Mus 103 test 3

Singspiel

(German for "singing play") a musical comedy originating in Germany with spoken dialogue, tuneful songs, and topical humor

Lied

(German for "song") the genre of art song, for voice and piano accompaniment, that originated in Germany c. 1800

bel canto

(Italian for "beautiful singing") a style of singing and a type of Italian opera developed in the nineteenth century that features the beautiful tone and brilliant technique of the human voice

diva

(Italian for "goddess") a celebrated female opera singer; a prima donna

scherzo

(Italian for "joke") a rapid, jovial work in triple meter often used in place of the minuet as the third movement in a string quartet or symphony; serious

rubato

(Italian for "robbed") in musical notation, a tempo mark indicating that the performer may take, or steal, great liberties with the tempo

sinfonia

(Italian for "symphony") a one-movement (later three- or four-movement) orchestral work that originated in Italy in the seventeenth century

col legno

(Italian for "with the wood") an instruction to string players to strike the strings of the instrument, not with the horsehair of the bow, but with the wood of it

opus

(Latin for "work") the term adopted by composers to enumerate and identify their compositions

Symphony No. 3 in E♭ major ("Eroica"; 1803)

- "Eroica" ("Heroic") Symphony: Beethoven's Symphony No. 3 (1803), originally dedicated to Napoleon but published as the "Heroic Symphony

Around 1840 seriousness began being seen in a concert hall

- A concertgoer who was not distracted socially became a listener who was engaged emotionally - But the audience, in turn, expected more from the music

Symphony No. 5 in C minor (1808) PART 3

- A three-note motive grows from the violins and is repeated over and over - Beethovenian swell

Clara Wieck Schumann (1819-1896)

- Clara, a child piano prodigy - Clara's most productive period as a composer coincided with the very early years of her marriage to Robert

Wolfgang Amadeus Mozart, Piano Concerto in A Major (1786), K. 488

- First Movement (Allegro) - Second Movement (Andante) - Third Movement (Presto)

Mozart: Symphony No. 40 in G Minor (1788), K. 550

- First Movement (Molto Allegro) - Second Movement (Andante) - Third Movement (Menuetto: Allegretto) - Fourth Movement (Allegro Assai)

Giuseppe Verdi, "Un dì felice," La traviata (1853)

- The Woman Gone Astray - Verdi based the libretto of La traviata on a play that he had seen in Paris in 1852: Camille, by Alexandre Dumas the younger

string quartet

- a standard instrumental ensemble for chamber music consisting of a single first and second violin, a viola, and a cello; also, the genre of music, usually in three or four movements, composed for this ensemble; *4 instruments* - features only one player per part: first violinist, second violinist, violist, and cellist - Joseph Haydn is called "the father of the string quartet" --- enriched the middle of the texture by adding a viola, playing immediately above the cello

Symphony No. 5 in C minor (1808) PART 2

- calm of the noble Andante - The mood is at first serene, and the melody is expansive - The musical form is theme and variations

Franz Liszt (1811-1886)

- first to play entire programs from memory (not reading from music) - first to place the piano parallel with the line of the stage - first to perform on the stage alone

Amadeus Mozart (1756-1791)

- master of Classical opera - the most versatile of composers—wrote all types of opera: Baroque-style opera seria, more modern opera buffa (comic opera), and a special style of German comic opera called Singspiel

sonata

- originally, "something sounded" on an instrument as opposed to something sung (a "cantata"); later, a multi-movement work for solo instrument, or instrument with keyboard accompaniment; - one instrument + piano = sonata

Symphony No. 5 in C minor (1808) PART 1

- the famous "duh-duh-duh-DUHHH" motive

Ludwig van Beethoven, Piano Sonata, Opus 13, the "Pathétique" Sonata (1799)

1) First Movement: violent approach to the instrument 2) Second Movement: legato" (long and lyrical) style of his playing 3) Third Movement: The finale has hints of the crashing chords and stark contrasts of the first movement

piano sonatas served two functions

1) The easier ones provided students with material they might practice at home to develop technique 2) The more difficult ones were to be showpieces for the composers themselves, with which they could impress in the homes of wealthy patrons

Wolfgang Amadeus Mozart, Variations on "Twinkle, Twinkle, Little Star"

1) Variation 1 ornaments the theme and almost buries it beneath an avalanche of sixteenth notes 2) In variation 2, the rushing ornamentation is transferred to the bass (the accompaniment is changed), and the theme surfaces again rather clearly in the upper voice. 3) In variation 3, triplets in the right hand alter the theme, which is now only recognizable by its general contour 4) a thematic alteration again occurs in variation 5. Here, the rhythm of the melody is "jazzed up" by placing part of it off the beat, in syncopated fashion.

Romanticism

A movement in the arts and ideas, roughly coinciding with the nineteenth century, that valued human independence, political freedom, a love of nature, and passionate expression, especially in poetry and music; Total separation of ideas from religion

Ode to Joy

An die Freude by poet Friedrich von Schiller, set to music by Beethoven as a hymn in honor of universal brotherhood and used in the finale of his Symphony No. 9

Symphony No. 5 in C minor (1808) PART 4

Beethoven added three trombones, a contrabassoon (low bassoon), and a piccolo (high flute), the first time any of these instruments had been called for in a symphony

Symphonie fantastique (1830)

Berlioz tells a story, thus creating the first program symphony—in today's terms, a musical miniseries with five episodes

Frédéric Chopin, Nocturne in E♭ major, Opus 9, No. 2 (1832)

Chopin usually lays out a very regular accompaniment, either as an arpeggio going up and down or as chords going low-middle-high, both of which give the sense of a harp or guitar strumming softly in the night

Canon

Cornerstone pieces of western culture

Haydn: Opus 76, No. 3, the "Emperor" Quartet (1797)

Haydn's melody that with altered text it became a Protestant hymn ("Glorious Things of Thee Are Spoken") as well as the national anthem of Austria (1853) and Germany (1922)

prima donna

Italian for "first lady") the leading female singer in an opera

Franz Schubert, Erlkönig (1815)

Schubert's music unfolds continually, without significant repetition

Joseph Haydn, Symphony No. 94, the "Surprise" Symphony (1791)

The variations become progressively more complicated as more ornamentation and transformation are applied, but each unit remains the same length

Franz Liszt, Concert Etude No. 3, "Un sospiro" ("A Sigh"; 1848)

To build technique—and dazzle an audience—Liszt includes (1) rapid arpeggios in both hands; (2) chromatic scales in parallel sixths, executed as fast as possible; and (3) abundant cross-hand playing

cornet

a brass instrument with valves that looks like a short trumpet; it has a more mellow tone than the trumpet and is most often used in military bands

character piece

a brief instrumental work seeking to capture a single mood, sentiment, or emotion; a genre much favored by composers of the Romantic era

song cycle

a collection of several songs united by a common textual theme or literary idea

pentatonic scale

a five-note scale found often in folk music and non-Western music

double exposition form

a form, originating in the concerto of the Classical period, in which first the orchestra and then the soloist present the primary thematic material

art song

a genre of song for voice and piano accompaniment, with high artistic aspirations

Russian Five

a group of young composers (Borodin, Cui, Balakirev, Rimsky-Korsakov, and Musorgsky) centered in St. Petersburg, whose aim was to write purely Russian music free of European influence

ophicleide

a low brass instrument originating in military bands about the time of the French Revolution; the precursor of the tuba

English horn

a low oboe, pitched at the interval a fifth below the oboe, much favored by composers of the Romantic era

musical nationalism

a movement in music in the nineteenth century in which composers sought to emphasize indigenous qualities in their music by incorporating folk songs, native scales, dance rhythms, and local instrumental sounds

symphony

a multimovement composition for orchestra, lasting from about twenty-five minutes in the Classical period to nearly an hour in the Romantic era

Classical sonata

a multimovement work for solo instrument or solo instrument with keyboard accompaniment

Tone poem

a one-movement work for orchestra of the Romantic era that gives musical expression to the emotions and events associated with a story, play, political occurrence, personal experience, or encounter with nature

Dramatic overture

a one-movement work, usually in sonata-allegro form, that encapsulates in music the essential dramatic events of the opera or play that follows

The "Heroic" Period (1803-1813)

a period in Beethoven's compositional career (1803-1813) during which he wrote longer works incorporating broad gestures, grand climaxes, and triadic, triumphant themes

Program music

a piece of instrumental music, usually for symphony orchestra, that seeks to re-create in sound the events and emotions portrayed in some *extramusical source*: a story, a play, a historical event, an encounter with nature, or even a painting

cross-stringing

a practice popularized by the Steinway Company of New York whereby the lowest-sounding strings of the piano ride up and across those of the middle register, thereby giving the piano a richer, more homogenous sound

recitativo accompagnato

a recitative accompanied by the orchestra instead of merely the harpsichord; the opposite of simple, or secco, recitative

diminution

a reduction, usually by half, of all the rhythmic durations in a melody

etude

a short, one-movement composition designed to improve a particular aspect of a performer's technique

nocturne

a slow, introspective type of music, usually for piano, with rich harmonies and poignant dissonances intending to convey the mysteries of the night

Schubertiads

a social gathering for music and poetry that featured the songs and piano music of Franz Schubert

patter song

a stock device, employing quick, repeated pitches, almost as if stuttering; used to depict low-caste, inarticulate characters in comic opera

Program symphony

a symphony with the usual three, four, or five movements in which the individual movements together tell a tale or depict a succession of specific events or scenes

through-composed

a term used to describe music that exhibits no obvious repetitions or overt musical form from beginning to end

Ballad

a traditional song, or folksong, sung by a soloist, which tells a dramatic, usually tragic, tale and is organized by stanzas

diminished chord

a triad or seventh chord made up entirely of minor thirds and producing a tense, unstable sound

ballet

an art form that uses dance and music, along with costumes and scenery, to tell a story and display emotions through expressive gestures and movement

Köchel (K) number

an identifying number assigned to each of the works of Mozart, in roughly chronological order, by Ludwig von Köchel (1800-1877)

virtuoso

an instrumentalist or singer with a highly developed technical facility

Wolfgang Amadeus Mozart, Opera, Don Giovanni (1787), K. 527

been called not only Mozart's greatest opera but also the greatest opera ever written

Robert Schumann, "Träumerei" ("Dreaming"), from Kinderszenen (1838)

begins with an opening gesture that spans an octave—tonic to tonic an octave higher—and gradually falls back to the tonic. Thereafter, it spins out a succession of similar, higher ascents and declines, each creating brief alternations of excitement (quick ascent into the unknown) and satisfaction (slow descent back home)

rondo

classical form with at least three statements of the refrain (A) and at least two contrasting sections (at least B and C); placement of the refrain creates symmetrical patterns such as ABACA, ABACABA, or even ABACADA

Peter Tchaikovsky, Romeo and Juliet (1869; Revised 1880)

focuses on only three themes: the compassionate music of the kindly Friar Laurence, whose plan to unite the lovers goes fatally awry; the fighting music, which represents the feud between the Capulets and the Montagues; and the famous love theme, which expresses the passion of Romeo and Juliet

Theme and variations

form occurs when a melody is altered, decorated, or adorned in some way by changing pitch, rhythm, harmony, or even mode (major or minor).

chromatic harmony

harmony utilizing chords built on the five chromatic notes of the scale in addition to the seven diatonic ones; produces rich harmonies

Beethovenian swell

in Ludwig van Beethoven's works, a repetitive wave of sound that emerges ever larger and ever louder from the orchestra

vocal ensemble

in opera, a group of four or more solo singers, usually the principals

Tchaikovsky's Romeo and Juliet

indicate, it rises passionately and falls, only to rise higher again, a total of seven times, on the way to a fortissimo climax

absolute music

instrumental music that is free of a text or any preexisting program

idée fixe

literally, a "fixed idea"; more specifically, an obsessive musical theme as first used in Hector Berlioz's Symphonie fantastique

Cross-hand playing

moving the left hand over the right hand to play a high melody line

ballet music

music composed to accompany a ballet, with short bursts of tuneful melody and captivating rhythm, all intended to capture the emotional essence of the scene

"Pathétique" Sonata

one of Beethoven's most celebrated compositions for piano

Clara Schumann, "Liebst du um Schönheit" (1841)

playful four-stanza text by Friedrich Rückert sets forth three reasons (stanzas 1-3) why the lady should not be loved—not for beauty, youth, or money (all three of which Clara actually possessed)—but one (last stanza) for which she should be loved—for love alone

Heiligenstadt Testament

something akin to Beethoven's last will and testament, written in despair when he recognized that he would ultimately suffer a total loss of hearing; named after the Viennese suburb in which he penned it

modified strophic form

strophic form in which the music is modified slightly to accommodate a particularly expressive word or phrase in the text

orchestration

the art of assigning to the various instruments of the orchestra, or of a chamber ensemble, the diverse melodies, accompaniments, and counterpoints of a musical composition

finale

the last movement of a multimovement composition, which usually works to a climax and conclusion

soft pedal

the left pedal of the piano, which, when depressed, shifts the keyboard in such a way that the hammers strike fewer strings, making the instrument sound softer

sustaining pedal

the rightmost pedal on the piano; when it is depressed, all dampers are removed from the strings, allowing them to vibrate freely

Lisztomania

the sort of mass hysteria, today reserved for pop music stars, that surrounded touring Romantic-era pianist Franz Liszt

the typical Italian sinfonia was a one-movement instrumental work in three sections: fast-slow-fast

the symphony had assumed its now-familiar four-movement format: fast-slow-minuet-fast

solo concerto

usually for piano but sometimes for violin, cello, French horn, trumpet, or woodwind. In the new concerto, a single soloist commanded all the audience's attention

Classical concerto

was a large-scale, multimovement work for instrumental soloist and orchestra that was intended for a public audience

Joseph Haydn (1732-1809)

was the first composer to take theme and variations form and use it for a movement within a symphony

- Now what makes up the ensemble - 2 by 2 by 2 in wood wind is the classical orchestra

within the Classical orchestra, each instrumental family had a specific assignment: The strings presented the bulk of the musical material; the woodwinds added richness and colorful counterpoint; the French horns sustained a sonorous background; and the trumpets and percussion provided brilliance when a magnificent sound was needed