Study Guides (390,000)
CA (150,000)
UW (7,000)
MUSIC (60)

MUSIC255 Study Guide - Carl Maria Von Weber, Stephen Heller, Thematic Transformation


Department
Music
Course Code
MUSIC255
Professor
Eva Ykee Benda

This preview shows pages 1-2. to view the full 6 pages of the document.
Sonata Form
18th Century view
Sections:
First
Second
Subsection:
One main Period
First main Period
Second Main Period
Keys:
||: I mod. V_____:||
||: V______________V
I I_______________:||
19th Century View
Sections:
Exposition (A)
Development (B)
Recapitulation (A’)
Themes
P T S K
X
P T S K
Keys:
||: I mod. V_____:||
||: V______________V
I I_______________:||
P= Primary Theme/ Group of themes
T= Tansitional Material
S= Secondary Theme/ Group of themes
K= Closing Material
Organicism
Concept that pieces of music should be ORGANIC
ORGANIC: describes a musical work in which all the parts relate to each other and to the
whole like the parts of a single organism, derived from a common source
Goethe argued that artists should unify their works like a plant metamorphosis; all the parts
should derive from a common source.
The organic relationships of themes, sections, and movements is more important than
rhetorical structure or persuasive force
Motivic links contribute more to unity than a harmonic plan or conventional form.
Sublime
Edmund Burke and Kant
“Sublime objects are vast in their dimensions, beautiful ones comparatively small; beauty
should be smooth and polished; the great ought to be dark and even gloomy; beauty should
be light and delicate; the great ought to be solid and even massive. They are indeed ideas of a
very different nature, one being founded on pain, the other on pleasure.”
Rondo Form
Refrain
Episode 1
Refrain
Episode 2
A
B
A
C
I
Contrasting Key
I
Contrasting key
or I
*The rondo can take several different forms, including ABACA (as shown), ABACABA, ABACADA, etc.,
sometimes followed by a Coda
The Lied (pl: Lieder)
Solo voice with piano accompaniment
Origins in the 18th Century:
o Texts by German literary greats
o Amateur performance (syllabic melodies and simple accompaniments)
Types of poetry (lyric and ballad)
Forms:
o Strophic or modified strophic
o Ternary (ABA OR ABA’)

Only pages 1-2 are available for preview. Some parts have been intentionally blurred.

o Bar (AAB)
o Through-Composed
Each strophe has new music
This form is typically found in longer narrative songs, such as the ballad
Erlkong
This form may incoporate declamatory and arioso styles as in an opera scene
like Der Wanderer
Song Cycle
Example: Franz Schubert’s Erlkong (1815) cover on Johann Wolfgang von Goethe’s Erlkong
(1782)
Strophic
Schubert typically uses this form for poems that have a single image or express a single mood
Each stanza (strophe) is sung to the same music
Example: Gretchen am Spinnrade, D. 118 by Franz Schubert
o Poem is strophic
Modified Strophic
Song structure that combines elements of strophic and through composed forms; a variation
of strophic form in which a section might have a new key, rhythm, or varied melodic pattern.
The music repeats for some strophes but is varied for others
Depict contrast or change
Example: Winterreise D. 911: No.5, Der Linderbaum by Franz Schubert
Polonaises
- The polonaise is a polish dance in ¾
- It often has an eighth note and two sixteenth notes on the first beat
- Some are vigorous and suggest a militaristic national identity
Mazurkas
- The mazurka was a polish folk dance that had become popular in Paris ballrooms
- In triple meter, the mazurka features two eight notes (or a dotted eight-sixteenth) on a
downbeat (followed by two quarter notes
- The rhythmic pattern emphasizes the second beat of the measure.
o Example: Mazurka in B-Flat Major, Op.7, No.1
The Nocturne
French term for “night piece”
Short mood piece for piano
Associated with early-19th century
Musical Features:
o Quiet and contemplative
o Slow tempo
o Lyrical, embellished melody
o Often arpeggiated accompaniment
Example: Chopin’s Nocturne in D-Flat Major, Op. 27, No.2.
Ballades
You're Reading a Preview

Unlock to view full version