Class Notes (922,930)
CA (543,002)
UTSC (32,990)
VPMA99H3 (32)
Andy Lee (17)
Lecture 6

Lecture 6

4 Pages
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Department
Music and Culture
Course Code
VPMA99H3
Professor
Andy Lee

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Music History II Lecture 6
Beethoven Legacy
-he brought symphony to a point of exhaustion and explosion
-his work is not just an extension of movement, but infusion of many elements, like expansion of
coda and addition of a choir
-seems like there is nothing else to do with symphony and puts much pressure on the composers
in the Romantic period
Beethoven’s Symphony No. 9
-addition of choir, not an element of symphony
-seems like symphonic genre is over
-some composers in Romantic period emulate Beethoven, pick up his innovation and extend it
Beethoven’s Symphony No. 6 (Pastoral)
-5 movements
-program music in the finale
Hector Berlioz (1803-1869)
-duet career, composer and music critic (write article about music), Schumann is also a music
critic
-Beethoven is his idol
-infuse programmatic elements into symphony
Berlioz’s Innovation
-extraordinarily innovation orchestration
-harmony: non-functional, used for colouristic effect
-unconventional, nominal forms
-new and hybrid genres
-interested in sound and timbre
-did unusual thing with harmony that break rules
-effect of colour in certain chords
-do not follow a given form
-mix voices with symphony
-composed lyric monodrama (Lelio), symphonie dramatique (Romeo and Juliet), dramatic legend
(Faust), sacred trilogy (L’enfance du Christ)
Symphonie Fantastique, Op. 14 (1830)
-5 movements
i. Reveries, passions
ii. Un bal
iii. Scene aux champs
iv. Marcbe au splice
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Description
Music History II Lecture 6 Beethoven Legacy -he brought symphony to a point of exhaustion and explosion -his work is not just an extension of movement, but infusion of many elements, like expansion of coda and addition of a choir -seems like there is nothing else to do with symphony and puts much pressure on the composers in the Romantic period Beethoven’s Symphony No. 9 -addition of choir, not an element of symphony -seems like symphonic genre is over -some composers in Romantic period emulate Beethoven, pick up his innovation and extend it Beethoven’s Symphony No. 6 (Pastoral) -5 movements -program music in the finale Hector Berlioz (1803-1869) -duet career, composer and music critic (write article about music), Schumann is also a music critic -Beethoven is his idol -infuse programmatic elements into symphony Berlioz’s Innovation -extraordinarily innovation orchestration -harmony: non-functional, used for colouristic effect -unconventional, nominal forms -new and hybrid genres -interested in sound and timbre -did unusual thing with harmony that break rules -effect of colour in certain chords -do not follow a given form -mix voices with symphony -composed lyric monodrama (Lelio), symphonie dramatique (Romeo and Juliet), dramatic legend (Faust), sacred trilogy (L’enfance du Christ) Symphonie Fantastique, Op. 14 (1830) -5 movements i. Reveries, passions ii. Un bal iii. Scene aux champs iv. Marcbe au splice www.notesolution.com v. Songe d’une nuit du sabbat -programmatic purpose -notion of the haunting love -obsessive fixation of the melody -idee fixe- recurring theme, return in each movement -sympoblizes beloved and artist’s obsession -thematic transformation- theme returns in its entirety, but with its character transformed through instrumentation, rhythm/meter, articulation tempo -expansive melody -whole theme (idée fixe) recurs but with character transformation -the first theme is not broken up and developed, its long melody is played as it was first introduced -idee fixe is in triple meter when it is played the second time (thematic transformation -first movement is a sonata form -last movement is not a requiem form th -demonic twist, 19 sensibility -grotesque feeling -idee fixe played on E-flat clarinet -perfect 4 higher than a B-flat clarinet to produce an unpleasant sound -use of Dies Irae in the last movement, which is a chant of medieval requiem mass, its motto melody is a flat seventh -rushing figure in bass -stroke on string (col lingo), to play note with the wooden part of the bow -horrible melody wi
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