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Unit 7 (Ch 16 (Printing and literacy (Throughout the Middle Ages…

- - - - Composers set these words suggestively
      - Wide range of topics
  - - - Only a few could read and write, books copied by hands
    - - Printing an agent for social change, increased literacy
  - - - Spontaneous social song
        
        Social part songs- Separate musical lines combined into whole
      - Word paints - the musical technique of writing music that reflects the literal meaning of a song.
  - - - Published first book of madrigals most widely reprinted collected of the time
  - - - Evolved
        
        English composers developed Italian madrigal into a native
  - - - Pastoral text, good humor, lively rhythms
      - Word painting
      - Social music
      - Form-ababcc
- - - - Early Romantic Lied/Art song
        
        Art song(plural, Lieder)
        
        German texted solo song with piano accompaniment
        
        Preexisting poetry
        
        Goethe, Heine
        
        Love, longing, beauty of nature
        
        Song cycle = groups of Lieder unified by a narrative thread of common theme
        
        Characteristics
        
        Identify the words of a song as carrying its meaning
    - - Strophic
        
        The music repeated for each stanza
      - Through - composed
        
        No repetitions of whole sections, the music changes according to the text
      - Modified Strophic
        
        The same melody may be repeated for a few stanzas, but new materials introduced when poem requires it
    - - Born in Vienna
      - Concert-Schubertiads
      - Public recognition while still a teen
      - Career built on intimate musical performances in people’s homes
      - Elfking(Erlkonig)
        
        Ballad poem by Goethe
        
        Legend of the Elfking (whoever he touches dies)
        
        Father and sick son riding through the forest on a windy night
    - - Born in Zwickau, Germany
      - Ambition to be a pianist, but injured his hand and turned to composition and criticism
      - 1830s courtship of composer/pianist Clara Wieck
      - A Poet’s Love (Dichterliebe)
- - - - Evolution
        
        Renaissance court festivals and entertainments
        
        Attached to operas
        
        18th century ballets independent of opera
        
        19th Century French, then Russian preeminence
      - Actions synchronized to music
      - Inhuman physical demands
      - Famous Russian Choreographer- Marius Pepita
    - - Born in Russian
      - St. Petersburg Conservatory, age twenty-three
      - Taught at Moscow Conservatory
      - $ support by Nadezhda von Meck
      - Appealed to Western taste
      - Tchaikovsky's Nutcracker
        
        Tchaikovsky was the giant of late 19th century Russian ballet
        
        Swan Lake, Sleeping beauty, The Nutcracker
        
        Written in 1892
        
        Orchestra Suite came after the Ballet
        
        Listening Example
        
        Dance of the Sugar Plum Fairy (LG 37)
        
        Trepak (LG 37)
        
        Chinese Dance
        
        Waltz of the Flowers
- - - - Paris company/ Russian dances
    - - Team of innovators
        
        Nijinsky - Choreographers
        
        Stravinsky - Music
        
        Roerich - Stage Design
    - - Studied composition with Rimsky Korsakov
      - Ballets: THe Firebird, Petrushka, and the Rite of Spring
      - When war broke out in 1914, left for Switzerland, then France
      - The Rite of Spring
        
        Primitivism
        
        Minimized harmonic change
        
        Repetitions
        
        Pedal points
        
        Ostinatos
        
        Russian folk songs or short fragments
        
        Orchestra large and loud
        
        Percussive use of dissonance
        
        Unpredictable
- - - - 1860s
      - Captured 1st impressions and concept of continuous change in the subject
      - Originally impressionism was given a bad name give to Monet painting
      - Impressionist painters
        
        Monet - multiple colors
        
        Degas - people
        
        Renoir - “frame of people” - facial expressions and connections
      - Symbolist poets sought abstract
    - - Some French composers were inspired by Impressionist and symbolist movements
      - Imitated the brush strokes of Impressionists
      - Experimentation with subtlety and ambiguity
        
        Major-minor systems too predictable
        
        Blending timbres, veiled sounds
      - Exotcism
      - Spread of Nationalism
    - - Modal, Chromatic, Whole tone, Pentatonic Scales
      - Unresolved dissonances
      - 9th chords
        
        Set of 5 notes in which the interval between the lowest and the highest tones in a ninth
      - Rich Orchestral colors
        
        Sometimes dark, muted
      - Free rhythm
      - Programmatic
    - - Born in Paris
      - Paris Conservatory at age 11
      - Made famous from
        
        1890s - Opera Pelleas and Melisande
      - True impressionist
      - Interest in non western scales
      - Helped establish the melody as a French national art form
      - Debussy’s Prelude to “The Afternoon of a Faun”
        
        Inspired by the Symbolist poem by Mallarme
        
        Describes half man/half goat creature
        
        Raw sensuality
        
        Debussy’s music a series of “backdrops”
        
        Fluid and rhapsodic
        
        Novel tone colors and chords
        
        Later choreographed scandalously by Nijinsky
        
        1894
        
        Genre: Symphonic poem
- - - - Melody > Staccato melody, somewhat chromatic
      - Rhythm/meter > Bouncy duple meter
      - Form > Three-part (A-B-A)
      - Expression > Quiet and mysterious mood
      - Performing forces > Bell-like timbre of celesta, accompanied by bass clarinet and pizzicato strings.
    - - Melody > Short, staccato melody, descending, with sforzandos (accents)
      - Rhythm/meter > Lively peasant dance, heavy accents; accelerando (getting faster)
      - Texture > Homophonic; contrapuntal B section
      - Form > Three (A-B-A)
      - Expression > Vivacious mood; builds to a frenzy at the end
      - Performing Forces > Tambourine featured with strings and woodwinds; trumpet fanfare
- - - - Melody > Disjunct, floating, folk-song melody
      - Rhythm/meter > Free shifting meter; the four-note rhythmic idea establishes a duple pulse
      - Expression > Haunting mood, represents awakening of the earth; very slow tempo (Lento)
      - Timbre > High-range bassoon with solo clarinets, pizzicato strings
    - - Melody > Russian folk song melodies alternate with nonmelodic sound blocks
      - Rhythm/meter >Basic duple pulse with irregular accents; constant eighth - note motion
      - Harmony > Dissonant chord (polytonal) repeated over and over; sound blocks
      - Texture > Dense, complex polyphony
      - Form > Sectional, with opening sectional recurring several times (A-B-A'-C-A-D-E-F-G-A"-F')
      - Expression > Forceful, with high energy and changing dynamics
      - Timbre > Changing instrumental colors throughout
      - Performing forces > Huge Orchestra with expanded brass, woodwind, and percussion sections.
    - - Melody > Scurrying melodic figures and horn calls, brief folk tune
      - Rhythm/meter > Fast tempo, meter not established; unpredictable accents
      - Harmony > Harshly dissonant, crashing chords
      - Texture > Dense, with shifting activity
      - Expression > Frenetic and primitive mood
      - Timbre > Quickly shifting instrumental colors