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Completed Music Review for Final

by: Arely Sanchez

Completed Music Review for Final MUMH 1600

Marketplace > University of North Texas > Musicology > MUMH 1600 > Completed Music Review for Final
Arely Sanchez
GPA 3.3

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About this Document

The completed review for the music final.
Music in Human Imagination
Dr. Randy Kinnett
Study Guide
final, Music, review, Short, answers
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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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