Completed Music Review for Final
Completed Music Review for Final MUMH 1600
Popular in Music in Human Imagination
Popular in Musicology
This 4 page Study Guide was uploaded by Arely Sanchez on Sunday May 8, 2016. The Study Guide belongs to MUMH 1600 at University of North Texas taught by Dr. Randy Kinnett in Winter 2016. Since its upload, it has received 167 views. For similar materials see Music in Human Imagination in Musicology at University of North Texas.
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Date Created: 05/08/16
periodization: different times and things that sonata form: most have happened (begin often form used in first opera: in the 1600 and end) it led to movements of musical theatre, generalizations symphonies, most happens in multiple Patronage: supporting narrative form (story movements, basis on of a genre of music in telling), has 3 Florentine, argued different eras sections: exposition, that accompanied semiotics and related development, and solo vocal music was terminology: (icon: recapitulation. more expressive than resembles an object, Exposition; melodies polyphonies index: experience sign that happen as in recitative: no beat, and object together, introduction, presents rhythm comes from symbol: what things movements main speech, naturally mean with a linguistic ideas or themes, accompanied by way, semiotics: study usually twice, ends in basso conitnuo. Are of signs) the wrong key/chord used to convey action primitivism: movement word painting: vocal (monologue or of the late nineteenth music, use of music to dialogue) and early twentieth imitate images and aria: a song, nice to centuries that valued sounds described in listen to, coherent, and imitated the arts the text. Ex: singing a duets, trios. Has 3 of nonwestern and higher key and forms: strophic, ABA, tribal peoples imagery is going up and ritornello. Are movement: self imitative polyphony: used to convey contained section of a type of polyphony emotion or reflection larger musical work where each voice’s libretto: writer of the generally imitate the first voice. words characterized by its (often sang at Wagnerrelated own tempo. ( different pitch levels) terminology: he symphony: piece of program music: music believed opera should orchestra, usually in for instruments to be built on german four movements. express something musical traditions and (important in the else like: image, story, german culture, classical period) ideas Premieres Ring of the (closest thing to a program symphony: a Nibelung or Ring concerto, new symphony as program Cycle, it is 4 operas instruments used, music. Ex: berlioz with a continuous plot symphonie based on Norse Fantastique mythology. Classical Era: 1750 Triumph des Willens: 1815, aristocratic Complete artwork: in 1935, a feature patronage was still one artist creates the length film by Leni dominant, bourgeois whole opera, replaces Riefensthal in patronage was on the collabs of composer, Nuremberg rise, wealthy people librettist, director, and Nazi music policy: were less likely to opera should be one jazz music was spend money on vision and not banned, jewish are music, amateur compromised among more intellectual and musicianship, learning multiple visions. do not act with the an instrument/sheet Endless melody: no heart, they believed music, there was distinct arias or you should promote public theatres, and recitatives just one music from home. less common were continuous musical Atonal: no relationship concerts flow, there is always with pitchesno pitch Romantic Era: main some kind of music was the main pitch patronage was happening Mass singing: created bourgeois, middle (transitions) a harmony of will that class Europeans were Leitmotifs: a theme in was not provoked by buying into aristocratic an opera or recurring Calcitrance or refusal lifestyle culture, themes that gain in an (where everyone western art music opera based context sings) –creates changes because of Ballets Russes: a harmony of will this class needs and company that Music in the Civil interests, emphasis performed in the Rite Rights Movement: mid on: the individual, of Spring 50’s and 60’s in the emotion, things Diaghilev: writer for south, congregations inspired by nature the ballet company sing together Western art music: Nijinsky: a very (everybody sings), amateur modern even though they do performances, choreographer not sound good, it has industrial revolution a meaning. Ex: we affects materials, shall overcome: labor prices, emphasis on organizing, roots in personal expression gospel music (if my and entertaining value jesus wills) 1. Look at each of the examples below that might show up on the listening part of the exam. For each of those, formulate in your mind as complete a list as possible of answers to this question: why did we study this piece, this composer, and their context? What new currents or trends are represented by this example? To what degree are these extensions of or reactions against other styles, ideas, or genres in music history? Beethoven was a transitional classical romantic th composer. Beethoven’s 5 was the first piece we studied and it met all the genre expectations for a symphony, The third movement was in a dance style and in ABA form and the fourth movement was the finale and fast and sometimes in sonata form. This used a bigger orchestra and introduced new instruments and the 4 movement quotes the 3 movement. Berlioz has musical aspirations and did not want to be a doctor like his dad. His symphonie introduced a 5 th th movement and a march in the 4 movement. He also attempts to portray a story (program symphony), and all movements are unified by one recurring “idee fixe” theme. A recurring movement or theme idea is shared between these two composers. Wagner had patronage from a king that is a big deal. His ideas were focused on german musical and traditions. He develops a different kind of opera with one continuous plot. He also has a recurring theme like Beethoven and Berlioz even though it is a bit different. Stravinksy really explored with music. It was not a graceful like the other symphonies. He also incorporated dancing. He introduced primitivism, block construction, and polytonality. There is some ostinato (keeps coming back) like the other composers. Charlie and his Orchestra were to express their feelings about a certain kind of race. These has lyrics. The last two were about the civil rights movement and they were just a way of expressing themselves about their race and the kind of music they wanted to listen to and hear. 2. As we studied in class, what made Beethoven such a transitional composer? What specific examples of this have we seen? (Think especially about examples in his Symphonies No. 5 and 6.) Which of these features of Beethoven’s style did we encounter in later Romanticera examples, particularly in the music of Berlioz and Wagner? He made his symphonies in 4 different movements, and there was new instruments added like clarinets, French horn, etc. He would stretch out each movement sometimes. Each movement had typical characteristics. First and last movement were in sonata form. Second rd th movement is slow and long, 3 movement in ABA form. And the 4 movement qutotes 3 movement. In berlioz, the first theme in 1 movement recurs in every other movement. Sonata form was a verythommon feature. Also a hint of ritornello form is in beethoven’s 6 symphony. It was seen also in Wagner with his leitmotifs of the same theme or idea coming back. And also program music in th 6 and in berlioz were both used to portray some kind of imagery. 3. The examples by Berlioz, Wagner, and Stravinsky are considered to be quite revolutionary for their times. Why? Think of as many specifics as you can. Berlioz wanted to be a musicians instead of a doctor like his dad. He was influenced by Beethoven’s revolutionary aspects. His symphony had 5 movements: 1: fast, sonata form, 2: dancelike, 3: slow, 4: march, 5: no form at all. He also attempts to portray a story (program symphony) Stravinsky’s Rite of spring was something people had never heard before. His music was very sinister and presented the idea of primitivism. He also added polytonality which is 2 layers that sound like they are in 2 different keys. And block construction which was when he would take a score that already sounded good and enters a “block” at the end or the top (things that wouldn’t go together) 4. What were the main Nazi policies toward music? What criteria helped determine what music was supported or prohibited? What were some notable exceptions, and what justified those exceptions? No jazz music or no “American music” allowed. Race was a big factor in the criteria and their nation no American. Some exceptions was the leniency of the cops to figure out what was acceptable and what wasn’t. You were able to listen to classical music because of Beethoven and Bach. (There was a broad definition of being german.) Also militaristic and folk music was acceptable. 5. What semiotic power can be found in mass singing? Think about the examples from Nazi Germany as well as the Civil Rights Movement. Harmony of the rituals so it can’t be associated with calcitrance because it’s not verbal. Doing it from will. There is no coercion. It brings people together through the product of ritual. (a semiotic sign would be a salute to Hitler: its an expressive cultural practice.)
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