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Unit 4: Music and Emotions (ch. 29, 38, and 43) (LG 19,29, 34) (Music and…

- - - - Early decades of 1800s
      - Beethoven
  - - - Urbanization
    - - Transfer of power to the middle class
  - - - Symphonies began as Italian opera overture
        
        Three sections: Fast-Slow-Fast
        
        Eventually seperate movements
        
        Dance Movement (Minuet) added
    - - Fast-Slow-Fast
      - Overtiime developed into the different movements of the symphony
    - - Four Instrumental Families
        
        Strings, woodwinds, brass, percussion
        
        30-40 players
  - - - One of the twelve "London" symphonies
        
        Highly imaginative, innovative
  - - - C Major
      - Variation form, combined with ternary (A-B-A')
      - Homophonic
      - Sudden change to minor in middle section, military introduction to closing coda
        
        triangle, cymbals, bass drum
      - Light to Heavy to Light
      - Sense of balance, classical
      - Climax is at the coda (The end of the piece)
- - - - Programmatic:
        
        Many thoughts program music was a step backward from the potential of music to express things beyond words
      - Absolute
        
        Proponets of absolute music relied on structures of sound for expression
  - - - Remained close to the Schumann family
  - - - Key
        
        Alternates between major and minor
        
        Chromatic- middle section
        
        C Minor
      - Syncopation
        
        3 against 2 rhythm patterns
      - A-B-A' Form
      - Lyrical
        
        Melancholy
        
        Waltz-Like
      - Expression
        
        cello
        
        violins repeat cellos theme
        
        violins and cellos in duet
        
        A connected three note figure in woodwinds, accompanied by offbeat 16th notes in the cellos
        
        Woodwinds return, accompanied by strings
        
        French horns announce the opening theme in C minor
        
        Oboes take up the haunting melody
        
        Some clarinets and bassoons
        
        Violins and cellos take up the main theme
- - - - function was to dazzle audience
    - - Home and concert hall
      - Staple of refined education
    - - Factory-made, standardization, affordability
      - Metal frame, increased string tension
      - Improved mechanical action, extended range
  - - - short
      - Projects melodious and dramatic moods within a compact
      - Solo piano equivalent to the song
      - Sometimes fanciful titles
    - - etudes (highly virtuosic study pieces)
      - Character pieces
        
        Noctturnes, pre;udes, and dances
    - - 1831 to Paris for remainder of career
        
        Social circle of famous French composers, writers, and artists
      - Entire creative life revolved around the piano
      - Born outside Warsaw
        
        French father, Polish mother
      - Originated modern piano style
        
        "Everything must be made to sing"
      - Relationship with author George Sand
    - - Polish roots exhibited in his mazurkas and polonaises
        
        A Mazurka was a lively triple-meter dance with an accent on the second or third beat of the measure
      - Mazurka in B flat minor, Op. 24, No. 4 (LG29)
        
        Dance-like triple meter
        
        Expressive depth, rubato
        
        Chromatic, wide ranges
        
        1833
        
        Form: A-B-A'-B-A'-C-C-D-A long coda
    - - Form: Ternary and Rondo
      - Wide Range of Keyboard
      - Dance of Polish Origin
        
        Carnival Parties
        
        1st dance at "prom"-party before exams
      - Trills
      - Heroic or Drum Polonaise
      - Dedicated to friend/banker: Auguste Leo