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Notes from Music in Human Imagination (4/11-4/18)

by: Arely Sanchez

Notes from Music in Human Imagination (4/11-4/18) MUMH 1600

Marketplace > University of North Texas > Music > MUMH 1600 > Notes from Music in Human Imagination 4 11 4 18
Arely Sanchez
GPA 3.3

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About this Document

Here are the notes taken from the dates 4/11- 4/18.
Music in Human Imagination
Dr. Randy Kinnett
Class Notes
Romantic, era, opera, Beethoven, Music, notes, exam, 3
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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.


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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      


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