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Music 101- Week 7 Notes

by: Zackary Windham

Music 101- Week 7 Notes Music 101

Marketplace > Brigham Young University > Music > Music 101 > Music 101 Week 7 Notes
Zackary Windham

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About this Document

These notes cover chapters 30 through 35 in The Enjoyment of Music, as well as notes from Oct. 10 and Oct. 12. Everything you need to know to be prepared for class on Monday, Oct. 17. Detailed note...
Introduction to Music
Hannah C. McLaughlin
Class Notes
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This 4 page Class Notes was uploaded by Zackary Windham on Saturday October 15, 2016. The Class Notes belongs to Music 101 at Brigham Young University taught by Hannah C. McLaughlin in Fall 2016. Since its upload, it has received 3 views. For similar materials see Introduction to Music in Music at Brigham Young University.


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Date Created: 10/15/16
Unit 3 10 Oct 2016  The Symphony -Large-scale orchestral piece -Derives from overtures in Italian Opera. -The Orchestra is the “ultimate instrument”  Haydn was the first major composer to codify the formula of a symphony.  This formula is “Standard 4-Movement Symphonic Form” 1. Fast, upbeat, sonata form. Exposition, development, recapitulation. 2. Slow; any form though, kind of a wild card. 3. Fast, minuet and trio OR scherzo and trio form (always triple meter). Each part in binary form. 4. Fastest movement; sonata form OR theme and variations.  Haydn was known as the father of the symphony. Haydn loved to throw people off and make jokes; he would shift the formula just a little to see who would catch it.  Possible study tip- sing along with the pieces we listen to. The Enjoyment of Music- Ch. 30, “Expanding the Conversation: Mozart, Chamber Music, and Larger Forms”  Chamber music genres expand to include the divertimento and the serenade.  As stated earlier, the first movement of the multimovement cycle is written in sonata-allegro form, or just sonata form for short. This first movement will establish a tonic key, modulate to another key, and then return to the tonic.  In the first movement of the multimovement cycle, themes are stated or “exposed” in the first section, developed in the second, and restated or “recapitulated” in the third.  The exposition presents the two opposing keys and their themes. A bridge modulates to the second section.  The development is characterized by conflict and action; lots of tension is built.  The beginning of the recapitulation is the climax of the first movement. It restates the themes from both keys, except both themes are now in the tonic.  The third movement of the multimovement cycle is a minuet and trio. This is usually in ternary form, presenting two different dances, where the first (the minuet) is repeated after the trio. The second or middle dance is called the trio because it was originally generally arranged for only three instruments. The Enjoyment of Music- Ch. 31, “Conversation with a Leader: The Classical Concerto”  While chamber music resembles a conversation among equals, like a debate, a Classical concerto more closely resembles a political rally, with one strong leader and a following.  The Classical concerto splits from the Baroque concerto as it follows the logic of the multimovement cycle.  One unique pattern of the Classical concerto is the cadenza, a virtuosic solo passage characterized by improvisation near the end of a movement.  First-movement concerto form is sometimes described as sonata form with a double exposition. The orchestra 2 opens with an exposition of the themes, and then the soloist plays elaborate versions of the same themes.  Mozart was an influential writer who wrote 27 piano concertos. 12 Oct 2016  Classical composers took known forms and played with the expectations of the audience.  Mozart’s father Leopold was also a composer.  Mozart was a child prodigy; first symphony at 8 years old. He was kind of a brat though.  Eine Kleine Nachtmusik was written by Mozart.  Remember the description of how sonata form is structured.  The Classical Concerto is a mix of the Baroque concerto and the Sonata form. The Classical concerto is still in three movements, like the Baroque concerto. The Enjoyment of Music- Ch. 34, “Making It Real: Mozart and Classical Opera”  Classical opera tries to portray the nuances of the human condition.  The prevalent from of opera in the early eighteenth century was opera seria, which was serious and tragic opera.  However, audiences began to move toward a simpler style that better reflected human emotions, known as ballad opera. This form of opera was generally in the language of the local peoples. 3  Don Giovanni, written by Mozart, is an influential example of ballad opera. The Enjoyment of Music- Ch. 35, “Mourning a Hero: Mozart and the Requiem”  A Requiem is a musical setting of the Mass for the Dead.  Mozart wrote his requiem, titled Requiem, just before he died; it was left unfinished. The Enjoyment of Music- Ch. 32, “Personalizing the Conversation: Beethoven and the Classical Sonata”  The term sonata means an instrumental work for one or two instruments, consisting of three or four contrasting movements.  Beethoven wrote many sonatas and pushed the form to different heights. The Enjoyment of Music- Ch. 33, “Disrupting the Conversation: Beethoven and the Symphony in Transition”  Beethoven’s music was grounded in ideas of the Classical tradition, but his emotion pushes it in ways that defined the emerging Romantic movement.  In the symphony, Beethoven found the ideal medium to express his works. 4


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