to winning the Emperor’s favor Initially successful, then novelty wore off Final piece was a Requiem that was finished by one of his students Very prolific; note short life span Wrote in all Classical genres

Listening Don Giovanni (1787) by Mozart
Act I: Excerpt from Opening Scene Vocal Music Guide: p. 216 Basic Set, CD 4:01 Brief Set, CD 3:05 Don Giovanni has slipped into the room of Donna Anna. Leporello worriedly waits outside. Donna Anna is not happy to see Don Giovanni. Her father, the Commandant, catches him. They fight a duel and the Commandant is killed.

Listening Don Giovanni (1787) by Mozart
Leporello’s catalog aria (Madamina) Vocal Music Guide: p. 220 Basic Set, CD 4:05 Donna Elvira, an earlier conquest of Don Giovanni’s, tries to see him again. Leporello intercepts her and attempts to discourage her by reading a list, or catalog, of the women Don Giovanni has been with.

Listening Symphony No. 40 in G Minor (1788) by Mozart (K. 550)
First Movement—Molto allegro Listening Outline: p Basic Set, CD 3:15 Brief Set, CD 2:34 Movement I – Molto allegro Movement II – Andante Movement III – Menuetto (Allegretto) Movement IV – Allegro assai

Listening Mozart, Piano Concerto No. 23 in A Major (1786)
Basic Set: 4:11, Brief Set: 3:09 Listening Outline: p. 227 First Movement: Allegro Sonata form Lyrical themes Cadenza

Listening Mozart, Requiem in D Minor, K. 626 (1791)
Basic Set: 4: Brief Set: 3:16 Vocal Music Guide: p. 232 Dies irae (Day of wrath) Distinctive rhythmic pattern of the opening phrase (long-long-short-short) Homophonic texture

Ch. 12 - Ludwig van Beethoven
—late Classical, German Son of a professional musician Father, Johann, was a singer & abusive alcoholic Forced the boy to study music (wanted $) Financially successful as freelance musician Believed in period’s societal changes Wrote final pieces while totally deaf Died in Vienna 20,000 people attended funeral Wrote in all Classical genres 9 symphonies 16 string quartets 5 concertos 1 opera Many other sonatas and other works

Listening Piano Sonata in C Minor, Op. 13 (Pathetique, 1798)
by Beethoven First movement (Grave-solemn, slow intro.) p Basic Set, CD 4:19 Note: Extreme dynamic contrasts & accents Unexpected pauses More use of dissonance than previous composers

Listening Symphony No. 5 in C Minor, Op. 67 by Beethoven (1808)
Mvt. 1—Allegro con brio Listening Outline: p. 241 Basic Set, CD 4:34 Brief Set, CD 3:17 Mvt. 2—Andante con moto Listening Outline: p. 244 Basic Set, CD 4:42 Brief Set, CD 3:25

Part VI The Romantic Period 2011 © McGraw-Hill Higher Education

The Romantic Period Time Line Monroe Doctrine—1823
Hugo: Hunchback of Notre Dame—1831 Dickens: Oliver Twist—1837 Dumas: The Three Musketeers—1844 Poe: The Raven—1845 Darwin: Origin of Species—1859 American Civil War— Twain: Huckleberry Finn—1884 Bell invents telephone—1876

Romanticism ( ) Stressed emotion, imagination and individualism Emotional subjectivity basis of arts Favorite artistic topics: Fantasy and the supernatural Middle Ages/concept of chivalry & romance Architecture revived Gothic elements Nature: as mirror of the human heart Period of the Industrial Revolution Resulted in social and economic changes

Ch. 1- Romanticism in Music
Many important Romantic composers Franz Schubert Bedřich Smetana Antonin Dvořák Peter Tchaikovsky Johannes Brahms Giuseppe Verdi Giacomo Puccini Richard Wagner Robert Schumann Clara Schumann Frédéric Chopin Franz Liszt Felix Mendelssohn Hector Berlioz Continued use of Classical period forms Much individual alteration and adjustment Greater range of tone color, dynamics, and pitch than in Classical period Expanded harmony—complex chords

Characteristics of Romantic Music
Individuality of Style Composers want uniquely identifiable music Expressive Aims and Subjects All approaches were explored: Flamboyance, intimacy, unpredictability, melancholy, rapture, longing, … Romantic love still focus of songs & operas Lovers frequently depicted as unhappy and facing overwhelming obstacles Dark topics draw composers Nationalism and Exoticism Nationalism: music with a national identity Exoticism: intentionally imply foreign culture Frequently in operas with foreign settings

Program Music Association with a story/poem/idea/scene
Understanding the music enhanced through reading program or viewing associated work Expressive Tone Color Composers tried to create unique sounds Blending of existing instruments Addition of new instruments Tone color important to emotional content Colorful Harmony Chords built w/ notes not in traditional keys Harmonic instability consciously used device

Expanded Range of Dynamics, Pitch & Tempo
Dynamics ff, pp expanded to ffff & pppp Extremely high and low pitches were added Changes in mood frequently underlined by (sometimes subtle) shifts in tempo Forms: Miniature and Monumental Some composers went on for hours Required hundreds of performers Others music lasted only a few minutes Written for a single instrument Composers wrote symphonies, sonatas, string quartets, concertos, operas, and many other Classically traditional works

Ch. 2 - Romantic Composers and Their Public
Demise of the patronage system Composers regarded themselves as “free spirits” Decline in aristocratic fortune—Napoleonic wars New urban classes/new musical topics Public was entranced by virtuosity Piano became a fixture in most homes Composers/audience: same social class Few composers financially successful

Ch. 3 - The Art Song Composition for solo voice and piano
Accompaniment integral part of the song Linked to vast amount of poetry in this period Composers interpreted poems, translating mood, atmosphere and imagery into music Mood summed up at end with piano postlude Strophic and Through-Composed Form Strophic form repeats music for each verse Through-composed—new music each verse Sometimes modified strophic form used The Song Cycle Group of songs unified in some manner Storyline or musical idea may link the songs

Ch. 4 - Franz Schubert Schubert’s Music Born in Vienna (1797-1828)
Early Romantic composer Prodigious output When 18 years old wrote 143 songs At 19 years wrote 179 works Included 2 symphonies, opera & mass Schubert’s Music Wrote over 600 songs Also symphonies, string quartets, other chamber music, sonatas, masses, operas, & piano works The Unfinished Symphony: only 2 movements, not 4

Listening Erlkönig (The Erlking), 1815 by Franz Schubert
Vocal Music Guide: p Basic Set, CD 5:01 Brief Set, CD 3:42 Based upon narrative ballad with supernatural topic by Goethe Note: Through-composed form Piano portrays galloping horse One singer sounds like several characters (use of different registers) Dramatic ending

Listening Die Forelle (The Trout; 1817) by Schubert Basic Set: CD 5:07
Vocal Music Guide: p. 268 Modified Strophic form Folk like quality

Listening Schubert, Piano Quintet in A Major (Trout)
Basic Set: CD 5:09 Listening Outline: p. 270 Fourth Movement Theme & Variations (The Trout) Piano Quintet

Ch. 5 - Robert Schumann Robert Schumann’s Music
German, early to mid-Romantic ( ) Wanted to be piano virtuoso Problem with hand ended his ambition Treatments & gadget made problem worse Married his piano teacher’s daughter Temperamentally unsuited for some of the musical positions he attempted Committed to asylum where he died Robert Schumann’s Music Wrote piano pieces, art songs, and later symphonies Piano pieces and art songs frequently in cycles

Listening From Carnaval (1834), a cycle of program music by Robert Schumann Estrella, for his first fiancée – p. 274 Ternary form, note syncopation in B section Basic Set, CD 5:19 Brief Set, CD 3:48 Reconnaissance (Reunion) Ternary form, note B section shift from homophonic to polyphonic texture Basic Set, CD 5:21 Brief Set, CD 3:50

Ch. 6 - Clara Wieck Schumann
German ( ) Leading concert pianist One of 1st well-known women composers Married Robert Schumann Stopped composing after his death Focused on performing his works Pair was friends w/ Johannes Brahms Clara Schumann’s Music Stopped composing at age 36 Considered herself primarily a performer Wrote songs, piano pieces, a concerto…

Listening Romance in E Flat Minor for Piano, (1839)
by Clara Wieck Schumann Listening Outline: p. 276 Basic Set, CD 5:23 Brief Set, CD 3:52 Romance – short, lyrical piece for piano A B A’ coda form Minor key Tempo – andante

Ch. 7 - Frédéric Chopin Chopin’s Music
Polish born musician ( ) Poet of the piano Moved to Paris at age 21 – European artistic capital Known for his beautiful tone, rhythmic flexibility and extensive use of piano pedals Piano teacher to the daughters of the rich Avoided concert halls Wrote nocturnes, mazurkas, preludes & waltzes Chopin’s Music Developed personal style at early age Evokes a variety of moods Captured the spirit of the Polish people

Listening Nocturne in E Flat Major, Op. 9, no. 2 by Chopin (1830-31)
Listening Outline: p. 279 Basic Set, CD 5:27 Brief Set, CD 3:56 Nocturne (night piece)-slow, lyrical, intimate piece for piano Note: Expressive, emotional presentation with subtle shifts in tempo and dynamics

Listening Etude in C Minor, Op. 10, No. 12 Revolutionary (1831?)
by Chopin Listening Outline: p. 280 Basic Set, CD 5:30 Brief Set, CD 3:59 Etude—study piece focusing on a specific technique in performance Note: Speed & endurance required of left hand Not just a study, but interesting music

Listening Polonaise in A Flat Major, Op. 53 by Chopin (1842)
Polonaise—originated as stately processional dance for Polish nobility Basic Set, CD 5:31 p. 281 Note: Triple meter Ternary—A B A’ with coda

Ch. 8 - Franz Liszt Liszt’s Music Hungarian born composer (1811-1886)
Virtuoso pianist Touring concert pianist until age 36 Incredible performer and showman—”rock star” Retired from touring & became court conductor and later took minor holy orders – Abbé Liszt Found new ways to exploit the piano Liszt’s Music Extremely controversial Bombastic & vulgar, or the ideal music? Broke away from strict Classical forms Created symphonic poem (tone poem)

Listening Transcendental Etude no. 10 in F Minor (1851) by Liszt
Listening Outline: p. 284 Basic set, CD 5:35 Note: Shifting tempo Extreme emotionalism High degree of difficulty for performer (virtuoso piece) Ternary form with a coda

Ch. 9 - Felix Mendelssohn Mendelssohn’s Music
German composer ( ) Early to mid-Romantic period Developed early Wrote symphonies, concertos, sonatas, and other works before being teenager Responsible for revival of Bach’s music Died of a stroke while touring Mendelssohn’s Music Somewhat more conservative Avoids emotional extremes Projects both elegance and balance

Listening Concerto for Violin and Orchestra in E Minor, Op. 64 (1844)
by Mendelssohn First Movement Listening Outline: p. 288 Basic Set, CD 5:41 Brief Set, CD 4:01 Note: Controlled emotionalism Simple, singing melodies Cadenza near the end for soloist

Ch Program Music Instrumental music associated with a story, poem, idea, or scene Non-program music is called absolute music Usually performed with written explanation of the piece—a program In Romantic,usually for piano or orchestra Common types: Program symphony—multi-movement/orchestral Concert overture—modeled on opera overture Symphonic poem (or tone poem)—1 movement, orchestral, flexible form Incidental music—for use before or during a play

Ch. 11 - Hector Berlioz Berlioz’s Music French composer (1803-1869)
Mid-Romantic Period Wrote unconventional music Passionate & unpredictable Won Prix de Rome for Symphonie fantastique Worked as music critic for support One of the first of the great conductors Berlioz’s Music Imaginative, innovative orchestrations Required huge resources Pioneered concept of idée fixe

Listening Symphonie fantastique (Fantastic Symphony, 1830)
by Berlioz Fourth Movement: March to the Scaffold Listening Outline: p Basic Set, CD 5:47 Brief Set, 4:07 Fifth Movement: Dream of a Witches’ Sabbath Listening Outline: p Basic Set, CD 5:51 Note: Program material and how composer related it to the music Returning melody for idée fixe

Ch. 12 - Nationalism in Nineteenth-Century Music
National identity grew during the Romantic Citizens, not mercenaries now fought wars Bonds of language, history & culture formed Led to unifications creating Germany and Italy Composers deliberately gave their works distinctive national identity Use of folksongs and folkdances Created original melodies with folk flavor Wrote operas and program music inspired by native history, legends, and landscapes Strongest impact in countries dominated by music of Germany, Austria, Italy and France

Listening Pictures at an Exhibition (1874), by Modest Mussorgsky
arranged for orchestra by Maurice Ravel (1922) Basic Set: CD 5:57 Listening Outline: p. 305 The Great Gate of Kiev Majestic main theme Spectacular bell sounds (characteristic of czarist Russia)

Ch. 13 - Peter Ilyich Tchaikovsky
Russian, Late Romantic ( ) Studied music in Russia Did not start until age 21 By age 30 had a symphony, opera, tone poem and his1st great orchestra work Married, divorced two weeks later Supported by benefactress (patron) They corresponded but never met Traveled Europe and United States Tchaikovsky’s Music Wrote symphonies, concerti, overtures, operas, and more Fused Russian folk music & European style

Listening Romeo and Juliet Overture-Fantasy by Tchaikovsky
Listening Outline: p. 308 Basic Set, CD 6:01 Note: Depicts events and characters, but is not a re-telling of the story Different melodies for characters/groups of characters and events Love theme has become very well known

Ch. 14 - Bedřich Smetana The Moldau (1874)
Part of the cycle Ma Vlast (My Country) by Bedrich Smetana Symphonic Poem depicting the main river that flows thorough the Bohemian (Czech) countryside Listening Guide: p Basic Set, CD 6:11 Brief Set, CD 4:11 Note: Program material and how composer related it to the music

Ch Antonin Dvořák Followed Smetana composing Czech national music ( ) As teenager, played in orchestra under Smetana Got his break when Brahms heard him Became director of the National Conservatory of Music in New York Urged Americans to write nationalist music Wrote From the New World during 1st year Later returned to Prague Conservatory

Listening Symphony No. 9 in E Minor (From the New World, 1893)
by Dvořák First Movement: Adagio; Allegro molto Listening Outline: p. 314 Basic Set, CD 6:18 Brief Set, CD 4:18 Note: Based upon American folk melodies Use of non-major/minor scales Sonata form (3 themes instead of 2)

Ch. 16 - Johannes Brahms German composer (1833-1897)
Son of a musician (father played bass) At 13, studied music by day/played gigs by night Became close friends with the Schumanns Lived with Clara while Robert in asylum Lifelong friends with Clara, he never married Studied earlier composers’ works in detail Especially Bach, Haydn, Mozart & Beethoven Brahms’s Music Considered somewhat conservative due to his use of classical forms Wrote in all traditional forms except opera

Listening Symphony No. 3 in F Major by Brahms
Basic Set: CD 6:25; Brief Set: 4:25 Listening Outline: p. 321 Third Movement: Poco allegretto Triple meter Ternary form Melody was used by Carlos Santana & Dave Matthews - Love of My Life

Listening Ein Deutsches Requiem (A German Requiem, 1868) by Brahms
4th Mvt.: How Lovely is Thy Dwelling Place Chorus and orchestra Vocal Music Guide: p. 324 Basic Set, CD 6:28 Note: Movements—not a Catholic mass Based on passages from Martin Luther’s translation of the Bible

Ch. 17 - Giuseppe Verdi Italian (1813-1901)
Mid- and late Romantic composer Studied in Busseto & Milan Supported by patron Married patron’s daughter Known for opera Wrote operas with political overtones Nationalist, supported unification of Italy Critics blasted his scandalous subjects Seemed to condone rape, suicide, and “free love” Verdi’s Music Wrote for middle-class audience who enjoyed opera Favorite topic: love story w/ unhappy ending Powerful music summons up heroes & villains

Listening La donna è mobile and Quartet (Woman is fickle)
Aria from Rigoletto (1851) by Verdi Vocal Music Guide: p. 329 Basic Set, CD 6:29 Note: Middle class topic, as in Classical period Text Familiar melody

Ch. 18 - Giacomo Puccini Italian (1858-1924)
Late-Romantic composer Known primarily for operas Became wealthy and world famous due to the popularity of his music Opera La Bohème 1st major success Made use of Exoticism, setting his operas in foreign places Short melodies, simple phrases, and realistic dialog Artistic style verismo (reality): “true to life”

Listening La Boheme (1896) by Puccini
Act I: Scene between Rodolfo and Mimi through Rodolfo’s aria: Che gelida manina (How cold your little hand is!) Storyline of meeting of Rodolfo and Mimi Vocal Music Guide: p. 334 Basic Set, CD 7:01 Brief Set, CD 4:28 Note: Dialog is more realistic Tempo shifts to accentuate music & text

Ch. 19 - Richard Wagner German (1813-1883)
Mid to late Romantic composer Studied in Germany Later moved to Paris—did not work out Returned to Germany, got in trouble Finally settled & succeeded in Munich, Bavaria Lived large off of others—ran up debts Wrote in many styles, famous for opera Wagner’s Music His works were large, full blown affairs No recitatives & arias—just non-stop music Adapted idèe fixe to leitmotif approach Huge orchestrations for operas Requires big voices to be heard

Listening Die Walküre (The Valkyrie, 1856) by Wagner
Act I: Love Scene, Conclusion Storyline of the Ring Cycle & this scene Listening Guide: p Basic Set, CD 7:05 Brief Set, CD 4:30 Note: Huge production, large orchestrations Big, powerful voices required Several leitmotifs (sword leitmotif; love and spring )

Ch. 20 - Gustav Mahler Austrian romantic composer (1860 – 1911)
Grew up in small town, hearing Bohemian peasant songs & dances Critics complained of his harsh dissonances & elaborate orchestrations Became principal conductor of Metropolitan Opera in New York _________________________________________ Mahler’s Music Wrote symphonies & song cycles Used unconventional instruments: cowbells, celesta, guitar

Listening Ging heut’ Morgen uber’s Feld
(This Morning I Went through the Fields) by Mahler Vocal Music Guide: p. 352 Basic Set, CD 7:13 Modified Strophic Form Mood Shifts

Part VII The Twentieth Century and Beyond 2011 © McGraw-Hill Higher Education

Time Line – Twentieth Century & Beyond
Freud: Interpretation of Dreams—1900 Wright brothers: first powered flight—1903 Einstein: special theory of relativity—1905 First World War— Great Depression begins—1929 Second World War— Atomic Bomb destroys Hiroshima—1945 Korean War— Crick & Watson: structure of DNA—1953 Vietnam War— President Kennedy assassinated—1963 American astronauts land on moon—1969 Dissolution of the Soviet Union—1991 Terrorist attacks in the US – 2001

20th Century Developments
Violence & progress are hallmarks 1st half—hardship and destruction Two World Wars brought terrible new weapons Between wars boom/bust economic cycle 2nd half—colonial empires dismantled Multiple smaller scale wars erupt worldwide Extended cold war between US and USSR Many smaller wars fueled by cold war tactics Unprecedented rapid economic growth Widespread gain in principle of equal rights Rapid technology & science advancement Sound recording, movies, radio, television, satellites, computers, & Internet alter society

20th Century Developments
Rapid, radical changes in the arts also occur Shock value becomes goal of many art forms Modern dance clashes with classical ballet Picasso and cubism present distorted views as artwork Kandinsky & others no longer try to represent visual world Expressionists—deliberate distortion/ugliness as protest Individual artists do both traditional & radical styles Summary: US shapes world culture, new artistic world center Nonwestern culture & thought affect all arts New technologies stimulate artists—new art forms Artists explore human sexuality—extremely frank More opportunities for women, African-American, and minority artists/composers than ever before Artists express reaction to wars/massacres in art Since 1960’s, pop-art begins to replace elitist art

Ch. 1 - Musical Styles: First 13 years brought radical changes Seen as time of revolt & revolution in music Composers broke with tradition & rules Rules came to be unique to each piece Some reviewers said the new music had no relationship to music at all 1913 performance of The Rite of Spring caused riot Sounds that were foreign to turn of the century ears are common to us now Key, pitch center, and harmonic progression practices of the past were mostly abandoned Open-minded listening, without expectations based upon previous musical practice, provides an opportunity for musical adventure

1900-1945: An Age of Musical Diversity
Vast range of musical styles during this time Intensifying of the diversity seen in Romantic Musical influences drawn from Asia & Africa Composers drawn to unconventional rhythms Folk music incorporated into personal styles American jazz also influenced composers For American composers, jazz was nationalistic music For European composers, jazz was exoticism Medieval, Renaissance, & Baroque music was “re-discovered,” performed, & recorded Forms from earlier periods were imitated, but with 20th Century harmonic & melodic practices Romantic music, especially Wagner, was seen as either a point of departure or a style to be avoided

Characteristics of 20th Century Music
Tone Color Unusual playing techniques for sound effects Glissando, flutter tongue, col legno, extended notes Percussion use greatly expanded New instruments added/created Xylophone, celesta, woodblock, … Other “instruments:” typewriter, auto brake drum, siren Music not written for choirs of instruments Composers write for timbres, or “groups of soloists” Unusual groupings of instruments for small ensembles Orchestra scoring also reflects this trend

Harmony Consonance and Dissonance Harmony and treatment of chords changed Before 1900: consonant (stable) and dissonant Opposite sides of the coin After 1900: degrees of dissonance New chord structures Polychord Quartal and quintal harmony Cluster

Harmony Alternatives to the Traditional Tonal System Composers want alternatives to major/minor Modes of Medieval & Renaissance were revived Scales from music outside western Europe utilized Some composers created their own scales/modes Another approach: use 2 or more keys at once Polytonality (bitonality) Atonality No central or key note, sounds just “exist” and flow 12 tone system Atonal, but with strict “rules” concerning scale use Serialism, an ultra strict method, develops from 12 tone sys.

Rhythm Rhythmic vocabulary expanded Emphasis upon irregularity and unpredictability Shifting meters Irregular meters Polyrhythm Melody Melody no longer bound by harmony’s notes Major and minor keys no longer dominate Melody may be based upon a variety of scales, or even all 12 tones Frequent wide leaps Rhythmically irregular Unbalanced phrases

Ch. 2 - Music and Musicians in Society
Recorded & broadcast music brought concert hall to living room, automobile, & elsewhere Music became part of everyday life for all classes Becoming popular in 1920’s, recordings allowed lesser known music to reach broader audience 1930’s—radio networks formed own orchestras Radio brought music to the living room Television (popular 1950’s) brought viewer to concert hall Modern composers alienated audience Turned to old familiar music (Classical, Romantic) For 1st time in history, older, not new music was desired Recordings helped to make the modern familiar

Women became active as composers, musicians, and music educators
African-American composers & performers became more prominent Some governments controlled their music USSR demanded non-modern, accessible music Hitler’s Germany banned Jewish composers’ work Many artists & intellectuals left Europe for the US Working, creating, & teaching in American universities, they enriched the culture of the US American jazz & popular music swept world American orchestras became some of world’s best Universities supported modern music & composers—became music’s new patrons

Ch. 3 - Impressionism and Symbolism
Musical outgrowth of French art and poetry French Impressionist Painting Used broad brush strokes and vibrant colors Viewed up close, the painting appears unfinished Viewed from a distance it has truth Focused on light, color, & atmosphere Depicted impermanence, change, and fluidity A favorite subject was light reflecting on water Named after Monet’s Impression: Sunrise French Symbolist Poetry Symbolists also broke with traditions & conventions Avoided hard statements—preferred to “suggest” (symbolize) their topics Symbolist poetry became the basis for many Impressionist musical works

Ch. 4 - Claude Debussy Debussy’s Music French Impressionist composer
Crossed Romantic/20th Cent. ( ) Studied in Paris and Rome Lived large—liked luxury, but stayed in debt Debussy’s Music Attempted to capture in music what Impressionist painters did in visual art Titles imply a program music type approach Used orchestra as pallet of sounds, not tutti Expanded harmonic vocabulary and practice Used 5-note chords instead of traditional 3 Made use of pentatonic and whole-tone scales Obscured harmony, tempo, meter, & rhythm

Listening Prelude a l’Apres-midi d’un faune by Claude Debussy (1894)
Listening Outline: p Basic Set, CD 7:17 Brief Set, CD 4:38 The program material evokes the dreams and erotic fantasies of a faun -- pagan, half man/half goat creature Note: Use of solo instruments Disguised meter Extended harmonic style

Ch. 5 - Maurice Ravel Listening
Bolero (1928) Listening Outline: p. 380 Basic Set, CD 7:31 Tone colors Spanish flavor Rhythmic repetitions AABB Violently dissonant ending

Ch. 6 - Neoclassicism Flourished 1920-1950
Based new compositions upon devices and forms of the Classical & Baroque Used earlier techniques to organize 20th Century harmonies & rhythms (painting p. 362) Eschewed program music for absolute Preferred to write for small ensembles Partially due to limited resources in post-WWII Europe Sounded modern, not classical

Ch. 7 - Igor Stravinsky Stravinsky’s Music Born in Russia (1882-1971)
Studied with Rimsky-Korsakov Early success writing ballet music The Rite of Spring caused riot at premier in Paris Moved due to the wars WWI went to Switzerland, to France afterward, then to US at onset of WWII Stravinsky’s Music Vocal & instrumental—many styles & forms Utilized shifting and irregular meters Sometimes more than one meter at once Frequently used ostinato

Listening Le Sacre du printemps (1913) by Igor Stravinsky
Part I: Introduction Listening Outline: p. 388 Basic Set, CD 7:38 Brief Set, CD 5:01 Part I: Omens of Spring—Dances of the Youths & Maidens Listening Outline: p. 388 Basic Set, CD 7:40 Brief Set, CD 5:03 Part I: Ritual of Abduction Listening Outline: p. 388 Basic Set, CD 7:44 Brief Set, CD 5:07 Part II: Sacrificial Dance Listening Outline: p. 390 Basic Set, CD 7:46 Ballet piece: tells story of prehistoric tribe paying tribute to the god of spring Note use of rhythmic accent intended to portray primitive man (remember, this is a work for dance)

Listening Symphony of Psalms (1930) by Stravinsky Basic Set: CD 7:49
Vocal Music Guide: p. 390 First Movement Chordal tones are spaced & orchestrated in a novel way Chant like melody comprised of two notes Major ending triad contrasts with minor triads

Ch. 8 - Expressionism Attempts to explore inner feelings rather than depict outward appearances Used deliberate distortions To assault and shock the audience To communicate tension and anguish Direct outgrowth of the work of Freud Rejected “conventional prettiness” Favored “ugly” topics such as madness and death Art also seen as a form of social protest Anguish of the poor Bloodshed of war Man’s inhumanity to man

Ch. 9 - Arnold Schoenberg Schoenberg’s Music
Born in Vienna ( ) First to completely abandon the traditional tonal system Father of the 12-tone system When Nazis came to power he (a Jew) was forced to leave—came to America Taught at UCLA until his death Schoenberg’s Music Atonality Starting 1908, wrote music w/ no key center The 12-Tone System Gives equal importance all 12 pitches in octave Pitches arranged in a sequence or row (tone row) No pitch occurs more than once in the 12 note row in order to equalize emphasis of pitches

Listening Mondestrunken (Moondrunk)
from Pierrot Lunaire, Op. 21 (Moonstruck Pierrot) by Schoenberg (1912) Vocal Music Guide: p. 398 Basic Set, CD 8:01 Brief Set, CD 5:09 Program piece: The poet (Pierrot) becomes intoxicated as moonlight floods the still horizon with desires that are “horrible and sweet.” Note: This song part of a 21 song cycle Departure from voice/piano Romantic Art song: scored for voice, piano, flute, violin, & cello Freely atonal, intentionally no key center Use of Sprechstimme, song/speech style that was developed by Schoenberg

Listening A Survivor from Warsaw (1947) by Arnold Schoenberg
Cantata for narrator, male chorus, and orchestra Vocal Music Guide: p. 399 Basic Set, CD 8:02 Brief Set, CD 5:10 Tells story of Nazi treatment and murder of Jews in occupied Poland Note: Sprechstimme 12-tone technique English and German text with Hebrew prayer Expressionist music and text—shocking

Ch. 10 - Alban Berg Born in Vienna, 1885-1935 Student of Schoenberg
Wrote atonal music Due to ill health, did not tour or conduct Possibly also reason for his small output Most famous work is Wozzeck Story of a soldier who is driven to madness by society, murders his wife, and drowns trying to wash the blood from his hands (Expressionist topic & music)

Listening Wozzeck (1917-1922) Opera by Alban Berg Act III: Scene 4
Vocal Music Guide: p Basic Set, CD 8:05 Wozzeck, the soldier, returns to the scene of the crime to dispose of his knife Act III: Scene 5 Listening Guide: p Basic Set, CD 8:09 Marie’s son (Wozzeck’s stepson) & other children are playing. Another group of children rushes in saying they have found Marie’s body. As all the children go to see, the opera ends abruptly. Note: Sprechstimme Atonal Expressionist subject matter

Ch. 11 - Anton Webern Webern’s Music Born in Vienna, 1883-1945
Schoenberg’s other famous student His music was ridiculed during his lifetime Shy family man, devoted Christian Shot by US soldier by mistake near end of WWII Webern’s Music Expanded Schoenberg’s idea of tone color being part of melody His melodies are frequently made up of several two to three note fragments that add up to a complete whole Tone color replaces “tunes” in his music His music is almost always very short

Listening Five Pieces for Orchestra (1911-1913) Third Piece
by Anton Webern Listening Outline: p Basic Set, CD 8:10 Brief Set, CD 5:13 Note: Lack of traditional melody Tone color washes over the listener Dynamics never get above pp

Ch. 12 - Béla Bartók Bartók’s Music Hungarian, 1881-1945
Taught piano in Hungary and wrote books for pedagogy Like many other composers, fled Nazis and came to live in the US Used folksongs as basis of his music Went to remote areas to collect/record folksongs Bartók’s Music Best known for instrumental works Especially piano pieces & string quartets Compositions contain strong folk influences Worked within tonal center Harsh dissonances, polychords, tone clusters

Listening Concerto for Orchestra (1943) by Bartók
First Movement: Introduction (Andante non troppo; Allegro vivace) by Bartók Basic Set: CD 8:11 Sonata form

Listening Concerto for Orchestra (1943) Second movement: Game of Pairs
Allegretto scherzando by Bartók Listening Outline: p Basic Set, CD 8:20 Brief Set, CD 5:14 Note: Title of work derived from treatment of instruments in soloistic (concertant) manner Ternary form Pairing of instruments in “A” section gives name to this movement Prominent drum part

Ch 13 - Dmitri Shostakovich
Symphony No. 5 in D Minor Listening Outline: p. 416 Second Movement Basic Set, CD 8:27 Scherzo A B A’ form Glissandos

Ch. 14 - Charles Ives Ives’s Music American, 1874-1954
Son of a professional bandmaster (director) Worked as insurance agent, composed music on the side 1st published own music, initially ridiculed Won Pulitzer Prize in 1947 for 3rd Symphony Wrote quite original music Ives’s Music Music based upon American folk songs Polyrhythm, polytonality, & tone clusters Claimed was like 2 bands marching past each other on a street Often, his music is very difficult to perform

Listening Putnam’s Camp, Redding, Connecticut
from Three Places in New England (1908?-14) by Charles Ives (1912) Listening Outline: p Basic Set, CD 8:33 Piece is based upon a child’s impression of a Fourth of July picnic, two bands playing Note: Polyrhythm Polytonality Harsh dissonances

Ch. 15 - George Gershwin American, 1898-1937
Wrote popular music, musical theatre, and serious concert music Frequently blended the three into a single style At 20 wrote Broadway musical La, La, Lucille Wrote Swanee, Funny Face, & Lady, Be Good Also, Rhapsody in Blue, Concerto in F, An American in Paris, & opera Porgy and Bess Often co-wrote with his brother, Ira, as lyricist Met Berg, Ravel, and Stravinsky in Europe Financially successful—songs were popular Was friends & tennis partner w/ Schoenberg Died of brain tumor at age 38

Listening Rhapsody in Blue (1924) by George Gershwin
For piano and orchestra Listening Outline: p. 424 Basic Set, CD 8:38 Note: Jazz influence, especially notable in the clarinet introduction One movement

Ch. 16 - William Grant Still
American composer ( ) 1st African-American composer to have work performed by a major American orchestra Born Woodville, MS-grew up Little Rock, AR Worked for W. C. Handy in Memphis, TN Later wrote film scores in Los Angeles 1st African-American to conduct a major symphony orchestra (1936) Also 1st to have an opera performed by a major opera company (1949) Troubled Island about Haitian slave rebellion

Listening Afro-American Symphony (1931) Third movement by Still
Listening Outline: p Basic Set, CD 8:45 Brief Set, CD 5:21 Note: Blues and spiritual influence Scherzo-like, as in a 3rd movement from the Classical Period Ternary form

Ch. 17 - Aaron Copland American, 1900-1990
Wrote music in modern style more accessible to audience than many other composers Drew from American folklore for topics Ballets: Billy the Kid, Rodeo, Appalachian Spring Lincoln Portrait, Fanfare for the Common Man Wrote simple, yet highly professional music Other contributions to American music: Directed composers’ groups Organized concerts Lectured, taught, & conducted Wrote books and articles

Listening Appalachian Spring (1943-44) by Aaron Copland
Section 7: Theme and Variations on Simple Gifts by Aaron Copland Listening Outline: p Basic Set, CD 8:50 Brief Set, CD 5:26 Ballet involves a pioneer celebration in Spring in Pennsylvania Note: Use of folk melody (Shaker melody: Simple Gifts) Theme & variation form

Ch. 18 – Albert Ginastera Ginastera’s Music
From Buenos Aires, Argentina (1916 – 1983) Attracted to percussive sounds Studied w/ Aaron Copland Operas included scenes of explicit sex & violence Don Rodrigo (1964) Bomarzo (1967) Beatrix Cenci (1971) Moved to Switzerland, continued to compose __________________________________________ Ginastera’s Music Employs forceful rhythms Powerful percussions Dense orchestra textures Argentinean folk material

Listening Estancia Suite, Op. 8a (1941) by Ginastera
Final Dance: Malambo Listening Outline p. 434 Basic Set, CD 8:56 Brief Set, CD 5:32 Ballet depicting various aspects of ranch activities Malambo – dance for men performed by gaucho Perpetual motion; percussive sounds

Ch. 19 - Musical Styles since 1945
Many societal changes since WWII Instant communication has altered the world Constant demand for novelty Characteristics of Music Since 1945 Increased use of the 12-tone system Serialism—12-tone techniques extended Chance music that includes the random Minimalist music w/ tonality, pulse, repetition Deliberate quotations of earlier music in work Return to tonality by some composers Electronic music “Liberation of sound” Mixed media New concepts of rhythm & form

Increased Use of the 12-Tone System
After WWII, Europeans explored 12-tone Nazi’s had banned music by Schoenberg & Jews European composers heard 12-tone as “new” 12-tone viewed as technique—not a style Pointillist approach w/ atomized melodies Webern’s music & style became popular Extensions of the 12-Tone System: Serialism The system was used to organize rhythm, dynamics, and tone color Tone row ordered relationships of pitches Serialism ordered other musical elements Result was a totally controlled, organized music Relationships often very difficult to perceive

Chance Music Minimalist Music Opposite of serialism
Composers choose pitches, tone colors, & rhythms by random methods John Cage: 4’33”, Imaginary Landscape Karlheinz Stockhausen: Piano Piece No. 11 Minimalist Music Characteristics Steady pulse, clear tonality, repetition of short melodic fragments Dynamics, texture, & harmony constant over time Emphasis on simple forms, clarity, understatement

Musical Quotation Return to Tonality Electronic Music
Represents conscious break with serialism Improves communication w/ audience Quoted material conveys symbolic meaning Frequently juxtaposes quoted material with others, creating an Ives-esque sound Return to Tonality Parallels quotation in implying other styles Electronic Music Uses technological advances for new music Recording tape, synthesizers, computers Allows composers to skip the middle step of performers to convey their ideas to an audience Provides unlimited palette of sounds/tone colors

“Liberation of Sound” Mixed media Rhythm and Form
Use of wider variety of sounds than ever Some sounds were previously considered noises Novel & unusual performance techniques are required (screaming, tapping instrument, …) Use of microtones, clusters, any new sound Mixed media Visual art often combined w/ music for effect Often intended to relax concert atmosphere Rhythm and Form Some new compositions ignore rhythmic notation & specify sound in seconds/minutes Traditional forms giving way to new ideas Some music “unfolds” w/o obvious form devices

Ch. 20 - Music since 1945: Eight Representative Pieces
Sonatas and Interludes for Prepared Piano Sonata II ( ) by John Cage ( ) Basic Set, CD 9:01 Brief Set, CD 5:35 Prepared piano is grand piano w/ objects inserted between some strings Note: Binary form—A A B B Percussive sounds on some notes Polyphonic

Listening Poème électronique (Electronic Poem; 1958)
by Edgard Varèse ( ) Listening Outline: p Basic Set, CD 9:03 Brief Set, CD 5:37 Created using recording tape, wide variety of raw sounds that are often electronically processed Note: Electronic and electronically processed sounds Some tone-like sounds, some noise-like Early electronic composition

Listening Threnody: To the Victims of Hiroshima, for 52 strings, by Krzysztof Penderecki (1960) Listening Outline: p. 450 Basic Set, CD 9:07 Musical events (absence of beat)

Listening From Where Do You Come, My Love, My Child? by George Crumb (1970) Vocal Music Guide p. 451 Basic Set, CD 9:13 Bolero rhythm Mezzo-Soprano solo on phonetic sounds

Listening Einstein on the Beach (1976) by Philip Glass (b. 1937)
Knee Play 1 by Philip Glass (b. 1937) Listening Outline: p Basic Set, CD 9:14 Opera has no real plot or character development Lyrics are mostly numbers & solfege syllables Title derived from Nevil Shute’s novel On the Beach about nuclear destruction Includes 5 short pieces called Knee Plays. Note: Minimalist approach: Steady, driving pulse Clear tonality Slow rate of change Constant repetition of melody & rhythm patterns

Listening Concerto Grosso 1985 by Ellen Taaffe Zwilich (b. 1939)
(To Handel’s Sonata in D Major for Violin and Continuo, First Movement) by Ellen Taaffe Zwilich (b. 1939) Listening Outline: p Basic Set, CD 9:16 Brief Set, CD 5:41 Quotation music, each of its 5 movements uses material from 1st movement of the Handel piece. Note: Use of quoted material Continuo part, as in Baroque Period Terraced dynamics to imply Baroque

Listening Short Ride in a Fast Machine, by John Adams
Listening Outline: p. 456 Basic Set, CD 9:18 Brief Set, CD 5:43 Rapid tempo Rhythmic drive Powerful, colorful sonorities

Listening Shard (1997) by Elliott Carter for solo acoustic guitar
Listening outline p. 459 Basic Set, CD 9:22 Brief Set, CD 5:47 Jazzlike offbeat accents Dyads – two tones sounding simultaneously Harmonics

Blend elements of several cultures
Ch. 1 - Jazz Styles: Roots of Jazz Blend elements of several cultures West African emphasis on improvisation, percussion & call-and-response techniques American brass band influence on instrumentation European harmonic & structural practice Blues & ragtime were immediate sources

Elements of Jazz Tone Color Improvisation
Usually performed by combo of 3-8 players Backbone is rhythm section Similar to Baroque basso continuo Main solo instruments trumpet, trombone, saxophone, clarinet, vibraphone, piano “Bends,” “smears,” “shakes,” “scoops,” “falls” Improvisation Created & performed simultaneously Each performance is different Usually in theme and variations form Most commonly 32-bar structure: A A B A format

Rhythm, Melody, and Harmony
Syncopation & rhythmic swing are features Rhythmic accent on beats 2 and 4 Syncopation often occurs when performer accents note between the regular rhythmic accents “Swing” result of uneven 8th notes (triplet feel) Melodies flexible in pitch 3rd, 5th, & 7th scale steps often lowered (flatted) Called “blue” notes, these pitches come from vocal blues Chord progressions similar to tonal system As jazz evolved, harmony grew more complex

Ch 2 - Ragtime Blues Dance hall and saloon music
Piano music w/ left hand “oom-pah” part Usually in duple meter at moderate march tempo Right hand part highly syncopated Left hand keeps steady beat Scott Joplin – “King of Ragtime” ( ) Listening - Maple Leaf Rag p Basic set CD 8:41 Blues Vocal and instrumental form 12 measure (bar) musical structure I IV I V I 3 part vocal structure: a a’ b Statement/repeat of statement/counterstatement

Ch. 3 - Blues Listening Lost Your Head Blues (1926)
Performed by Bessie Smith (Smith known as “Empress of the Blues”) Vocal Music Guide: p. 472 Basic Set, CD 9:30 Brief Set, CD 5:51 Note: Strophic 12 bar blues form 3 part (a a’ b) vocal structure Trumpet answers vocalist Call and response

Ch. 4 - New Orleans Style Also called Dixieland
New Orleans was center of jazz Front line of horns supported by rhythm section Songs frequently based on march or church melody, ragtime piece, pop song, or blues Characteristics Improvised arrangements Multiple instruments improvising simultaneously Scat singing Theme and variation form predominates Many notable performers Most famous was trumpeter Louis Armstrong

Listening Hotter Than That (1927) by Louis Armstrong and His Hot Five
Based on tune by Lillian Hardin Armstrong, his wife and pianist Listening Outline: p. 479 Basic Set, CD 9:32 Brief Set, CD 5:52 Note: Interplay of front line instruments Call and response Scat singing Also: Dippermouth Blues Basic Set, CD 8:46

Ch. 5 - Swing Popular 1935-45 (Swing era)
Written music Primarily for dancing The popular music of the time The music of WWII Large bands (usually players) Saxophones, trumpets, trombones, rhythm section Melody usually performed by groups of instruments rather than by soloists Other instruments accompany w/ background riffs Theme and variations form common Usually included improvisation by soloists (singly)

Ch. 6 - Bebop Bebop Style 1940s and early 1950s
Meant for listening—not dancing Combo was preferred ensemble Role of each instrument changed from earlier jazz Melodic phrases varied in length Chords built w/ 6 or 7 notes, not earlier 4 or 5 Theme and variations form still dominant Melodies derived from pop songs or 12-bar blues Initial melody by soloist or 2 soloists in unison Many notable performers including Trumpet Dizzy Gillespie, piano Thelonious Monk Most famous/influential alto sax Charlie Parker

Listening KoKo (1945) by Charlie Parker
Performed by Charlie Parker, Dizzy Gillespie, Curly Russell, Max Roach Listening Outline: p Basic Set, CD 9:38 Note: Beat marked by pizzacato bass & “ride” cymbal Rapid notes w/ asymmetrical phrases Spectacular drum solo

Ch. 7 - Jazz Styles Since 1950 Cool Jazz Free Jazz Jazz Rock (Fusion)
More calm and relaxed than Bebop Relied more upon arrangements Free Jazz 1960’s Similar to Chance Music Solos sections of indeterminate length Improvisation by multiple players at once Jazz Rock (Fusion) In late 1960’s, rock became potent influence Style combined improvisation w/ rock rhythms Combined acoustic & electric instruments

Listening Miles Runs the Voodoo Down
from Miles Davis’s Bitches Brew (1969) Miles Davis, Wayne Shorter, Bennie Maupin, Lenny White, Jack De Johnette, Charles Alias, Jim Riley, Chick Corea, Larry Young, Harvey Brooks, Dave Holland, John McLaughlin Basic Set, CD 9:40 Note: Electric and acoustic instruments Mixture of jazz and rock elements

Ch. 1 - Musical Theater Development of the Musical
Musical, or musical comedy fuses script, acting, speech, music, singing, dancing, costumes, scenery, & spectacle Similar to opera, but musical has spoken dialog Sometimes called Broadway musical Originally designed for stage presentation Film versions soon followed Development of the Musical Roots go back to operetta, or comic opera Show Boat (1927) topic: interracial romance Some musicals were political/social statements Until 1960’s, songs mostly traditional (AABA) Musical mostly untouched by the rock revolution

Ch. 2 - Leonard Bernstein West Side Story: Re-telling of Romeo and Juliet set in the slums of New York. Shakespeare's feuding families become rival gangs (Jets—Americans and Sharks—Puerto Ricans).

Listening Tonight Ensemble from West Side Story (1957)
by Leonard Bernstein Listening Outline: p. 499 Basic Set, CD 9:42 Brief Set, CD 5:59 This melody is from an earlier fire-escape (balcony) scene. Here, Tony & Maria (the lovers) plan to meet, while Riff (Jets leader) and Bernardo (Sharks leader, Maria’s brother) each plan for the coming fight.

Ch. 3 - Music in Film Early Film Music
Functions and Styles of Film Music Provides momentum & continuity Suggests mood, atmosphere, character, and dramatic action Most music is commissioned for specific films Creating Film Music Up to 1950 – studios housed resident orchestra & musicians Since 1960 – freelance musicians

Listening Vertigo (1958) Directed by Alfred Hitchcock
Music by Bernard Herrmann [video clip available through ConnectKamien] Tower Scene – Madeleine runs into the church and rushes up to the bell tower. Scottie follows, but vertigo slows him. He doesn’t reach her in time. Music: string tremolos, dissonant chords, rapid whirring ostinato suggests terror & frenzied motion

Rock Developed in mid-1950s Common features:
First called rock & roll, later shortened to rock Common features: Vocal Hard driving beat Featured electric guitar Made use of heavily amplified sound Grew mainly from rhythm & blues Also drew influences from country & western Incorporated new technologies as they came available

Ch 1 - Rock Styles Early performers included: 1960s: Chuck Berry
Bill Haley and His Comets Rock Around the Clock Little Richard The Platters Elvis (King of Rock & Roll) 1960s: Rock by black performers called soul James Brown, Ray Charles, Aretha Franklin Motown blended R&B w/ mainstream white music Diana Ross & the Supremes, Stevie Wonder, … 1964: US tour by the Beatles, an English group More English groups followed: The British Invasion Rolling Stones, The Who, … Beatles most influential group in rock history Rock also began to absorb influences from folk Social issues: Environment (Blowin’ in the Wind), Vietnam Many genres: folk rock, jazz rock, acid rock, … 1st rock musical: Hair 1st rock opera: Tommy

Development of Rock 1970s: Continuation of many 60’s styles
Revival of early rock & roll Rise of a dance style called disco Many veterans continued, many new artists arrived: Linda Ronstadt, Billy Joel, Donna Summer, … Other genres of rock arose: Country rock: blend of country music and rock Reggae from the West Indies Funk with electrification & jazz-like rhythms Punk (new wave)—a primitive form of rock & roll Classical rock—rock arrangements of earlier serious music Jazz rock reached wider group than ever before Chicago; Weather Report; Blood, Sweat, & Tears

Development of Rock 1980s: British new wave bands became popular
Police; Culture Club, Eurhythmics Known as the second British invasion Increased use of electronic technology Synthesizers and computers (early sequencers) Heavy metal--sexually explicit lyrics & costumes Metallica; Iron Maiden; Motley Crue; Guns ‘n’ Roses Rap—developed among young urban blacks Began as rhythmic talking accompanied by disk jockey Often depicts anger and frustration Part of hip-hop culture

Development of Rock The 80s and into the 90s:
Heavy metal & rap continue in popularity in 80s-90s Heavy metal continued to reach a mostly white audience Rap adopted devices from other types of music Rap began to attract broader audience African music began to influence mainstream music Paul Simon: Graceland (1986) used an African vocal group Grunge or alternative rock was embraced Grinding guitar sounds & angry lyrics Reaction to the polished sound of mainstream rock bands Direct stylistic influence from 1970’s punk rock Nirvana; Pearl Jam; Soundgarden; Alice in Chains Smashing Pumpkins; Nine Inch Nails; Belly; Hole

Elements of Rock Tone Color Rhythm
Guitar-based, small core performance group 2 guitars, bass guitar, drum set, keyboards Usually a singer/instrumentalist Occasionally other instruments (horns, strings, etc.) Frequent vocal effects (shout, scream, falsetto) Rhythm Almost always in 4/4 meter Simple subdivision of beats 1 & 2 & 3 & 4 &, 1 & 2 & 3 & 4 &, … Late 70’s & 80’s: more rhythmically complex Result of polyrhythmic influences of African music

Form, Melody, and Harmony
Elements of Rock Form, Melody, and Harmony Two commonly utilized forms: 12-bar blues form 32-bar A A B A form Short, repeated melodic patterns Usually built on modes, not major/minor Harmonically simple Usually 3 or 4 (or less) chords Often uses chord progressions that were rare in earlier popular music

Ch. 2 - Rock in American Society
Rock and Recordings Promoted early on by Disc jockeys Rock and Television (MTV) Developed in 1980s Rock video adds a new dimension Rock and Dancing Twist, frug, monkey, shake, mashed potato Discotheques (disco) Break dancing

Ch. 3 - The Beatles Lucy in the Sky with Diamonds (1967)
from Sgt. Pepper’s Lonely Hearts Club Band by the Beatles Sgt. Pepper was rock setting of unified song cycle (13 songs). Wide range of instruments, influences, & styles. Listening Outline: p. 520 Lucy in the Sky, 3rd song in cycle, has 3 sections: A & B are gentle in triple meter, while C strongly contrasts and is in quadruple meter.

Nonwestern Music Reflects/expresses world’s diversity
Each culture has its music practice Some have all 3—folk, pop, & classical These musics influence western music Especially true in the 20th Century French composer Claude Debussy British rocker George Harrison Jazz artist John Coltrane

Ch. 1 - Music in Nonwestern Cultures
Characteristics of Nonwestern Music It reflects its supporting culture Frequently linked with religion, dance and drama Often used to communicate messages & relate traditions Oral Tradition Frequently transmitted by oral tradition Music notation far less important than in western culture Many cultures do not have a music notation When they do, it serves as a record, not for teaching or performance

Improvisation Voices Improvisation is frequently basic to the music
Improvisation usually based on traditional melodic phrases and rhythmic patterns Voices Singing usually main way of making music Vocal approach, timbre, and techniques vary throughout the world Nasal sound Strained tone Throat singing Many others

Instruments Four types based upon sound production:
Membranophones—stretched skin Primarily drums Chordophones—stretched string Harp-type Aerophones—performer’s breath Flutes, trumpets, etc. Idiophones—instrument’s body is sound generator Bells, gongs, scrapers, rattles, etc. Style and application within culture causes particular types of instruments to dominate Strings allow great flexibility of pitch Idiophones/membranophones: rhythmic emphasis Aerophones aid in outdoor performance Geography & materials availability influences Religion also influences instrumentation

Melody, Rhythm, and Texture
Most nonwestern musics are monophonic Sometimes accompanied by a drone Some cultures use heterophony All perform same melody with different ornamentation Scales in nonwestern music are frequently quite different than western musical scales Intervals between tones can be larger or smaller Much nonwestern music has very complex rhythms

Interaction between Nonwestern and Western Music
Nonwestern music has been greatly impacted by western influences due to: Increased urbanization Spread of technology Almost worldwide access to recorded music Some governments subsidize traditional music to preserve cultural heritage

Ch. 2 - Music in Sub-Saharan Africa
Africa is divided into two parts: above and below the Sahara desert Above: Moslem, Arabic-speaking, music closely related to that of the Middle East Below: Extremely diverse, many religions, cultures, and languages (over 700) Though Sub-Saharan music is diverse, there are some similarities: Complex rhythms and polyrhythms Percussive sounds Wide variety of instrumental ensembles Vocal music usually a soloist & responding chorus

Music in Society Music permeates African life from religion, entertainment, & magic to rites of passage It is so interwoven into life that the abstract word “music” is not used by many peoples Closely associated with dancing in ceremonies, rituals, & celebrations Dancers frequently play and sing while dancing Music is a social activity—everyone joins in No musical notation—passed by oral tradition

Elements of African Music
Rhythm and Percussion Complex rhythms & polyrhythms predominate Dancers choose to follow any of the various rhythms The body used as an instrument Clapping, stamping, slapping thigh/chest Vocal Music Wide variety of sounds, even within a single piece Call and response extremely common Percussion ostinato frequently accompanies singers Short musical phrases repeated to different words Texture Often homophonic or polyphonic This is unlike most nonwestern musics Same melody often sung at many pitch levels

African Instruments Idiophones Membranophones
Most common African instrument Most are of indefinite pitch Xylophones, a favorite, come in many sizes “Talking drum” w/ slit in side can produce 2-4 tones Membranophones Used in many ceremonial & work-pace applications Drum manufacture often accompanied by special rites Drums usually played in groups—multiple players Variety of shapes, sizes, and forms Aerophones and Chordophones Flutes & trumpets (of wood & horn) most common Reed instruments less widespread Chordophones plucked or struck, gourd resonators

Listening Ompeh (from Ghana) Basic Set, CD 9:44 Brief Set, CD 5:61
Listening Outline: p. 534 Male voice w/ choral responses Percussion ensemble

Listening Mitamba Yalagala Kumchuzi
(dance song of the Zaramo people in Tanzania) Basic Set: CD 9:47 Listening Outline: p. 535 Polyrhythms

Ch. 3 - Classical Music of India
Musical traditions date back over 3,000 years Two main types of classical music Hindustani: secular, court music from Northern India (including now-Pakistan) Absorbed many Persian elements due to Muslim Persian rulers Karnatak: temple music from South India Developed along its own lines Performers Music viewed as a spiritual discipline Oral tradition—study by apprenticeship Improvisation Very important, sophisticated, & developed Guided by melodic & rhythmic formula Must study for years before allowed improv.

Elements of Indian Classical Music
Music is based upon the human voice Pitch range limited to about four octaves Highly embellished melody, both vocal and instrumental, is characteristic Melodies almost always accompanied by a drone instrument Melodic Structure: Raga Melody exists within a framework called a raga—a defined pattern of notes Rhythmic Structure: Tala Rhythm is organized into blocks or cycles, each called a tala Tala range from beats in length 6-16 is most common

Instruments Vocal music most important in India
Many types of instruments Many instruments associated w/ specific gods Sitar most popular chordophone Long necked, lute (guitar) like instrument 7 plucked strings, 9-13 sympathetically vibrating Drums of many sizes Tabla and mridangam drums most common

Listening Maru-Bihag by Ravi Shankar
p. 540 Basic Set, CD 9:48 Brief Set, CD 5:64 Raga and tala (beat cycle) organization Heavy reliance on stringed instruments Extensive improvisation Nonwestern musical form

Ch. 4 - Koto Music of Japan The Koto Godan-Ginuta, by Mitsuzaki Kengyo
Listening Outline: p. 544 Brief Set, CD 9:51 Duet for two kotos, each tuned to different scales Lively dialogue Monophonic, heterophonic, & polyphonic textures Many tones “bent” upward or downward Duple meter, flexible tempo

Music: An Appreciation 10th Edition by Roger Kamien

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Music: An Appreciation 10th Edition by Roger Kamien

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