Please enable JavaScript.
Coggle requires JavaScript to display documents.
Unit 8: Revolutionary Music (Listening Guide 46: Berg: Wozzeck, Act III,…
Unit 8: Revolutionary Music
Chapter 33: Disrupting the Conversation: Beethoven and the Symphony in Transition
Beethoven's music is grounded in the Classical tradition but pushes its limits in a way that helped define the emerging Romantic sensibility
Beethoven's nine symphonies exemplify his experiments with Classical conventions. Best known is his Fifth, built on a famous four note motive that permeated all four movements.
Beethoven was hailed as a genius even in his own lifetime
three periods to Beethoven's music: early, middle and late
early: until 1802
symphony 1 and 2
symphony 1: sonata allegro form
begins to explore musical joke, winds becoming more prominent, changing tempo within the form
in style of Mozart and Haydn
middle: 1803-1814
symphonies 3-8
symphony 3: classical tradition but uprisings begin with
form: scherzo with a trio
length: twice as long as Mozart & Haydn
context: Napoleon
symphony 3 begins revolution of changing symphonic sound
originally dedicated to Napoleon
personal narrative of individual heroism
late: 1814-1827
symphony 9: adds choir with final "Ode to Joy"
music transitioned from classical form to Romantic sensibilities
Beethoven was a supporter of democracy
supported Napoleon at first
Great Britain democratic parliament system (Wellington's Victory)
"Ode to Joy" finale used widely for political aims
intense, collective endeavor toward a common purpose
Listening Guide 23: Beethoven: Symphony No. 5 in C Minor, Op. 67
1807-8
four movements
first movement: Allegro con brio
fiery four note motive, the basis for thematic development, contrasting, lyrical second theme
four note rhythmic idea
C minor, with dramatic shifts between minor and major tonality
mostly homophonic
wide dynamic contrasts, forceful, energetic tempo
second movement: Andante con moto
two contrasting themes, smooth first theme, rising second theme
flowing triple meter
related key: A flat major
mostly homophonic
warm strings, brilliant woodwinds, powerful brass
third movement: Scherzo, Allegro
wide ranging melody, ascending scherzo theme, more conjunct, quick trio theme
quick triple meter throughout, insistent focus on four note rhythm
dramatic C minor scherzo, trio in C major
homophonic texture
ABA' plus a link to the final movement
wide ranging dynamic contrasts, fast tempo
fourth movement: Allegro (without pause from movement 3)
triumphant theme outlining C major triad, energetic second theme
very fast duple meter, four note rhythmic idea
C major, remains in major throughout
mostly homophonic
sonata-allegro form, with long coda, cyclic (return of material from earlier movements)
forceful dynamics
added instruments (piccolo, contrabassoon, trombones)
Chapter 55: War is Hell: Berg and Expressionist Opera
Arnold Schoenberg and his students Alban Berg and Anton Webern became known as a Second Viennese School, of modernist composition, in the first half of the 1900s
Berg's music is rooted in the post-romantic tradition, but he also drew on the twelve tone system devised by his teacher
Berg's most famous work is Wozzeck, an Expressionist opera based on a play about a disturbed man who moves between reality and hallucination in a society that has turned its back on him
artists helping to shed light on social problems that existed in that time
1st Viennese school was Mozart, Haydn, and Beethoven
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
Alban Berg (1885-1935)
born in Vienna, studied with Schoenberg
fought in WW1
rose to fame with Wozzeck
opera in 3 acts, 5 scenes, orchestral interludes
originally a play by Buchner
active teacher and promoter of Schoenberg school
works banned in Germany during WW2
also known for violin concerto, Lulu, Lyric Suite
Listening Guide 46: Berg: Wozzeck, Act III, scene 4
1922
opera in 3 acts
based on expressionist play by Georg Buchner
characters
Wozzeck, a solider
Marie, his common law wife
their son
Captain
doctor
drum major
use of a speech like melody, disjunct line
movement alternates between metric and free flowing
both tonal and atonal language, dissonant and chromatic
intensely emotional vocal line, supported by dissonance and surging dynamics
eerie mood created by a celeste and unusual instrument combinations, colorful orchestra effects
Chapter 61: Classic Rethinking: Bartok and the "Neo-Classical" Turn
20th century composers used more authentic folk and traditional elements in their nationalistic music than 19th century composers did
Hungarian composer Bela Bartok collected traditional songs and dances from his native land and incorporated elements from them into his compositions
Bartok's music displays new scales and rhythmic ideas and a modern, polytonal harmonic language, all set in Classical forms. In his programatic concerto for orchestra, the whole ensemble is the "soloist"
revolt against traditions and return to 18th century music idealism of Bach, Handel and Vivaldi
revolt against romantic music and symphonic poem
revival of older forms: fugue and suite
key ideas: absolute music, balance, formality
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
phonographs were taken to villages to preserve songs as they were meant to be performed
captured original music
Bartok and Kodaly collected over 2000 Eastern European songs and dances
Hungarian Nationalism: Bela Barktok (1881-1945)
born in Hungary
was a musicologist
toured remote villages of Hungary to collect native songs
these songs served as raw material for his neo-classical style
moved to NYC in 1940 due to WW2
used the features of Eastern European traditional music while adhering to classical form
ancient modes
unfamiliar scales
nonsymmetrical rhythms
Listening Guide 54: Bartok: Interrupted Intermezzo, from Concerto for Orchestra
1943
orchestral concerto
comprised of 5 movements
fourth movement: Interrupted Intermezzo
three contrasting themes
folklike and pentatonic
broad and lyrical
harsh descending line in clarinet
shifting meters and irregular rhythms
polytonal and atonal harmonies, dissonant
Rondo like structure (A-B-A'-C-B'-A")
nostalgic and sentimental, violent interruption at the idea of Nazi invasion
solo woodwinds features (oboe, clarinet, flute) darkly colored (violas)
Chapter 69: Reality Shows: Adams and Contemporary Opera
operatic composers sometimes choose historical topics, seeking to convey emotional truths through semi-fictional accounts of past events
American composer John Adam's eclectic approach combines elements of minimalism with traits of neo-romanticism, forging a post-minimalist style in his recent opera Doctor Atomic
contemporary opera is history represented in opera, not a documentary
deeper truths found in stories based on fiction
John Adams (born 1947)
American composer
educated at Harvard
steeped in serialism, but listened to rock in dorm room
moved to San Francisco in 1972
taught at San Francisco Conservatory
advocate for contemporary music
minimalistic style, neo-romantic: accessible and deeply expressive
stage works often topical and controversial
Adam's Doctor Atomic
2005
opera
based on memoirs, government documents, poetry and hindu scripture
focuses on last days and hours before the first atomic test in 1945
hugely complex subject, combining science and art, criticized at the time
Listening Guide 65: Adams: Doctor Atomic, "At the Sight of This"
2005
opera
set in Los Alamos, New Mexico, 1945
short, choppy phrases with declaimed text, much repetition of ideas
syncopated rhythm, with many offbeat accents
sharply dissonant harmony
verse/refrain structure with repeated sections and repeated text
fiery mood, mysterious electronic sounds
the performing voices are a chorus and an orchestra together