IU Z101 Final (Asai)

Hildegard von Bingen –  Secular Song  –  (ca. 1150)

• plainchant
• monophony
• provided clarity for worship
• melismas and syllabic text
• free rhythm
• Conjunct Melodies

Machaut  –  Secular Song – (ca. 1350)

• polyphony (independent voices)
• courtly love
• AAB
• Mass oridinary song

Josquin des Prez  –  Secular Song  –  (ca. 1500)

• four-voice polyphony (all equal)
• counterpoint
• ternary form (ABA)
• word-painting

William Byrd  –  Anthem  –  (1590)

• polyphony (six-voice)
• a capella choral music
• imitative counterpoint
• sectional form

Claudio Monteverdi  –  Early Baroque Opera – (1607)

• homophony (subordinate accompaniment)
• basso continuo
• recitative

J.S. Bach  –  Concerto Grosso  – (1720)

• ritornello principle
• fugal texture
• extreme timbral contrast
• vehicle for virtuosic displays

Handel  –  Oratorio  –  (1747)

• ritornello and sectional form
• aria & recitative
• all three textures

Haydn  –  String Quartet  –  (1797)

• theme and variation form
• each variation is assigned a diff. instrument
• periodic phrase structure
• memics a conversation between instruments

Mozart  –  Symphony –  (1788)

• Sonata form
• modulation
• contrasting themes (characters in a drama)

Marriage of Figaro

Mozart  –  Comic Opera  –  (1786)

• opera buffa
• drama through music
• each voice is a character, represents character’s emotion
• accompanied recitative
• Rondo Form

Beethoven ;- ;Symphony ;- ;(1808)

• rhythmic motif
• cyclic form
• sonata form
• Dynamic contrast (loud vs. soft)
• theme and variations
• scherzo

Erlkonig

Schubert ;- ;Song ;- ;(1815)

• ballad
• modified strophic form
• word painting through music
• enhances plot

Felix Mendelssohn  –  Concert Overture  –  (1826)

• program music
• drama represented in a purely instrumental musical
• each situation is given a theme
• sonata form

Symphonie Fantastique

Berlioz  –  Programmatic Symphony  –  (1830)

• modern orchestra
• mastered orchestration 
• program music
• Contrasting sections (major vs. minor)
• Idee Fixe

Fanny Mendelssohn Hensel – Piano Trio – (1846)

• chamber music for the home
• song without words
• invitation to create our own
• modified strophic form

Clara Schumann – A capella choral – (1848)

• political music
• word-painting of “Forward!” (trumpets)
• timbre of the a capella
• unison and patriotic
• Nationalism

Chopin  –  Charater piece for piano – (1830s)

• drone bass
• Repetition, Variation, and Contrast
• song-like vocal texture in piano
• homophonic texture
• Nationalism & Romanticism

Gottschalk  –  Solo Piano  –  (1862)

• Virtuosity
• homophonic vs. polyphonic
• Nationalism
• response to the civil war
• uses American folk melodies

Verdi – Opera – (1853)

• integretation of recitative and aria
• uses aria to show deep emotion
• vocal virtuosity
• little focus on the orchestra

Wagner  –  Opera  –  (1856)

• balance of voice and the orchestra
• thematic ideas are represented in the music
• Leitmotif
• kept vocal parts simple and clear

Brahms –  Symphony – (1885)

• theme and variations form
• theme derived from Bach’s Cantata
• complex
• ABA form
• orchestral timbre
• Combined old forms with new elements

String Quartet “American”

Dvorak ;- ;String Quartet – ;(1893)

• call and response
• pentatonic melody
• folk-like rhythms
• Nationalism

Violes

Claude Debussy ;- ;Character Piece for Piano ;- (1910)

• timbre of the piano
• Gamelan
• whole-tone scale
• harmonies unsolved, melodies float in and out
• atonal
• Impressionism

Ives – Programmatic Work for chamber orchestra – (1908)

• layered texture
• dissonance vs. consonance
• tonal vs. atonal
• symbolism

Schoenberg – Song cycle for voice and chamber – (1912)

• atonality
• sprechstimme
• expressionism

Stravinsky – Ballet – (1913)

• primitivism
• polytonality
• pentatonic melodies (simple)
• mega orchestra
• metrical irregularity
• ostinato

Joplin – Ragtime – (1899)

• syncopation
• sectional form
• compound melodies

Johnson – Downhome Blues – (1936)

• 12-bar form
• blue notes
• lyrical content: blue, sad
• symbolism

Ellington – Big Band Jazz – (1940)

• big-band insturmentation
• swing rhythms
• 32-bar song (AABA)

Parker – Bebop Jazz – (1946)

• virtuosity
• jazz combo instrumentation
• improvisation
• soloist vs. rhythm section

Ruth Crawford – Solo piano music – (1930)

• atonality
• register as a structure
• modernism

Tailleferre – Neoclassicism – (1927)

• periodic phrase structure
• transparency
• rondo form

William Still – Art Song – (1949)

• blues inflections
• chromatic harmony (dissonance)
• through-composed piece

Copland – Ballet – (1942)

• popular modernist
• traditional folk tunes
• open orchestration
• rondo form

Bartok – Concerto – (1943)

• symmectrical form
• folk melodies
• orchestration virtuosity
• pairs of instruments

Bernstein – Musical – (1957)

• additive form
• contrasting meanings
• polyphony

Cage – Aleatory Music – (1959)

• aleatory music
• musique concrete
• electronic music
• experimental

Glass – Opera – (1976)

• drama without a plot
• variation form
• ostinato
• minimalism

Chuck Berry – RocknRoll – (1957)

• Shuffle rhythm
• guitar solos
• 12-bar blues form
• stop timing

Beach Boys – Psychedelia – (1966)

• Composition in the studio
• psychedelic timbres
• themlin
• verse-chorus / sectional form

Leon – Music for percussion ensemble – (1986)

• tonal vs. atonal
• percussion
• Nationalism
• Post-modernism

Tan Dun – Film Music – (2000)

• mix of western and eastern styles
• pentatonic melodies
• symbolism (man and a woman)

• rules that govern the composition of multiple melodies
• note-against-note 

• ABA
• idea is shown, contrasted, and returned
• Ex:
• “The Cricket”

English version of a sacred choral work

meant to be sung in church

• type of counterpoint where one voice presents a theme and other voices imitate it