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1. existed before written history
2. every culture, regardless of isolation
3. enhances quality of life |
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| organization of sounds & silences |
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| different rates of vibration (pitch) |
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| shift from beat to offbeat |
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| several pitches at once (chord) |
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| specific sequence ending in a progression |
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| series of pitches in sequence |
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| not on which melody seems to begin &/or resolve |
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| collection of notes in a specific pattern |
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| changing key during music |
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| one line with harmony (chords) |
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| 2 or more melodic lines (counterpoint) |
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| arrangement of melody & harmony |
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(early-1400)
chants, monks, notation, some polyphony for the last 200 years, early notation, monophonic |
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1400-1600
Polyphony, use of printing press, homophony for important text, secular |
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1600-1750
polyphony, ornamentation, expansion, bigger |
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1750-1820
-Reasoning & Scientific Thinking
-Music is organized & controlled
-emphasis on form
-homophonic
-Crescendo/decrescendo
-better instruments, pianoforte
-larger orchestras
-music becomes lighter & has clearer texture
-becomes organized & controlled
-moving away from multiple layers of polyphony
-more emphasis on harmony
-quality & availability of musicians dramatically improved
-more variety & contrast within a piece
-printing press |
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**MOZART= public concerts- limited to writing what people liked
**HAYDN= Patronage System- worked for wealthy people |
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1. Sonata Allegro Form (Fast)
2. Theme & Variations (Slow)
3. Minuet & Trio (Dance)
4. Rondo (Fast) |
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–exposition =
First theme in tonic key
Bridge containing modulation from home key to new key
Second theme in new key
Closing section in key of second them
–Development=
New treatment of themes; modulations to different key
–Recapitulation=
First theme in tonic key
Bridge
Second theme in tonic key
Closing section in tonic key
–Coda
Tonic Key |
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Theme is first presented and then repeated in different ways
With each new variation there is something new that has been changed – melody, rhythm, harmony, etc.
The main theme is often repeated during a variation |
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Triple Meter
Moderate Tempo
A-B-A form
(Minuet – trio – minuet) |
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Main theme (tonic) returns after other sections
A-B-A-C-A
A-B-A-C-A-B-A (arch form)
Sonata Rondo
A-B-A – development – A-B-A |
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1820-1900
-No Rules!
-rebellion against rules of classicism
-no definite style
-artists did no agree
-Intellectual & artistic movement
-political, economic, & social revolutions
-reaction against enlightment thought
-emphasis on emotion over logic
-BIGGER!
-larger ensembles
-thicker orchestration
-longer melodies
-broader dynamic changes & contrast
-more frequent & unexpected modulation
-sounds more like modern music |
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| Historic events during Romantic Era |
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1. French Revolution (1789-1799)
-absolute monarchy to inalienable rights
-violent upheaval- power to middle classes
2. American Revolution (1775-1783)
-Rejection of British Monarchy
-Violent upheaval-power middle class |
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| Romantic Composers & Performers |
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composers & performers (often same person)
-Liszt= virtuoso pianist-theatrical performance
-Paganini- virtuoso violinist- amazing technique, influenced composers worldwide & future violinists |
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(Bridged from Classical to Romantic) 1770-1827
Classical from 1770-1802
Romantic from 1802-1827
-German
-often credited with virtually creating the Romantic
-responsible for freeing music from the harmonic, rhythmic, & formal constraints of classicalism
-Use of dissonance as functional part of harmony
-use of polyphonic procedures in thematic development
-changed & expanded sonata form & others |
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1850-1910
-main focus on emotion & intuition
-mysticism, nature
-technological expansions: railroads, telegraph
-Middle class consumer
-Art, literature, music |
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1. Mahler
2. Strauss
3. Tchaikovsky
4. Puccini |
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1860-1911
-often considered most important in Late-Romantic Era
-Austrian Composer/ conductor
-work received with skepticism
-mostly symphonies & songs
-mixed high & low aesthetic values as well as ethnic values as well as ethnic traditions- outraged conservatives
-conducted NY Philharmonic & NY Met @ different times
[Symphony No. 5: Trauermasch] |
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1864-1949
-Late-Romantic Composer
-German
-most known for tone poems (one mvt. tells a story or depicts a scene)
-Follower of Liszt, Berlioz, Wagner
[Also Sprach Zarathustra] |
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| Piotor Ilyitch Tchaikovsky |
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1840-1893
-Late-Romantic
-Nationalistic but not part of Russian Five
-Lyrical melodies, incluenced by slavic modal harmonies of Russian Folk song
-widely popular
-symphonies & ballets
[Tchaikovsky Overture, 1812]
[Nutcracker- Sugar Plum Fairy] |
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1858-1924
-Late-Romantic
-opera composer
-verismo=everyday subjects less emphasis on traditional subjects & forms
-emotionalism
[Turandot Non Piangere] |
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(1890-1920)
-Creates MOOD
-loosely organized group who believed impressions were more important in art than detail
-name created by art critic names Leroy in a review of a work by Monet
-emphasis on light & motion to create “impressions” or moods
-followed by similar movements in music & literature
-French |
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-mood & atmosphere
-reaction to raw emotionalism & extremes of Romanticism
-subtle, elegant, indirect
-WHOLE TONE SCALE
-transparent orchestration
-short movements (often only one)
-unusual harmony
-melodic fragmentation
-little or no thematic development |
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1862-1918
-Impressionist, but didn’t like the term “impressionism”
-defined transition from late romantic to 20th century
-strongly influence by Monet
-tried to follow suit with painters & writers
-tried to capture effects of light & shade by using tone color & chord structure
-use of wholetone scale to create more subtle, vague quality in music
-use of unresolved dissonances
-parallel chord progressions
-controversial
[Prelude a l’apres-midi d’un Faune] |
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1875-1937
-sometimes called a “post impressionist” (due to new-classical style)
-known for melody, orchestration & texture
-use of unresolved dissonance-not atonal
-use of rhythm & scale constructions often found in various music of Asia
-outstanding orchestrator
[Jeux d’Eau]
[Bolero] |
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-combination of romantic techniques with form and/ or harmony of Classical
-Neo-Classical= classical or Baroque forms with Romantic harmony (more with less)
-Neo-Romanticism= back to Romantic aesthetic (emotionalism, long melodies, etc.)
-elements like tonality & form of Romanticism are still in use in modern music (direct result) |
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| Serialism, Expressionism, Neo-Classicalism, Impressionism, Jazz, Electronic, Modernism, Minimalism |
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-reaction to romanticism
-does not have a tonal center
-serialism= music using all 12 tones
-Schoenberg= 2nd Viennese School, Weburn, Berg |
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| Folk tunes in larger works |
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U.S. = Gershwin, Colpland, Bernstein
Europe = Ravel, Weill |
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-Early 20th Century
-Germany
-reaction to impressionism
-emotional experience
-distorting reality for emotional effect
-used throughout the arts
-emotional intensity or angst
-challenges traditions
-Second Viennese School (Schoenberg, Weburn, Berg)
-Free form tonality
-delibrate suffering through dissonance
-Nietzsche was a fan, esp of musical expressionism
[Perrot Lunaire-Schoenberg]
[The Banshee-Henry Cowell] |
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1860s & 1870s
-reaction to impressionism
-reduced to only fundamental elements
-repetition & simplicity
-very short phrases which repeat
-consonant harmony
-steady pulse
-phase shifting-sound waves move out of sync
[Steve Reich]
[Phillip Glass] |
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1. reaction to predominant German music
2. Liberation & Freeedom
3. Countries involved:
-Russia: preferred romanticism over classicism; composer=Rimsky Korsakov=EXOTICISM
-Czechoslovakia: Dvorak |
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| Why was america behind Europe? |
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puritans though art was frivolous
-“cultural inferiority” complex |
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Impressionistic
-Schoenberg, Weburn, Berg |
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great American brass virtuoso
“Stars & Stripes Forever” |
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1920’s
occurred during PROHIBITION |
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