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unit 7 (chap 36 (Franz Schubert (1797-1829) (Songs or lieder are…

- - - - Goethe, Heine
      - Love, longing, beauty of nature
    - - German-texted solo song with piano
        accompaniment
    - - Music carries subtle intensity
      - Interaction between text and music
      - Identify the words of a song as carrying
        its meaning
      - For amateurs and professionals
  - - - No repetitions of whole sections, the
        music changes according to the text
    - - The same melody may be repeated for a
        few stanzas, but new material introduced
        when poem requires it
    - - The same music repeated for each stanza
  - - - More than 600 Lieder
      - Subtle interactions
        between vocal part and
        accompaniment
  - - - Legend of the Elfking: whoever he touches
        must die
      - Father and sick son riding through the forest
        on a windy night, Elfking appears to the son,
        son dies
  - - - Two strophes
      - Piano part wistful, meandering, no
        resolution
- - - - Printing an agent for social change, increased
        literacy
    - - Expensive but soon found cheaper methods
      - Amateur Musicians
    - - Only a few could read and write, books
        copied by hand
  - - - Social part songs- Separate musical lines
        combined into a whole
      - Usually monophonic
      - Spontaneous social song
    - - Music reflects the meaning of the words
  - - - Subtle Word Painting
      - Amateurs- Men & Women sing
      - Words Clear (Homorhythm)
      - Double meanings
        
        Death
        
        Sexual innuendo
      - Published first book of madrigals most
        widely reprinted collection of the time
        (1538)
  - - - Late sixteenth century, reign of
        Elizabeth I
      - Some serious, some humorous
      - English composers developed Italian
        madrigal into a native art form
  - - - Word painting
      - Social music
      - pastoral text, good humor, lively rhythms
      - Form- ababcc
- - - - Attached to Operas
      - 18th century ballet independent of opera
      - Renaissance court festivals and
        entertainments
      - 19th Century French, then Russian
        preeminence
  - - - Tchaikovsky was the giant of late nineteenth-century
        Russian ballet
        
        Swan Lake, Sleeping Beauty, The Nutcracker
      - Written in 1892
      - Orchestral Suite came after the Ballet
      - The Nutcracker,
        Dance of the Sugar Plum Fairy (lg 37)
        
        A
        
        Listen to the otherworldly sound of the celesta, coupled with the bass clarinet. The melody meanders down chromatically before climbing back up through a series of leaps.
        
        B
        
        Woodwinds and strings dialogue in this short B section. The celesta leads us back to the A theme with a series of arpeggios.
        
        Transition
  - - - Ostinatos
      - Pedal Points
      - Repetition
    - - Percussive use of dissonance
- - - - Monet
      - Degas
      - Renoir
  - - - Major-minor system too predictable
      - Blending timbres, veiled sounds
  - - - Debussy’s music a series of “backdrops”
        
        Fluid and rhapsodic
        
        Novel tone colors and chords
      - Later choreographed scandalously by Nijinsky
      - Inspired by the Symbolist poem by Mallarmé
        
        Describes half-man/half-goat creature
        
        Raw sensuality