|
|
| when romantic composers deliberately create music with specific nationality, folk songs, dances, legend, and history |
|
|
|
| when composers draw on colorful material from foreign lands |
|
|
|
| instrumental music associated with story, poem, idea, or scene |
|
|
|
| slight holding back or pressing forward of tempo |
|
|
|
| when a leody returns in a later movement or section of romantic works, this is when the character may be transformed by changes in dynamics |
|
|
|
| German word, commonly used for song with German text |
|
|
|
| repeating the same music for each stanze of a poem |
|
|
|
| writing new music for each stanza of a poem |
|
|
|
|
|
|
| a piece designed to help a performer master specific technical difficulties |
|
|
|
| single melody used in several movements of a long work to represent a recurring idea |
|
| symphonic poem (tone poem) |
|
| programmatic composition for orchestra in one movement, which may have traditional form |
|
|
|
| instrumental music having no intended association with a story, poem, scene |
|
|
|
| symphony related to story, idea, scene, in which each movement usually has a descriptive title |
|
|
|
| independent composition for orchestra in one movement, usually in sonata form, often in romantic period |
|
|
|
| music intended to be performed before and during play, setting mood for drama |
|
|
|
| an Italian literary movement |
|
|
|
| short musical idea associated with a person, object, or thought, characteristics of the operas of wagner |
|
|
|
| To display his own incomparable piano mastery, this man composed Transcendental Etudes |
|
|
|
| develops new form of program music that influences later composers |
|
| Johann Wolfgang von Goethe. |
|
| Among Liszt’s favorite inspirations were the literary works of |
|
| had a charismatic personality and was a stupendous performer. |
|
| Liszt typified the romantic movement because he |
|
| arpeggios, rapid octaves and daring leaps, and complexity of sound |
|
| Characteristics of liszt’s piano works |
|
|
|
| In many of his works, Liszt unified contrasting moods by a process known as |
|
|
|
| During his teens and twenties, Liszt lived in |
|
|
|
| As a youth, Liszt was influenced by the performances of |
|
|
|
| Liszt created the ______________, a one-movement orchestral composition based to some extent on a literary or pictorial idea. |
|
|
|
| Liszt abandoned his career as a traveling virtuoso to become court conductor at _____________, where he championed works by contemporary composers. |
|
|
|
| Until the age of thirty-six, Liszt toured Europe as a virtuoso |
|
|
|
| The high point of Mendelssohn’s career was the triumphant premiere of his oratorio _____________ in England. |
|
| soloist, who presents the main theme. |
|
| Mendelssohn’s Concerto for Violin in E Minor opens with a(n) |
|
| are played without pause. |
|
| The three movements of Mendelssohn’s Concerto for Violin |
|
| appears at the end of the development section as a transition to the recapitulation. |
|
| In the first movement of the Concerto for Violin, the cadenza |
|
|
|
| Mendelssohn is known as the man who rekindled an interest in the music of |
|
|
|
| In order to support his family, Berlioz turned to |
|
| sensationally autobiographical program, amazingly novel orchestration, vivid description of the weird and diabolical |
|
| Parisians were startled by Berlioz’s Fantastic Symphony because of its |
|
|
|
| In 1830 the Paris Conservatory awarded Berlioz |
|
|
|
| The liturgical melody quoted in the last movement of the Fantastic Symphony is the |
|
|
|
| Outside France, Hector Berlioz enjoyed a great career as a(n) |
|
|
|
| Berlioz’s Fantastic Symphony is unified by the recurrence of a theme known as the |
|
| love for the actress Harriet Smithson. |
|
| The Fantastic Symphony reflects Berlioz’s |
|
|
|
| The fourth movement of the Fantastic Symphony depicts a |
|
| The Sorcerer’s Apprentice |
|
| Which of the following was not composed by Berlioz? |
|
|
|
| The second movement of the Fantastic Symphony is a __________, the most popular dance of the romantic era. |
|
| a wealthy benefactress who provided Tchaikovsky with an annuity. |
|
|
|
|
| At its premiere in 1870, Tchaikovsky’s Romeo and Juliet Overture was |
|
| Symphony no. 6, marche slave, overture 1812 |
|
|
|
|
| Tchaikovsky’s Romeo and Juliet is a(n) |
|
| a slow, despairing finale |
|
| Tchaikovsky’s Sixth Symphony ends with… |
|
|
|
| Smetana grew up when Bohemia was under _________ domination. |
|
|
|
| Smetana is regarded today as the father of ___________. |
|
|
|
| Smetana’s most popular opera is |
|
|
|
| Smetana’s most famous work is the tone poem Ma Vlast (My Land). In it, the movement called The Moldau depicts ____________ |
|
|
|
|
| are exquisite miniatures. |
|
|
| the left hand must play rapid passages throughout. |
|
| Chopin’s Revolutionary Etude in C Minor develops the pianist’s left hand because |
|
| produce big sounds on the piano. |
|
| Because of his size, it was difficult for Chopin to |
|
|
|
| Much of Chopin’s music is an example of |
|
|
|
|
|
|
| The most original, and probably the greatest of the Russian five, was |
|
| The romantic period in music extended from about 1820 to 1900. |
|
| Romantic style flourished in music when? |
|
| emphasis on self-expression and individuality of style. explores flamboyance and intimacy, unpredictability and melancholy |
|
| What are the characteristics of romanticism? |
|
| a composition for solo voice and piano |
|
|
|
|
| What instrument was often found in most middle-class homes during the romantic period? |
|
|
|
| Franz Schubert’s song Erlkonig is in what song form? |
|
|
|
| How many songs did Franz Schubert write? |
|
|
|
| Which composer first developed the symphonic poem? |
|
|
|
| How many musicians might be included in an orchestra in the late romantic period? |
|