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| American Experimentalism artists |
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| Reflection by soloists; vocal no. for solo singer and orchestra. A musical number in an opera, cantata, or oratorio. |
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| Term used in impressionist (early modernism) period to describe the most advanced style |
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| An improv. passage for a soloist in concerto, or sometimes in other works; usually at the end of a movement. |
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| Sonata or rondo form (fast/very fast tempo) |
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| A large composition for orchestra and solo instrument |
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| Contrasting Classical Era from Baroque and Romantic |
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| Musica is a little lighter, less serious than Baroque (Opera Buffa)
Concise use of form (growing audiences, symphony)
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Growing importance of composer’s self-expression
Increasing seriousness given to music in Romantic Era to mirror one’s inner emotional life
The rise of the composer as a genius of originality |
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Maintained characteristic of Romanticism
More emphasis on color and timbre, evocative and personal
New forms without melody |
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| Double-Exposition Sonata Form |
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| a type of sonata form developed for use in concertos (189); two expositions instead of exposition repeat (orchestra & solo) and development (conflict) > recapitulation (reconciliation) |
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| Depict best of both recitative and aria: dialogie, action, and dynamic emotions. A musical number in an opera, cantata, or oratorio sung by 2 or more people. |
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| Berlioz’s V – “Dream of a Witches’ Sabbatch” – Symphonie Fantastique |
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| Example of an ensemble piece |
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| La ci darem la mano – Mozart (DG) |
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| Early 20th century mvmt in art, music, and literature in Germany and Austria |
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| Schoenberg – reflected fascination with Freud – subjective expression of inner turmoil – distorted and exaggerated musical features – |
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| Features of Classical Music |
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Natural and pleasing variety
Natural – can be too simple, even boring
Pleasing variety can be an invitation to an unnatural complexity |
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| Used by Berlioz for a recurring theme used in all movements of one of his program symphonies – “a fixed idea” |
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| Influences on Classical Era |
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| Affected by Enlightenment, rise of comic oper, french rev. (Beethoven) |
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| Many of his works on American subjects, quoting American fold songs, pop songs, ragtime – the 1st important nationalist composer |
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| Type of classical minuet and trio – “funeral march” – Mahler Symphony No. 1 Mvmt III |
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| Short song and piano pieces |
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| Moderate tempo. a movement in sonata, symphony, etc., based on this triple meter dance. |
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| A French artistic mvmnt of the late 19th and early 20th centuries |
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| An artistic constructionstrongest when elements of the large0scale construction are found on the smallest scale (vice-versa) – Organic Growth – Beethovenuse instability as a motive |
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| 20th century mvmt involing a return to the style and form of older music, particularly 19th century music |
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| Drama presented in music, with the characters singing instead of speaking. |
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| Mahler
Affected by age of industrialism, nationalism and antisemitism |
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| STravinksy, looking back to look forward – imagining irrational roots with increased awareness of native people |
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| Instrumental music with a specific story |
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| Dialogue and action (half-singing/half-reciting style of presenting words) – Follows speech rhythms closely |
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| Chopin (early), Berlioz (late), Pucchini, Wagner, Brahms |
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| Romantic Era Music Features |
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| Increased freedom given to performed in musical time
Experimentation with harmony, more richness, and less specific relationships
Fascination with supernatural/macabre
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| To steal (musical time) – free treatment of meter in performance – results in improvisatory push and pull of tempo. |
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| Form consisting of one main theme or tune alternating with other themes or sections. |
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| Developed by Beethoven from minuet to use for movements in larger compositions (No. 5 III. Allegro) |
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| Schoenberg attracted two star students: Alban Berg and Anton Webern |
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| Sonata, variations, rondo, other; slow/very slow |
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| Fast, moderate tempo. Developed by Classiacl composers and ysed in almost all 1st mvmts of their symphonies, sonatas, etc.
Slow intro -> exposition -> development -> recap. -> coda |
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| A vocal style developed by Schoenberg – in between singing and speaking. |
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| Instrumental group with two violins, viola, and cello |
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| A large orchestral piece in several movements. |
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| a form consisting of a tune (the theme) plus a number of variations on it |
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| Typical Orchestra Movement Scheme |
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| Opening movement, slow movement, minuet (with trio), closing movement |
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| sonata, rondo, minuet, theme andvariations |
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| Known for the fusion of opera into a single work (no distinctions between aria, recitative, ensemble) and rxn against opera as pure entertainment. |
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