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MUS 3212 Final
| Term | Definition |
|---|---|
| Piano Sonata in C Minor, No. 8 (Pathetique), first movement | Beethoven Slow intro, doesn't modulate like the typical sonata form, large piano register, Emo vibe |
| Symphony No. 5, first movement | Beethoven Breaks sonata form (slow oboe interruption, subordinate theme does not go to minor i, but to major I, and LONG coda) |
| Symphony No. 5, fifth movement | Beethoven |
| Symphonie Fantastique, fifth movement | Berlioz Dream of a Witches' Sabbath |
| Symphony No. 4, fourth movement | Brahms |
| Gretchen am Spinnrade | Schubert |
| Carnaval, Eusebius, and Florestan | E. Schumann |
| Trois etudes de concert: No. 3, Un sospiro | Liszt |
| Piano Trio in D minor, first movement | Hensel |
| Piano Trio in D minor, third movement | Hensel |
| "Old Folks at Home" | Foster Agreed to have Christy's name on song; later regrets it Example of sentimental, nostalgic minstrel song Song about a person in slavery on a plantation (meant to be how nice the plantation is, but we all know it's not true) |
| Pictures at an Exhibition, "Promenade", and "The Great Gate at Kiev" | Musorgsky |
| Symphony No. 9 ("From the New World"), second movement | Dvorak |
| La Traviata, Ah, fors e lui and Sempre libera (Violetta aria) | Verdi "The Fallen Woman" Story set in the 1850s, based on actual courtesan Marie Duplessis Alfredo's father doesn't like that his son is involved with a courtesan |
| Heiligenstadt Testament (Primary Source Reading) | Beethoven Letter to his two brothers about his struggles (deafness, suicide, art is life) Deafness affected him as a person (musicians should be able to hear, and he didn't want to have to ask people to speak up) "triumph over adversity" |
| "Beethoven's Instrumental Music" (Primary Source Reading) | E.T.A. Hoffmann |
| "Liszt, the All-Conquering Pianist" (Primary Source Reading) | |
| "Music in America" (Primary Source Reading) | Dvorak |
| sonata form | |
| Heiligenstadt Testament | Beethoven Letter to his two brothers about his struggles (deafness, suicide, art is life) |
| Specific innovations associated with Beethoven | |
| 4 mvmt. outline of Symphony No. 5 | |
| scherzo | "joke" or "trick" in Italian Same form as dance movement (ABA), but FAST |
| E.T.A. Hoffman | |
| criteria for 'greatness' in Romanantic era | |
| Romanticism | |
| rise of instrumental music in the 19th century | |
| rise of composer in 19th century | |
| rise of music criticism | |
| Beethoven's Ninth Symphony | |
| symphony post-Beethoven | |
| program music | Instrumental music that follows a story/narrative, has extra musical associations Believed to further innovation, express emotions, allow for synthesis with other art forms, and be more accessible and easier to understand Wagner, Liszt, and Berlioz |
| absolute music | Music that is not 'about' anything; the music itself believed to further innovation, express inner states and experiences (no pictures or words), be universal, and pure Associated with Brahms Not a really a title? Most likely absolute |
| program symphony | Symphonies that follow a story, or program |
| idee fixe | fixed idea melody that represents the beloved, appears in every movement Beethoven influence! Lots of leaps/jumps Sequences down |
| Dies irae | Sleeping with the Enemy line; mocks a Gregorian Chant |
| chaconne | Baroque form that consists of series of variations over a repeating bass line, in triple meter |
| pianoforte | Keyboard instrument in which strings are struck by hammers (dynamics!) Not plucked like a harpsichord or struck by tangents that repain in contact with strings |
| why pianos became popular | Changes in piano manufacturing make the instrument more accessible to middle class (mass produced!), larger, more durable, louder, lead to new genres such as Leider and character pieces |
| Lieder (art songs) | German setting of poetic text for voice, accompanied by piano Lieder (plural) |
| song cycle | Group of several songs that collectively create a narrative |
| Schubertiad | Debuts many words in private gatherings with friends |
| character piece (piano miniature) | Short piano piece that portrays the character of a particular person, situation, or emotion Example of program music Sometimes several pieces grouped together to form larger collection |
| motivic unity in Carnaval | |
| virtuoso | Performer who has superior technical skills Can play fast, very high (or very low), difficult/challenging music |
| etude | A study that examines a technical challenge Usually for practice |
| tempo rubato | 'robbed time' Subtle accelerations and decelerations, a give and take with tempo for expressive purposes Common in 19th century performance practive |
| solo recital (conventions associated with Liszt) | Liszt started the solo recital culture Similarities: Music played from memory, silence expected, music from Bach to present were played Differences: Virtuosos improvised, played transcriptions |
| transcription | an arrangement for keyboard of existing orchestral composition |
| challenges for women re:composition | |
| Clara Schumann | |
| genres in which women typically composed | |
| nationalism | Broadly in music, desire to present national identity in music by break away from German-Italian traditions (Liszt and Berlioz), uses folk and indigenous music from the region, program music about a national event, vocal music with national text |
| Johann Gottfried von Herder | |
| ways composers constructed a national identity | |
| Mighty Five (Kuchka) | |
| minstrel song | |
| blackface minstrelsy | |
| Jim Crow and Zip Coon | Jim Crow - Country Bumpkin, outsmarted other characters, lazy by smart Zip Coon - Black man who is attempting to raise himself in society, Dandy, black people could attempt to be upper class but they would fail (Humor) |
| Dan Emmett and Virginia Minstrels | 1840s New York City Shows featured variety entertainment, with depiction of life on plantation Tambourine, fiddle, banjo, bones |
| E.P. Christy | Shows had 3-part structure Group of songs, featuring Zip Coon like character Variety show Skit based on plantation Songs become more sentamental |
| Jeanette Thurber | Oversees National Conservatory of Music in NYC invites Dvorak to U.S. Establishes opera company that sang operas in English |
| "Music in America" -- Dvorak's writing | |
| spiritual | in folk tradition: sung in unison features an alternating line and refrain many texts melancholy (theme of death and suffering, identification with Jesus Christ) |
| Harry Burleigh | Student at National Conservatory Sings spirituals and minstrel songs to Dvorak |
| popularity of opera in the 19th century | |
| Italian operatic style, early 19th centruy | |
| bel canto | refers to both vocal technique and melodies themselves Italian for beautiful singing Simple accompaniment that does not overpower singer |
| Der Ring des Nibelungen | Wagner Consists of 4 operas (The Rhinegold, The Valkyrie, Siegfried, The Twilight of the Gods) Tells the story of an all powerful ring who corrupts those who have it |
| Artwork of the Future | Wagner's described his work as this |
| Gesamtkunstwerk | "Total work of art" an artwork that combines all performing arts into a single, unified whole (music, poetry, dance, staging) All contribute to the same end |
| music drama | Wagner's operas "The Artwork of the Future" |
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