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Unit 6: Music and Death (Chapter 48 (Gabriel Faure (1845-1924, French,…
Unit 6: Music and Death
Chapter 35
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Mozart
Death
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had a papuer's grave, do not know where he is buried
Requiem
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used at JFK"s funeral, 9/11 commemorations
Dies Irae
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homphonic, with 8 verses, word painting
Listening Guide 25
Dies irae
form
set in 8 verses, each treated with different performing forces
expression
mood shifts from fear, to wonderment
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performing forces
chorus, solo voices, orchestra
harmony
alternation between minor and major, harsh combinations present
timbre
trumpets and timpani prominent, bass voice/trombone duet
rhythm/meter
forceful, accented duple meter, closing has strong dotted-rhythmic idea
text
rhymed Latin poem with eight three-line verses, clear text declamation with some word painting
melody
dramatic choral opening, then operatic solo verses, final verse has choral outcry
Chapter 48
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Faure's Requiem
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sometimes celestial, sometimes funereal
Libera Me (LG 39) - Deliver Me, O Lord
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Listening Guide 39
melody
Baritone solo is lyrical, wide ranging
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harmony
D minor, some expressive chromaticism
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expression
sensitive dynamics, serene mood
text
Roman Catholic Mass for the dead, office for the Dead, Burial Service
performing forces
Baritone solo, SATB chorus, chamber orchestra
Chapter 41
romantic program music
program music = instrumental music with literary or pictorial associations specified by the composer
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Hector Berlioz
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meant to be a physician, but loved music too much
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Symphonie Fantastique
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program symphony, based on personal life
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"Young musician of morbid sensibility and ardent imagination, in... lovesick despair."
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Idee Fixe
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varied throughout by harmony, meter, timbre, dynamics, and register
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Listening Guide 32
Symphonie Fantastique
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form
sonata-like, with two themes introduced,developed, then recapped
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expression
diabolical mood, sudden dynamic changes, idea of the beloved at the end as a clarinet solo, then sudden chord
melody
two main march themes, both strongly accented
timbre
prominent timpani, instruments in unusual ranges
Chapter 66
Neo-Rmanticism
embracing aspects of nineteenth-century orchestral sound, including program music
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romantic style of 1800s never really went away, still performed in concert halls
some composers maintained a commitment to romanticism and updates it, Samuel Barber's Adagio for Strings is an example
Jennifer Higdon
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output spans most genres, described as having an "American" sound
rooting in tonality, neo-romanticism
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Listening Guide 61
texture
homophonic, focuses on individual lines and duets
form
sectional, with rondo-like structure
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expression
transcendent mood, includes several climaxes
rhythm/meter
mostly in 5/4 with a veiled sense of bar lines, some shifting meters
timbre
juxtaposes instrument families: metallic percussion, solo woodwinds, dark instruments, brass chorales
melody
languorous, lyrical lines, ascending ideas
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Chapter 21
Early Opera
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involves vocal and instrumental music, poetry, acting, scenery, and costumes
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arias- tuneful, emotional songs
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opera not meant for realistic depiction, rather "hyper-reality"
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Listening Guide 11
Dido and Aeneas
Opening
harmony
major key, chromatic foreshadowing of Lament
form
strophic form, with instruments, solo voice, chorus
rhythm/meter
sprightly tempo, in triple meter, use of scotch-snap dotted figures
performing forces
string orchestra, with solo voice and chorus
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Lament
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rhythm/meter
free recitative, slow aria in triple meter
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melody
recitative with half-step movement, more lyrical aria