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Final

MUSIC 1AA3 Study Guide - Final Guide: Rock And Roll, Nicholas Roerich, Mariachi


Department
Music
Course Code
MUSIC 1AA3
Professor
Dave Gerry
Study Guide
Final

This preview shows pages 1-3. to view the full 11 pages of the document.
Part 1: Listening (5 or 6 of these selections will appear on the
final, along with 2 "unknown" selections")
Mozart- "Là ci darem la mano" from Don Giovanni
-Scene of seduction between Don Giovanni and Zerlina
-The characters start by singing alternating verses in a formal manner
-They use the same music to express different sentiments, he wants her to come with him and
she’s not too sure she should do that
-When he sings, he’s accompanies by an instrument in her range (a flute), when she sings, she’s
accompanied by an instrument in his range (a bassoon).
-As Giovanni becomes more and more insistent, the characters begin to alternate lines
-They gradually come to exchange single lines and Zerlina capitulates, after which they then sing
together.
Berlioz- "Dream of a Witches' Sabbath", from Symphonie Fantastique
-Main character finds himself at a witches’ Sabbath where his beloved joins in as one of the
witches
-Diabolical character, with a sinister transformation of the idée fixe, previously used to indicate
his beloved and his love for her.
-After church bells sound, the Gregorian chant for the funeral service (the Dies irae) is intoned
by the serpent and transformed into a dance
-The witches’ dance is depicted through a brisk fugue combined at its climax with the Dies irae
Mendelssohn- "Third movement, Allegro molto vivace", from the Violin concerto
-Starts off with the violin performing a variation of sorts on the first movement’s main theme
-Leads into loud fanfares from the brass with quick arpeggios from the violin, introduces the
elfin scherzo-like main theme of the finale. One of Mendelssohn’s specialties
-Remainder of the piece consists of sections of alternation of fanfare and rapid violin figure and
scales in two different keys: B and E major
-Ends in fortissimo, with very high notes from the violin, and a rapid version of the second
theme
Schumann- "Arlequin", from Carnaval
-The Harlequin here is a trickster
-Music has a prancing gait, an irregular jerking which contrasts with the piece’s
symmetric and regular ABABA form
-Jerky ‘flip’ at the beginning of each phrase
-Composed of two sections A and B that alternate throughout with ritardandos in
between
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Stravinsky- "Introduction", from the Rite of Spring
-Curtain is closed at the beginning
-Folklike, improvisatory melody in the high register of the bassoon creates an eerie
feeling
-Modal melody, neither major nor minor
-
Stravinsky- "Sacrificial Dance" from the Rite of Spring
-Opens with loud quick bursts to reflect the chosen sacrificial dancer’s first movements
-Highly irregular meter (unpredictable patterns of two, three, four, and five beats)
-Structured like a rondo, with an opening section that returns twice with contrasting
sections
-Opening section is altered in its repetitions to reflect the gradual exhaustion of the
dancer
-Sudden silence as dancer dies, quick flute scale as she is lifted up
-Loud chord ends the piece
Berg- "Invention on a regular rhythm" , from Wozzeck
-Wozzeck’s son is riding a hobbyhorse and is taunted by the other children, who run to
look at Marie’s body; her son follows them
-Perpetuum mobile (perpetual motion) in 12/8 time
-Starts off with a children’s song reminiscent of Marie’s lullaby in Act 1, Scene 3
-Child’s statement to Marie’s son is accompanied by the ‘death’ leitmotif
-Shimmering chord at end of opera is the same chord that ends the first two acts;
switches off like a light bulb
-Open-ended quality of music at end suggests that the tragedy will be repeated endlessly
Messiaen- "Dance of Fury for the 7 trumpets", from Quartet for the End of Time
-Originally entitled “Fanfare” at the premiere
-Played in unison, meant to sound like gongs and trumpets
-Constructed with phrases of irregular length, each short phrase ends with a longer note.
-Throws off any sense of regularity or meter
-Pitch and rhythm never combine in the same way in the quiet central section
Bernstein- "America" from West Side Story
-Comic song-and-dance number for Rosalia (who misses her home in Puerto Rico) and
Anita (who doesn’t)
-They alternate lines using the same music to express different sentiments
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-Latin dance rhythms, mixed meters, cross-rhythms
oIntroduction is a seis, a slow line dance in duple meter
oMain part is a huapango, a Mexican dance played by mariachi bands
-Constant alternation of 6/8 and 3/4 meter
-Clapping and shouts part of the song
-Orchestral interlude for a dance section which maintains metric alternation.
-Latin percussion instruments: claves and guiro
Jennifer Higdon- "blue cathedral" https://youtu.be/O9JiGCkyN-0
-Orchestral tone poem written to commemorate Curtis Institute’s anniversary in 2000
-Title refers to her brother, Andrew Blue Higdon
-Reflects journey of life
-Subtext of personal grief caused by his untimely death
-Large orchestra, many percussion instruments
-Sectional, rondo-like structure
-Languorous, ascending lyrical lines
-Sense of continual expansion, several climaxes
-A section: Bell-like timbres over muted strings
-Solo flute, rising line, muted string chords, no sense of pulse
-Solo clarinet answers, harp and string accompaniment
-Pitched glasses and “chiming” near end
Nicole Lizee- "Girl, you are living a life of crime" https://www.youtube.com/watch?v=_wp1Fcc0-
CU
-“mesmerizing”
-Hi-hat riff
-Loops, splices, needle-skips
-Pop-like melody
-Electric guitar, bass, vibes, drum kit, synthesizer
-Lyrical but rhythmically tricky
-
Part B: (True/false, Fill in the blanks/Point-form answer).
Musical styles in the 20th century
Romantic Musical Style Twentieth-Century Musical Style
Traditional instruments continue to be used Technology provides new instruments and
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