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| solo, duet, trio, quartet, qintet, sextet, septet, octet, nontet |
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| associated with Haydn, Mozart and Beethoven |
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| Hungarian noble family, employed Haydn – patrons |
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came about in 1700
ubiquitous
replaced basso |
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| multi-movement instrumental genre for orchestra alone often with 4 movements. |
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| 4 movement instrumental genre (chamber music) for 2 violins, 1 viola, and cello. |
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1) solo piano
2) piano + solo instrument
3 movements |
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| Soloist and orchestra, multi-movement instrumental genre. Core of bowed strings. |
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| 2 soloists and orchesta, multi-movement instrumental genre. core of bowed strings. |
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| flute, oboe, clarinet, bassoon, french horn |
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| grew in size, basso was replaced by piano |
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violin, viola, cello, double base
flute, clarinet, oboe, bassoon
trombone, french horn, trumpet, tuba
timpani |
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| string quartets, often for amateurs to make social music. |
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the 12 tone system or majors and minor
classic era also known as common practice era |
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| one of the 12 positions in the major minor system |
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| using chromatic scales, this is a romantic trait |
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| changing the key of a piece |
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| dance movement of a multi-movement work, such as a concerto or string quartet. (often the third, sometimes the second) – in TERNARY FORM. |
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A – Ba
fragments of A return at the end. |
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A – B – A
minuet and trio often in this form |
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| Theme and variations form |
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| state a theme, repeat and alter |
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| sonata form (first movement form) |
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structural and dramatic
theme one, bridge, theme 2, repeat
development
recapitulation |
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| last section of a piece after the main ideas are presented |
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| short motive altered and repeated, common in modulation |
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| near end of concerto, soloist only |
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| short, memorable and appealing to a broad public |
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| fragment of a melody or theme |
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| repeating throughout a piece |
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| basic subject matter of a piece of music – a phrase, motive, tune, musical idea. |
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celebration of culture of nationality of composer:
MAHLER: Youth’s magic horn – song cycle of german folk songs
WAGNER: new german school, celebrated opera (example: flying dutchmen) |
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celebration of culture of foreigner.
PUCCINI: madama butterfly, japanese theme.
CHOPIN: polonaise, celebration of polishness. |
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instrumental music associated with a story, image, idea, poem…etc. Often with descriptive title.
TCHAIKOVSKY: romeo and juliet overture |
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instrumental music NOT associated with anything, usually with a generic title.
5th Symphony |
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| german school that saw formal structures as inhibiting to the composer’s expression. |
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| solo voice (monody) +piano. Poems or stories usually already existing. Became popular due to ubiquity of piano. |
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| group of songs published together with something in common. MAHLER – the youth’s magic horn. 12 german songs – also nationalism. |
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| repetition of motives or reminiscent motives, gave pieces a sense of unity. |
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strophic – every stanza, same music
modified strophic – some the same, some not
through composed – different every stanza |
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| name given to character piece, could also be inrto to other music. In art songs, it was a character piece. |
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| names for character pieces |
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| waltz, prelude, nocturne, polonaise, mazurka |
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| music critic, composer, married clara |
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| composer, piano virtuoso, 7 children, took care of robert when he went insane. Letts showed she accepted women’s subordination |
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| etudes, technically difficult, virtuoso, piano, polish and exotic – had polonaises |
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| expanded orchestra, orchestration, wrote orchestral manual, progressive, developed program music |
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| Tchaikovsky – in french grand opera, swan lake, the nutcracker |
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| one movement work in free form for orchestra with descriptive title |
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| sonata form, one movement instrumental genre |
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| Aide, opera, italy on historical topics |
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| Madama butterfly, contemporary themes |
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| italian, historical topics, aristocratic taste, recitative, aria |
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| funny opera, middle-class, common people, aria, recitative |
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| spoken, aria, chorus, duet, any topic |
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| madama butterfly, 19th C singing style, arias were decorative and busy. Very difficult and pure singing. |
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| murder, maddness, and suicide |
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| bel canto aria, Madama butterfly, imagining her happiness when Pinkerton arrives. |
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| iconic german opera composer, nationalist, follower of new german school |
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| total artwork – all encompassing theatre poetry, drama, visual |
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| Bayreuth Festival Theatre |
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| designed for Wagners operas |
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| cycle of music dramas, norse mythology, political librettos |
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| wagner – type of opera according to the german school |
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| 1860 – 1911 maximialist compositions, including orchestras with choirs, lots of percussion |
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| mahler – loved percussion |
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| 1) huge, included voice, lots of percussion, 2) very long, 3) many movements. |
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| huge, included voice and lots of percussion |
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an art song for voice + orchestra
youth’s magic horn (mahler) |
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| Mahler began his 5th symphony with this, Beethoven did this before him |
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two opposite ideas communicated in music.
Mahler: Kindertotenlieder (song of the death of a child) |
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| one movement for piano, lyrical (Eusebius) – portrays a mood |
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| large ensenble instrumental, multi-movement, soloist and orchestra |
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| sonata form, one movement with ttile |
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| monody, solo voice and piano, often known poems or stories. Made popular by piano, piano added expression |
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| Wagner – theory for a new kind of opera |
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| recitative, aria, middle-class, common people |
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| italian, aria, recitative, aristocratic, gods, mythology, history |
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| german, aria, duet, chorus, common topics |
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solo
solo instrument + piano |
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| songs published together that share characteristics |
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| one-movement work in free form with descriptive title |
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| multi-movement instrumental genre for orchestra alone. 4 movements – sonata (first movement form), theme and variation, scherzo, rondo. |
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| flute, clarinet, bassoon, oboe, french horn |
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