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Unit 8: Revolutionary Music (Chapter 33 (symphony 5- out of conflict comes…
Unit 8: Revolutionary Music
Chapter 33
symphonic revolution and Beethoven
Beethoven wrote 9 symphonies
3 periods to his music: early, middle, late
Early: (until 1802) Symphony 1 and 2
in style of Mozart and Haydn
Middle- (1803-1814) symphony 3-8
originally dedicated to Napoleon
personal narrative of individual heroism
symphony 3- "Eroica" - begins revolution of changing symphonic sound
Late- (1814-1827)
symphony 9- adds choir (chorale) with final "Ode to Joy"
Music transitioned from Classical to Romantic era
Beethoven and Politics
many composers responded to political climate- they are artists
Beethoven a supporter of democracy
Napoleon (at first)
Great Britain democratic parliament system (Wellington's Victory)
"Ode to Joy" finale widely used for political aims
Intense, collective endeavor toward a common purpose
Symphony 1 - Before the Revolution
symphony No. 1 in C Major, Op. 21 (1801)- Movement 1 FOCUS
style of Mozart and Haydn
form- sonata allegro
begins to explore:
sfz- sforzando
winds becoming more prominent
musical joke- beginning
changing tempo within the form
Symphony 3- Uprisings Begin
symphony no. 3 in Eb Major, Op. 55 "Eroica" (Heroic)- 1803-4- Movement 3 FOCUS
classical tradition but...
uprisings begin with-
length- twice as long as Mozart and Haydn and scrutinized for in reviews
context- Napoleon
form- Scherzo with a Trio- 1st time Trio appears in a symphony
Harmony and emotion- 2nd movement is a funeral march
symphony 5- out of conflict comes victory
four movements but a UNIFIED piece
conflict in movement I to victory in movement 4
Movement 1
Motive- short-short-short-LONG
dominates whole piece
fate knocking at your door (Beethoven's description)
Movement 2
serene theme and variations
still uses the motive
movement 3
scherzo with no stop going into the 4th movement
movement 4
much energy and passion
cyclical movement
Listening Guide 23
Beethoven symphony No. 5
first movement
harmony
c minor, with dramatic shifts between minor and major tonality
texture
mostly homophonic
rhythm/meter
four-note rhythmic idea (short-short-short-long) shapes the movement
form
concise sonata-allegro form, with extended coda; repetition, sequence, and variation techniques
melody
fiery four-note motive, the basis for thematic development; contrasting lyrical second theme
expression
wide dynamic contrasts; forceful, energetic tempo
second movement
harmony
related key: A-flat major
texture
mostly homophonic
rhythm/meter
flowing triple meter
form
variations, with two themes; varied rhythms, melodies, harmony (major and minor)
melody
two contrasting themes: smooth first theme; rising second theme built on four-note idea
timbre
warm strings, brilliant woodwinds, powerful brass
third movement
texture
homophonic; some fugal treatment in the trio
form
A-B-A
harmony
dramatic C-minor scherzo; trio in C major
expression
wide-ranging dynamic contrasts: fast tempo
rhythm/meter
quick triple meter throughout; insistent focus on four-note rhythm
timbre
themes in low strings; plucked strings at the return of the scherzo; timpani in transition to the last movement
melody
wide-ranging, ascending scherzo theme; more conjunct, quick trio theme
fourth movement
texture
mostly homophonic
form
sonata-allegro form, with long coda; cyclic (return of material from earlier movements)
harmony
c major; remains in major throughout
expression
forceful dynamics, fp effects, intense and spirited
rhythm/meter
very fast duple meter, four-note rhythmic idea
performing forces
added instruments (piccolo, contrabassoon, trombones)
melody
triumphant theme outlining C-major triad; energetic second theme
Chapter 55
social advocacy and musical innovation
artists shed light on social problems
1900s
replacement of tonality- 12 tone method
2nd Viennese School
Alban Berg and Anton Webern students
1st Viennese School - Mozart, Haydn, and Beethoven
Schoenberg teacher
Twelve-tone method
Schoenberg developed a system to replace tonality
serialism- method of composing with 12 chromatic pitches (all important)
tone row- arrangement of the 12 pitches
alternate forms of tone row
inversion: notes move in opposite direction (up instead of down)-- upside down
retrogade: reverse order or backwards
transposition: same order of intervals; starts different pitch
retrogade inversion: upside down and backwards
Alban Berg
1885-1935
born in Vienna, studied with Schoenberg
rose to fame with Wozzeck
active teacher and promoter of Schoenberg school
also known for: violin concerto, Lulu, lyric Suite
listening guide 46
Wozzeck
1922
opera in 3 acts, 5 scenes, orchestral interludes
melody
use of Sprechistimme (speechlike melody); diisjunct line
rhytm/meter
movement alternates between metric and free-flowing
harmony
both tonal and atonal language; dissonant and chromatic
expression
intensely emotional and vocal line, supported by dissonance and surging dynamics
timbre
eerie mood created by a celeste and unusual instrument combinations; colorful orchestral effects
chapter 69
contemporary opera
not a documentary
deeper truths found in his stories based on fiction
history represented in opera
John Adams
B. 1947
educated at Harvard
steeped in serialism, but listened to rock in dorm room
1972 moved to San Francisco; advocate for contemporary music
style
minimalist
neo-romantic: accessible and deeply expressive
stage works often topical and controversial
listening guide 65
Doctor Atomic: At the Sight of This
2005
3rd opera
Libretto
lots of syncopation and accents
dissonant
melody
short, choppy phrases with declaimed text, much repetition of the ideas
performing forces
chorus and orchestra
rhythm/meter
syncopated, with many offbeat accents
text
Bhagavad Gita, chapter 11
harmony
sharply dissonant
timbre
prominent timpani and brass
form
verse/refrain structure with repeated sections and text
expression
fiery mood; mysterious electronic sounds
Chapter 42 and 61
musical nationalism
music builds community cohesion
since the 19th century, sense of community tied to the concept of nationality
distinctive culture and heritage shared by people who live in a common territory
political conditions in 19th century Europe encouraged the growth of nationalism-
composers expressed nationalism in a variety of ways
dramatic works based on folklore or peasant life
works celebreating national heroes, historic events, or scenic beauty
basing music of songs and dances of their people
political expression sometimes banned
Edvard Greig (1843-1907) and Scandinavian nationalism
stipend from Norwegian government allowed him to focus on composition
goal was to create art accessible to all the public
born in Norway, attended Leipzig Conservatory
international figure notable for lyricism and use of folk music and dances
Peer Gynt, Suire No. 1
1876
play by Henrik Ibsen based on moralistic Norwegian folk tale
Grieg composed twenty-two pieces as incidental music for the play
later extracted 8 of them, created two four-movement suites
modernist nationalism
integration of traditional and folk music into experimental art music
music characteristics meaningful in a certain culture may change meaning when added to another art form
departed from conventions of 19th century music
musicologists
phonographs were taken to villages to preserve songs as they were meant to be performed
captured original music
composes tried to retain that idea is new music
Bartok and Kodaly collected over 2,000 Eastern European songs and dances
20th century neo-classicism
Revolt against romantic music and symphonic poem
revival of older forms- fugue and suite
revolt against traditions and return to 18th century music idealism of Bach, Handel, and Vivaldi
key ideas
balance
formality
absolute music
Bela Bartok (1881-1945)
Born in Hungary
musicologist
toured remote villages of Hungary to collect native songs
these songs served as "raw" material for his neo-classical style
moved to New York City in 1940 due to WWII
used features of Eastern European traditional music while adhering to Classical form
unfamiliar scales
non-symmetrical rhythms
ancient modes
listening guide 54
harmony
polytonal and atonal harmonies, dissonant
form
rondo-like structure
rhythm/meter
shifting meters and irregular rhythms
expression
nostalgic and sentimental; violent interruption at idea of Nazi invasion
melody
three contrasting themes; folk like and pentatonic, broad and lyrical, harsh descending line in clarinet
timbre
solo woodwinds featured darkly colored