-
leitmotif
- A musical phrase associated with objects/characters/feelings that adds
- meaning to the text and adds psychological meanings to the characters
-
etude
study piece designed to improve a performers technique (like scales)
-
song cycle
- Made up of lieder: most often based on poems by some poet
- Makes one grand narrative
-
character piece
- Not quite program music but still instrumental
- Doesn’t set a series of events though
- Suggests less indefinite idea
-
virtuoso
- Good at challenging things on instruments
- With technical improvements in instruments, can play more crazy things
-
polytonality
Simultaneous sounding of two or more keys at once
-
secon viennese school
- Comprised Schoenberg and his pupils/associates
- Expressionism
- Fascination with the unconscious and people’s inner feelings
- Center
- = Vienna!
- Extreme
- feelings!
Atonality
-
gesamtkunstwerk
- Total
- artwork
- The
- music of the opera should completely merge with the words
- An
- opera should be one expansive experience – very into set designs/costumes
Wagner
-
Serialism vs. Atonality
- Had
- no organization though!
- Freed
- music
- Serialism:
- uses a series of values to manipulate musical elements
- Twelve
- –tone technique: outgrowth of atonality but had a strict unifying
- principle
-
musical nationalism
- Ways
- to represent their nation
- Composers
- wrote music based on folk music of the country
- Dance
- tunes
- “other”
- in opera (depicted foreign, exotic, other person)
- symphonic
- “other” (exotify the other in symphonic music too)
- a
- piece glorifying the homeland
-
primitivism
- The
- early 20th century fascination with others (the past/other
- places)
- Exoticism
- Another
- way to do something new!
- Another
- response to romanticism
-
peking opera
- Musical
- opera performance from late 18th century
- A lot
- of dialogue, dances, elaborate costumes,
- Generally
- about Chinese lore
-
post romantic crisis
- Composers
- reacted against romanticism
- They
- were unsatisfied with romanticism – it didn’t solve their uneasiness
- Crisis
- of what to do after romanticism à
- conveys angst
Mahler, DeBussy, Primitivism, Neoclassicism
-
Edwardd MacDowell
American, virtuosic piano concerto
-
Franz Liszt
- virtuoso
- pianist
- Transcendentalist
- Etude
Tempestuous piano music
-
Aaron Copland
- More mainstream approach in American music – American cultural topics!
- open intervals - like the vast landscape
- brass instruments - American sounding
- Arnold Schoenberg
-
Arnold Schoenberg
- part of 2nd viennese school
- Very important expressionist composer!Radically innovativeDisliked tonality – came up with atonality, then the 12-tone system
-
Charles Ives
- First
- Modernist that was distinctively American
- Radical
- experimentalist
- Wild
- dissonances, musical genius
-
Richard Wagner
- ugly side of nationalism (rascist)
- gesamtkynstwerk
- leitmotifs
- loved using the orchestra, very grand, thick chords/harmonies
- famous for the Ring Cycle
-
Robert Schumann
- Modern piano!
- Character pieces
- Dreamy, melodic (lyrical side of the romantic era)
- He also worked as a musical journalist (wrote about music in a unique way)
-
Clara Schumann
- Instrumental in her husband’s music (spread his music by word of mouth and by playing
- his music)
Very good, joint compositions with her husband
-
Antonin Dvorak
- Czech
- in Europe – came to New York to direct a national music school
- Tells
- America how to make American sounding music (New World Symphony) based on
- native American culture (limited understanding)
- Draw
- on North American cultures
American composers should draw upon African American spirituals also
-
Lang Lang
- current virtuoso
- very expressive when he plays - controversial
-
tan dun
- Because
- of the cultural revolution in China he was able to explore a lot of
- previously suppressed music à associated with the NEW
- WAVE (modernize Chinese music)
- East
- meets West – Silk Road
- Crouching
- Tiger Hidden Dragon
-
Schubert, Die Schone Mullerin
- Made
- up of lieder (most often based on poems by the same poet)
- Grand
- narrative!
- Narrator
- and a brook (narrator = suicide), uses the collaborative pianist who plays
- the brook!
-
Donizetti, Lucia di Lammermoor
- Based
- on a Walter Scot novel
- Mad
- Scene: popular element of bel canto
- The
- heroine had a lot of emotional trauma (breaks with reality to show off
- her talent)
- Scena:
- word when talking about the 19th century opera
- 2
- versions
- Normal
- – staged, clearly shows that she is crazy – big production, wild gestures
- For
- tv – like glee! Don’t need visual cues to see that she is crazy
-
Robert Schumann, Kinderszenen
- Small
- part – Dreaming
- The
- supplicant Child
- Very
- melodic, dreamy
-
Berlioz, Symphonic Fantastique
- Fascination
- in the Romantic era (dramaticism)
- Orchestra
- is gaining in size
- Idee
- fixe – musical snipet to represent one thing
- When
- it plays you know that the love of the narrator is there
-
Smetana, The Moldau
- Play
- anything that was not German
- Depicts
- the River – celebrates the connection between the river and his identity
- (patriotic theme)
-
Dvorak, New World SYmphony
- He
- wanted to show America how to make authentic American music
- Based
- it off of North American music – kinda seems fake (like a European
- caricature of North American music!)
-
Rimsky-Korsakov, Scheherezade
- Russian
- nationalism music
- Program
- Music to tell a story
- Symphonic
- exotic other (a change in rhythm, other instruments, different intervals)
- Asserts
- a national identity with an exotic picture of otherness
-
Debussy, Prelude to teh Afternoon of the Faune
- Based
- on a poem by a symbolist poet (Mallarme)
- About
- the mythical faune
- Strange
- sounding – uses a solo flute playing instead of a large orchestra
- One
- response to the post-romanticism crisis
-
Stravinsky, Rite of Spring
- Primitivism!
- – another response to romanticism
- Ballet
- Music (sort of riskay – sexualized, about pagan rituals)
- Unusual
- timbres, rhythms, accents, dissonant music)
-
Berg, Wozzeck
- Intense
- opera experience – inevitability and exploitation for the poor – very
- emotional
- Avant
- garde – atonality (without a key)
- Use
- of leitmotifs
- Part
- of the Viennese School
- Atonal
- music
-
Copland Fanfare for teh Common Man
- Stirring,
- patriotic
- One
- of best known classical music
- Triumphant
- moods – instrumentation, but American quality to it
- Simple
- intervals
- Serialism??
-
Copland Appalachian Spring
Uses folk songs, hymns, country tunes
-
Gershwin, Rhapsody in Blue
Combines classical music with jazz influenced effects
-
Tan Dun, Symphony 1997
- National
- and historical memory for reuniting Hong Kong and China after British rule
- Has a
- western and Chinese flavor – combination of different traditions
- Everything
- in the world is one! - a song
- of peace
- Uses
- the Bianzhong (Chinese instrument)
-
Why Music Moves us
- There
- may be something hardwired into us – respond to the music in the same sort
- of way
- Do
- we really though? Not much scientific basis
- Motherese:
- sing songy way you talk to children – brain is born ready to process
- music!
- Music
- is like auditory cheesecake
- Communication
- is rooted in emotion – music combined too
- It’s
- a universal language?? Or more culturally based?
- Social
- cohesiveness
- Physiological
- effects
-
John Corgliano - Symphony No 1
- not very melodically driven, sounds minimalist
- not atonal though - thers a lot of dissonance to it
-
Steve Reich - Different Trains
- written fro live string quartet and pre-recorded tape (features different voices)
- uses these voices to make him think back to his past
- is an example of minimalism
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