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Unit 7: Music and Art (Chapter 36 (Franz Schubert (songs or lieder are…

- - - - German-texted solo song with piano accompaniment
    - - Goethe, Heine
      - love, longing, beauty of nature
    - - identify the words of a song as carrying its meaning
      - music carries subtle intensity
      - interaction between text and music
      - for amateurs and professionals
  - - - the same music repeated for each stanza
    - - no repetitions of whole sections, the music changes according to the text
    - - same melody may be repeated for a few stanzas, but new material introduced when poem requires it
  - - - 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
    - - sung by same soloist, differentiated musically
  - - - Clara foremost interpreter of husband's music
    - - song cycle from 1840
      - sixteen poems by Heinrich Heine
      - psychological progression from freshness of love through disappointment to diespair
      - song no. 1: In the Lovely Month of May
        
        two strophes
        
        piano part wistful, meandering, no resolution
  - - - form
        
        through-composed
      - expression
        
        fast, with a mood of urgency in the accompaniment and dramatic dialogue
      - harmony
        
        shifts from minor to major, dissonance projects the boy's terror
      - performing forces
        
        solo voice and piano
      - rhythm/meter
        
        almost constant triplets in the piano; duple meter; more lifting feel for Elfking
      - text
        
        narrative poem in eight stanzas by Johann Wolfgang von Goethe
      - melody
        
        wide-ranging, each character sings in a different range
  - - - strophic, with piano prelude, interlude, postlude
    - - melancholic mood portrays unrequired love
    - - meandering, with a lack of resolution to the tonic
    - - solo voice and piano
    - - piano part moves somewhat freely in rising lines
    - - Henrich Heine poem, with text-painting in the music
    - - winding melodic line, set syllabically' both verses rise to a climax
- - - - Renoir
      - Degas
      - Monet
    - - Mallarme, Verlaine, influenced by Poe
  - - - major-minor system too predictable
      - blending timbres, veiled sounds
  - - - 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 Nijinksky
  - - - homophonic; light and airy
    - - loose A-B-A structure
    - - use of "blue" chords, with lowered thirds
    - - evocative mood, sensual
    - - free-flowing rhythms; sense of floating; lacks pulse; middle section is more animated
    - - rich colors, especially in the woodwinds
    - - lyrical, sinuous melody; chromatic at opening and closing
    - - strings, woodwinds, french horns, antique cymbals
- - - - evolution
        
        Renaissance court festivals and entertainments
        
        attached to Operas
        
        18th century ballet independent of opera
        
        19th century French, then Russian preeminence
      - actions synchronized to music
      - inhuman physical demands
      - famous Russian choreographer-Maruis Pepita
  - - - Tchaikovsky was the giant of late 19th century Russian ballet
        
        Swan Lake, Sleeping Beauty, The Nutcracker
      - written in 1892
      - orchestral suite came after the ballet
      - listening examples
        
        Dance of the Sugar Plum Fairy
        
        Trepak
        
        Chinese Dance
        
        Waltz of the Flowers
  - - - form
        
        A-B-A
      - expression
        
        quiet and mysterious mood
      - rhythm/meter
        
        bouncy duple meter
      - performing forces
        
        bell-like timbre of celesta, accompanied by bass clarinet and pizzicato strings
      - melody
        
        staccato melody, somewhat chromatic
    - - texture
        
        homophonic, contrapuntal B section
      - form
        
        A-B-A
      - rhythm/meter
        
        lively peasant dance, heavy accents, accelerando
      - expression
        
        vivacious mood; builds to a frenzy at the end
      - melody
        
        short, staccato melody, descending, with sforzandos
      - performing forces
        
        tambourine featured with strings and woodwinds, trumpet fanfare
- - - - Paris company w/ Russian dances
    - - Team of innovators
        
        Stravinsky - music
        
        Roerich - Stage design
        
        Nijinsky - choreographer
  - - - percussive use of dissonance
    - - ostinatos
      - pedal points
      - repetition
  - - - texture
        
        dense, complex polyphony
      - form
        
        sectional, with opening section recurring several times
      - harmony
        
        dissonant chord repeated over and over, sound blocks
      - expression
        
        forceful, with high energy and changing dynamics
      - rhythm/meter
        
        basic duple pulse with irregular accents; constant eight-note motion
      - timbre
        
        changing instrumental colors throughout
      - melody
        
        Russian folk-song melodies alternate with nonmelodic sound blocks
      - performing forces
        
        huge orchestra with expanded brass, woodwind, and percussion sections
    - - harmony
        
        harshly dissonant, crashing chords
      - texture
        
        dense, with shifting activity
      - rhythm/meter
        
        fast tempo, meter not established; unpredictable accents
      - expression
        
        frenetic and primitive mood
      - melody
        
        scurrying melodic figures and horn calls, brief folk tune
      - timbre
        
        quickly shifting instrumental colors
    - - 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
      - melody
        
        disjunct, floating folk-song melody
      - timbre
        
        high-range bassoon with solo clarinets, pizzicato strings
- - - - English composers developed Italian madrigal into a native art form
      - late sixteenth century, reign of Elizabeth I
      - some serious elements, some humorous
    - - 1599
      - pastoral text, good humor, lively rhythms
      - word painting
      - social music
      - form - ababcc
      - John Farmer
  - - - form
        
        short, repeated sections
      - expression
        
        word painting on opening line, and on "up and down"
      - texture
        
        varied, first monophonic, then some imitation, homorhythmic for last line
      - performing forces
        
        four voices (SATB) a cappella
      - rhythm/meter
        
        lively, begins in duple, shifts to triple and back
      - text
        
        lighthearted pastoral English poem
      - melody
        
        dancelike, diatonic melody
  - - - texture
        
        mostly homophonic; imitative entries on last line
      - form
        
        through-composed until the last line
      - harmony
        
        consonant, full sound, with some dissonance and chromatic-ism for expression
      - expression
        
        emotional words set with dissonance, chromatic-ism, melisma, and repetition
      - rhythm/meter
        
        simple movement in duple meter
      - performing forces
        
        four voices, a cappella
      - melody
        
        lyrical, conjunct, focus is on top line
      - text
        
        10-line poem by Alfonso d'Avalos