Study Guides (390,000)
CA (150,000)
Western (10,000)
Music (100)

Music 1710F/G Study Guide - Final Guide: Franz Liszt, Program Music, Showboat

Course Code
Music 1710F/G
Edmund Goehring
Study Guide

This preview shows pages 1-2. to view the full 7 pages of the document.
Goehring Music 1710 Winter 2011
Guidelines for Final Exam
1) Listening
Josquin, Ave Maria
-imitative polyphony
-religious aspect (aware of church music) – ‘my’ regarded towards self –santification
-text shapes music
-show off musicality rather than enjoyment of music??
Bach, Fifth Brandenburg Concerto:I
-strings, harpsichord, numerous
-meant to impress
-crazy composer and performer (super fast tempo)
Bach, Fantasy and Fugue in G minor, BWV 542 (just the fugue) p.g. 166
-trills, continuation
-fugue: one or two themes initiated
-fortspinning: intensity obtained by devices such as sequence, repetition, and intervallic variation
Mozart, Quartet in G K. 387:IV p.g. 167
-sonata allegro
-exposition: theme 1 (imitative polyphony) theme 2 (homophony –rustic style) transition to theme 3 (imitative
polyphony) ending in chromatic passage
-development: chromatic (thematic), theme 1 returns homophonic
-recap.: Unanticipated return of theme 2, transition to theme 3, close
-coda: chromatic theme, theme 1 restated with imitation!ornate homophonic close of theme 1
Chopin, Prelude in E minor
-dynamic contrast !intimacy/sensual experience (Chopan was ill, could only play loud for a bit)
-uniform sound
-deceptive cadence
-pianist start to memorize music (make it their own)
Wagner, Prelude and Liebestod from Tristan und Isolde p.g. 171
-lack of traditional tonic resolution !prolonged yearning/longing of ill-fated lovers (continued motion)
-Tristan chord
-chromatic scales
-singers have nowhere to breathe
-Debussy used to be Wagnerian but disliked him for his attitude ‘showboat’
Steve Reich, Violin Phase
-violins displaced
-exchange parts
Debussy, Prelude to “The Afternoon of a Faun” p.g. 179
-tristan melody (used as color rather than function)
-whole tone, pentatonic, chromatic harmonics (Faun-myth)
-romantic melody
-harp, violin, flute
-unknown goal
Beethoven, Symphony No. 9 (the whole thing) p.g. 189-192
1st Movement:
-famous ambiguous intro
-fifths everywhere
-conflict between major and minor
-anticipation of last movement

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

2nd Movement:
-opens with opening reminiscence in first movement
-ABA (Scherzo Trio Scherzo) [scherzo=falling fifths] } ‘ode to joy’ contrasting character, simple, trio/cut off/ back
to minor scherzo
3rd Movement:
-slow & beautiful
-drone (lullaby)
-rising melody, no modulation, repeated
4th Movement:
-recitative (brings back 1st movement further rejecting it –same with 2nd and 3rd)
-‘Ode to Joy’ introduced in different variations, 2 beginnings: one instrumental, one vocal
2) Readings
Transmission of the Classical Legacy:
-Boethius treatise De Institutione Musica (7 liberal arts – quadrivium/trivium)
-musica mundane, humana & instrumentalis constituta (perceived music of universe –harmoniously tuned)
-consonance = united one body machine
-concept of ethos
The ‘Fount and Origin’ (Renaissance):
-music high and music low –loud dance/outdoor music verses soft court/chamber music
Josquin des Prez in the Eyes of His contemporaries:
-genius composer: employee of King Louis XII (only writes when he feels like it)
-lacked proper measure & judgment (unrestrained songs ! challenged king to keep promises with psalms
–“remember thy word unto thy servant” and “thou has dealt well with thy servant O Lord”)
-Martin Luther – fan of Josquin ! God preached through medium of music
-Josquin taught music only to those who were musically driven towards the beautiful art
-Isacc: not as good a composer, but was a quick composer, did as he was told, cheap employment, social
Bach’s Duties & Obligations at Leipzig:
-acoustician, performer, composer, singer, organist, producer, pedagogue, violinist, administrator, seeked job –
Letter to a Lady of a certain age, on the present state of Opera
-abandoned music of forefathers
-comic opera (overdone action, comedic melodramatic acting –still incorporate serious characters) (tunes are simple,
elegant, expressive, natural tone) !if music is to survive it must adapt
-not best singers, wonderful composers
-tension exists between idea and realization
-music speaks universal language (light on human soul)
-musicians transforms art into tones
Smetana & the Czech National Style:
-Smetana (genuine modern Czech lover) – went to see Liszt (music king)
-adorn & enrich European music literature by virtue of its characteristic originality
-nationalistic (military bands & theatre orchestras with musicians)
The ‘New Russian School”:
-independent thought and skeptic towards past music
-musicians work independently: acknowledge singular greatness towards musical achievements and compositions
-disregard prejudices of crowd/transform musical laws
-National music –roots of life in people
-program music (PURPOSE)
You're Reading a Preview

Unlock to view full version