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Unit 7 - Music and Art (Chapter 16 (Singing in Friendship: The Renaissance…

- - - - Short poem full of emotional words
        
        Composers set these words
        suggestively
        
        Wide range of topics
      - Words and music tapestry
    - - Mid-fifteenth century: Johannes Gutenberg first
        printed Western book (the Bible)
        
        Printing an agent for social change
        
        Increased literacy
      - Early sixteenth century: Petrucci developed
        polyphonic music printing
        
        Expensive but soon found cheaper methods
        
        Amateur Musicians
        
        Vocal, instrumental, mix
        
        Part of “proper” upbringing- especially women
        
        Music at home
      - Throughout the Middle Ages information transmitted orally
        
        Only a few could read and write
        
        Books copied by hand
    - - The French Chanson & the Italian Madrigal
        
        Usually monophonic
        
        Word painting (madrigalisms)
        
        Music reflects the meaning of the words
        
        Spontaneous social song
        
        Social part songs- Separate musical lines combined into a whole
    - - Il bianco e dolce cigno (The White and Sweet Swan)
        
        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 all time (1538)
      - Chamber music, one per part, each reading from a part book
    - - Evolved
        
        Late sixteenth century, reign of Elizabeth I
        
        Some serious, some humorous
        
        English composers developed Italian madrigal into a native art form
  - - - Harmony
        
        Consonant, full-sound, with some dissonance and chromaticism for expression
      - Texture
        
        Most homophonic
        
        Imitative entries on the last line
      - Rhythm/meter
        
        Simple movement in duple meter
      - Form
        
        Through-composed until the last line (which is repeated several times)
      - Melody
        
        Lyrical conjunct
        
        Focus is on top line
      - Expression
        
        Emotional words set with dissonance, chromaticism, melisma, and repetition
      - Genre: Italian madrigal
      - Performing Voices
        
        Four voices, a cappella
      - Published in 1538
      - Text
        
        10-line poem by Alfonso d'Avalos
  - - - Texture
        
        First monophonic, then some imitation
        
        Homorhythmic for last time
        
        Varied
      - Form
        
        Short, repeated sections
        
        ABABCC
      - Rhythm/meter
        
        Lively rhythms
        
        Beings in duple meter, shifts to triple and back
      - Expression
        
        Word painting on opening line ("all alone") and on "up and down"
      - Melody
        
        Dancelike, diatonic melody
      - Performing voices
        
        Four voices (SATB), a cappella
      - Genre: English madrigal
      - Text
        
        Lighthearted pastoral English poem
      - Published in 1599
      - Pastoral text, good humor, lively rhythms
- - - - Preexisting poetry
        
        Goethe, Heine
        
        Love, longing, beauty of nature
      - Song cycle = groups of Lieder unified by a narrative thread or common theme
      - Art Song, Lied (plural, Lieder)
        
        German-texted solo song with piano accompaniment
      - Characteristics
        
        Identify the words of a song as carrying its meaning
        
        Music carries subtle intensity
        
        Interaction between text and music
        
        For amateurs and professionals
    - - Through-composed
        
        No repetitions of whole sections, the music changes according to the text
        
        Example: Paranoid Android by Radiohead
      - Modified strophic
        
        The same melody may be repeated for a few stanzas, but new material introduced when poem requires it
      - Strophic
        
        The same music repeated for each stanza
    - - Career built on intimate musical performances in people's homes
      - Died at age 31; buried near Beethoven
      - Public recognition while still a teen
      - Symphonies and chamber music are Classical in nature
      - Concerts- Schubertiads
      - Songs or lieder are wholly Romantic
        
        More than 600 Lieder
        
        Subtle interactions between vocal part and accompaniment
      - Born in Vienna
    - - 1830s courtship of composer/pianist Clara Wieck; married in 1840
        
        Clara foremost interpreter of husband's music
      - After a suicide attempt, Robert was confined
      - Ambition to be a pianist, but injured his hand and turned to composition and criticism
      - Unified Song Cycles from single poet
      - Born in Zwickau, Germany
    - - Sixteen poems by Heinrich Heine
      - Psychological progression from freshness of love through disappointment to despair
      - Song cycle from 1840
      - Song no. 1: In the Lovely Month of May
  - - - Form
        
        Through-composed
      - Expression
        
        Fast, with a mood of urgency in the accompaniment and dramatic dialogue
      - Harmony
        
        Shifts from minor to major (for Elfking)
        
        Dissonance projects the boy's terror
      - Performing forces
        
        Solo voice and piano
      - Rhythm/meter
        
        Almost constant triplets in the piano
        
        More lilting feel for Elfking
      - Text
        
        Narrative poem in eight stanzas by Johann Wolfgang von Goethe
      - Melody
        
        Wide ranging
        
        Each character sings in a different range
        
        Father - low register, minor key
        
        Son - high register, minor key
        
        Narrator - middle register, minor key
        
        Elfking - middle register, major key
      - Ballad poem by Goethe
        
        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
      - Genre: Lied
      - Piano opening sets the atmosphere, galloping
      - Date: 1815
      - Four characters (father, son, Elfking, narrator)
        
        Sung by same soloist, differentiated musically
  - - - Harmony
        
        Meandering, with a lack of resolution to the tonic
      - Form
        
        Strophic (two verses)
        
        With a piano prelude, interlude, and postlude
      - Rhythm/meter
        
        Piano part moves somewhat freely in rising lines
      - Expression
        
        Melancholic mood portrays unrequited love
      - Melody
        
        Winding melodic line, set syllabically
        
        Both verses rise to a climax
      - Performing forces
        
        Solo voice and piano
      - Genre: Lied, from a song cycle
      - Text
        
        Heinrich Heine poem, with text-painting in the music
      - Date: 1840
      - Two strophes
      - Piano part wistful, meandering, no resolution
- - - - Evolution
        
        Renaissance court festivals and entertainments
        
        Italy- Intermedio
        
        England- Masque
        
        England- Masque
        
        Attached to Operas
        
        17th century Court of Louis XIV
        
        18th century ballet independent of opera
        
        19th Century French & Russian preeminence
      - Actions synchronized to music
      - Inhuman physical demands
      - Famous Russian Choreographer- Marius Pepita & Serge Diaghilev
        
        Pas de deux
    - - Depression Issues
      - Patronage from Nadezhda von Meck
      - Taught at Moscow Conservatory (12 years)
      - Fame in Europe and US
      - St. Petersburg Conservatory (age 23)
      - 1890 Conducted at opening of Carnegie Hall
      - Born in Russia
      - Wrote 7 Symphonies; 4 concertos, chamber & choral
        works
    - - Story by E.T.A Hoffmann
        
        Clara receives a Nutcracker from her godfather
        
        Clara dreams the Nutcracker becomes her Prince
        
        Christmas party
        
        Travel through magical & exotic places
      - Choreographed by Pepita
      - Written in 1892
      - Orchestral Suite came after the Ballet
      - Tchaikovsky was the giant of late nineteenth-century Russian ballet
        
        Swan Lake, Sleeping Beauty, The Nutcracker
  - - - Dance of the Sugar Plum Fairy: Andante non troppo
        
        Form
        
        Three-part (A-B-A)
        
        Expression
        
        Quiet and mysterious mood
        
        Rhythm/meter
        
        Bouncy duple meter
        
        Performing voices
        
        Bell-like timbre of celesta, accompanied by bass clarinet and pizzicato strings
        
        Melody
        
        Staccato melody, somewhat chromatic
      - Trepak (Russian Dance): Tempo di trepak, molto vivace (very lively)
        
        Texture
        
        Homophonic
        
        Contrapuntal B section
        
        Form
        
        Three-part (A-B-A)
        
        Rhythm/meter
        
        Lively peasant dance, heavy accents
        
        accelerando (getting faster)
        
        Expression
        
        Vivacious mood
        
        Builds to a frenzy at the end
        
        Melody
        
        Short, staccato melody, descending, with sforzandos (accents)
        
        Performing forces
        
        Tambourine featured with strings and woodwinds
        
        Trumpet fanfare
        
        Molto vivace
        
        Accelerando at the end
      - Other Dances Learned in Class
        
        Chinese dance
        
        One male and one female
        
        Very lively
        
        This dance is also known as "Tea"
        
        Waltz of the Flowers
        
        The dancers try to stay together and move as one piece; there are also several ripples in the piece
        
        A large amount of dancers - all wearing tutus
- - - - The Rite of Spring commissioned by Diaghilev
        
        Team of innovators
        
        Stravinsky- Music
        
        Roerich- Stage design
        
        Nijinsky- Choreographer
      - Riots at premiere in 1913
      - Serge Diaghilev’s Ballet russes
        
        Paris company w/ Russian dances
      - Today performed as a concert piece (not ballet)
      - Combination of art, music, and dance
    - - WWI- refuge in Switzerland, France
      - WWII- Moved to Los Angeles; 1945 became US Citizen
      - Ballets: The Firebird, Petrushka, and The Rite of Spring
      - Evolving styles: post-Impressionism, primitivism, Neo-Classicism, twelve-tone
      - Studied composition with Rimsky Korsakov
      - Great Orchestrator
      - Russian Composer
      - Ballets, Operas, Choral music, chamber music, piano music
    - - Orchestra large & loud
      - Russian folk songs or short fragments
      - Polytonality and Polyrhythms
      - Minimized harmonic change
        
        Ostinatos
        
        Pedal points
        
        Repetition
      - Primitivism
        
        Percussive use of dissonance
      - Unpredictable & violent accents
      - Subtitled- Scenes of pagan Russia
  - - - Dance of the Youths and Maidens
        
        Texture
        
        Dense, complex polyphony
        
        Form
        
        Sectional, with opening section recurring several times
        
        A-B-A' -C-A-D-E-F-G-A'' -F'
        
        Harmony
        
        Dissonant chord (polytonal) repeated over and over
        
        Sound blocks
        
        Expression
        
        Forceful, with high energy and changing dynamics
        
        Rhythm/meter
        
        Basic duple pulse with irregular accents
        
        constant eighth-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
        
        Russian folk melodies w/ nonmelodic sound
        
        Forceful, high energy, and unpredictable accents
      - Game of Abduction
        
        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
        
        Fast tempo
        
        No pulse & unpredictable accents
      - Introduction (closing measures)
        
        Rhythm/meter
        
        Free shifting meter
        
        The four-note rhythmic idea establishes a duple pulse
        
        Expression
        
        Haunting mood, represents awakening of the earth
        
        Vey slow tempo (Lento)
        
        Melody
        
        Disjunct, floating, folk-song melody
        
        Timbre
        
        High-range bassoon with solo clarinets, pizzicato strings
        
        Bassoon folk tune
        
        Pizzicato ostinato
        
        Mixed meter
- - - - Hazy, luminous style
      - Original impressions- “bad” name given to Monet painting
      - Change of light and color
      - Impressionist painters
        
        Monet, Degas, Renoir
      - Captured 1st impressions and concept of continuous change in the subject
      - Symbolist poets sought abstraction of language
        
        Mallarmé, Verlaine, influenced by Poe
      - 1860s
    - - Experimentation with subtlety and ambiguity
        
        Major-minor system too predictable
        
        Blending timbres, veiled sounds
      - Exoticism
      - Imitated the brush strokes of Impressionists
      - Spread of Nationalism
      - Some French composers were inspired by Impressionist and Symbolist movements
    - - 9th chords
      - Rich Orchestral colors
        
        Sometimes dark, muted
      - Unresolved dissonances
      - Free-rhythm
      - Modal, Chromatic, Whole tone, Pentatonic Scales
      - Programmatic
    - - Pelleas et Melisande - opera international success
      - Established French art song - melodie
      - Prix de Rome (age 22)
      - Died during bombing in Paris
      - Defied rules of traditionalists
      - Wrote orchestral music, chamber music, and piano music
      - Paris Conservatory (age 11)
  - - - Harmony
        
        Use of "blue" chords, with lowered thirds
      - Texture
        
        Homophonic
        
        Light and airy
      - Rhythm/meter
        
        Free-flowing rhythms
        
        Sense of floating
        
        Lacks pulse
        
        Middle section is more animated
      - Form
        
        Loose A-B-A' structure
      - Expression
        
        Evocative mood
        
        Sensual
      - Genre: Symphonic poem
      - Timbre
        
        Rich colors, especially in the woodwinds
      - Date: 1894
      - Performing forces
        
        Strings (with two harps), woodwinds, French horns, and antique cymbals
      - Melody
        
        Lyrical, sinuous melody
        
        Chromatic at opening and closing
      - Inspired by the Symbolist poem by Mallarmé
        
        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