Notes from Music in Human Imagination (4/11-4/18)
Notes from Music in Human Imagination (4/11-4/18) MUMH 1600
Popular in Music in Human Imagination
Popular in Music
This 2 page Class Notes was uploaded by Arely Sanchez on Monday April 18, 2016. The Class Notes belongs to MUMH 1600 at University of North Texas taught by Dr. Randy Kinnett in Winter 2016. Since its upload, it has received 46 views. For similar materials see Music in Human Imagination in Music at University of North Texas.
Reviews for Notes from Music in Human Imagination (4/11-4/18)
Report this Material
What is Karma?
Karma is the currency of StudySoup.
You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!
Date Created: 04/18/16
The Romantic Era • Main patron of music: bourgeois • Middle class Europeans are buying into aristocratic lifestyle culture • Western art music changes because of this class’s needs and interests • Romanticism: hard to define-‐a trend -‐emphasis on: -‐the individual -‐emotion -‐things inspired by nature -‐sublimity -‐spontaneity wildness Western Habits and Music Traits (Romantic Trends) • More adapted to bourgeois consumption patterns -‐amateur performance, instruments, publications -‐piano becomes the favorite instrument of the home -‐industrial revolution affects materials, prices, quantaties -‐public concerts and opera • Emphasis on personal expression -‐individuality/subjectivity -‐nationalism -‐expressing identity (composers or audience) • Emphasis on entertaining value -‐Program music: music for instruments to express something else like: imagery, story, ideas -‐virtuosity; could be a circus act • Emphasis on music being “great” or edifying -‐development of a musical canon -‐canon: imaginary list of works understood to be important or great -‐the rise of classical music as a dead composer thing • For the first time many composers hope to be remembered by history Beethoven Symphony No. 6 (Pastoral) I. In sonata form (The awakening of cheerful feelings upon arriving in the country side) II. Slow (scene by the brook) III. Dancelike (A merry gathering of the country folk) IV. No particular form and leads directly out of the 3 movement and into 5 th movement (Thunderstorm) V. Rondo form: like ritornello form (A section keeps coming back) (Shepherds song: Feelings of Thanksgiving after the storm) -‐gives each movement a subtitle -‐also program Berlioz, Symphonie Fantastique (1830/1845) • Hector Berlioz (1803-‐1869) -‐middle class parents: musical aspirations -‐dad was a doctor -‐went to medical school and hated it -‐liked watching opera in paris -‐fiance left him -‐influenced by Beethoven’s more “revolutionary” aspects • 5 movement symphony: I. Fast, sonata form (preceded by a long slow intro) (Reveries, Passions) II. Dancelike (A Ball) III. Slow (Scene in the country) IV. March (March to the Scaffold) V. No form at all (?) (Dream of a witness Sabbath) st • First theme in 1 movement exp. recurs in every other movement • Also attempts to portray story (“program symphony”: a symphony as program music) • Autobiographical • All movements unified by one recurring “idee fixe” theme (can’t get out of his mind) Richard Wagner • 1813-‐1883 • opera director and later opera composer • Italian: (what he believes are problems with opera) -‐focused on arias and singers -‐better german opera should build on german musical traditions and german culture -‐german culture: language, topics -‐the idea of german music style -‐Bach -‐Beethoven
Are you sure you want to buy this material for
You're already Subscribed!
Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'