Escolar Documentos
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Cultura Documentos
The Enjoyment
of Music
ELEVENTH EDITION
The Enjoyment
of Music
ELEVENTH EDITION
Alicia M. Doyle
CALIFORNIA STATE UNIVERSITY, LONG BEACH
Copyright 2011, 2007, 2003, 1999, 1995, 1990 by W. W. Norton & Company, Inc.
All rights reserved
Eleventh Edition
ISBN 978-0-393-11841-4
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110
wwnorton.com
W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT
1 2 3 4 5 6 7 8 9 0
CONTENTS
Chapter 1 | Introduction
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vi | Contents
Chapter 6: Form
Chapter 7: Musical Expression: Tempo and Dynamics
Chapter 8: Voices and Musical Instrument Families
Chapter 9: Western Musical Instruments
Chapter 10: Musical Ensembles
Chapter 11: Style and Function of Music in Society
Part 2: Medieval and Renaissance Music
Prelude 2: The Culture of the Middle Ages and Renaissance
Chapter 12: Sacred Music in the Middle Ages
Chapter 13: Secular Music in the Middle Ages
Chapter 14: Renaissance Sacred Music
Chapter 15: Renaissance Secular Music
Part 3: The Baroque Era
Prelude 3: The Baroque Spirit
Chapter 16: Baroque Opera and Its Components
Chapter 17: The Baroque Cantata and Oratorio
Chapter 18: Baroque Instruments and the Suite
Chapter 19: The Baroque Concerto
Chapter 20: Other Baroque Instrumental Music
Part 4: Eighteenth-Century Classicism
Prelude 4: Classicism in the Arts
Chapter 21: The Development of Classical Forms
Chapter 22: Classical Chamber Music
Chapter 23: The Classical Symphony
Chapter 24: The Classical Concerto
Chapter 25: The Sonata in the Classical Era
Chapter 26: Classical Choral Music and Opera
Part 5: The Nineteenth Century
Prelude 5: The Spirit of Romanticism
Chapter 27: Song in the Romantic Era
Chapter 28: Romantic Piano Music
Chapter 29: Music in Nineteenth-Century America
Chapter 30: Romantic Piano Music
Chapter 31: Absolute Music in the Nineteenth Century
Chapter 32: National Schools of Romantic Opera
Chapter 33: Late Romantic and Post-Romantic Music
Part 6: Impressionism and the Early Twentieth Century
Prelude 6: Modernism in the Arts
Chapter 34: Impressionism and Post-Impressionism
Chapter 35: Early Modern Musical Style
Chapter 36: Music of the Early Modernists
Chapter 37: European National Schools
Chapter 38: American Modernism in Music
Chapter 39: Nationalism in the Americas
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Contents | vii
Part 7: Music beyond the Concert Hall
Prelude 7: The Rise of American Popular Styles
Chapter 40: Ragtime, Blues, and Jazz
Chapter 41: Musical Theater
Chapter 42: Music for Films
Chapter 43: The Many Voices of Rock
Part 8: World War II and Beyond
Prelude 8: New Directions in the Arts
Chapter 44: The New Virtuosity in the Modern Age
Chapter 45: Contemporary Composers Look to World
Music
Chapter 46: Technology and Music
Chapter 47: Some Current Trends
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CHAPTER 1
Introduction
CHAPTER 2
CHAPTER 3
Approaches to Teaching
HISTORICAL/CHRONOLOGICAL APPROACH
4 | Chapter 3
The Enjoyment of Music has long been known for its informative, highly readable biographies of the great masters of
Western art music that include memorable quotes and anecdotes that students retain long after the course is completed.
The biographical information found in the text engages students, allowing them to easily master the material on their
own, while providing a common framework for greater understanding in the classroom. In the text, the principal works of
each composer are discussed and summarized for quick reference. The instructor can use the outline of the composers
life to emphasize selected events and works and bring to light
the students shared humanity with the composers. The text
includes composers who have been deemed the greats (both
men and women) in the Western tradition; this approach will
prepare your students well for most classical concert settings.
StudySpace supports this approach with informative composer
biographies and other information. The iMusic examples
enhance this approach further by offering many pieces by
selected masters beyond the principal works available in the
CD set that accompanies the textbook.
LISTENING APPROACH
Perhaps the single most important teaching tool we have for
music appreciation is the actual listening experience, through
either recordings or live performances. Most music appreciation students will be surprised to find that, in the middle of
a lecture, music is played! These experiences are often the
only exposure to Western art music that students have,
although they may also be familiar with some styles from
sampling in hip-hop and other popular musics, film scores,
and video game music.
A major goal of a listening-based approach is to help the
students become active listeners. This is no small task given
that we, as a sound culture, are bombarded with noise constantly, and we have developed, culturally, skills to tune out
music subconsciously. Technology is helpful to this listening-centered approach as portable audio devices are varied
and omnipresent. Additionally, todays digital natives are well
versed in compiling and manipulating audio files.
A listening-centered approach to the material works best
with a smaller class in which interaction with live music and
performers is manageable, however I have witnessed success
using this approach in a large lecture as well. Recordings are
convenient teaching tools because you can easily highlight
specific moments and replay them for clarity. Of course,
nothing can replace a live performance, and if possible, students should get to see and hear art music performed live by
high-quality performers. In-class demonstration by music students is often quite successful and the peer-to-peer dialog that
takes place in such an event is valuable for all involved. Not
only will the students in the class engage differently with a
ANALYSIS APPROACH
With students who are for the most part not musicians, the
appropriate level of musical analysis needs to be determined.
While it is not suggested to completely avoid the issue of
form and analysis, hearing secondary dominants is perhaps
too much to ask of beginners. Hearing a tonic and the tension
created through the use of chromaticism is certainly possible,
however, and enriches listeners experience, as they grow to
understand that the composer creates musical drama intentionally. Listening Guides provide options: you as the instructor can introduce the general form and go into as much detail
as you wish, or as the level of the class allows. The electronic
Listening Guides and online examples also provide visual
cues to students that will help them find where they are in the
piece. Each guide is designed for the student to follow while
listening. It is probably not possible to cover every work in
the text in analysis-focused course. For those works that you
wish to cover quickly or not at all, the detailed Listening
Guide can simply be left out. The Materials of Music Interactive exercises on StudySpace are also useful tools to aid in
the mastery of formal structures.
Approaches to Teaching | 5
through the overviews, quizzes, and listening excerpts. Stylistic
traits can be emphasized with extra listening on StudySpace.
GENRE APPROACH
Another way to emphasize musical style is to use a genrebased approach. This organization, proceeding chronologically through each vocal and instrumental form, highlights
the stylistic differences found among similar forms composed
in various eras. The survey of each genre covers roughly the
same historical periods, although it points out developments
specific to individual forms. This survey might begin with
vocal music, as generally the words make the students understanding of these works easier. One possible path would begin
with sacred vocal music and then follow with secular vocal
music and opera. Instrumental music could then be presented,
beginning with the most accessible genressuch as program
music and works with simpler formsbefore proceeding to
the larger and more complex sonata cycle.
MULTICULTURAL APPROACH
The main goal of this text is to help the student gain an appreciation of Western art music. The evolution of popular, folk,
and art musics is inseparable, and it is impossible and counterproductive to remove popular and traditional music from
a discussion of art music. Integrated throughout the book are
readings and recordings that give insight into traditional or
popular music relevant to the topic at hand. These developments can be expanded on with supplemental reading, listening, videos, or online resources. The Study Guide also
contains exercises with independent listening projects that
serve to enhance these readings.
CHAPTER 4
b.
c.
d.
e.
f.
g.
h.
8 | Chapter 4
outlines, overviews, flashcards, and Quiz+
assessments; these materials are free, open content.
With the purchase of a new text, the standard content
also provides streamed video of the Metropolitan
Opera excerpts, iMusic examples and Materials of
Music Interactive activities, and listening activities and
quizzes. StudySpace Plus, available for purchase as a
recording option, provides all 62 works in the Shorter
Version in streaming format, as well as eBook access
and redesigned interactive Listening Guides (iLGs)
that offer a sequential listening pedagogy (each with
Overview, Journal, Guide, Listen For and Quiz
modules). Registration codes for this option ($12.50)
are packaged with The Enjoyment of Music.
D. The Study Guide, written by Kristine Forney, is a
workbook designed to help students with listening
exercises (drawn both from the texts main repertory
and short iMusic examples), exam preparation, and
special music projects, such as writing concert reports.
This ancillary includes the following:
Review exercises, based on the most important
terms, concepts, and historical information
presented in the text; these exercises aid students
in preparing for quizzes and exams.
Listen exercises that guide the study of musical
selections outlined in the text and included on the
recording sets.
Explore studies that review the factual information
presented in the Here & There, Then & Now
boxes in the text and suggest outside assignments
(listening or Web-based) that enhance the
understanding of certain works and traditional
musics.
Musical Activities that allow students hands-on
experience with music, either as individuals or in
small groups.
Concert Report outlines that can be completed
during or after a concert and may serve as the
basis for concert credit or as an outline for a prose
report.
Surveys, one to be completed at the beginning of
the course and one at its close, to be used either by
students or faculty. These can help students gauge
how their own tastes and experiences have
changed as a result of the course, and assist faculty
with knowing the musical preferences and
backgrounds of their students.
E. The Norton Scores, edited by Kristine Forney, with
textual notes by Roger Hickman, is a two-volume
study anthology that includes scores for nearly all the
primary repertory in The Enjoyment of Music. (Several
contemporary and world music examples are not
available.) The scores are essential for the instructors
CHAPTER 5
Part
30
40
Total hours
45
60
90
Materials of Music
10
Medieval and
Renaissance Music
10
Eighteenth Century
Classicism
12
12
10
10
10
12
5
6
7
8
Exams/vacations
10
CHAPTER 6
PLAN A:
ONLINE CONCEPT QUIZZES, IN-CLASS LISTENING QUIZZES
Using any version of the text
Part 1: The Materials of Music
12 | Chapter 6
Advantages to Plan A
1. Lower anxiety level for students as the quizzes are all equally counted.
2. Allows students to master vocabulary and concepts by era prior to being quizzed on the
listening of that era.
3. Allows for manageable amount of material and listening for each examination by frequent
testing.
4. Fits traditional scheme of testing in many institutions.
5. Works well with 3- or 4-unit quarter-system courses.
6. Keeps grading and paperwork to a minimum, especially important for large-enrollment classes.
7. Provides students more demonstrations of competence as listening and concepts are separated.
8. Allows for comparison of styles and examination of evolution of styles.
PLAN B:
IN-CLASS ASSESSMENT, SEPARATE LISTENING AND
CONCEPT QUIZZES ARE SEMI-CUMULATIVE
Using any version of the text
Part 1: The Materials of Music
Advantages to Plan B
1. Allows for manageable amount of material and listening for each listening examination by
frequent testing.
2. Provides students more demonstrations of competence as listening and concepts are separated.
3. Makes it possible to drop lowest test grade (or not give makeups for a missed exam).
4. Takes pressure off students by not having a comprehensive final exam.
5. Works well with 3- or 4-unit semester-system courses.
6. Allows for comparison of styles and examination of evolution of styles.
Advantages to Plan C
1. Lower anxiety level for students as the quizzes are all equally counted and test material is
not cumulative.
2. Allows for manageable amount of material and listening for each examination by frequent
testing
3. Fits traditional scheme of testing in many institutions.
4. Works well with 3- or 4-unit quarter-system courses.
PLAN D:
ALL ONLINE ASSESSMENT, SECTIONAL QUIZZING USING W. W. NORTON ONLINE RESOURCES
Using any version of the text
Part 1: The Materials of Music
14 | Chapter 6
Advantages to Plan D
1. Lower anxiety level for students as the quizzes are all equally counted and test material is
not cumulative.
2. Allows for manageable amount of material and listening for each examination by frequent
testing.
3. Fits traditional scheme of testing in many institutions.
4. Works well with 3- or 4-unit quarter-system courses.
5. Works for online or hybrid music appreciation courses.
CHAPTER 7
16 | Chapter 7
g.
h.
i.
j.
k.
l.
m.
n.
o.
p.
q.
r.
CHAPTER 8
It is essential that all students have access to the basic information about the courses in which they are enrolled. In addition to summarizing basic information, the syllabus can be
an important learning tool that will not only reinforce the content goals and expected outcomes but also outline attitudes
and strategies that you will use to promote active, engaged,
effective learning. Your syllabus can be an important point of
interaction between you and your students, both in and out
of class.
The traditional syllabus is primarily a source of information for your students, but a good syllabus should also provide
specific information about course requirements and course
outcomes. Often institutions have strict guidelines with regard
to attendance, makeup work, and accommodations for disabilities; clearly your syllabus must be in line with them.
Given todays technological climate, many instructors
choose not to distribute a printed syllabus but rather to deliver
it electronically. If the syllabus is only distributed electronically, the instructor must provide detailed instructions on how
to access the syllabus. In the case of distance-learning classes
that do not meet in person in the same physical setting, the
enrolled students need to be provided with the electronic
address, access instructions, and required information either
by mail or e-mail.
The following are suggestions for what to include in your
syllabus:
1. Course name, number, semester, and prerequisites
2. Instructor contact information
3. Office hours and location
4. Course meeting location and times
5. Mode of content delivery (lecture, discussion, online,
hybrid)
18 | Chapter 8
1. How the instructor will communicate with the students
and how the students will communicate with each
other;
2. How online participation will be assessed and graded;
3. How the instructor will monitor the online activities of
the students;
4. How the standards of appropriate online behavior will
be maintained;
5. The level of technical competence required of the
students;
CHAPTER 9
Teaching Guide
This section of the manual is intended to assist with the efficient preparation of your in-class lectures and activities.
Detailed outlines for each chapter, which can be used as lecture notes, appear here and include a summary of each piece
found in the Listening Guides (LG). Also provided here are
overviews for each part, as well as suggested teaching goals
and discussion topics for each chapter. Listed for each chapter
are appropriate iMusic and Music Example Bank (MEB)
selections for each composer and concept. (On the Music
Example Bank, see p. 9 in this Instructors Resource Manual
and the booklet accompanying the CDs.) Individual chapter
overviews and goals are included when the Part overview is
not sufficient. Each part concludes with suggestions for further reading; in some parts, individual chapters are afforded
individual suggested reading lists.
The outlines found here directly correlate to both the Full
and Shorter Versions of The Enjoyment of Music and can be
useful in preparing lectures. Asterisks indicate those points
that are only covered in the Full Version. Also useful are the
PowerPoint presentations included on the Instructors
Resource Discs; many instructors find that a PowerPoint presentation helps students to organize their notes in class and
saves valuable instructional time since it eliminates the need
to write on a board or overhead projector. In large classes this
is particularly beneficial as the slides can be projected on a
large overhead screen, making them visible to every seat in
the room. In smaller classes they can be projected on a
smaller screen or dry-erase board, or even the wall. With the
slides there will be no questions as to the spelling of terms
mentioned in class and other distracting issues that take away
from class time. Slides can also be posted to WebCT or
BlackBoard Coursepacks. Many instructors have their students print out the slides before class and have the students
take notes right on the slide printout.
19
20 | Chapter 9
PART 1: MATERIALS OF MUSIC
Prelude 1. Listening to Music Today
Overview
The introductory section is designed to make students think
about how the technological society in which they live has
affected how, why, and when they listen to music. It justifies
the need to establish a working vocabulary of terms and
explains the goals behind using this information to build a personal understanding of all styles of music. It further offers
some practical suggestions on how to study for a music course,
emphasizing both the importance of active listening (to recordings and live concerts) and basic issues of concert attendance.
There is a preview of the listening guides and listening activities using O fortuna from Carl Orffs Carmina burana.
Part I introduces the first of the component parts that make
up music. These elements are presented in an order that
moves from the simplest and most familiarmelodyto the
most complex, including issues of structure and musical
expression. Part I presents a working vocabulary of terms,
each of which is defined and illustrated with a music example, most of which are selected from traditional music. This
first part of the book further defines the properties of each
musical sound, the world instrument classification system,
and the families of Western instruments. It further provides
basic information about the history and traditional role of
individual instruments. Various vocal and instrumental musical ensembles are introduced, as are Western and non-Western music, as well as popular and classical. The role of the
conductor is featured, along with graphic representations of
the standard conducting patterns for duple, triple, quadruple,
and sextuple meter. The content is summed up with two
videos on StudySpace: Brittens The Young Persons Guide
to the Orchestra and the Instruments of the Orchestra videos.
These videos reinforce visual as well as aural familiarity with
orchestral instruments, present detailed information about the
construction of various instruments, and show a professional
conductor in action. The relationship between musical style
and social function is discussed, as are the means of transmission (oral and notated). The discussions emphasize the
universality of certain musical concepts, citing various world
cultures as examples. The concepts presented in these eleven
chapters are reinforced by graphic summaries, and marginal
side heads assist with locating the definitions of terms. Pertinent listening examples, chosen from both recording sets,
are suggested at the end of each chapter. Music Example
Bank and iMusic examples are also listed.
Goals for students in Part I
To become aware of the individual elements or
components of music and the role of each
To develop a working vocabulary of terms for use
throughout the course
Teaching Guide | 21
B. Climax: high point in the melodic line
C. Countermelody: added melody of secondary or
equal importance
Discussion Topics
The universality of the concept of musical line
The central role of melody in music
The diversity of melody
Melody as the horizontal element in music
Music Example Bank
Range, narrow
IV/2
Beethoven, Symphony No. 9, Ode to Joy
IV/1
Shall We Gather at the River, American
Traditional
IV/5
Havah nagilah, Jewish Traditional
I/1
Gershwin, Piano Concerto in F, III
I/29
Khatchaturian, Gayne Suite No. 1, Sabre
Dance
I/40
Mendelssohn, Symphony No. 4 in A major
(Italian), IV
II/24
Tchaikovsky, Piano Concerto No. 1 in Bflat minor, III
Range, medium
IV/2
Joy to the World, American Christmas carol
I/2
Copland, Appalachian Spring, III
I/67
Grieg, Peer Gynt Suite No. 1, ses Death
I/30
Greensleeves, British Traditional
II/45
Weelkes, Welcome sweet pleasure
Range, wide
IV/3
III/74
I/52
I/50
I/3
III/70
Shape, wave
IV/1
IV/3
I/36
I/4
Shape, ascending
II/65
Bach, J. S., The Well-Tempered Clavier I,
Prelude No. 1
III/3
Mozart, Symphony No. 40 in G minor, IV
I/3
Shape, descending
IV/2
Joy to the World, American Christmas carol
I/54
Bizet, Carmen, Habanera
II/41
Josquin, El grillo
Saint-Sans, Le carnaval des animaux,
II/15
Fossiles
I/5
Tchaikovsky, The Nutcracker, Act II, Pas de
deux
Conjunct movement
IV/5
Havah nagilah, Jewish Traditional
IV/2
Joy to the World, American Christmas carol
IV/1
Shall We Gather at the River, American
Traditional
I/6
Mozart, Clarinet Concerto in A major, III
I/36
Barber, Adagio for Strings, Op. 9
II/30
Beethoven, String Quartet in F major, Op.
59, No. 1
(Razumovsky), I
Disjunct movement
IV/3
The Star-Spangled Banner, American
national anthem
I/7
Brahms, Violin Concerto in D major, Op.
77, III
I/51
Debussy, Golliwogs Cakewalk
II/14
Strauss, Burleske in D minor
Phrase/cadence
IV/4
Amazing Grace, Traditional hymn
I/8
Sibelius, Finlandia, Op. 26
I/4
Mozart, Piano Concerto No. 21 in C major,
II
I/30
Greensleeves, British Traditional
II/45
Weelkes, Welcome sweet pleasure
Melody, climax
IV/3
The Star-Spangled Banner, American
national anthem
I/3
Strauss, Don Juan
I/50
Holst, The Planets, Jupiter
iMusic Examples
Conjunct movement, small range: America (patriotic
song)
Disjunct movement, large range: Ride of the Valkyries
(Wagner)
Wavelike contour: La Marseilleise (French national
anthem)
Regular phrasing/cadence: My Bonnie Lies over the Ocean
(folk song)
Countermelody: Stars and Stripes Forever, Trio (Sousa)
22 | Chapter 9
Chapter 2. Rhythm and Meter: Musical Time
I. Rhythm: Movement of Music in Time
A. Propels music forward
B. Beat: basic unit of rhythm
1. accented: strong beats, provide rhythmic
pulse
C. Meters: organized groups of beats
1. measures: meters marked off notationally
2. measure lines: vertical lines that mark off
measures
II. Metrical Patterns
A. Regularly recurring patterns of beats
1. downbeat: first accented beat in each pattern
2. meters
a. duple: alternating strong and weak beats
b. triple: three beats per measure, strongweak-weak
i. waltz, minuet
c. quadruple: four beats per measure,
strongest-weak-strong-weak
d. simple: meters with duple subdivisions
e. compound: beats subdivided into three
i. sextuple most common, strongweak-weak-strong-weak-weak
3. upbeat: music begins with last beat of the
measure
B. Syncopation: accents fall on offbeats
1. offbeats: weak beats, between the stronger
beats
2. used in African-American dance rhythms,
jazz
C. Polyrhythm: simultaneous use of conflicting
rhythmic patterns
D. Additive meter: grouping of irregular numbers of
beats
1. beats add up to larger pattern, (e.g. 14 =
2 + 4 + 4 + 4)
a. music of India
E. Nonmetric: no strong sense of beat or meter
1. early Christian chant
Discussion Topics
IV/44
I/14
III/2
IV/61
I/56
I/10
Meter, duple
IV/6
I/9
IV/61
I/29
I/28
II/26
II/35
Meter, triple
IV/4
IV/8
IV/7
IV/3
IV/24
IV/25
II/20
I/56
I/10
Meter, quadruple
IV/41
Battle Hymn of the Republic, American
Traditional
IV/57
La Cumparsita, Argentinian Traditional
IV/1
Shall We Gather at the River, American
Traditional
IV/17
Simple Gifts, American Traditional
II/66
Bach, C. P. E., Trio Sonata in G major, I
I/11
Brahms, Symphony No. 1 in C minor,
Op. 68, IV
I/67
Grieg, Peer Gynt Suite No. 1, ses Death
III/4
Mozart, Sinfonia Concertante for Violin and
Viola in E-flat major, I
Meter, compound
I/30
Greensleeves, British Traditional
II/61
Corelli, Violin Sonata in A major, Op. 5,
No. 9, Gigue
I/55
Handel, Messiah, No. 9, O thou that tellest
I/12
Prokofiev, Violin Concerto in G minor, II
III/70
Villa Lobos, Bachianas brasileiras No. 5, I
Beat, accented
IV/41
The Battle Hymn of the Republic, American
Traditional
Upbeat
IV/7
IV/17
Teaching Guide | 23
IV/24
IV/3
I/61
I/11
I/55
II/10
I/40
I/6
Syncopation
IV/21
IV/48
IV/31
IV/59
II/48
IV/19
I/14
I/7
I/1
IV/62
I/18
II/24
Offbeat
IV/5
IV/49
IV/43
I/15
II/11
I/29
II/26
II/15
Polyrhythm
IV/51
IV/47
IV/52
III/38
Meter, additive
IV/38
Aki Dudas Akar Lenni, Hungarian
Traditional
IV/9
Shankar, Bhimpalasi
Nonmetric
II/36
II/37
iMusic Examples
Duple meter: Camptown Races (Stephen Foster)
Triple meter: Lullaby (Brahms)
Quadruple meter: O Canada (Canadian national
anthem)
Sextuple meter: Pop Goes the Weasel (traditional, UK)
Offbeat: Oh! Susannah (Stephen Foster)
Syncopation: Pine Apple Rag (Scott Joplin)
Shifting meter: El Cihualteco (Mexico, mariachi song)
Polyrhythm: Osain (Cuba, Santera)
Nonmetric: Kyrie (Hildegard of Bingen)
Chapter 3. Harmony
I. Harmony: Vertical Relationships of Intervals Form
Chords
A. Implies movement and progression
B. Chord: three or more tones sounded together
C. Scale: collection of pitches arranged in
ascending or descending order
1. do-re-mi-fa-sol-la-ti-do, or 12345678
D. octave: interval spanning eight notes of the scale
E. triad: three-note chord, every other note of scale
combined
II. The Organization of Harmony
A. Tonic: first note of a scale
1. home base to other notes
B. Tonality: music organized around the tonic
1. scale chosen determines tonality
III. Consonance and Dissonance
A. Dissonance: discordant combination of tones
1. unstable: needs resolution
B. Consonance: concordant, agreeable combination
of tones
1. resolution: relaxation, fulfillment
C. Asian cultures, European folk music: simpler
harmonies
1. drone: single sustained tone
Discussion Topics
How do composers use dissonance and consonance to move
the listener?
Harmony as the vertical element in music
Harmony as providing perspective in music
Tonality as an organizing structure in music
The role of dissonance in music
Varying use of harmony in Western art music versus
traditional and non-Western styles
24 | Chapter 9
Music Example Bank
II/10
Chord
II/65
I/8
I/16
IV/7
I/4
Major scale
IV/2
IV/4
IV/17
II/3
IV/6
Minor scale
IV/23
IV/20
Rondo
IV/62
I/21
Diatonic scale
II/65
Bach, J. S., The Well-Tempered Clavier I,
Prelude No. 1
II/9
Haydn, Concerto for Trumpet in E-flat
major, III
Chromatic scale
I/17
Bach, J. S., Chromatic Fantasy and Fugue
in D minor
II/1
Bozza, Scherzo for Woodwind Quintet, Op.
48
I/29
Khatchaturian, Gayne Suite No. 1, Sabre
Dance
III/29
Wagner, Tristan und Isolde, Prelude
Dissonance
III/46
III/40
I/18
IV/32
Consonance
IV/41
IV/15
II/9
Drone
III/61
III/60
iMusic Examples
Octave: Prelude in E minor (Chopin)
Chord: If I Had a Hammer (Pete Seeger)
Triad: Pop Goes the Weasel (traditional, UK)
Tonic: Camptown Races (Stephen Foster)
Major scale and tonality: Joy to the World (Christmas
carol)
Minor scale and tonality: Moonlight Sonata (Beethoven)
Consonance: America (patriotic song)
Dissonance: In the lovely month of May (Schumann)
Drone: Skye Crofters (bagpipe, Scottish dance music)
Teaching Guide | 25
5. tonic-dominant-tonic: basic progression of
harmony
C. The Minor Scale
1. (W-H-W-W-H-W-W)
2. lowered third degree
III. Diatonic and Chromatic Scales
A. Diatonic: music clearly in major or minor key
B. Chromatic music: full gamut of the twelve half
steps
IV. Other Scale Types
A. Pentatonic: five-note scale
1. African, Asian, Native American music
B. Tritonic: three-note pattern
1. music of some African cultures
C. Microtones: intervals smaller than half step
1. inflection: brief microtonal dip from original
pitch
V. The Major-Minor System
A. Western music: active chords seek resolution
1. dominant (V), built on fifth scale step
a. chief active chord
2. subdominant (IV), built on fourth scale step
a. active chord
b. (IV to I), Amen
3. tonic (I), built on first scale step
a. point of rest
VI. The Key as a Form-Building Element
A. Key provides musical unity
1. three main chords used
a. tonic (I), dominant (V), subdominant (IV)
B. Contrast adds variety, structure
1. modulation: shift to a different key
2. statement-departure-return
C. Transposition: entire work set in new key
Chapter goals for students
To learn to perceive the division of the octave in
Western music
To observe the patterns for major and minor scales and
to recognize other scale types used in world music
cultures
To view key as an element of form
Discussion Topics
Scales and tonality as a means of creating a narrative
How do composers use scales to set a mood?
How do film score composers use scales to emphasize the
visual drama?
How can scales be used ironically?
Variety of scale patterns used throughout the world
Key as an element of form
Whole steps
I/8
Major scale
II/3
Minor scale
I/21
Chromatic scale
I/29
Khatchaturian, Gayne Suite No. 1, Sabre
Dance
II/1
Bozza, Scherzo for Woodwind Quintet, Op.
48
Diatonic scale
II/9
Haydn, Concerto for Trumpet in E-flat
major, III
II/65
Bach, The Well-Tempered Clavier I, Prelude
No. 1
Transposition
II/50
Vivaldi, The Four Seasons, Autumn, III
(brass)
Modulation
II/51
I/64
Major/minor, alternating
II/51
Beethoven, Symphony No. 7 in A major, II
Pentatonic scale
I/20
Miyazaki, Shimabara No Komoriutta
III/61
Shankar, Bhimpalasi, excerpt
III/63
Spring on a Moonlit River, Chinese
Traditional
IV/32
Taruna Jaya, Balinese Traditional
(gamelan)
Tritonic scale
III/64
Herding Song, African Traditional, Middle
Congo (Kouyou Tribe)
Microtones
IV/55
III/57
Raga/tala
IV/9
III/61
26 | Chapter 9
iMusic Examples
Texture, monophonic
Dance (zurna and davul), Turkish
IV/12
Traditional
I/52
Debussy, Syrinx
II/36
Gregorian chant, Venite, exsultemus
Domino
Gregorian chant, Whitsunday Mass,
II/37
Alleluia, emitte spiritum
I/19
Khatchaturian, Gayne Suite No. 2, Adagio
I/20
Miyazaki, Shimabara No Komoriutta
IV/13
Taos Pueblo Round Dance Song, Native
American Traditional
iMusic Examples
Monophonic texture: Kyrie (Hildegard von Bingen)
Monophonic texture: Toccata in D minor, opening
(Bach)
Teaching Guide | 27
Homophonic texture: Surprise Symphony No. 94, II
(Haydn)
Homorhythmic texture: Alla hornpipe, from Water Music
(Handel)
Heterophonic texture: Los Jilicatas (Peru, panpipes)
Changing texture: Simple Gifts (Shaker hymn)
Polyphonic texture: Brandenburg Concerto No. 1, I
(Bach)
Imitation: Contrapunctus 1, from The Art of Fugue
(Bach)
Chapter 6. Form
I. Structure and Design in Music
A. Form: works structure or shape
1. organizes music
2. repetition and contrast: unity and variety
3. strophic: vocal form, same melody with each
stanza of text
4. variation: only some aspects of music altered
5. improvisation: pieces created spontaneously
II. Two-Part and Three-Part Form
A. Two-part: binary (A-B)
1. statement and departure
B. Three-part: ternary (A-B-A)
1. statement, departure, and return
III. The Building Blocks of Form
A. Theme: main melodic idea
1. motive: smallest fragment of a theme
B. Thematic development: expansion of a theme
1. varied melody, rhythm, harmony
a. repetition: exact or varied
b. sequence: idea restated at higher or lower
pitch
c. call-and-response, responsorial: soloist
and group response
i. early Western church music, African,
Native American, and AfricanAmerican music
d. ostinato: short repeated musical pattern
C. Movement: complete, independent division of a
large-scale work
Discussion Topics
Building a sense of expectation in the listener
Balance and order in art
Conscious formal choices of the artist
Repetition and contrast in all things
Developing formal ideas
Universality of formal procedures in various world
musics
Motive, rhythmic
I/18
Stravinsky, The Rite of Spring, Dance of the
Youths and Maidens
I/33
Stravinsky, The Soldiers Tale, Soldiers
March
Call and response
II/37
Gregorian chant, Alleluia, emitte spiritum
IV/36
Na solnechnom vskhode, Russian
Traditional
III/62
Porters song, African Traditional, Gabon
(Bawanji tribe)
Responsorial singing
IV/50
Sara Muru, Gwa Ba Na, African
Traditional, Ghana (Kasena jongo)
28 | Chapter 9
Ostinato
IV/53
II/60
II/16
Carlos, I. C. (Intergalactic
Communications)
Couperin, Les barricades mistrieuses
Prokofiev, Lieutenant Kije, Romance
iMusic Examples
Variation: Pop Goes the Weasel (traditional, UK)
Improvisation: Amazing Grace (traditional hymn)
Strophic form: Lullaby (Brahms)
Binary form: Minuet in D (Anna Magdelena Notebook)
Motive and sequence: Symphony No. 5 (Beethoven)
Responsorial: If I Had a Hammer (Pete Seeger)
Tempo, andante
IV/23
Brahms, Wiegenlied (Lullaby) Op. 49, No.
4
I/4
Mozart, Piano Concerto No. 21 in C major,
II
Tempo, moderato
I/37
Shostakovich, Trio for Violin, Cello, and
Piano, I
II/13
Hindemith, Sonata for Bass Tuba and
Piano, III
Tempo, allegro
I/38
Bach, J. S., Brandenburg Concerto No. 6,
III
I/61
Boccherini, Cello Concerto in B-flat major,
III
I/6
Mozart, Clarinet Concerto in A major, III
Teaching Guide | 29
Tempo, vivace
III/26
Brahms, Concerto for Violin and Cello in
A minor, III
Clarke, Sonata for Viola and Piano, II
I/60
I/39
Smetana, The Bartered Bride, Furiant
Tempo, presto
I/40
Mendelssohn, Symphony No. 4 in A major
(Italian), IV
Tempo, accelerando
I/15
Glire, The Red Poppy, Russian Sailors
Dance
I/42
Liszt, Hungarian Rhapsody No. 2
II/23
Rimsky-Korsakov, Capriccio espagnol,
Fandango
Tempo, ritardando
I/16
Chopin, Prelude in E minor, Op. 28, No. 4
I/53
Puccini, Gianni Schicchi, O mio babbino
caro
I/43
Smetana, The Moldau
A tempo
I/16
I/57
Dynamics, pianissimo
I/44
Ravel, Bolro (opening, flute)
Dynamics, piano
I/6
Mozart, Clarinet Concerto in A major, III
I/45
Ravel, Bolro (clarinet solo)
I/16
Chopin, Prelude in E minor, Op. 28, No. 4
II/20
Shostakovich, Ballet Suite No. 1, Music
Box Waltz
Dynamics, mezzo piano
I/46
Ravel, Bolro (oboe damore)
I/63
Faur, Pellas et Mlisande, Sicilienne
Dynamics, mezzo forte
I/47
Ravel, Bolro (French horn)
Dynamics, forte
I/48
Ravel, Bolro (woodwinds)
Dynamics, fortissimo
IV/22
Beethoven, Symphony No. 9 in D minor, IV
(Ode to Joy)
I/49
Ravel, Bolro (conclusion)
II/22
Musorgsky, Pictures at an Exhibition, Great
Gate of Kiev
I/3
Strauss, Don Juan
Dynamics, crescendo
II/19
Beethoven, Wellingtons Victory, Op. 91,
Drums and Trumpets
I/24
Bizet, Larlsienne Suite No. 2, Farandole
I/50
I/42
Dynamics, decrescendo
I/43
Smetana, The Moldau
Dynamics, sforzando
I/14
Borodin, Prince Igor, Polovetsian Dances
(Section D)
Debussy, Golliwogs Cakewalk
I/51
iMusic Examples
Tempos:
Adagio: Clarinet Concerto (Mozart)
Andante: Lullaby (Brahms)
Moderato: Fur Elise (Beethoven)
Allegro: Symphony No. 5 (Beethoven)
Presto: William Tell Overture (Rossini)
Dynamics:
Pianissimo: Moonlight Sonata (Beethoven)
Piano: Clarinet Concerto (Mozart)
Forte: Eine kleine Nachtmusik, III (Mozart)
Fortissimo: Ode to Joy (Beethoven)
Crescendo: William Tell Overture (Rossini)
Changing dynamics: Toreador Song, from Carmen
(Bizet)
30 | Chapter 9
2. chordophones: sound produced from
vibrating string
a. violin, harp, guitar, Chinese hammered
dulcimer, Indian sitar
3. idiophones: produced from the instrument
itself
a. percussion instruments: bells, rattles,
xylophones, cymbals
4. membranophones: sounded from tightly
stretched membranes
a. drum-type instruments
Discussion Topics
The voice as the model for all instruments
The role of womens voices in music
The diversity of world instruments
Music Example Bank
Properties of sound: pitch, timbre, volume, duration
I/52
Debussy, Syrinx
Vocal range, soprano
IV/23
Brahms, Wiegenlied (Lullaby) Op. 49, No.
4
I/53
Puccini, Gianni Schicchi, O mio babbino
caro
II/54
Handel, Samson, Let the bright seraphim
II/55
Purcell, Come, ye sons of art away
IV/17
Simple Gifts, American Traditional
(DeGaetani)
III/70
Villa-Lobos, Bachianas brasileiras No. 5, I
Vocal range, mezzo-soprano
IV/4
Amazing Grace, Traditional hymn
I/54
Bizet, Carmen, Habanera
Vocal range, contralto
I/55
Handel, Messiah, O thou that tellest
Vocal range, tenor
I/56
Verdi, Rigoletto, La donna mobile
II/59
Bach, Cantata No. 140, Wachet auf, Er
kommt, er kommt
II/52
Caccini, Amarilli mia bella
Vocal range, baritone
I/57
Rossini, The Barber of Seville, Largo al
factotum
Vocal range, bass
I/58
Mozart, The Marriage of Figaro, Act II, O
Isis und Osiris
IV/16
Sometimes I Feel like a Motherless Child,
American Traditional (Paul Robeson)
Aerophone (non-Western)
IV/12
Dance (zurna and davul), Turkish Traditional
IV/55
Nakai, Shamans Call (Native American
flute)
IV/50
Sara Muru, Gwa Ba Na, African
Traditional, Ghana (Kasena jongo) (flute =
wui)
III/63
Spring on a Moonlit River, Chinese
Traditional, transverse bamboo flute (titzu)
III/60
Thumri, South Indian Traditional,
transverse flute (bansuri)
Chordophone (non-Western)
IV/56
Sakura, Japanese Traditional (koto)
III/61
Shankar, Bhimpalasi, long-necked lute
(sitar)
III/63
Spring on a Moonlit River, Chinese
Traditional, short-necked lute (pipa)
III/60
Thumri, South Indian Traditional, longnecked lute (vina)
Idiophone (non-Western)
IV/51
Atine, African Traditional, Ghana (Ashanti
kete)
IV/47
Congo Satiaguera, Cuban Traditional
III/62
Porters Song, African Traditional, Gabon
(Bawanji Tribe), resonating block
III/64
Herding Song, African Traditional, Middle
Congo (Kouyou Tribe), rattles and
metallophone
IV/14
Zuni Pueblo Rainbow Dance, Native
American Traditional
IV/58
Sevillanas, Spanish Traditional (maracas)
IV/13
Taos Pueblo Round Dance Song, Native
American Traditional
IV/32
Taruna Jaya, Balinese Traditional
(gamelan)
Membranophone (non-Western)
III/61
Shankar, Bhimpalasi (tabla)
IV/51
Atine, African Traditional, Ghana (Ashanti
kete)
IV/47
Congo Satiaguera, Cuban Traditional
(conga)
IV/12
Dance (Mehter), Turkish Traditional (davul)
IV/57
Generals Victory, Chinese Traditional
IV/50
Sara Muru, Gwa Ba Na, African
Traditional, Ghana (Kasena jongo) (drum =
gungwe)
III/63
Spring on a Moonlit River, Chinese
Traditional, large barrel drum (taku)
IV/13
Taos Pueblo Round Dance Song, Native
American Traditional
III/60
Thumri, South Indian Traditional, pair of
tuned drums (tabla)
Teaching Guide | 31
iMusic Examples
Soprano: Lullaby (Brahms)
Mezzo-soprano: Amazing Grace (traditional hymn)
Tenor: Tonight, from West Side Story (Bernstein)
Baritone: Toreador Song, from Carmen (Bizet)
Vocal quartet (soprano, alto, tenor, bass): Row, Row, Row
Your Boat
Aerophones: Los Jilicatas (panpipes, Peru); Skye Crofters
(bagpipe, Scotland)
Idiophones: Dougla Dance (steel drums, Trinidad); Tabuh
Kenilu Sawik (gongs, Indonesia)
Chordophones: Avaz of Bayate Esfahan (santur, Iran); In a
Mountain Path (bowed erhu, China)
Membranophones: Gota (drums, Ghana, West Africa);
Bhimpalsi (tabla, North India)
32 | Chapter 9
Music Example Bank
String family
I/36
II/30
I/67
III/39
I/8
Violin
I/59
II/28
I/7
II/61
I/12
III/25
IV/44
IV/39
Viola
I/60
I/38
III/4
Violoncello
I/61
III/52
III/26
Double bass
I/62
I/33
Legato
I/10
I/12
Staccato
I/7
II/20
Glissando
I/65
I/29
Pizzicato
I/66
I/4
I/12
II/20
Ravel, Tzigane
Beethoven, Serenade in D major, Op. 8, I
Brahms, Violin Concerto in D major, Op.
77, III
Corelli, Violin Sonata in A major, Op. 5,
No. 9, Gigue
Prokofiev, Violin Concerto in G minor, II
Tchaikovsky, Violin Concerto in D major,
Op. 35
El Jarabe Tapato, Mexican Traditional
(mariachi)
Olaska, Romany (Gypsy) Traditional
Clarke, Sonata for Viola and Piano, II
Bach, J. S., Brandenburg Concerto No. 6,
III
Mozart, Sinfonia Concertante for Violin and
Viola in E-flat major, I
Boccherini, Cello Concerto in B-flat major,
III
Baker, Sonata for Cello and Piano (1973), II
Brahms, Concerto for Violin and Cello in A
minor, I
Britten, The Young Persons Guide to the
Orchestra
Stravinsky, The Soldiers Tale, Soldiers
March
Khatchaturian, Gayne Suite No. 2, Adagio
Prokofiev, Violin Concerto No. 2 in G
minor, II
Brahms, Violin Concerto in D major,
Op. 77, III
Shostakovich, Ballet Suite No. 1, Music
Box Waltz
Ravel, Rapsodie espagnole, Feria
III/70
Tremolo
III/39
I/50
I/8
Trill
III/25
I/4
I/59
Mute (strings)
I/67
Grieg, Peer Gynt Suite No. 1, ses Death
Harmonics
I/68
I/59
III/25
Harp
I/63
II/5
I/5
Guitar
IV/46
I/64
IV/43
Woodwind family
II/1
Bozza, Scherzo for Woodwind Quintet, Op.
48
Flute
II/2
I/52
I/63
Piccolo
II/3
Oboe
II/4
Teaching Guide | 33
II/53
I/2
English horn
II/5
I/35
Clarinet
I/2
II/6
I/6
II/23
Bass clarinet
II/7
Saxophone
II/7
III/51
II/16
Bassoon
II/8
II/1
I/2
Trumpet
II/9
II/19
II/55
IV/44
IV/65
French horn
II/10
I/47
III/11
Trombone
II/11
Timpani
IV/66
II/14
I/14
III/11
Xylophone
II/15
I/29
Stravinsky, Pastorale
Fitzgerald, Smooth Sailing
Prokofiev, Lieutenant Kije, Romance
Bartk, Concerto for Orchestra, II
Bozza, Scherzo for Woodwind Quintet, Op.
48
Copland, Appalachian Spring, III
Baritone horn
II/12
Musorgsky, Pictures at an Exhibition,
Bydlo
Stravinsky, Pastorale
Contrabassoon
I/28
Mahler, Symphony No. 1 in D major, III
Brass family
II/50
I/25
Tuba
II/13
Vibraphone
III/58
Celesta
II/16
I/47
II/20
Chimes
II/17
II/22
34 | Chapter 9
Tambourine
II/21
I/15
III/11
II/48
Maracas
IV/58
Cymbals
II/22
I/9
III/11
IV/65
Gong
II/22
Piano
I/16
I/34
IV/62
II/14
II/24
Organ
I/22
Harpsichord
I/30
iMusic Examples
Strings: Canon in D (Pachelbel)
Woodwinds: Woodwind Quintet, Op. 88, No. 2 (Reicha)
Brass: Contrapunctus I, from The Art of Fugue (Bach)
Percussion (bass drum, cymbals, glockenspiel): Stars and
Stripes Forever (Sousa)
Cornet: Oh, Susannah! (Stephen Foster)
Guitar: Greensleeves (folk song, UK)
Piano: Spring Song (Mendelssohn)
Organ: Toccata in D minor (Bach)
Harpsichord: Minuet in D minor (Anna Magdelena
Notebook)
I. Choral Groups
A. Sung music
1. chorus: large body of singers
2. choir: smaller group of singers
3. a cappella: unaccompanied singers
4. madrigal choir, chamber choir: smaller,
specialized ensembles
II. Instrumental Chamber Ensembles
A. Chamber music: two to twelve players, one
player per part
1. string quartet: two violins, viola, cello
2. duo sonata: soloist with piano
3. piano trio, quartet, and quintet: piano and
string instruments
4. string quintet, sextet, septet, octet
5. woodwind and brass quintets
III. The Orchestra
A. Performing body of diverse instruments
B. Gamelan: gongs, xylophone-like instruments,
and drums
1. Balinese and Javanese
C. Symphony orchestra: Western ensemble of
strings, woodwinds, brass, and percussion
1. size increased throughout history; from 20 to
over 100 instruments
2. strings make up two-thirds
IV. Concert, Jazz, and Rock Bands
A. Band: wind and percussion at core
1. earliest bands: military origin
a. accompanied soldiers to war
2. French Revolution and American Civil War
a. John Philip Sousa (18541932): Civil
War band leader and composer
B. Concert band (wind ensemble): 40 to 80 players
C. Marching band: entertain at sporting events,
parades
1. military origins: drum majors (or majorettes),
flags, and rifles
D. Jazz bands: instrumentation varies
1. reed section: various-sized saxophones,
clarinet
2. brass section: trumpets and trombones
3. rhythm section: percussion, piano, double
bass, and electric guitar
E. Rock bands: amplified guitars, percussion, and
synthesizers
Teaching Guide | 35
V. The Role of the Conductor
A. Group leader for larger ensembles
1. baton: stick used to beat standard metric
patterns
2. conductor interprets music; decides tempo,
dynamics
a. keeps performers together
b. conducting patterns: show emphasis of
strong beats
B. Concertmaster: first-chair violinist
1. decides uniform bowing strokes
VI. The Orchestra in Action
A. Benjamin Britten: Young Persons Guide to the
Orchestra
1. illustrates instrument timbres
2. subtitled Variations and Fugue on a Theme of
Purcell
3. based on dance tune by Henry Purcell (1659
1695)
a. rondeau, triple meter, minor key
4. work closes with a fugue
a. polyphonic form from Baroque era
(16001750)
B. Listening Guide 1: Benjamin Britten, Young
Persons Guide to the Orchestra (1946)
1. Part I: theme; slow, triple meter, minor
tonality
a. stated six times: 1. full orchestra, 2 to 5.
instrument families, 6. full orchestra
2. Part II: 13 short variations
a. illustrate different instrument timbres
3. Part III: Fugue; theme fragment played in
imitation
a. ends with theme heard over the fugue
Discussion Topics
Non-verbal communication in small ensembles
Function of choir and chorus in secular and sacred
performances
The makeup of various choral and chamber groups
Orchestras around the world
The development of the Western orchestra
The role of bands in American society
The different demands of indoor and outdoor performances
Acoustic versus amplified music and the sound difference
The expectations of the audience in classical versus jazz,
rock, or pop concerts
Audience behaviors at classical versus jazz, rock, or pop
concerts
The role of the conductor in ensembles
The role of the conductor as advocate for the ensemble with
patrons and audiences
Quartet, string
II/30
Beethoven, String Quartet in F major, Op.
59, No. 1(Razumovsky), I
I/23
Beethoven, String Quartet in C major, Op.
59, No. 3 (Razumovsky), IV
Quartet, piano
II/31
Brahms, Piano Quartet in C minor, Op. 60,
No. 3, III
36 | Chapter 9
Quintet, string
II/32
Schubert, String Quintet in C major, III
Quintet, piano
II/33
Dvork, Piano Quintet in A major, Op. 81,
IV
Quintet, woodwind
II/1
Bozza, Scherzo for Woodwind Quintet, Op.
48
III/67
Carter, Eight Etudes and a Fantasy, Fantasy
Quintet, brass
II/50
Vivaldi, The Four Seasons, Autumn, III
Orchestra, Western
I/11
Brahms, Symphony No. 1 in C minor, Op.
68, IV
I/13
Mendelssohn, Symphony No. 4 in A major
(Italian), I
I/40
Mendelssohn, Symphony No. 4 in A major
(Italian), IV
I/50
Holst, The Planets, Jupiter
Ensemble, Chinese
III/63
Phases of the Moon, Spring on Moonlit
River, Chinese Traditional (pipa, titzu, taku)
Band, concert
II/34
Holst, Suite No. 2 in F for Band, I
Band, marching
II/35
Sousa, The Stars and Stripes Forever
Band, jazz
III/51
III/49
iMusic Examples
Choral Groups:
Chamber choir: Simple Gifts (Shaker hymn)
Chorus: America (patriotic song)
Mens chorus: El grillo ( Josquin)
Chamber Groups:
String quartet: Emperor Quartet, Op. 76, No. 3 (Haydn)
Teaching Guide | 37
b. complex rhythmic procedures and textures
shorter: a. different musical systems
III. Musical Styles in History
A. Historical periods: distinct stylistic
characteristics
1. styles: language of the artists
2. artists react to artistic, political, economic,
religious, and philosophical forces
B. Historical periods: approximate dates accepted
by scholars
1. Middle Ages (4001450)
a. Early Christian (400600)
b. Gregorian chant (600850)
c. Romanesque (8501150)
d. Gothic (11501450)
2. Renaissance (14501600)
3. Baroque (16001750)
4. Classical (17501825)
5. Romantic (18201900)
6. Post-Romantic and Impressionist (1890
1915)
7. twentieth century and beyond (1900present)
Discussion Topics
Roles of music in various cultures
Context of musical performances
Aesthetic judgments of music around the world
Oral versus notated transmission
The phenomenon of crossover in music
Music as part of work, worship, and entertainment
Ancient use of music versus modern
Music for battle
iMusic Examples
Historical Style Periods
Medieval: Kyrie (Hildegard)
Renaissance: El grillo (Josquin); Inviolata, integra et casta
es Maria (Josquin)
Baroque: Rondeau (Mouret); Minuet in D (Anna
Magdelena Notebook); Endlich, endlich wird mein
Joch, from Cantata 51 (Bach); Concerto in C major
for 2 Trumpets, I (Vivaldi)
Classical: Surprise Symphony No. 94 (Haydn); Eine kleine
Nachtmusik, I (Mozart); Tuba mirum, from Requiem
(Mozart); Pathtique Sonata, I (Beethoven)
Romantic: Spring Song (Mendelssohn); Ride of the
Valkyries (Wagner); ses Death, from Peer Gynt Suite
(Grieg); Prelude in E minor, Op. 28, No. 4 (Chopin)
Early twentieth century: Jeux de vagues, from La mer
(Debussy); The Rite of Spring (Stravinsky)
Later twentieth century: Interlude, from Rappaccinis
Daughter (Catn); Lux aeterna (Ligeti)
38 | Chapter 9
Sacks, Oliver. Musicophilia: Tales of Music and the Brain,
Revised and Expanded Edition. New York: Vintage
Books, 2008.
Sadie, Stanley, ed. The New Grove Dictionary of Musical
Instruments. London: Macmillan, 1985.
Scholes, Percy A. Music Appreciation: Its History and
Technics. Whitefish, MT: Kessinger Publishing, [1935]
2007.
Slonimsky, Nicolas. The Listeners Companion: The Great
Composers and Their Works. New York: Schirmer
Trade Books, 2002.
Taylor, Deems. Music to My Ears. New York: Simon and
Schuster, 1949.
Tenzer, Michael and John Roeder. Analytical and CrossCultural Studies in World Music. New York: Oxford
University Press, 2011.
Tovey, Donald. The Forms of Music. New York: Meridian,
1956.
Teaching Guide | 39
The effects of printing on society
The force of humanism
Impressions and interactions of distant cultures
Musicians in society; rise of musical literacy
40 | Chapter 9
II/37
II/38
IV/11
IV/67
iMusic Example
Monophonic chant: Hildegard: Kyrie
Teaching Guide | 41
Music Example Bank
II/39
IV/12
IV/57
iMusic Examples
Eastern influences on Western music: Avaz of Bayate
Esfahan (Iranian music); In a Mountain Path (Chinese
music)
Canonic form: Row, Row, Row Your Boat
Hildegard: Kyrie
Call to prayer (Adhan): Blessings on the Prophet
42 | Chapter 9
4. pure, a cappella, vocal polyphony
B. Listening Guide 10: Palestrina, Pope Marcellus
Mass, Gloria (1567)
1. six-part, a cappella male choir
2. monophonic opening
3. homorhythmic and polyphonic textures
follow
4. clear declamation of the text
5. full, consonant harmony
Discussion Topics
B.
C.
D.
Teaching Guide | 43
B. Tielman Susato (c. 15151571)
1. Flemish composer, instrumentalist, printer
2. Danserye: popular instrumental dance
collection (1551)
C. Listening Guide 14: Susato, Three Dances
(1551)
1. three rondes, each in binary form (A-A-B-B)
2. repeated sections: improvised
embellishments
3. dances flow from one to the next
4. duple meter, homophonic texture
5. consonant harmony; Ronde 2, modal
6. performed by loud wind band
a. shawm, sackbut, cornetto, tabor,
tambourine
D. From the Renaissance to the Baroque
1. humanistic spirit
2. sought expressive means
3. shift to single-line music
*VI. Giovanni Gabrieli and Instrumental Music in Venice
*A. Venice: important musical center by end of
sixteenth century
*1. major seaport; at crossroads of trade with the
East
*B. Venetian style
*1. multiple choirs of voices and instruments
*2. antiphonal: groups play in alternation
*3. influenced composers all over Europe
*C. Giovanni Gabrieli (c. 15571612)
*1. composer and organist
*2. worked at St. Marks in Venice
*3. sacred and secular compositions
*4. instrumental ensemble music; polychoral
works
*5. first to indicate dynamics; specify specific
instruments
*D. Listening Guide 15: Gabrieli, Canzona septimi
toni (1597)
*1. instrumental canzona: sectional work
*2. two instrumental groups: antiphonal style
*3. shifting meters: duple and triple
*4. mostly homophonic
Discussion Topics
Rise of amateur music making
Women as professional and amateur performers
Relationship between texts and music
Courtly versus popular texts
Music and Ceremony
Simplification of musical style: polyphonic to
homophonic
The Gabrieli family in Venice
Byzantine influence on Venetian music
44 | Chapter 9
11001300. Berkeley: University of California Press,
1986.
Reese, Gustave. Music in the Middle Ages: With an
Introduction on Music of Ancient Times. New York:
W. W. Norton & Company, 1968.
Seay, Albert. Music in the Medieval World. 2nd ed.
Englewood Cliffs: NJ: Prentice Hall, 1975.
Strohm, Reinhard, and Bonnie J. Blackburn, eds. Music as
Concept and Practice in the Late Middle Ages. New
York: Oxford University Press, 2001.
Treitler, Leo. With Voice and Pen: Coming to Know
Medieval Song and How it Was Made. New York:
Oxford University Press, 2007
Wilson, David F. Music of the Middle Ages: Style and
Structure. New York: Schirmer, 1990.
Yudkin, Jeremy. Music in Medieval Europe. Englewood
Cliffs, NJ: Prentice Hall, 1989.
Suggested Reading for Chapters 14 and 15
Arnold, Denis. Giovanni Gabrieli and the Music of the
Venetian High Renaissance. Reprinted with
corrections. New York: Oxford University Press, 1985.
. Monteverdi Madrigals. BBC Music Guides.
London: British Broadcasting Corporation, 1967.
Atlas, Allan W. Renaissance Music: Music in Western
Europe, 14001600. New York: W. W. Norton &
Company, 1998.
Brown, Howard M., and Louise K. Stein. Music in the
Renaissance. 2nd ed. Upper Sadle River, NJ: Prentice
Hall, 1999.
Brown, Howard M., and Stanley Sadie, eds. Performance
Practice: Music Before 1600. Vol. 1. The
Norton/Grove Handbooks in Music. New York: W. W.
Norton & Company, 1990.
Carter, Tim. Music in Late Renaissance and Early Baroque
Italy. London: B. T. Batsford, 1992.
Fallows, David. Dufay. New York: Vintage, 1987.
Fenlon, Iain, ed. The Renaissance, from the 1470s to the
End of the 16th Century. Englewood Cliffs, NJ: Prentice
Hall, 1989.
Kelly, Thomas Forrest. Early Music: A Very Short
Introduction. New York: Oxford University Press,
2011.
Knighton, Tess, and David Fallows, eds. Companion to
Medieval and Renaissance Music. Berkeley: University
of California Press, 1998.
Lockwood, Lewis, ed. Palestrina: Pope Marcellus Mass.
Norton Critical Scores. New York: W. W. Norton &
Company, 1975.
Lowinsky, Edward, ed. Josquin Desprez. New York: Oxford
University Press, 1976.
Murray, Russell E., Jr., Susan Forscher Weiss and Cyntia J.
Cyrus. Music Education in the Middle Ages and the
Teaching Guide | 45
To perceive the beginnings of modern tonality systems,
modern forms, and melodic structures
To understand the doctrine of affections as an
expressive element in music, tied to the text
Discussion Topics
Expression of emotion in Baroque arts
Music at court and at home
Music as a vehicle for religious expression
The changing role of women in music
Importance of text versus music
Foundations of modern tonality and forms
Expressive devices in early Baroque music
Music Example Bank
I/38
I/17
II/52
I/31
II/54
II/56
II/57
iMusic Examples
J. S., Jesu, Joy of Mans Desiring
Monteverdi: Lament of the Nymph
Handel: O thou that tellest good tidings, from
Messiah
Suggested Reading for Prelude 3
Anderson, Nicholas. Baroque Music: From Monteverdi to
Handel. New York: Thames and Hudson, 1994.
Bianconi, Lorenzo. Music in the Seventeenth Century.
Translated by David Bryant. Cambridge: Cambridge
University Press, 1987.
Blume, Friedrich. Renaissance and Baroque Music: A
Comprehensive Survey. Translated by M. D. Herter
46 | Chapter 9
4. orchestra performs overture (introductory
number), and sinfonias (interludes)
5. libretto: text or scripts of the opera
a. written by the librettist
6. early opera based on Greek mythology
II. Monteverdi and Early Baroque Opera
A. Claudio Monteverdi (15671643)
*1. born in Cremona, Italy
*2. transitional composer: Renaissance-style
madrigals, Baroque operas
*3. new emotional intensity
B. The Coronation of Poppea
*1. original music lost; this version by Pietro
Francesco Cavalli (16021676)
*2. Roman history: Nero plots to depose his
wife, Ottavia, with his courtesan mistress,
Poppea
*3. public performance in Venice, no longer
limited to palaces
*C. Listening Guide 16: Monteverdi, The Coronation
of Poppea (Lincoronazione di Poppea), Act III,
Scene 7 (1642)
*1. Poppea is led to the throne: fanfare-like,
imitative polyphony
*2. sinfonia interlude
*3. love duet between Nero and Poppea,
(A-B-B-A) structure
*a. duet sung over ground bass
*b. dissonant phrases: pi non peno (no
more grieving), pi non moro (no more
sorrow)
III. The Spread of Opera
A. Opera in England
1. masques: vocal and instrumental music with
poetry and dance
a. presented in homes of the rich and
influential
2. Puritans forbade stage plays
B. Henry Purcell (16591695)
1. English composer, organist, and singer
2. wrote masques and operas for several venues
3. assimilated Italian and French styles
C. Dido and Aeneas
1. considered first great English opera
2. presented as a play set to music for a girls
school in Chelsea
3. based on Virgils Aeneid
a. Aeneas is shipwrecked at Carthage, falls
in love with the queen, Dido
b. Aeneas leaves Dido to continue his
journey to found Rome
D. Listening Guide 17: Purcell, Dido and Aeneas,
Act III, excerpts (1689)
1. Act III, opening: style of a hornpipe
Teaching Guide | 47
I/55
II/56
II/57
iMusic Examples
Monteverdi: Lament of the Nymph
Handel: O thou that tellest good tidings, from
Messiah
48 | Chapter 9
II/59
I/55
II/54
b. 22 movements
B. Listening Guide 21: Handel, Water Music, Suite
in D major, excerpts (1717)
*1. mvt. 1: ternary form (A-B-A')
*a. fanfare-like trumpets, descending violin
scales
2. mvt. 2: alla hornpipe, ternary form (A-B-A)
a. disjunct theme with decorative trills in
strings and woodwinds
b. B section: reflective, minor key
III. Music at the French Royal Court
A. Louis XIV and Louis XV ruled at palace of
Versailles
1. Jean-Baptiste Lully (16321687): court
composer of Louis XIV
a. French stage works: comedy-ballets,
tragic operas
2. Jean-Joseph Mouret (16821738): court
composer of Duke of Maine (son of Louis
XIV)
B. Listening Guide 22: Mouret, Rondeau, from
Suite de symphonies (1729)
1. rondeau form (A-B-A-C-A)
2. main theme: majestic fanfare
3. predominant high trumpet: frequent trills
Chapter goals for students
To become aware of original versus modern
instruments
To view instrumental music as comparable to vocal in
importance
To understand formal structures as means of
unification
Discussion Topics
Character of dance movements and national origin
Music Example Bank
II/27
II/2
II/61
iMusic Examples
Bach: Sarabande from Cello Suite No. 2
Bach: Minuet in D minor (Anna Magdalena Notebook)
Handel: Alla hornpipe, from Water Music
Teaching Guide | 49
Chapter 19. The Baroque Concerto
Overview
The two types of concerto popular in the Baroque era are discussed, with an emphasis on J.S. Bach and Vivaldi.
I. Three Movement (fast-slow-fast) Instrumental Form
A. Solo concerto: solo instrument with
accompanying instrumental group
B. Concerto grosso: two instrumental groups
1. solo group: concertino
2. accompanying group: tutti, or ripieno
II. Antonio Vivaldi and the Solo Concerto
A. Antonio Vivaldi (16781741),
1. Venetian composer, violin virtuoso
2. ordained priest
3. music master at Conservatorio dellOspedale
della Piet
4. traveled widely
5. composed over 500 concertos: 230 for solo
violin, father of the concerto
B. The Four Seasons
1. four solo violin concertos accompanied by
orchestra and basso continuo
2. program music: Italian sonnet
3. sounds musically pictoralized
C. Listening Guide 23: Vivaldi, Spring, from The
Four Seasons (La primavera from Le quattro
stagioni), Op. 8, No. 1 (1725)
1. mvt. 1: Allegro in E major
a. orchestral ritornello alternates with solo
violin episodes
b. birds: trills and high running scales
c. storm: agitated repeated notes in low
strings
*2. mvt. 2: Largo in C-sharp minor
*a. melancholy melody
*b. upper strings only
*3. mvt. 3: Allegro in E major, Rustic Dance
*a. ritornello form
*b. dotted rhythms, dancelike
*c. drone represents bagpipes
*III. Bach and the Late Baroque Concerto
*A. Six Brandenburg Concertos
*1. composed at Cthen (171723)
*2. named after Margrave Christian of
Brandenburg
*B. Listening Guide 24: Bach, Brandenburg
Concerto No. 2 in F major, First Movement
(171718)
*1. concerto grosso: four solo instruments
*a. violin, oboe, recorder, trumpet
Discussion Topics
Concerto form: focus on contrast
Programmatic instrumental music
Ritornello as unification procedure
Music Example Bank
I/38
I/31
I/21
II/10
III/10
iMusic Example
Bach, J. S., Brandenburg Concerto No. 1, I
50 | Chapter 9
*D. Arcangelo Corelli (16531713)
*1. Italian composer and violinst
*2. emphasized lyricism over virtuosity
*3. published four volumes of trio sonatas
*E. Listening Guide 25: Corelli, Trio Sonata, Op. 3,
No. 2 in D major, excerpts (1689)
*1. mvt. 3: Adagio in B minor
*a. imitative duet in violins
*2. mvt. 4: Allegro in D major
*a. binary form (A-A-B-B)
*b. dancelike
*c. imitation in three instruments
*III. Domenico Scarlatti and the Solo Sonata
*A. Domenico Scarlatti (16851757)
*1. Italian: court composer in Portugal and
Madrid
*2. harpsichord virtuoso
*3. wrote over 550 solo harpsichord sonatas
*B. Listening Guide 26: Scarlatti, Sonata in C major,
K. 159, (The Hunt) (1750s)
*1. binary form (A-A-B-B)
*2. dancelike, in Spanish style
*3. highly ornamented: grace notes and trills
*4. clarity of texture: looks forward to
Classicism
IV. Other Keyboard Forms
A. Forms based on harmony
1. passacaglia: repeating bass line
2. chaconne: repeating harmonic progression
B. Forms based on improvisation
1. prelude: short study, mostly homophonic
2. toccata: free, highly virtuosic form
3. chorale prelude, chorale variations: organ
virtuosity introduced chorale to congregation
V. The Fugue and Its Devices
A. Fugue: contrapuntal composition with single
theme
1. fugue theme: subject
2. subject imitated in other voices: answer
3. three sections: exposition, episodes,
restatements
4. contrapuntal devices: augmentation,
diminution, retrograde, inversion, stretto
VI. Bachs Keyboard Fugues
A. Well-Tempered Clavier
1. two volumes: 24 preludes and fugues in each
2. prelude and fugue in all 12 major and minor
keys
B. The Art of Fugue
1. 14 fugues, four canons
2. keyboard music
3. highly technical
4. contrapuntal mastery
C. Listening Guide 27: Bach, Contrapunctus 1,
from The Art of Fugue (1749)
1. four-voice fugue
2. fugue subject outlines D minor triad
3. last fugue statement over pedal point
4. ends with major chord
VII. Looking Ahead to the Age of Enlightenment
A. The Rococo and the Age of Sensibility
1. rococo, from French rocaille shell
2. simpler artistic expression
a. shift from polyphony to homophony
3. French keyboard composers: Franois
Couperin (16881733), Jean Philippe
Rameau (16831764)
Discussion Topics
Contrast in the prelude and fugue
Role of the chorale prelude in church service
Pairing of free and strict forms (prelude and fugue)
Music Example Bank
II/62
II/66
I/25
I/22
I/17
II/65
II/55
II/64
iMusic Example
J. S. Bach: Toccata in d minor
Suggested Reading for Part 3
Arnold, Denis, and Nigel Fortune, eds. The New Monteverdi
Companion. London: Faber and Faber, 1985.
Teaching Guide | 51
Boyd, Malcolm. Bach. 3rd ed. New York: Oxford
University Press, 2000.
David, Hans T., and Arthur Mendel, eds. The New Bach
Reader: A Life of Johann Sebastian Bach in Letters
and Documents. Revised and enlarged by Christoph
Wolff. New York: W. W. Norton & Company, 1999.
Dean, Winton. Handels Dramatic Oratorios and Masques.
New York: Oxford University Press, 1983.
Dean, Winton, and Anthony Hicks. The New Grove Handel.
New York: W. W. Norton & Company, 1983.
Felix, Werner. Johann Sebastian Bach. New York: W. W.
Norton & Company, 1985.
Fenlon, Iain, and Peter N. Miller. The Song of the Soul:
Understanding Poppea. London: Royal Musical
Association, 1992.
Fabri, Paolo. Monteverdi. Translated by T. Carter.
Cambridge: Cambridge University Press, 1994.
Geiringer, Karl. Johann Sebastian Bach: The Culmination
of an Era. New York: Oxford University Press, 1966.
Hurley, David Ross. Handels Muse: Patterns of Creation
in His Oratorios and Musical Dramas, 17431751.
New York: Oxford University Press, 2001.
Hogwood, Christopher. Handel. Rev. ed. London: Thames
and Hudson, 2007.
Hutchings, Arthur. Purcell. BBC Music Guides. Seattle:
University of Washington Press, 1982.
Landon, H. C. Robbins, Handel and His World. Boston:
Little, Brown, 1984.
Lang, Paul Henry. George Frideric Handel. Mineola, NY:
Dover, 1996.
Moroney, Davitt. Bach: An Extraordinary Life. London:
Associated Board of the Royal Schools of Music,
2000.
Price, Curtis, ed. The Early Baroque Era: From the Late
16th Century to the 1660s. Music and Society.
Englewood Cliffs, NJ: Prentice Hall, 1993.
. Purcell: Dido and Aeneas: An Opera. Norton
Critical Scores. New York: W. W. Norton & Company,
1986.
Rosand, Ellen. Opera in Seventeenth-Century Venice: The
Creation of a Genre. Berkeley: University of California
Press, 1991.
Smither, Howard E. A History of the Oratorio. Vol. 2, The
Oratorio in the Baroque Era: Protestant Germany and
England. Chapel Hill: University of North Carolina
Press, 1977.
Tomlinson, Gary. Monteverdi and the End of the
Renaissance. Berkeley: University of California Press,
1987.
Westrup, J. A. Bach Cantatas. BBC Music Guides. Seattle:
University of Washington Press, 1966.
Williams, Peter F. J. S. Bach: A Life in Music. Cambridge:
Cambridge University Press, 2007.
52 | Chapter 9
III/1
I/4
I/6
III/2
IV/20
iMusic Example
Mozart, Ah! vou dirai-je, maman (Twinkle, Twinkle, Little
Star)
Suggested Reading for Prelude 4
Blume, Friedrich. Classic and Romantic Music: A
Comprehensive Survey. Translated by M. D. Herter
Norton New York: W. W. Norton & Company, 1970.
Downs, Philip G. Classical Music: The Era of Haydn,
Mozart, and Beethoven. New York: W. W. Norton &
Company, 1992.
Einstein, Alfred. Gluck. Translated by Eric Blom. New
York: McGraw-Hill, 1972.
Grout, Donald J., and Hermine Weigel. A Short History of
Opera. 4th ed. New York: Columbia Unversity Press,
2003.
Heartz, Daniel. Haydn, Mozart, and the Viennese School:
17401780. New York: W. W. Norton & Company,
1995.
Hutchings, Arthur. The Baroque Concerto. 3rd Revised
edition. London: Faber and Faber, 1973.
Newman, William S. A History of the Sonata Idea. 3 vols.,
rev. ed. New York: W. W. Norton & Company, Inc.,
1983.
Pauly, Reinhard G. Music in the Classic Period. 4th ed.
Upper Saddle River, NJ: Prentice Hall, 2000.
Ratner, Leonard G. Classic Music: Expression, Form, and
Style. New York: Schirmer Books, 1980.
Roeder, Michael T. A History of the Concerto. Portland,
OR: Amadeus Press, 1994.
Rosen, Charles. The Classical Style: Haydn, Mozart, and
Beethoven. Expanded ed. New York: W. W. Norton &
Company, 1997.
Schulenberg, David. The Keyboard Music of J. S. Bach. 2nd
ed. New York: Routledge, 2006.
Talbot, Michael. Venetian Music in the Age of Vivaldi.
Brookfield, VT: Ashgate, 1999.
Treitler, Leo, ed. Source Readings in Music History. Vol. 5:
The Late Eighteenth Century. New York: W. W. Norton
& Company, 1998.
Teaching Guide | 53
B. Lyrical, songful melodies, related key
C. Form: A-B-A, sonata-allegro, or theme and
variations
1. theme and variations: theme clearly stated;
structured variations
a. melodic variation: decorative flourishes
to melody
b. harmonic variation: chords replaced; shift
from major to minor
c. rhythmic variation: note lengths, meter,
or tempo varied
V. The Third Movement
A. Stately triple meter, tonic key
B. Minuet and trio form
1. Baroque era origins: court dance
2. two dances presented as a group, (A-B-A)
a. B section: originally three instruments
trio
b. Da capo, from the beginning first dance
repeated
c. internal structure: binary (a-a-b-b), or
rounded binary (a-a-ba-ba)
C. Scherzo and trio form
1. early nineteenth century
2. scherzo, Italian jest
3. quick-paced triple meter
4. (A-B-A) structure
VI. The Fourth Movement
A. Allegro, vivace (fast tempo)
B. Lively, spirited, tonic key
C. Rondo, or sonata-allegro form
D. Rondo form: recurrence of musical idea (A)
1. A-B-A-C-A; extension of three-part form
2. longer arched form, A-B-A-C-A-B-A
VII. The Multimovement Cycle as a Whole
A. Extended instrumental works, abstract nature
B. Symphonies, sonatas, string quartets, concertos
Discussion Topics
Repetition and contrast in form
Use of sonata cycle
Music Example Bank
IV/64
II/28
iMusic Examples
Beethoven: Symphony No. 5
Avaz of Bayate Esfahan
Haydn: Symphony No. 94 (Surprise), II
Pachelbel: Canon in d
Suggested Reading for Chapter 21
Cone, Edward T. Musical Form and Musical Performance.
New York: W. W. Norton & Company, 1968.
Dahlhaus, Carl. Ludwig van Beethoven: Approaches to His
Music. Trans. by Mary Whittall. New York: Oxford
University Press, 1991.
Downs, Philip G. Classical Music: The Era of Haydn,
Mozart, and Beethoven. New York: W. W. Norton &
Company, 1992.
Heartz, Daniel. Haydn, Mozart, and the Viennese School,
17401780. New York: W. W. Norton & Company,
1995.
LaRue, Jan. Guidelines for Style Analysis.Warren, MI:
Harmonie Park Press, 1992.
Newman, William S. A History of the Sonata Idea. 3 vols.,
rev. ed. New York: W. W. Norton & Company, Inc.,
1983.
Ratner, Leonard. Classic Music: Expression, Form, and
Style. New York: Schrimer Books, 1980.
Rosen, Charles. Sonata Forms. 2nd ed. New York: W. W.
Norton & Company, 1988.
Will, Richard. The Characteristic Symphony in the Age of
Haydn and Beethoven. New York: Cambridge
University Press, 2002.
Chapter 22. Classical Chamber Music
Overview
An introductory chapter discusses the chamber music style
so popular in the eighteenth century, and then characterizes
the individual movements of the most prominent chamber
formthe string quartet. Examples by Haydn and Mozart are
presented, and Mozarts biography appears in this chapter.
I. Chamber Music
A. Music for a small ensemble
B. Two to twelve players: one per part
C. Players function as a team
D. Haydn, Mozart, Beethoven, and Schubert
1. established chamber music style
E. Favored instrument combinations:
1. string quartet: first and second violins, viola,
and cello
2. duo sonata: violin and piano, or cello and
piano
54 | Chapter 9
3. piano trio: violin, cello, and piano
4. quintet: combination of string or wind
instruments
5. string quartet with solo piano or clarinet
II. The String Quartet
A. Multimovement cyle; four movements
B. Salon music; private, profound expressions
C. Joseph Haydn (17321809)
1. prolific Austrian composer
2. choirboy at St. Stephens Cathedral in Vienna
3. Esterhzys: patron for nearly thirty years
a. directed orchestra, opera company,
marionette theater
4. two visits to England (179192, 179495)
a. London symphonies, Nos. 93104
5. expanded size of orchestra
a. emphasis on brass, clarinets, and
percussion
6. composed over 100 symphonies, 68 string
quartets, concertos, 14 operas, keyboard
music
D. Haydns Emperor Quartet
1. based on his own hymn tune
a. Gott erhalte Franz den Kaiser (God Keep
Franz the Emperor)
b. became Austrian national anthem
c. today, same melody is Germanys
national song
2. lyrical tune, favorite of Hadyns
3. Op. 76, set of six quartets
E. Listening Guide 28: Haydn, String Quartet,
Op.76, No. 3, (Emperor), II (1797)
1. poco adagio
2. theme and variations
3. theme: first violin, homophonic texture
4. variation 3: some chromaticism
5. variation 4: polyphonic
6. coda: ends softly
III. Mozart and Chamber Music
A. Wolfgang Amadeus Mozart (17561791)
1. Austrian composer, pianist
2. son of Leopold Mozart, court composerviolinst
3. child prodigy: toured Europe with sister,
Nannerl
4. worked briefly in patronage system
5. age twenty-five, struggled as freelance
musician in Vienna
6. prolific composer of all genres: chamber
music, keyboard works, symphony,
concertos, opera
7. music: elegant, songful, contrasts of mood,
colorful orchestration
8. Ludwig Kchel: catalogued Mozarts music
chronologically
Teaching Guide | 55
iMusic Examples
Mozart: Eine kleine Nachtmusik, I, III
Mozart: Variations on Ah! vous dirai-je, maman
Suggested Reading for Chapter 22
Anderson, Emily, ed. The Letters of Mozart and His Family.
New York: W. W. Norton & Company, 1985.
Blom, Eric. Mozart. New York: Macmillan, 1966.
Deutsch, Otto E. Mozart: A Documentary Biography. 2nd
ed. Trans. by Eric Blom, et al. Stanford, CA: Stanford
University Press, 1965.
Downs, Philip G. Classical Music: The Era of Haydn,
Mozart, and Beethoven. New York: W. W. Norton &
Company, 1992.
Eisen, Cliff, and Stanley Sadie, eds. The New Grove
Mozart. London: Macmillan, 1982.
Griffith, Paul. The String Quartet: A History. New York:
Thames and Hudson, 1985.
Heartz, Daniel. Haydn, Mozart, and the Viennese School,
17401780. New York: W. W. Norton & Company,
1995.
Hughes, Rosemary. Haydn String Quartets. BBC Music
Guides. Seattle: University of Washington Press, 1966.
Kerman, Joseph. The Beethoven Quartets. Reprint ed. New
York: W. W. Norton & Company, 1979.
King, A. Hyatt. Mozart Chamber Music. BBC Music
Guides. Seattle: University of Washington Press, 1968.
Lam, Basil. Beethoven String Quartets. BBC Music
Guides. Seattle: University of Washington Press, 1975.
Landon, H. C. Robbins. 1791: Mozarts Last Year. New
York: Thames and Hudson, 1999.
Lang, Paul Henry, ed. The Creative World of Mozart. New
York: W. W. Norton & Company, 1963.
Sadie, Stanley. The New Grove Mozart. New York: W. W.
Norton & Company, 1982.
Smith, Erik. Mozart Serenades, Divertimenti, and Dances.
BBC Music Guides. Seattle: University of Washington
Press, 1982.
Ulrich, Homer. Chamber Music. 2nd ed. New York:
Columbia University Press, 1966.
56 | Chapter 9
*2.
*3.
*4.
*5.
*6.
Teaching Guide | 57
Chapter goals for students
To understand the structure of the symphony within the
sonata cycle
To appreciate the contributions of Haydn and Mozart
to the genre of the symphony
To note the cross-cultural influences between Turkey
and Austria in the eighteenth century
To view Beethovens symphonies as masterworks of
the genre
To understand the political climate in which Beethoven
worked
Discussion Topics
Origins and development of the symphony
Narrative structure of symphony
Haydns success under the patronage system
Haydns importance in the development of the
symphony
Recognizing Beethovens musical genius
Classical and Romantic elements in Beethoven
Art created in response to political climate
Beethovens democratic ideals expressed in music
The continued success of Beethovens music
Music Example Bank
III/4
III/3
I/9
III/5
III/2
IV/2
IV/65
II/51
IV/21
IV/22
iMusic Examples
America (God Save the King)
Beethoven, Fr Elise
Beethoven, Moonlight Sonata, Adagio
58 | Chapter 9
Simpson, Robert, ed. The Symphony. 2 vols. New York:
Drake Publishers, 1972.
Solomon, Maynard. Beethoven. 2nd ed. New York:
Schirmer Books, 1998.
Stanley, Glenn, ed. The Cambridge Companion to
Beethoven. New York: Cambridge University Press,
2000.
Tyson, Alan, and Joseph Kerman. The New Grove
Beethoven. New York: W. W. Norton & Company,
1983.
Wyn Jones, David. The Symphony in Beethovens Vienna.
New York: Cambridge University Press, 2006.
Teaching Guide | 59
*5. C section: developmental, short motivic
calls in trumpet
*6. contrapuntal coda; ends ff
II. Famous Women Virtuosos of the Eighteenth Century
A. Proper eighteenth-century women studied music
1. highly skilled amateurs
2. music teachers
3. professional performers: fame atypical
*B. Students at Venices Ospedale della Piet
*1. Anna Maria della Piet
*2. Maddalena Lombardini
C. Keyboard players associated with Mozart
1. Maria Anna Mozart (Nannerl) (17511829)
a. Mozarts sister
b. toured extensively with Mozart
2. Maria Theresia von Paradis (17591824)
a. friend of Mozart
b. blind pianist and organist
c. toured Europe
d. composer, works have been lost
3. Barbara von Ployer (17651811)
a. student of Mozart
b. two Mozart concertos composed for her
Chapter goals for students
To understand Classical concerto form
To realize Mozarts and Beethovens contributions to
the Classical concerto
To recognize the important role women virtuoso
performers played in the era
Discussion Topics
Virtuosity and the concerto
Women as virtuoso performers
Music Example Bank
I/61
II/9
I/6
III/6
iMusic Examples
Mozart: Horn Concerto, K. 447, III
Mozart: Piano Concerto, K. 467, II
Mozart: Clarinet Concerto, K. 662, II
60 | Chapter 9
2. Moonlight composed in 1801, first style
period
3. title by poet, Ludwig Rellstab, 1832
4. sonata quasi una fantasia, fantasy sonata
*5. three movements
*a. mvt. 1: modified strophic form, looks
ahead to Romantic era
*b. mvt. 2: scherzo and trio, frequent
syncopations
*c. mvt. 3: sonata-allegro form, Presto
agitato, restless motion
F. Listening Guide 36: Beethoven, Piano Sonata in
C-sharp minor, Op. 27, No. 2 (Moonlight) (1801)
1. mvt. 1: Adagio sostenuto; modified song
form
a. delicate theme, expressive minor key
b. continuous triplet pattern in
accompaniment
c. ethereal mood
d. two strophes separated by development
section
*2. mvt. 2: Allegretto; scherzo and trio form
*a. lilting triple meter, major key
*b. scherzo theme in short phrases
*c. trio: emphasis on third beat, accented
downbeat bass chord
*i. asymmetrical feel
*ii. gentle and dancelike
*3. mvt. 3: Presto agitato; sonata-allegro form
*a. fast duple meter, unrelenting motion
*b. dramatic dynamics, sudden accents
*c. theme 1: rocket theme, active
accompaniment
*d. theme 2: more lyrical
*e. coda: free cadenza-like passagework
Chapter goals for students
To acknowledge the solo and duo sonata as important
amateur genres
To appreciate the drama and intensity of Beethovens
piano sonatas
Discussion Topics
Romantic qualities in Beethoven
Virtuosity in the Classical era
Promoting women as performers
The influence of Eastern culture on Western
composition
IV/65
I/9
IV/68
This chapter presents the three major choral forms of the era:
the Mass, the Requiem, and the oratorio; a discussion follows
of a Haydn oratorio. Classical opera, both seria and buffa
Teaching Guide | 61
forms, are examined. The transition from classicism to
romanticism is explored.
*I. Sacred Vocal Genres of the Classical Era
A. Mass, Requiem, oratorio
*1. Catholic and Protestant churches: patrons of
choral music
*2. nineteenth century, performed in concert
setting
*B. Mozarts Requiem: Mass for the Dead
*1. Mozarts last composition, left incomplete
*2. four soloists, four-part chorus, and orchestra
*3. Dies irae (Day of Wrath):
*a. thirteenth-century Latin text by Thomas
of Celano
*b. last portion completed by Mozart
*C. Listening Guide 37: Mozart, Dies irae, from
Requiem, K. 626 (1791)
*1. dramatic opening: full chorus and orchestra
*a. homophonic setting
*2. Tuba mirum (wondrous sound): trombone
solo and bass singer
*3. other soloists enter one by one
*4. solo quartet follows
*5. dramatic full chorus ending: dotted rhythms,
syncopated chords
*6. last line: sung softly
*D. Haydns oratorio The Creation
*1. composed in London
*2. Haydn: inspired by Handels Messiah
*3. libretto: Genesis, and Miltons Paradise Lost
*4. scored for chorus, orchestra, and soloists
*a. soloists: Adam, Eve, and three
archangels: Raphael, Uriel, Gabriel
*5. Overture: Representation of Chaos
*a. ambiguous tonality, dissonance,
chromatic harmonies
*6. Part I: first four days of Creation
*a. begins in C minor, Let there be light
shift to C major
*E. Listening Guide 38: Haydn, The Creation (Die
Schpfung), Part I, closing (1798)
*1. creation of the sun, moon, and stars
*a. free rhythmic style
*2. No. 12: recitative secco, Uriel
*3. No. 13: recitative accompagnato, Uriel
*a. dramatic changes of dynamics, tempo
*4. No. 14: The Heavens Are Telling
*a. choral passages and solo trio of angels
*b. triumphant mood, forte dynamics
*c. C major; reference to night in C minor
*5. crescendo and accelerando to end
*a. final phrase: massive chords, majestic
cadence
II. Classical Opera
A. Opera reached the widest public
62 | Chapter 9
III. From Classicism to Romanticism
A. Classical era: culminated in Vienna, Viennese
School
1. Haydn, Mozart, Beethoven
B. nineteenth-century Vienna
1. Franz Schubert, Johannes Brahms, Gustav
Mahler
Chapter goals for students
To appreciate the great choral forms of the Classical
era and the tradition from which they grew
To view eighteenth-century opera as an important
social force of the time
To understand the new desire for simplicity and
naturalness that led to reforms in opera
To appreciate the new forms of popular comic opera
that arose in the Classical era
Discussion Topics
Opera as a social force
Mozarts gift for character representation in music
The Mass in church and in the concert hall
Classical versus Romantic characteristics
Emphasizing structural order versus emotional expression
Music Example Bank
III/9
III/10
I/58
III/7
III/8
iMusic Example
III/13
II/32
Teaching Guide | 63
Discussion Topics
Social and political forces of nineteenth century
Values of nineteenth-century artists
The role of the fantastic in nineteenth-century art and
literature
Eccentric behavior of artistic genius
Effects of Industrial Revolution in music and
instruments
Rise of middle class and its effect on music
Interest in nationalism and exoticism
Romantic style and expressionism in music
Role of musicianmale and femalein nineteenthcentury society
Music Example Bank
III/23
I/14
I/42
II/23
III/11
III/13
I/39
iMusic Example
Mendelssohn, Spring Song, Op. 62, No. 6
Suggested Reading for Part 5
Blume, Friedrich. Classic and Romantic Music: A
Comprehensive Survey. Trans. by M. D. Herter Norton.
New York: W. W. Norton & Company, 1970.
Brown, David, et al. The New Grove Russian Masters 1:
Glinka, Borodin, Blakirev, Musorgsky, Tchaikovsky.
New York: W. W. Norton & Company, 1986.
Cooke, Deryck, et al. The New Grove Late Romantic
Masters: Bruckner, Brahms, Dvork, Wolf. New York:
W. W. Norton & Company, 1985.
Dahlhaus, Carl. Nineteenth-Century Music. Trans. J. B.
Robinson. Berkeley: University of California Press,
1989.
Einstein, Alfred. Music in the Romantic Era. New York:
W. W. Norton & Company, 1947.
Longyear, Rey M. Nineteenth-Century Romanticism in
Music. 3rd ed. Englewood Cliffs, NJ: Prentice Hall,
1988.
64 | Chapter 9
F. Emergence of the piano
1. amateurs and professionals, home and
concert hall
III. Schubert and the Lied
A. Franz Schubert (17971828)
1. Vienna-born composer
2. member of Vienna Choir Boys
3. rejected career as a schoolteacher
4. Schubertiads: salon gatherings of writers,
artists, musicians
5. composed over 600 Lieder, three song cycles
6. music: confluence of Classical and Romantic
styles
a. Lieder and piano music: more Romantic,
lyric
b. symphonies, chamber music: more
Classical
B. Elfking
1. written at age eighteen: instant public
recognition
2. Elfking: king of the elves
a. whoever is touched by him must die
3. Romantic trends:
a. use of folklore
b. intense emotional expression
c. passionate and fanciful subjects
4. text: poem by Goethe
5. four characters (one singer): Narrator, Father,
Son, Elfking
C. Listening Guide 40: Schubert, Elfking (Erlknig)
(1815)
1. through-composed
2. constant triplets in piano: horses hooves
3. fast, dramatic
4. Elfking lures child from father: shift from
minor to major
5. childs terror: dissonance, high vocal range
6. Father reassures, calms fears: rounded vocal
line, low register
IV. Robert Schumann and the Song Cycle
A. Robert Schumann (18101856)
1. German composer, critic
2. studied law, then piano with Friedrich Wieck
3. turned to composition and music criticism
a. established Neue Zeitschrift fr Musik
(The New Journal of Music)
4. 1840: married Wiecks daughter, Clara
5. gradual mental collapse, entered asylum
1854
6. music: true Romantic style
a. impassioned melodies
b. novel harmonic changes
c. driving rhythms
7. composed over 100 Lieder, several song
cycles, four symphonies, piano music
B. Schumanns Song Cycle: A Poets Love
1. A Poets Love (Dichterliebe): composed
1840, year of song
2. 16 poems from Lyriches Intermezzo, by
Heinrich Heine
a. Heine: ironic, cynical, disillusioned
hopes
b. In the lovely month of May depicts
fragility of new love
3. cycle follows psychological progression
a. freshness of love to complete despair
C. Listening Guide 41: Robert Schumann, In the
lovely month of May, from A Poets Love
(Dichterliebe), No. 1 (1840)
1. melancholic mood: unrequited love
2. strophic with piano prelude, interlude,
postlude
3. harmonic meandering between two keys
4. piano postlude: lack of resolution
Chapter goals for students
To become acquainted with standard song forms
To understand the union of poetry and music in the
Lied
To realize the significant role of the piano in the Lied
To appreciate the relationship between folk song and
art song
Discussion Topics
Union of poetry and music in the Lied
Folksong influences on the Lied
Schubert as Romantic
The supernatural in Elfking
Schumann and the song cycle
Schumann and the piano cycle
Music Example Bank
IV/23
IV/24
III/12
III/12
iMusic Example
Schumann, In the lovely month of May
Teaching Guide | 65
Suggested Reading for Chapter 27
Abraham, Gerald. Robert Schumann. In The New Grove
Early Romantic Masters I. New York: W. W. Norton &
Company, 1985.
Brody, Elaine, and R. A. Fowkes. The German Lied and its
Poetry. New York: New York University Press, 1971.
Brown, Maurice J. E. Schubert Songs. BBC Music Guides.
Seattle: University of Washington Press, 1967.
Brown, Maurice J. E., with Eric Sams. The New Grove
Schubert. New York: W. W. Norton & Company, 1983.
Deutsch, Otto Erich. Schubert: Memoirs by His Friends.
Trans. by Rosamond Ley and John Nowell. New York:
Humanities, 1958.
Dickinson, A. E. F. Fine Points in The Erl King,
Monthly Musical Record 88 (1958): 141ff.
Fischer-Dieskau, Dietrich. Schuberts Songs: A
Biographical Study. Translated by K. S. Whitton. New
York: Limelight Editions, 1984.
Gl, Hans. Franz Schubert and the Essence of Melody. New
York: Crescendo, 1977.
Gibbs, Christopher Howard. The Life of Schubert. New
York: Cambridge University Press, 2000.
Hensel, Sebastian, ed. The Mendelssohn Family (1729
1847). 2nd revised ed. Trans. by Carl Klingemann.
New York: Greenwood Press, 1968.
Hilmar, Ernst. Franz Schubert in His Time. Portland, OR:
Amadeus Press, 1988.
Ivey, Donald. Song: Anatomy, Imagery, and Style. New
York: Free Press, 1970.
Jensen, Eric Frederick. Schumann. New York: Oxford
University Press, 2001.
Komar, Arthur, ed. Schumann Dichterliebe: An
Authoritative Score. New York: W. W. Norton &
Company, 1971.
Meister, Barbara. An Introduction to the Art Song. New
York: Taplinger Pub. Co., 1980.
Perrey, Beate, ed. The Cambridge Companion to
Schumann. Cambridge: Cambridge University Press,
2007.
Sirota, Victoria Ressmeyer. The Life and Works of Fanny
Mendelssohn Hensel. DMA dissertation, Boston
University, 1981.
Stevens, Denis. A History of Song. London: Hutchinson,
1960.
Tillard, Franoise. Fanny Mendelssohn. Trans. by Camille
Naish. Portland, OR: Amadeus Press, 1996.
Walker, Alan, ed. Robert Schumann: The Man and His
Music. 2nd ed. London: Barrie and Jenkins, 1976.
Youens, Susan. Schuberts Late Lieder: Beyond the SongCycles. New York: Cambridge University Press, 2002.
66 | Chapter 9
e. ballads, sonatas, concertos, preludes,
tudes, mazurkas, polonaises, scherzos,
waltzes, impromptus, nocturnes, chamber
music, and songs
B. A mazurka by Chopin
1. mazurka: Polish peasant dance
2. lively, triple meter
3. accents on 2nd or 3rd beat of measure
4. Chopin: transformed mazurka to art form
5. rubato (robbed time): liberties taken with
rhythm
C. Listening Guide 42: Chopin, Mazurka in B-flat
minor, Op. 24, No. 4 (1833)
1. moderate triple meter
2. A-B-A-C-D-A, long coda
3. dotted and double-dotted rhythms
4. subtle harmonic shifts: major, minor, modal
5. rich in chromaticism
6. accents on 3rd beat, later on 2nd beat
7. melody: chromatic lines, wide-ranging and
disjunct
*IV. Liszt and the Rise of the Performer/Composer
*A. Franz Liszt (18111886)
*1. born in Hungary, studied in Paris
*2. composer, conductor, noted teacher
*3. legendary pianist
*a. greatest pianist, showman of his day
*b. turned piano sideways
*c. creator of modern piano technique
*d. composed highly virtuosic, difficult
works
*4. affair with novelist, Countess Marie
dAgoult, three children
*5. Weimar period (184861), court conductor
*a. composed orchestral works
*b. advocated music of the future
*c. conducted premiere performances of
Wagner, Berlioz, and others
*6. later years, entered church: Abb Liszt
*a. composed religious works
*7. created new genre: symphonic poem
*a. one movement programmatic orchestral
work
*b. thematic transformation: transformed
character of themes
*B. The Little Bell
*1. Liszt: fascinated with technical possibilities
of the piano
*2. drawn to the tude (study pieces)
*3. influenced by violin virtuoso, Niccol
Paganini
*4. Transcendental Etudes after Paganini
*a. set of six technical pieces
Teaching Guide | 67
Chapter goals for students
To understand the importance of the piano in the
musical life of the Romantic era
To appreciate the short, lyric piano piece as the
instrumental form equivalent to the Lied
To recognize the originality and virtuosity of Chopins
and Liszts artistry
To perceive the nationalistic Polish traits in Chopins
music
To comprehend the difficulties that women faced as
composers in the nineteenth century
Discussion Topics
Influence of piano on developing musical tastes
Piano as the instrument of amateurs and of virtuosos
Nationalism in Chopin
Chopin and the development of modern piano style
Popularity of the polka in nineteenth and twentieth
centuries
The role of the salon in the nineteenth century
Chopins position in the Parisian salon
Popularity of piano in the home
Consumption of printed piano music in the United States
and Europe
The popularity of Chopins music in the Americas
Liszt:
Reputation as an exotic performer
Establishment of the symphonic poem
Promotion of the music of the future
Contributions to piano literature
Women composers and nineteenth-century society
68 | Chapter 9
2. worked as bookkeeper
3. composed for Christy Minstrels, black-faced
minstrel show
4. Hit songs: Oh, Susanna!, Camptown Races,
Old Folks at Home, My Old Kentucky Home
5. died a penniless alcoholic
B. A song by Stephen Foster
1. Jeanie with the Light Brown Hair (185354)
2. love song, written for his wife, Jane Denny
McDowell
3. two-verse poem by Foster
4. not popular during his lifetime
5. alternate title, I Dream of Jeannie
C. Listening Guide 45: Foster, Jeanie with the Light
Brown Hair (1854)
1. strophic with brief cadenzas in each strophe
2. syllabic setting of text, descending melody
3. moderate tempo in quadruple meter
4. major key, simple block- and broken-chord
accompaniment
*III. Louis Gottschalk and Piano Music in America
*A. Louis Moreau Gottschalk (18291869)
*1. New Orleans native; composer, pianist
*2. English-born Jewish father, French-Creole
mother
*3. first American to achieve international fame
as classical composer
*4. heard ethnically diverse music
*a. Afro-Caribbean folk music, West Indian
and African-American dances and songs
*5. child prodigy, piano debut at age eleven
*6. studied in Paris: charmed Chopin and Berlioz
*7. toured Europe, United States, Cuba, Puerto
Rico
*8. promoted education, classical and popular
music
*9. remembered for solo piano music
*a. highly syncopated: anticipated Ragtime
*b. assimilated traditional music with
virtuosos piano compositions
*c. exploited dance forms
*d. accessible music: quoted Stephen Foster
tunes
*B. The Banjo
*1. banjo: popular African-American instrument
*2. subtitled Grotesque Fantasy: An American
Sketch
*C. Listening Guide 46: Gottschalk, The Banjo (Le
banjo: Fantasie grotesque) (185455)
*1. solo piano, imitates banjo strumming and
picking
*2. two varied sections
*a. first: rhythmic, low range
*b. second: banjo-style tune, high range
Teaching Guide | 69
III. Berlioz and the Program Symphony
A. Hector Berlioz (18031869)
1. French composer, conductor
2. first proponent of musical Romanticism in
France
3. left medical school to study music
4. influenced by Beethoven and Shakespeare
5. infatuated with Shakespearean actress,
Harriet Smithson
6. 1830, won Prix de Rome
7. orchestral works: overtures, program
symphonies
a. daring originality, bold innovator
b. huge orchestral forces, master of
orchestration
B. Symphonie fantastique
1. five-movement program symphony
2. program by Berlioz: autobiographical
a. infatuation with Harriet Smithson
b. meeting the beloved; ultimate demise of
the artist
c. Romantic era: fascinated with grotesque
and supernatural
3. recurring theme: ide fixe (fixed idea)
a. symbolizes the beloved
b. unifying musical thread
c. thematic transformation
4. March to the Scaffold, mvt. 4
a. opium-induced dream
b. artist dreams he has killed the beloved
c. witnesses his own execution
*5. Dream of a Witches Sabbath, mvt. 5
*a. witches sabbath, spirits gathered for his
funeral
*b. beloved comes to infernal orgy
C. Listening Guide 47: Berlioz, Symphonie
fantastique, Fourth and Fifth Movements (1830)
1. mvt. 4: March to the Scaffold; Allegretto non
troppo
a. sonata-like form, minor mode
b. theme 1: downward minor scale
c. theme 2: diabolical march tune, brass and
woodwinds
d. ide fixe at end, clarinet: last thought of
love
e. ff chord: guillotine blade falls
*2. mvt. 5: Dream of a Witches Sabbath;
Larghetto, Allegro assai
*a. slow and eerie opening: muted strings,
chromatic scales
*b. Allegro: ide fixe in high clarinet
*i. a vulgar tune; trills, grace notes
*c. dissonant, chromatic harmonies
*d. Dies irae quoted, first slow, then twice as
fast
70 | Chapter 9
5. style: lyricism, nationalistic use of folk music
and dances
B. Peer Gynt suite
1. Peer Gynt: play by Henrik Ibsen
2. based on Norwegian folk tale
3. Griegs Peer Gynt: originally incidental
music for the play
4. final version: eight movements in two
orchestral suites
C. Listening Guide 49: Grieg, Peer Gynt, Suite No.
1, Op. 46, excerpts (187475)
1. Morning Mood
a. dreamy, flowing melody: flute and oboe
b. A-B-A' form
c. grows to loud climax, then dies away
d. pastoral instruments (flute, oboe, horn)
2. In the Hall of the Mountain King
a. march for the wild daughters of the
Mountain King
b. minor mode theme repeated six times,
coda
c. duple-meter march, staccato notes,
offbeat accents
d. huge crescendo and accelerando,
dramatic ending
e. conceived as grotesque ballet music
VII. Other Nationalists
A. England
1. Edward Elgar
2. Ralph Vaughan Williams
B. Scandinavia
1. Edvard Grieg
2. Jean Sibelius
C. Spain
1. Isaac Albniz
2. Manuel de Falla
D. Czech Republic
1. Bed ich Smetana
2. Antonn Dvork
E. Russia
1. Alexander Borodin
2. Modest Musorgsky
3. Nikolai Rimsky-Korsakov
4. Peter Ilyich Tchaikovsky
Chapter goals for students
To understand the special importance of program
music in the Romantic era
To grasp the difference between programmatic and
absolute forms
To relate political conditions of the nineteenth century
to the rise of musical nationalism
Teaching Guide | 71
Holoman, D. Kern. Berlioz. Cambridge, MA: Harvard
University Press, 1989.
Macdonald, Hugh. Berlioz. New York: Oxford University
Press, 2000.
Orrey, Leslie. Programme Music: A Brief Survey from the
Sixteenth Century to the Present Day. London: DavisPoynter, 1975.
Primmer, Brian. The Berlioz Style. New York: Oxford
University Press, 1973.
Rushton, Julian. The Music of Berlioz. New York: Oxford
University Press, 2001.
Temperley, Nicholas. The Symphonie Fantastique and Its
Program. Musical Quarterly 57/4 (1971): 593608.
Tovey, Donald Francis. Berlioz: Symphonie Fantastique,
Op. 14. In Symphonies and Other Orchestral Works.
Essays in Musical Analysis. New York: Oxford
University Press, 1989 (originally printed in 193539),
16470.
Whiting, Jim. The Life and Times of Hector Berlioz.
Hockessin, DE: Lane Publishers, 2005.
72 | Chapter 9
B. Longer, more expansive structure
1. composers: less prolific
C. The nineteenth-century symphony form
1. multimovement scheme not always followed
2. mvt. 1: sonata-allegro form
a. optional slow introduction
b. long, expressive development
3. mvt. 2: typically ternary form
a. greater range of mood
4. mvt. 3: scherzo form
a. lively pace
b. sometimes as second movement
c. variety of moods
5. mvt. 4: sonata-allegro form, rondo
a. fast tempo
VI. Brahms and the Late Romantic Symphony
A. Johannes Brahms (18331897)
1. German composer, conductor
2. son of musician and seamstress
3. recognized by Schumann as a great composer
4. moved to Vienna
5. traditionalist: absolute music, Classical forms
6. affection for folk music
7. age forty, began composing symphonic
works
8. output: four symphonies, major contributions
to chamber music, piano, and song repertoire
B. Symphony No. 3 in F Major
1. 1883, Brahms age fifty
2. shortest of his four symphonies
3. most Romantic in tone
4. Classical era forms
5. three-note motive
a. (FA-flatF) Frei aber froh (Free but
happy)
b. permeates entire symphony
6. mvt. 3: melancholy waltz replaces scherzo
C. Listening Guide 52: Brahms, Symphony No. 3 in
F major, Third Movement (1883)
1. A-B-A' form, C minor
2. moderate triple meter
3. opens with yearning cello melody
4. rhythmically complex; syncopations
5. alternates major and minor keys
6. chromatic middle section
7. last chord: pizzicato strings
*VII. Dvork as a Symphonist
*A. Antonn Dvork (18411904)
*1. Bohemian composer, born near Prague
*2. violist in Czech National Theater: Smetana
conducting
*3. composition professor: Conservatory of
Prague
Teaching Guide | 73
Comparison of Classical and Romantic concerto
Freedom in Romantic concerto form
Nationalism in the United States
Cultural diversity in the United States
Music Example Bank
I/40
I/35
IV/62
IV/29
IV/30
III/26
I/7
II/24
III/24
II/35
74 | Chapter 9
3. main characters:
a. Duke, womanizer
b. Rigoletto, hunchbacked jester
c. Gilda, Rigolettos daughter
d. Sparafucile, assassin
e. Maddalena, Sparafuciles sister
4. plot summary:
a. curse put on Rigoletto for making light of
the Dukes seductions
b. Gilda becomes the Dukes next conquest
c. Rigoletto plots to murder the Duke
d. Gilda sacrifices herself for the Duke
e. Gilda dies in her fathers arms:
fulfillment of the curse
D. Listening Guide 54: Verdi, Rigoletto, Act III,
excerpts (1851)
1. La donna mobile (Woman Is Fickle)
a. sung by the Duke
b. triple meter
c. strophic aria with refrain
d. guitarlike orchestral strumming
2. Un d, quartet
a. quartet sung by Duke, Maddalena, Gilda,
Rigoletto
b. dialogue between characters
c. Duke: bel canto style
d. Maddalena: laughing, short notes
e. Gilda: heartbroken, laments
f. Rigoletto: swears vengeance for his
daughter
g. second part: characters sing together
h. Bella figlia opening melody sung by
Duke
i. Allegro, agitated movement
III. Wagner and the Music Drama in Germany
A. Richard Wagner (18131883)
1. German composer
2. began serious composition at age twentythree
3. wrote his own librettos: exercised total
control
4. age thirty, Rienzi, huge success
5. active in 1849 failed Dresden uprising: fled
to Switzerland
6. Zurich: theories of music drama
a. integrated theater and music completely
7. Ring of the Nibelung: cycle of four music
dramas
a. Das Rheingold
b. Die Walkre
c. Siegfried
d. Gtterdmerung
8. Festival Theater at Bayreuth: built for
performance of Wagners works
9. married Franz Liszts daughter, Cosima
Teaching Guide | 75
*g. slumber motive: woodwinds
*h. Wotan sings to Siegfried motive (next
in the cycle)
*i. brass, ff announcement of Siegfried
motive
*j. long orchestral closing
*IV. Georges Bizet and Exoticism in French Opera
*A. Nineteenth-century French opera
*1. Paris, opera center
*2. grand opera, new genre
*a. serious historical themes
*b. suited bourgeoisies taste
*c. huge choruses, crowd scenes, ornate
costumes and scenery, elaborate dance
episodes
*3. opra comique
*a. smaller performing forces
*b. simpler compositional style
*c. spoken dialogue instead of recitative
*d. not always comic
B. Exoticism
1. Romantics: yearn for far-off lands
2. Verdi: Aida, Egypt under the pharaohs
3. Puccini: Turandot, ancient China; Madame
Butterfly, late nineteenth-century Japan
4. Bizet: Carmen, Spain
*C. Georges Bizet (18381875)
*1. composer, born and raised in Paris
*2. student at Paris Conservatory
*3. won Prix de Rome
*4. composed operas with exotic atmosphere
*5. died shortly after poor reception of Carmen
*D. Bizets Carmen
*1. opra comique based on Gypsy life in Spain
*2. portrayed realities of lower classes and their
suffering
*3. naturalism: new literary theme
*4. characters: smugglers, bandits
*5. lyric drama: strong emotions, love hate,
desire, disintegration of a personality
*6. plot summary:
*a. Carmen, Gypsy girl, works in cigarette
factory in Seville
*b. Don Jos, simple soldier, becomes
obsessed with Carmen
*c. Carmen seduces Don Jos
*d. in fit of jealousy, Don Jos attacks his
superior officer
*e. Don Jos joins a band of smugglers
*f. final act, Carmen refuses to go with Don
Jos
*g. Don Jos stabs Carmen: Toreador Song
76 | Chapter 9
IV/31
I/53
iMusic Examples
Rossini, William Tell Overture
Wagner, Ride of the Valkyries
Bizet, Toreador Song from Carmen
Teaching Guide | 77
C. The Nutcracker
1. based on E. T. A. Hoffman story
a. Christmas party
b. Clara receives Nutcracker from her
godfather
c. Clara dreams Nutcracker becomes her
Prince
d. they travel through magical realm:
exoticism
2. choreographed by Petipa
D. Listening Guide 58: Tchaikovsky, The
Nutcracker, Three Dances (1892)
*1. March: guests arrive to party
*a. A-B-A, sprightly march
*b. A section: trumpet announces march
theme
*c. B section: staccato runs by woodwinds
and strings
2. Dance of the Sugar Plum Fairy
a. A-B-A, bouncy duple meter (andante
tempo)
b. introduction: pizzicato strings
c. A section: celesta, bell-like timbre
d. closes with loud pizzicato chord
3. Trepak (Russian Dance)
a. A-B-A, molto vivace
b. A section: full orchestra, lively dance
tune
c. lively peasant dance, heavy accents
d. descending melody with sfz staccato note
e. accelerando to end, trumpet fanfare,
syncopations
III. The Post-Romantic Era
A. Post-Romanticism: influenced by Wagners
chromatic language
B. Composers: Giacomo Puccini, Gustav Mahler
IV. Puccini and Verismo Opera
A. Verismo movement: realism, subjects from
everyday life
B. Giacomo Puccini (18581924)
1. Italian composer
2. father was a church organist
3. attracted to theater and opera
4. early success followed by misfortune
5. major works: La bohme, Tosca, Madame
Butterfly, Turandot
6. music: soaring melodies, rich orchestral
timbres, recurring melodies
C. Madame Butterfly
1. based on Pierre Lotis tale, Madame
Chrysanthme
2. exoticism: takes place in Japan
3. plot summary:
a. American naval officer, Pinkerton,
marries geisha, Cio-Cio-San (Madame
Butterfly)
b. Pinkerton returns to United States,
Butterfly awaits his return
c. Pinkerton returns with his American wife
d. Butterfly takes her life
4. exoticism in the music:
a. traditional Japanese melodies
b. whole-tone and pentatonic scales
c. sounds evoking Japanese gagaku
orchestra: harp, flute, piccolo, bells
d. quotes American National Anthem
5. disastrous premiere
D. Listening Guide 59: Puccini, Un bel d, from
Madame Butterfly, Act II (1904)
1. One lovely day well see: Butterfly sings
of Pinkertons return
2. opening: ethereal voice accompanied by solo
violin
3. rich accompaniment, orchestra in unison with
voice
4. rising dynamics, emotional level builds,
laspetto (I will wait for him), orchestra
plays fff
*V. The Post-Romantic Voice of Gustav Mahler
*A. Gustav Mahler (18601911)
*1. Bohemian composer, conductor
*2. worked in Budapest, Hamburg, Vienna
*3. three years in New York
*a. Metropolitan Opera
*b. New York Philharmonic Society Orchestra
*4. grief-stricken by death of his daughter
*5. suffered serious heart condition
*6. compositions: nine symphonies, song cycles
with orchestra
*7. music: long flowing melodies, rich
expressive harmonies, innovative
orchestration
*B. The Song of the Earth
*1. song cycle, six songs, with orchestra
*2. written during Mahlers spiritual rebirth
*3. work reflects beauty of earthly things and
resignation of death
*4. text: German translation of Chinese Tang
dynasty poetry by Li Tai-Po
*a. eloquent images of joy and despair
*C. Listening Guide 60: Mahler, The Song of the
Earth (Das Lied von der Erde), Third Movement
(19089)
*1. Of Youth (Von der Jugend)
*2. tenor and orchestra, no brass
78 | Chapter 9
*3. A-B-A', mirrors text
*4. text strophes separated by orchestral
interlude
*5. pentatonic theme
VI. Looking Ahead to Modernist Trends
A. Nineteenth-century composers fully exploited
tonal system
B. Twentieth-century composers
1. suppressed Romanticism
2. influenced by popular music trends
3. developed new pitch organization
Chapter goals for students
To appreciate the role of choral music in nineteenthcentury society
To recognize the great choral heritage of the Romantic
era
To become familiar with the different national styles of
opera that developed during the nineteenth century
To recognize the great ballet heritage of the Romantic
era
To appreciate post-Romantic musical characteristics
Discussion Topics
Social conditions and amateur singing groups
Compositional requirements of writing for large singing
groups
The new realism in Romantic opera
Verismo and naturalism in the arts
The different types of Japanese music
Japanese simplicity in art
Russian influence on the development of ballet
Mahler as a post-Romantic composer
Mahler and the traditions of the Viennese symphonists
The paths of post-Romanticism
Music Example Bank
III/28
I/66
I/5
I/28
III/63
II/14
I/3
iMusic Example
Tchaikovsky Waltz of the Flowers
Teaching Guide | 79
Mahler, Alma Schindler. Gustav Mahler: Memories and
Letters. Ed. Donald Mitchell, Trans. by Basil
Creighton. Rev. ed. Seattle: University of Washington
Press, 1971.
Mawer, Deborah, ed. The Cambridge Companion to Ravel.
New York: Cambridge University Press, 2000.
Millington, Barry. Wagner. Rev. ed. Princeton, NJ:
Princeton Universty Press, 1992.
Mitchell, Donald, and Andrew Nicholson, eds. The Mahler
Companion. New York: Oxford University Press, 1999.
Newman, Ernest. The Life of Richard Wagner. 4 vols. New
York: Cambridge University Press, 1976.
Poznansky, Alexander. The Tchaikovsky Handbook: A
Guide to the Man and His Music. Compiled by
Alexander Poznansky and Brett Langston.
Bloomington: Indiana University Press, 2002.
Robertson, Alec. Requiem: Music of Mourning and
Consolation. London: Praeger, 1967.
Sadie, Stanley. Wagner and His Operas. New York: St.
Martins Press, 2000.
Sadie, Stanley, and Roger Parker, eds. Verdi and His
Operas. New York: St. Martins Press, 2000.
Tovey, Donald Francis. Brahms: Requiem, Op. 45. In
Essays in Musical Analysis: Concertos and Choral
Works, 294307. Oxford: Oxford University Press,
1989 (originally printed in 193539).
Walker, Frank. The Man Verdi. Pheonix ed. Chicago:
University of Chicago Press, 1982.
Wagner, Richard. Wagner on Music and Drama: A
Compendium of Richard Wagners Prose Works. Ed.
A. Goldman and E. Sprinchorn. Trans. by H. Ashton
Ellis. New York: Dutton, 1964.
Weaver, William, and Martin Chusid. The Verdi
Companion. New York: W. W. Norton & Company,
1988.
Wiley, R. J. Tchaikovskys Ballets: Swan Lake, Sleeping
Beauty, Nutcracker. Oxford: Oxford University Press,
1985.
Youmans, Charles. Richard Strausss Orchestral Music and
the German Intellectual Tradition: The Philosophical
Roots of Musical Modernism. Bloomington: Indiana
University Press, 2005.
80 | Chapter 9
D.
E.
F.
G.
3. highly lyrical
4. attempt to unite music, painting, and poetry
5. emphasis on mood and atmosphere
Composers turned away from larger forms
1. short lyric forms: preludes, nocturnes,
arabesques
2. intimate themes of nature
a. Debussy: Clair de lune (Moonlight), Nuages
(Clouds)
Claude Debussy (18621918)
1. most important early twentieth-century
French composer
2. at age eleven, attended Paris Conservatory
a. shocked professors: bizarre harmonies,
defied rules
3. at age twenty-two, won Prix de Rome
4. Pellas and Mlisande (1902), opera:
international success
5. conducted his works throughout Europe
6. turned against late Romantic style
7. subtlety of expression, light airy textures,
short flexible forms
8. small output: orchestral compositions,
dramatic works, chamber music, piano
music, songs
Prelude to The Afternoon of a Faun
1. symphonic poem, Symbolist poem by
Stphane Mallarm
a. landscape of antiquity
b. faun (mythical creature: half man, half
goat) dreams of three nymphs
2. relaxed rhythm, weakened accents, dreamlike
fluidity
3. later choreographed for Ballets Russes
Listening Guide 61: Prelude to The Afternoon
of a Faun (Prlude Laprs-midi dun faune)
(1894)
1. loose A-B-A' structure
2. A section: opens with lyrical, chromatic flute
melody
a. free-flowing rhythms, lacks pulse
b. harp glissandos follow
3. B section: clarinet introduces animated idea
a. new theme carries emotional climax
4. A section: antique cymbals, blue chords
5. piece dissolves into silence
Teaching Guide | 81
Music Example Bank
III/34
I/51
IV/33
III/36
I/52
III/35
IV/32
iMusic Example
Tabuh Kenilu Sawik (gamelan from Sumatra)
Suggested Reading for Chapter 34
Austin, William, ed. Debussy, Prelude to The Afternoon of
a Faun: An Authoritative Score. New York: W. W.
Norton & Company, 1970
Brody, Elaine. Paris: The Musical Kaleidoscope, 1870
1925. New York: G. Braziller, 1987.
Fulcher, Jane F., ed. Debussy and His World. Princeton, NJ:
Princeton University Press, 2001.
Lesure, Franois, ed. Debussy on Music. Ithaca, NY:
Cornell University Press, 1988.
Lockspeiser, Edward. Debussy. Revised 5th ed. London:
Dent, 1980.
Nichols, Roger. Claude Debussy. In The New Grove
Twentieth-Century Masters. New York: W. W. Norton
& Company, 1986.
, ed. Ravel Remembered. New York: W. W. Norton
& Company, 1988.
, ed. Debussy Remembered. Portland, OR: Amadeus
Press, 1992.
Orenstein, Arbie. Ravel: Man and Musician. New York:
Columbia University Press, 1975.
Vallas, Leon. Debussy: His Life and Works. New York:
Dover, 1973.
Watkins, Glenn. Soundings: Music in the Twentieth
Century. New York: Schirmer, 1988.
82 | Chapter 9
Overview
The early twentieth century is characterized by a reaction
against Romanticism and an interest in non-Western music,
especially in new rhythms. Other artistic trends that influenced music were Expressionism (the German answer to
Impressionism) and the New Classicism. New elements of
early-twentieth-century musical style are outlined; these
include more complex rhythms, a non-vocal melody, a highly
expanded harmonic language that eventually abandoned
tonality, the emancipation of dissonance, a new textural conception of linear dissonance, a new orchestral sound, and an
increased interest in form. The development of the serial system and its devices is reviewed as well. The first generation
of early-twentieth-century composers is represented by
Stravinsky and Schoenberg. Schoenbergs pupils, Alban Berg
and Anton Webern, both of the Second Viennese School, are
presented with representative works.
Chapter goals for students
To view the currents of the early twentieth century as a
reaction against Romanticism
To appreciate the non-Western influences exerted on
early-twentieth-century arts
To recognize the influence of the trends of
Expressionism and New Classicism on musical style
To grasp the new elements of twentieth-century
musical style, especially the innovative harmonic
systems
To see Expressionist features in the works of
Schoenberg and Webern and an interest in primitivism
in the early works of Stravinsky
To understand the nationalistic and folk elements
present in Stravinskys ballets
Discussion Topics
Non-Western influences on early-twentieth-century
music
Expressionism and music
New freedoms and new constraints in twentieth-century
music
Abandonment of tonality
Increased interest in form
Music Example Bank
Rhythm, twentieth century
I/65
Ravel, Rapsodie espagnole, Feria, meter,
shifting
III/65
Poulenc, Gloria in G, Laudamus te, rhythm,
complex
III/66
Messiaen, Turangalla Symphony, Joie du
sang des toiles
III/38
Teaching Guide | 83
B. The Rite of Spring
1. independent concert piece, originally
composed for Ballets Russes
2. subtitled: Scenes of Pagan Russia
a. solemn pagan rite
b. young girl sacrificed to propitiate the God
of Spring
c. young girl dances herself to death
3. musical style:
a. polyrhythms, ostinatos, pedal points,
melodic repetition
b. full force of brass and barbaric
percussion
c. whole-tone and octatonic scales
d. dense harmony, polytonality, harsh
dissonance, tonality retained
e. authentic Russian folk tunes quoted
f. huge orchestra: expanded brass,
woodwinds, percussion
4. opening night in Paris: frenzied riot
C. Listening Guide 63: Stravinsky, The Rite of
Spring (Le sacre du printemps), Part I, excerpts
(1913)
1. Introduction
a. slow tempo, (lento)
b. opens with bassoon melody in uppermost
range: awakening of Earth in Spring
c. opening based on Lithuanian folk tune
d. pizzicato ostinato in violins
e. free, shifting meter
f. four-note pizzicato rhythmic motive in
violins
2. Dance of the Youths and Maidens
a. opens with polytonal, percussive chords
by strings
b. constant eighth-note motion,
unpredictable accents
c. three folklike melodies
d. dense texture, complex polyphony
e. loud dynamics build to climax
3. Game of Abduction
a. fast tempo, no established pulse
b. folk theme played by woodwinds, piccolo
trumpet
c. modal harmonies, primitive atmosphere
d. dense texture, constantly changing
timbres
II. Schoenberg and the Second Viennese School
A. Arnold Schoenberg (18741951)
1. Viennese composer, conductor, educator
2. Second Viennese School: Schoenberg, Alban
Berg, Anton Webern
3. little formal training
84 | Chapter 9
III. Berg and Early-Twentieth-Century Opera
A. Alban Berg (18851935)
1. Vienna-born composer
2. student of Arnold Schoenberg
3. World War I, military service
4. Wozzeck, opera, brought international fame
5. active as teacher and author
6. works banned in Germany during World
War II
7. style rooted in German Romanticism
8. master of twelve-tone music with lyric
imagination
9. small output includes: two operas, orchestral
music, violin concerto, piano music, songs
B. Bergs Wozzeck
1. opera based on Expressionist play by Georg
Bchner (18131837)
2. atonal-Expressionist, looks back to
Wagnerian tonal tradition
a. some tonality, use of leitmotifs
b. moments of passionate lyricism
c. anticipates twelve-tone procedure
3. plot summary:
a. Wozzeck, main characater, a common
soldier
b. Wozzeck and Marie have illegitimate son
c. sadistic Captain and scientific Doctor use
Wozzeck for experiments
d. Wozzeck given to hallucinations
e. Marie is unfaithful to Wozzeck
f. Wozzeck kills Marie, drowns himself
g. final scene, playing children find Maries
body
h. Maries son, not understanding, rides off
stage
C. Listening Guide 65: Berg, Wozzeck, Act III,
Scene 4, Interlude, and Scene 5 (1922)
1. Act III, Scene 4: By the Pond
a. Sprechstimme, disjunct melody
b. tonal and atonal harmony: dissonant and
chromatic
c. surging dynamics
d. unusual instrument combinations
*2. Orchestral interlude
*a. very slow tempo
*b. lush, Romantic chromatic chords
*c. forceful climax: brass, woodwinds,
timpani
*3. Act III, Scene 5: Children playing in front of
Maries house
*a. childrens voices and orchestra
*b. begins with distorted childrens song
*c. disjunt melody followed by speechlike
lines
Teaching Guide | 85
IV/37
II/7
I/18
III/38
I/33
III/42
III/40
III/39
III/43
III/42
III/43
iMusic Example
Berg, Wozzeck, Act I, Scene 1
Webern, Variations for Orchestra, Op. 30
Suggested Reading for Chapter 36
Brody, Elaine. Paris: The Musical Kaleidoscope, 1870
1925. New York: G. Braziller, 1987.
Craft, Robert. Stravinsky: Chronicle of a Friendship, 1948
1971. New York: Vintage, 1972.
. Anton Webern. In The New Grove Second
Viennese School: Schoenberg, Webern, Berg. New
York: W. W. Norton & Company, 1997.
Cross, Jonathan, ed. The Cambridge Companion to
Stravinsky. New York: Cambridge University Press,
2003.
Duckworth, William. 20/20: 20 New Sounds of the 20th
Century. New York: Schirmer Books, 1999.
Frisch, Walter, ed. Schoenberg and His World. Princeton,
NJ: Princeton University Press, 1999.
Jarman, Douglas. The Music of Alban Berg. Berkeley:
University of California Press, 1979.
Haimo, Ethan. Schoenbergs Transformation of Musical
Language. New York: Cambridge University Press,
2006.
Hill, Peter. Stravinsky: The Rite of Spring. New York:
Cambridge University Press, 2000.
Johnson, Julian. Webern and the Transformation of Nature.
New York: Cambridge University Press, 1999.
Kolneder, Walter. Anton Webern: An Introduction to His
Works. Trans. by Humphrey Searle. Berkeley:
University of California, 1968.
86 | Chapter 9
schools are reviewed, and representative composers for each
suggested. The Russian school is represented by Prokofiev,
the Eastern European school by Bartk, and the German
school by Orff. All of these works feature the use of folk
idioms.
I. National Schoools
A. France: Les Six (The Six)
*1. inspired by Erik Satie (18661925)
2. Darius Milhaud (18921974)
*3. Arthur Honegger (18921955)
*4. Germaine Tailleferre (18921983)
5. Francis Poulenc (18991963)
B. Russian School
*1. Sergei Rachmaninoff (18731943)
*2. Alexander Scriabin (18721915)
3. Sergei Prokofiev (18911953)
4. Dmitri Shostakovich (19061975)
C. England
*1. Ralph Vaughan-Williams (18721958)
2. Benjamin Britten (19131976)
D. Germany
1. Paul Hindemith (18951963)
*2. Carl Orff (18951982)
*E. Other national schools
*1. Bla Bartk (18811945 ), Hungary
*2. Zoltn Kodly (18821967), Hungary
*3. Jean Sibelius (18651957), Finland
*4. Ernest Bloch (18801959), Jewish influence
II. Bla Bartk and the Eastern European Tradition
A. Bla Bartk (18811945)
1. Hungarian composer, ethnomusicologist,
virtuoso pianist
2. toured remote villages with Kodly, collected
over 2,000 folk songs and dances
3. during World War II, emigrated to United
States
4. influences: ancient modes, unfamiliar scales,
nonsymmetrical rhythms
5. rhythmic innovator: syncopation, changing
meters, ostinatos, pounding rhythms
6. complex, modern dissonant counterpoint,
polytonality
7. adherence to Classical forms
8. works: orchestral, five concertos, string
quartets, piano music, vocal music
B. Concerto for Orchestra
1. commissioned by Boston Symphony
Orchestra conductor, Serge Koussevitsky
2. composed when he was terminally ill
3. entire orchestra is the virtuoso
4. five movements; mvt. 4 Interrupted
Intermezzo
Teaching Guide | 87
6. pedagogical Schulwerk program for children:
linked music and gesture
7. vigorous rhythmic style, complex harmonies
and textures, folklike nature, dissonant but
tonal
8. output: stage works, trilogy of cantatas,
Lieder, orchestral music
B. Orffs Carmina burana
1. secular cantata, 25 movements in five scenes
2. chorus, soloists, and large orchestra
3. racy medieval lyrics
4. moralizing and satirical themes
5. based on turning wheels of fortune
6. opening chorus: clich for action scenes in
movie trailers
C. Listening Guide 69: Orff, O fortuna, from
Carmina burana (1936)
1. three large strophes, highly repetitive
2. evokes Fortuna, goddess of luck
3. dramatic choral opening: slow, fortissimo
4. tonal, evoking archaic music
5. persistent, asymmetrical offset accents;
unceasing pedal point
6. strong, primeval rhythmic drive throughout
Chapter goals for students
To appreciate the goals of twentieth-century
nationalism and how they differ from earlier eras
To recognize political events as important impetuses
for writing nationalistic works
To observe the differences in the music of the various
European national schools, recognizing the influence
of traditional musics
Discussion Topics
Approaching traditional music with a scientific spirit
Recording in the field for authenticity
Nineteenth- versus twentieth-century nationalism
Use of folk song and dance in the twentieth century
Kodly and Bartks recording project
Cultural studies of music (ethnomusicology)
Incorporating folk styles into Western compositions
Urban adaptation of rural stylesRoma bands
Music Example Bank
French school, twentieth century
II/26
Poulenc, Gloria in G, Laudamus te
Russian school, twentieth century
III/41
Prokofiev, Classical Symphony, III
II/16
Prokofiev, Lieutenant Kije, Romance
I/12
II/20
III/44
88 | Chapter 9
3. studied composition at Yale
4. entered insurance business, composed in
spare time
5. music not well-received; rarely heard his
works performed
*6. privately printed and distributed select works
7. delayed recognition, Pulitzer Prize in 1947
8. innovative use of familiar tunes, polytonality,
polyharmony, polyrhythm; ideas derived
from clashing marching bands
9. orchestral music, over 100 songs, chamber
and piano music
B. Ivess Country Band March
1. work for large wind ensemble
2. forceful march, well-known tunes occur
3. realism of amateur band: out-of-tune, bad
entrances, wrong notes
4. nostalgic American tunes quoted
a. London Bridge, Yankee Doodle, Arkansas
Traveler
b. Foster: Massas in de Cold Cold Ground,
My Old Kentucky Home
c. Sousa: Semper Fidelis, Washington Post
C. Listening Guide 70: Ives, Country Band March,
(c. 1903)
1. Sectional form (A-B-A-B'-A'), short
introduction
2. main march theme: forceful duple meter
3. main theme occurs throughout
4. complex mesh of tunes: tunes collide and
overlap
5. harshly dissonant polytonality and
polyrhythms
*III. Ruth Crawford and Modernist Piano Music
*A. Ruth Crawford (19011953)
*1. Ohio-born composer
*2. studied at MacDowell Colony artists retreat;
American Conservatory in Chicago
*3. first woman to receive Guggenheim
Fellowship
*4. married musicologist-folklorist Charles
Seeger
*5. musical style in two periods
*a. abandoned tonality, strong dissonances,
irregular metric treatment
*b. experimental, serial techniques, dissonant
contrapuntal procedures
*6. important works: string quartet, piano music,
chamber works, vocal music, choral music,
folk song arrangements
*B. Crawfords piano preludes
*1. represent her early period
Teaching Guide | 89
iMusic Examples
Sousa, Stars and Stripes Forever
Foster, Camptown Races
Foster, Oh! Susannah!
Suggested Reading for Chapter 38
Austin, William W. Aaron Copland. In The New Grove
Twentieth-Century American Masters. New York:
W. W. Norton & Company, 1988.
Chase, Gilbert. Americas Music, from the Pilgrims to the
Present. 3rd rev. ed. Urbana: University of Illinois
Press, 1987.
Cowell, Henry, ed. American Composers on American
Music: A Symposium. New York: F. Ungar, 1962.
Crawford, Richard. Americas Musical Life: A History.
New York: W. W. Norton & Company, 2005.
Crist, Elizabeth. Music for the Common Man: Aaron
Copland During the Depression and War. New York:
Oxford University Press, 2005.
Feder, Stuart. The Life of Charles Ives. New York:
Cambridge University Press, 1999.
Felsenfeld, Daniel. Ives and Copland: A Listeners Guide.
Pompton Plains, NJ: Amadeus Press, 2004.
Hamm, Charles. Yesterdays: Popular Song in America.
New York: W. W. Norton & Company, 1979.
Ives, Charles E. Memos. Ed. by John Kirkpatrick. New
York: W. W. Norton & Company, 1971.
Kingman, Daniel. American Music: A Panorama. 2nd ed.
New York: Schirmer, 1990.
Kirkpatrick, John. Charles Ives. In The New Grove
Twentieth-Century American Masters. New York:
W. W. Norton & Company, 1988.
Lampert, Vera, and Lszlo Somfai. Bla Bartk. In The
New Grove Modern Masters. New York: W. W. Norton
& Company,1984.
McAllister, Rita. Sergey Prokofiev. In The New Grove
Russian Masters 2. New York: W. W. Norton &
Company, 1986.
Perlis, Vivian. Charles Ives Remembered: An Oral History.
New York: W. W. Norton & Company, 1976.
Robinson, Harlow. Sergei Prokofiev: A Biography. Boston:
Northeastern University Press, 2002.
Rockwell, John. All American Music: Composition in the
Late Twentieth Century. New York: Knopf, 1983.
Rossiter, Frank R. Charles Ives and His America. New
York: Liveright, 1975.
Schneider, David E. Bartk, Hungary, and the Renewal of
Tradition: Case Studies in the Intersection of
Modernity and Nationality. Berkeley: University of
California Press, 2006.
Thomson, Virgil. American Music Since 1910. New York:
Holt, Rinehart and Winston, 1971.
90 | Chapter 9
II. Aaron Copland: American Nationalist
A. Aaron Copland (19001990)
1. Brooklyn-born composer
2. studied in Paris with Nadia Boulanger
3. victim of McCarthyism in 1950s
4. simplified music: appeal to large public
5. style: jazz idiom, Neoclassicist, twelve-tone
technique in 1960s
6. works: ballets, film scores (Academy Award
winner), three symphonies, piano concerto,
opera, piano music, chamber music, choral
music, songs
B. Coplands Appalachian Spring
1. composed for ballet, performed as a suite
2. Martha Graham: choreographer, lead dancer
3. takes place in early nineteenth century, rural
Pennsylvania
a. pioneer celebration in spring
b. bride- and husband-to be enact emotions
of their partnership
4. quotes Shaker melody, Simple Gifts
C. Listening Guide 73: Copland, Appalachian
Spring, excerpts (1945)
1. Section 1:
a. introduces characters
b. very slow, tranquil
c. solo clarinet, then flute plays ascending
motive: daybreak over vast horizon
d. solos in various woodwinds and trumpet
e. clarinet with closing triad over sustained
harmony
2. Section 7
a. theme (Simple Gifts) and five variations
b. theme presented by solo clarinet
c. calm and flowing duple meter
d. variations: individual instruments
featured
e. variation 5: full orchestra, builds to
dissonant fortissimo, dies out
III. Art Music Traditions in Mexico
A. Mexican culture:
1. Mexico colonized by Spain, 1519
*2. Catholic church influenced musical life
3. 1910 Mexican Revolution stirred patriotism
4. post-revolutionary, Aztec Renaissance
a. composers suggest native music
*b. Manuel Ponce (18871948), native folk
and dance music
*c. Carlos Chvez (18991978), Amerindian
flavor; founded Orquesta Sinfnica de
Mexico; director of National
Conservatory
5. mestizos: people of Spanish and Amerindian
ancestry
Teaching Guide | 91
6. son: mixture of indigenous, Spanish, and
African traditions
a. son jalisciense: from the Jalisco region
B. Listening Guide 75: Son jalisciense: El
Cihualteco (The Man from Cihuatln)
*1. strophic form, verse/chorus structure
*2. witty and sexual lyrics
*3. instrumental introduction
*4. trumpets, violins, voice over guitarrn
*5. shifting accents in T meter
*6. melodic lines: consonant sound, parallel
thirds
Chapter Goals for Students
Mexican music
IV/18
Copland, Appalachian Spring, last section
IV/28
Copland, John Henry
IV/45
Chvez, Los Cuatro Soles
IV/44
El Jarabe Tapato, Mexican dance music
(mariachi)
iMusic Examples
Catn, Rappaccinis Daughter (contemporary opera)
El Cihualteco (Mexican son)
Suggested Reading for Chapter 39
Austin, William W. Aaron Copland. In The New Grove
Twentieth-Century American Masters. New York:
Norton, 1988.
Bhague, Gerard. Music in Latin America: An Introduction.
Englewood Cliffs, N.J.: Prentice-Hall, 1979.
92 | Chapter 9
Chapter 40. Ragtime, Blues and Jazz
I. Scott Joplin and Ragtime
A. Scott Joplin (18681917), King of Ragtime
1. Texas-born composer, pianist
2. son of a former slave
3. at age fourteen, traveled Mississippi Valley:
honky-tonks and piano bars
4. 1893 World Exposition in Chicago: gained
recognition
5. studied composition at George R. Smith
College
6. Maple Leaf Rag, 1899: sold one million
copies
7. teacher, composer, performer in New York
8. merged styles, elevated ragtime to serious art
9. awarded Pulitzer Prize posthumously
10. stage works, ballet, two operas, piano rags,
piano music, songs
B. Ragtime
1. precursor of jazz
2. African-American piano style
3. syncopated rhythm in right hand, steady
accompaniment in left hand
4. Scott Joplin recordings: punched paper rolls,
1910 Steinway player piano
C. Listening Guide 76: Joplin, Maple Leaf Rag,
(published 1899)
1. sectional form, four strains
2. moderate duple meter
3. syncopated, disjunct melody; chordal
accompaniment
4. A section: ascending melody, upbeat in bass
5. B section: higher register, descends
6. C section: new key area, new rhythmic
pattern
II. Blues and New Orleans Jazz
A. Blues: derived from work songs of Southern
blacks
1. harmonic progression: 12 measures long
2. blue note: drop in pitch on 3rd, 5th, or 7th
scale tone
3. three-line stanza, first two identical
B. New Orleans jazz
1. fusion of African-American elements: blues,
ragtime, spirituals, work songs, shouts
2. improvisatory
3. multiple players, polyphonic texture
a. melody: trumpet and cornet
b. countermelody above: clarinet
c. countermelody below: trombone
d. rhythm section: string bass or tuba, guitar
and banjo, or piano and drums
Teaching Guide | 93
3. Chorus 1: saxophones present melody
a. call-and-response: saxophones; muted
trumpet and trombones
4. Chorus 2: muted trumpet, masterful
improvisation, bent notes (shakes),
glissandos
5. Chorus 3: unmuted trumpet solo
6. Coda: two repetitions of A, softer closing
with saxophone ostinato
V. Bebop and Later Jazz Styles
A. Rebellion against big band jazz
1. late 1940s bebop (or bop): word mimics
typical two-note phrase
a. Dizzy Gillespie, trumpet
b. Charlie Parker, saxophone
*c. Bud Powell, Thelonius Monk; piano (Bud
Powell not mentioned in short ed.)
2. substyles of bebop: cool jazz, West Coast
jazz, hard bop, soul jazz
3. cool jazz
a. laid-back lush harmonies
b. lower volume levels,
c. new lyricism
d. Miles Davis
4. 1950s West Coast jazz
a. small group, cool-jazz style
b. mixed timbres, without piano
c. contrapuntal improvisations
d. Dave Brubeck Quartet, Gerry Mulligan
Quartet
B. Latin Influence
1. 1930s and 40s Latin dance music,
mainstream
2. dance rhythms, percussion instruments
(conga drum, bongos, cowbells)
*3. Spanish-tinge: Latin-influenced rhythm
4. integral to bebop style
*C. Listening Guide 79: Gillespie/Parker, A Night in
Tunisia (recorded 1946)
*1. 32-bar song form (A-A-B-A), three choruses
*2. Latin-tinged bebop style
*3. quick duple meter, fast rhythmic activity
*4. introduction: syncopated ostinato
*5. Chorus 1: presents tune
*6. highly virtuosic improvisational choruses
follow
D. Other jazz styles
1. third stream music: combination of classical
and jazz traditions
a. Modern Jazz Quartet, Wynton Marsalis
2. 1960s avant-garde jazz: free style
a. John Coltrane
III/48
III/52
I/1
IV/56
IV/29
iMusic Example
Joplin, Pine Apple Rag
When the Saints Go Marching In
Swing Low Sweet Chariot
94 | Chapter 9
Chapter 41. Musical Theater
I. The Development of American Musical Theater
A. Early musicals: outgrowth of operetta (comic
opera)
1. romantic plots, comedy, appealing melodies,
choruses, dances
B. Emphasis turned to sophisticated literary sources
1. Show Boat, Kiss Me Kate
2. George Gershwin, Porgy and Bess (1935),
African-American folk idioms
3. composer/lyricist teams
a. Rodgers and Hart, Rodgers and
Hammerstein: Oklahoma!, The Sound of
Music
b. Lerner and Loewe: My Fair Lady
C. 1970s and 80s: Stephen Sondheim
1. new level of sophistication
2. more serious, dramatic expression
3. complex musical language, affinity for
classical masters: Ravel and Copland
D. Andrew Lloyd Webber: song and dance
combined, dazzling scenic effects
*1. The Phantom of the Opera, Les Misrables
2. revivals on Broadway: Chicago, South
Pacific
*E. film-based musicals, animated films: Beauty and
the Beast
*F. shows based on film: The Producers, The Full
Monty, Spamalot
G. Recent musicals
1. Rent, based on Puccinis La bohme
2. Aida, Disney Production, based on Verdis
Aida
3. dance-inspired musical: choreography takes
precedence over story
a. Billy Elliot, Stomp
4. jukebox musicals: feature popular songs of
artist or group
*a. Mamma Mia
II. George Gershwin and the Merger of Classical and
Jazz Styles
A. George Gershwin (18981937)
1. composer, pianist, grew up in Manhattan
2. worked as song plugger on Tin Pan Alley
3. 1920s wrote first big hit, Swanee
4. 1920s: launched career as composer of
concert music
5. 1924: international acclaim, Rhapsody in
Blue
6. hit musicals, collaborated with brother, Ira
Teaching Guide | 95
6. Tonight: later same day, love duet
a. Shakespeares balcony scene, takes place
on fire escape
C. Listening Guide 81: Bernstein, West Side Story,
excerpts (1957)
1. Act I: the Dance at the Gym, Mambo
a. fast-paced Afro-Cuban dance
b. highly syncopated Latin beat; bongos,
cowbells
c. jazzy riffs: woodwinds and brass
d. gang music sung alternately in English
and Spanish
e. excited voices and hand clapping
2. Act I: Tonight Ensemble
a. 32-bar song form (A-A'-B-A")
b. ominous three-note ostinato, brass and
percussion
c. fast, accented, rhythmic dialogue
d. duple-meter love song
e. ensemble finale
i. Maria in high range
ii. simultaneous dialogue
iii. syncopated Latin rhythm in
accompaniment
iv. dramatic climax
Discussion Topics
Roots of musical theater in European operetta
George Gershwins successful fusion of classical and jazz
styles
Dance in musical theater
Film adaptations of musical theater
Recent trends in musicals: Disney, dance oriented,
jukebox
Long history of popularity of Latin American dance
music
Afro-Cuban styles of dance (mambo, cha-cha-ch, salsa,
etc.)
Other Caribbean musics are popular as well (soca, calypso,
reggae)
Music Example Bank
IV/57
IV/47
IV/49
IV/48
96 | Chapter 9
*B. Golden Age of film music: lush symphonic
scores
*1. Max Steiner, 1930s, over 300 film scores
*a. King Kong (1933), Gone with the Wind
(1939), Casablanca (1942)
*2. Erich Korngold, handful of scores
*a. The Adventures of Robin Hood (1938)
*C. Europe after World War I
*1. Germany: brief artistic flourish
*a. The Cabinet of Dr. Caligari (1920):
distorted visions, modern music
*2. France: art music composers also composed
for film
*a. Satie, Ibert, Taillefere, Milhaud,
Honegger
*3. Soviet Union under Lenin (191724):
contributions by art composers
*a. Shostakovich (16 film scores), Prokofiev
(eight film scores)
* IV. The Postwar Years
*A. PostWorld War II financial constraints: Golden
Age symphonic sound declined
*1. Bernard Herrmann: Citizen Kane (1941),
Vertigo (1958) Psycho (1960), Taxi Driver
(1976)
*2. Mikls Rzsa: Ben Hur (1959), Spellbound
(1945)
*a. first to use electronic music in film
*b. theremin: first fully electronic instrument
*B. American art music composers
*1. Aaron Copland: five Hollywood feature
films, four Oscar nominations, one Oscar
*2. Leonard Bernstein: one film score, West Side
Story, Oscar
*C. 1940s through 1960s moved from source music
to underscoring
*1. popular movie themes in demand
*2. Henry Mancini: greatest composer of movie
themes, Pink Panther (1964)
*D. Rock music in 1950s
*1. The Blackboard Jungle (1955), Rock
Around the Clock
*2. Elvis Presley, three movies a year
*3. Rock albums: The Graduate (1967), Easy
Rider (1969), Shaft (1971), Saturday Night
Fever (1977)
*E. Versatile composers write in all styles, modern
and popular
*1. Elmer Bernstein: divergent scores
*a. introduced jazz as underscoring: The Man
with the Golden Arm (1955)
*b. To Kill a Mockingbird (1962), Ghostbusters (1984), Wild Wild West (1999)
Teaching Guide | 97
*2. women composers
*a. Rachel Portman: first woman to win
Academy Award for Best Music, Original
Score, Emma (1996)
*b. Diane Warren: Oscar nominations for
song contributions, Legally Blonde II
(2003), Princess Diaries II (2004)
*G. 1990s art music composers
*1. John Corigliano: new Romanticism
*a. Oscar for Red Violin (1999)
*2. Tan Dun, Chinese-American
*a. Oscar for Crouching Tiger, Hidden
Dragon (2000)
*3. Philip Glass, minimalist composer
*a. The Matrix (1999), The Truman Show
(1998)
*4. Alfred Newman, minimalist composer
*a. Shawshank Redemption (1994), Finding
Nemo (2003)
*H. International composers
*1. Gustavo Santaolalla: Argentinean, Oscarwinning scores
*a. Brokeback Mountain (2005), Babel
(2006)
*2. A. R. Rahman, Indian and American pop
music combined
*a. Slumdog Millionaire (2008)
Discussion Topics
The future of film music
The use of leitmotifs in film scores
Popular music in film scores
Leading and misleading the audience with music
Underscoring and source music
Music Example Bank
III/7
98 | Chapter 9
*D. Listening Guide 83: Dylan, Mr. Tambourine Man
(1965)
*1. four verse/chorus folk song
*2. raspy voice, acoustic guitar, harmonica
*3. duple meter, no accented backbeat
*4. text refers to loneliness or escape from life
*5. accompanied by simple chords
II. The Eclecticism of the 1970s
A. Art rock (or progressive rock): largely British
style
1. large forms, complex harmonies, occasional
classical music quotes
2. The Who: first rock opera Tommy
*3. Emerson, Lake, and Palmer; Frank Zappa
B. Jazz influenced rock
1. Santana
a. fused Latin jazz with electric blues rock
b. Latin rock, new style
c. use of Latin and African percussion
instruments
C. 1970s and 1980s: fragmentation into musical
subgenres
1. West coast rock: relaxed California sound
a. Eagles, Doobie Brothers
2. British heavy metal (influenced by Mahler
and Wagner)
a. Led Zeppelin, Black Sabbath
3. glam (glitter rock): showy, theatrical style
a. David Bowie, Lou Reed, KISS, Elton
John
4. punk rock: rebellious, simple, repetitive,
loud, offensive lyrics, shocking behavior
a. The Ramones, Sex Pistols, *Clash
D. Reactions to punk and heavy metals
*1. 1970s disco dance music
a. repetitive lyrics, sung in high range,
thumping mechanical beat
b. Bee Gees
2. Reggae; Jamaican style, offbeat rhythms,
chanted vocals
a. Bob Marley and the Wailers, *Black
Uhuru
3. New wave: offshoot of punk rock with
synthesizers, alienation, and social
consciousness
a. Elvis Costello, Police, *Blondie, the
Talking Heads
III. The 1980s and Beyond
A. Development of music videos in 1980s
1. MTV premiered 1981
2. principal way to present music to the public
3. image and fashion conscious aesthetic soon
dominated
Teaching Guide | 99
*F. 1980s audience increased
*1. country sound combined with pop
songwriting
*a. Dolly Parton, Willie Nelson
*G. 1990s country music boom
*1. Garth Brooks, Shania Twain
Discussion Topics
Sociological impact of rock
The far-reaching influence of the Beatles
The diversity of world beat or ethno-pop
Music Example Bank
IV/46
IV/49
IV/43
IV/59
iMusic Example
100 | Chapter 9
additional recent trends are covered, each with representative
examples: the New Romanticism, represented by Jennifer
Higdon; and post-minimalism, illustrated by John Adams.
Goals for students in Part 8
To recognize recent trends in the arts and their impact
on musical composition
To appreciate the recent movements toward both
greater and lesser organization in music
To view the contemporary musical scene as an
international one
To realize the prominent role played in contemporary
music by women, both as performers and composers
To understand the universal roles that music plays in
all societies
To appreciate the cross-cultural exchanges that have
occurred in music and in other arts
To recognize the virtuosity and extreme technical
demands required of modern performers
To grasp how traditional instruments and the voice
have been used in nontraditional ways
To understand the importance of the development of
electronic music, synthesizers, and computer-generated
music
To view the New Romanticism as an attempt to close
the gap between composer and audience
To view minimalism and new age music as a return to
simplicity
Discussion Topics
Contemporary trends in the arts
Freedom of form in new music
Role of women in contemporary music
Music Example Bank
Trends in the organization of music
III/46
Cage, Variations II, aleatoric music
III/53
Stockhausen, Zeitmasse for Five
Woodwinds, No. 5, total serialism
III/55
Foss, Time Cycle, Improvised Interlude
No. 2, indeterminacy/improvisation
III/57
Partch, And on the Seventh Day, Petals Fell
in Petaluma (1964), microtones
Rhythm, new concepts, twentieth century
III/55
Boulez, Le marteau sans matre, IX
III/13
Hindemith, Sonata for Bass Tuba and
Piano, III
Voice as instrument, twentieth century
III/75
Glass, The Photographer, A Gentlemans
Honor
102 | Chapter 9
II. The Music of John Cage
A. John Cage (19121992)
1. Los Angeles-born composer
2. student of Henry Cowell, Arnold Schoenberg
*3. interest in East Asian philosophy
4. interests: rhythm, opposition between music
and noise, the role of silence
5. explored new sounds, invented the prepared
piano
6. indeterminate works (chance music); **use
of I Ching (Book of Changes)
7. works: orchestral music, works for
percussion, prepared piano, electronic music
B. Cages Sonatas and Interludes
1. four groups of four Sonatas, separated by
Interludes
2. prepared piano: various materials inserted
between the strings
a. nails, bolts, nuts, screws
b. varied effect: nonpitched thump, pitch
and timbre altered
c. piano produces percussive effects
3. rhythmic groupings of sound
4. approximates sounds of Javanese gamelan
5. meditative character of East Asian thought
C. Listening Guide 87: Cage, Sonata V, from
Sonatas and Interludes (1946)
1. (A-A-B-B) binary structure
2. two-voice texture
3. irregular phrases
4. A section: regular rhythmic movement
5. B section: quicker tempo, more disjunct and
accented
6. ending: sustained dissonance
III. The Javanese Gamelan
A. Tradition of Indonesian islands of Java, Bali, and
Sunda
1. gamelan orchestra: metallic percussion
instruments
2. music passed down through oral tradition
3. cyclic rhythmic structure, colotomic
4. melodic movement interacts with cyclical
rhythmic structure (colotomic structure)
5. ritual ceremonies, and Wayang (shadowpuppet theater)
6. Wayang instruments:
a. metallaphones (tuned metal bars, struck
with mallet)
b. gongs, xylophones, drums, voice
7. Wayang: five-note melodic patterns, slndro
tuning (pentatonic)
8. Wayang performances continue for many
hours
b. Fanfare
c. The Stream Flows
d. Last Three Gorges of the Long River
2. orchestra with piano, celesta, diverse
percussion
3. nostalgia for China: evokes Chinese folk
music
4. Western orchestra
C. Listening Guide 91: Sheng, China Dreams:
Prelude (1995)
1. three-part structure
2. opening: haunting pentatonic melody, oboe
and English horn
a. dissonant figure in brass and low strings
3. texture becomes polyphonic, builds to ff
climax
4. decreases to pp, returns to English horn
melody
5. soft dissonance fades out
VIII. An Introduction to Chinese Traditional Music
*A. Abing (18831950)
*1. Chinese composer
*2. apprentice to Daoist monk
*3. expelled from Daoist group, became
wandering street musician
*4. blind, made living singing and playing
a. erhu (two-stringed fiddle), and pipa (lute)
*5. traditional music: orally disseminated,
created through improvisation
*6. music highly revered
B. Listening Guide 92: Abing, The Moon Reflected
on the Second Springs (Er quan ying yue),
excerpt (recorded 1950)
1. Chinese traditional music
2. performed on erhu and yangqin (hammered
dulcimer)
*3. four phrases, repeated and elaborated
*a. trills, slides, grace notes, tremolos, bent
pitch
*4. haunting melody, begins slow in low range:
lyrical, pentatonic
*5. rhythmically free opening, regular pulse
follows
Discussion Topics
Influence of Eastern philosophy on music
Non-Western techniques and instruments
Composers born outside of the Western world composing in
a Western style
Functional music in Indonesia
Rhythmic cycles in Indonesia and Africa
104 | Chapter 9
Music Example Bank
Bhimpalasi (India: sitar, tambura, tabla)
Avaz of Bayate Esfahan (Iran: santur)
106 | Chapter 9
IV. Minimalism and Post-Minimalism
A. Minimalism: repetition of melodic, rhythmic,
and harmonic patterns
1. little variation, hypnotic effect
2. reaction against highly intellectual, complex
music
3. influences: music of India, African cultures,
jazz, pop, rock
B. Steve Reich (b. 1936) and Philip Glass (b. 1937)
1. repeated rhythmic cells, non-Western music
influences
C. Spiritual, or holy, minimalism
1. nonpulsed music: religious inspiration
2. slow-moving tonal music
3. composers: Henryk Grecki (b. 1933), John
Tavener (b. 1944)
V. Arvo Prt and Spiritual Minimalism
A. Arvo Prt (b. 1935)
1. Estonian composer
2. early compositions: Neoclassical and serial
techniques
3. studied works of J. S. Bach; medieval and
Renaissance music
4. notable periods of compositional silence
5. created new style: tintinnabulation, ringing
of bells
6. musical focus: Latin and Orthodox choral
music
*7. religious convictions made life in Soviet
Union difficult, settled in West Berlin
8. works: orchestral, sacred choral music,
concertos
B. Prts Cantate Domino
1. scored for SATB chorus and organ
2. Latin text, Psalm 96: Cantate Domino
canticum novum (O sing to the Lord a new
song)
*3. inspired by medieval chant
4. abandons traditional notation, similar to
Gregorian chant
*5. use of word painting
C. Listening Guide 96: Prt, Cantate Domino
canticum novum (O sing to the Lord a new song)
(1977, revised 1996)
1. three sections, each beginning
monophonically
a. fluid, nonmetric: evokes Gregorian chant
2. expands to four-part choir, homorhythmic
movement
3. tintinnabular style: evokes ringing of bells
with voices
CHAPTER 10
III/59
IV/56
III/48
The following women composers are among primary composers discussed in The Enjoyment of Music. Listening
Guides are provided for the works listed below:
III/56
108
110 | Chapter 10
Neuls-Bates, Carol, ed. Women in Music: An Anthology of
Source Readings from the Middle Ages to the Present.
Rev. ed. Boston: Northeastern University Press, 1996.
Pendle, Karen, ed. Women & Music: A History. 2nd ed.
Bloomington: Indiana University Press, 2001.
__________. Women in Music: A Research and Information
Guide. Routledge Music Bibliographies. New York:
Routledge, 2005.
Sadie, Stanley, and John Tyrell. The New Grove Dictionary
of Music and Musicians. 29 vols. New York: Grove
Music, 2001. (Online resource at
www.grovemusic.com; updated quarterly)
Zaimont, Judith, and Karen Famera, eds. Contemporary
Concert Music by Women: A Directory of the
Composers and Their Works. Westport, CT:
Greenwood Press, 1981.
Music Anthologies
Briscoe, James R., ed. Contemporary Anthology of Music
by Women. Bloomington: Indiana University Press,
1997.
, ed. New Historical Anthology of Music by Women.
Bloomington: Indiana University Press, 2004.
Cuellar, Carol, project manager. Women of Modern Music.
Miami, FL: Warner Bros. Publications, 1999.
Drucker, Ruth, and Helen Strine, eds. A Collection of Art
Songs by Women Composers. Fulton, MD: HERS
Publishing, 1988.
Raney, Carolyn, ed. Nine Centuries of Music by Women.
New York: Broude Brothers, 1977.
Rieder, Eva, and Kaete Walter, eds. Female Composers: 22
Piano Pieces from the 18th20th Century. New York:
Schott, 1985.
Schleiger, Marth Furman, and Sylvia Glickman, eds.
Women Composers: Music Through the Ages. New
York: G. K. Hall, 1996.
I/20
III/58
Supplemental Recordings
Azuma Kabuki Musicians. Columbia ML 4925.
Japanese Music (UNESCO). Musicaphon BM 30 L 2011
16.
Noh. Caedmon TC 2019.
Music of the Bunraku Theatre. VICG-5356-2 JVC.
Rough Guide to the Music of Japan. World Music Network
RGNET 1031CD.
Traditional Japanese Music and Musical Instruments.
Kodansha International 4770023952.
Traditional Music of Japan. Japan Victor JL-5254.
Suggested Videos
Consulate General of Japan videos
Bunraku, Japanese Doll Drama (20 minutes)
GagakuCourt Music (21 minutes)
KabukiClassic Theater of Japan (21 minutes)
Noh Drama (29 minutes)
Japanese Music Series (32 minutes; $24.95 each)
Gagaku: The Court Music of Japan (1989)
Music of Bunraku (Japanese puppet theater; 1991)
Shinto Festival Music (1994)
Music of Noh Drama (1997)
Nagauta: The Heart of Kabuki Music (1994)
112 | Chapter 10
East Asia/China
Additional Readings
South Asia/India
South Asian/Indian Music Included in the Music
Example Bank
IV/9
III/61
III/60
Suggested Videos
Supplemental Recordings
Southeast Asia/Indonesia
Southeast Asian/Indonesian Music Included in The
Norton Recordings
Javanese gamelan music
Patalon (LG 88 Complete)
Indonesian-inspired music
Cage: Sonatas and Interludes, Sonata V (LG 87 Complete,
57 Shorter)
Southeast Asian/Indonesian music Included in the
Music Example Bank and iMusic
IV/32
iMusic
Additional Readings
Arnold, Alison, ed. The Garland Encyclopedia of World
Music. Vol. 5, South Asia: The Indian Subcontinent.
New York and London: Garland Press, 1999.
Brown, Robert E. Indias Music. In Readings in
Ethnomusicology, 293329. Edited by David
McAllester. New York: Johnson Reprint Corp., 1971.
Capwell, Charles. The Music of India. In Excursions in
World Music, 6th ed. Upper Saddle River, NJ: PrenticeHall, 2012.
Reck, David B. India/South India. In Worlds of Music: An
Introduction to the Music of the Worlds Peoples. 5th
ed. Edited by Jeff Todd Titon. Belmont, CA:
Schirmer/Thomson Learning, 2009.
Shankar, Ravi. My Music, My Life. New ed. San Rafael,
CA: Mandala, 2007.
Wade, Bonnie C. Music in India: The Classical Traditions.
Rev. ed. New Dehli: Manohar, 2001.
. Some Principles of Indian Classical Music. In
Musics of Many Cultures: An Introduction, 83110.
Edited by Elizabeth May. Berkeley: University of
California Press, 1980.
Annotated Website
www.medieval.org/music/world/carnatic/cblsup.html
114 | Chapter 10
Capwell, Charles. The Music of Indonesia. In Excursions
in World Music. 6th ed. Upper Saddle River, NJ:
Prentice Hall, 2012.
Herbst, Edward. Voices in Bali: Energies and Perceptions
in Vocal Music and Dance Theater. Hanover, NH:
University Press of New England, 1997.
Kartomi, Margaret J. Musical Strata in Sumatra, Java, and
Bali. In Musics of Many Cultures: An Introduction,
11133. Edited by Elizabeth May. Berkeley: University
of California Press, 1980.
McPhee, Colin. Music in Bali: A Study in Form and
Instrumental Organization in Balinese Orchestral
Music. New Haven, CT: Yale University Press, 1966.
Miller, Terry E., and Sean Williams, eds. Garland
Encyclopedia of World Music. Vol. 1, Southeast Asia.
New York and London: Garland Press, 1998.
Pickvance, Richard. A Gamelan Manual: A Players Guide
to the Central Javanese Gamelan. London: Jaman Mas
Books, 2005.
Spiller, Henry. Gamelan: The Traditional Sounds of
Indonesia. Santa Barbara, CA: ABC-CLIO, 2004.
Sukerna, Nyoman. Gamelan Jegog Bali. Semarang: Intra
Pustaka Utama, 2003.
Sutton, R. Anderson. Asia/Indonesia. In Worlds of Music:
An Introduction to the Music of the Worlds Peoples.
5th ed. Edited by Jeff T. Titon. Belmont, CA:
Schirmer/Cengage Learning, 2009.
Weintraub, Andrew N. Dandut Stories: A Social and
Musical History of Indonesias Most Popular Music.
New York: Oxford University Press, 2010.
Middle East/Turkey
Middle Eastern/Turkish/Iranian Music Included in
the Music Example Bank and iMusic
Turkish music
IV/12
Dance, Zurna and Davul, Turkish
Traditional
Turkish-influenced music
I/9
Beethoven, The Ruins of Athens, Turkish
March
IV/59
Mozart, The Abduction from the Seraglio,
Overture
Iranian music
iMusic
Avaz of Bayate Esfahan (santur)
Supplemental Recordings
Ceremony of the Kadiri Dervishes. Gallo CD-587.
Military Band of the Old Turkish Army. World Music
Library CD 5101.
Music of the Whirling Dervishes. Atlantic 82493-2.
Tezner, Michael, ed. CD to accompany Analytical Studies
in World Music. New York: Oxford University Press,
2006.
The Rough Guide to the Music of Iran. World Music
Network RGNET 1165CD.
Turkish Folk Music. Lyrichord LLCT 7289.
Suggested Video
JVC Video Anthology of World Music and Dance, produced
in collaboration with the National Museum of
Ethnology (Osaka) and Smithsonian/Folkways
Records; translation by Mantle Hood; vol. 17: Turkey,
Iran, Iraq, Lebanon, Qatar.
Additional Readings
Bartk, Bla. Turkish Folk Music from Asia Minor. Rev. ed.
Homosassa: Bartok Records, 2002.
Cooper, David, and Kevin Dawe, eds. The Mediterranean
in Music: Critical Perspectives Common Concerts,
Cultural Differences. Lanham, MD: Scarecrow Press,
2005.
Daniel, Elton L., and Ali Akbar Mahdi. Culture and
Customs of Iran. Westport, CT: Greenwood Press,
2006.
Danielson, Virginia, Scott Marcus, and Dwight Reynolds,
eds., Garland Encyclopedia of World Music. Vol. 6,
The Middle East. New York and London: Garland
Press, 2002.
Lichtenwanger, William. The Military Music of the
Ottoman Turks. Bulletin of the American
Musicological Society 1113 (1948): 5556.
Nettl, Bruno. Music of the Middle East. In Excursions in
World Music. 6th ed. Upper Saddle River, NJ: Prentice
Hall, 2012.
Picken, Laurence. Folk Music Instruments of Turkey.
London: Oxford University Press, 1975.
Signell, Karl L. Makam: Modal Practice in Turkish Art
Music. Seattle: Asian Music Publications, 1977.
Tezner, Michael, ed. Analytical Studies in World Music.
New York: Oxford University Press, 2006.
Africa/Sub-Saharan Africa
African/Sub-Saharan African Music Included in The
Norton Recordings
Ensiriba y a munange Katego (LG 90 Complete)
116 | Chapter 10
I/29
II/16
Supplemental Recordings
Blues for Transylvania. Hannibal HNCD 1350.
Csendl a nta: Hungarian Folk Music. Hungaraton HCD
10239.
Echoes from an Endangered World. Smithsonian Folkways
CD SF 40407.
Marta Sebestyen: Star of World Music. Hungaraton 37979.
Additional Readings
Abraham, Gerald. Essays on Russian and East European
Music. New York: Oxford University Press, 1985.
Bartk, Bla. Hungarian Folk Music. Trans. by M. D.
Calvovoressi. Westport, CT: Hyperion Press, 1979.
. Hungarian Peasant Music. Musical Quarterly 19
(1933): 26789. Reprinted in Bla Bartk Essays, 80
102. Edited by Benjamin Suchoff. New York: St.
Martins Press, 1976.
Bohlman, Philip V. The Musical Culture of Europe. In
Excursions in World Music, 191222. 6th ed. Upper
Saddle River, NJ: Prentice Hall, 2012.
Rice, Timothy, James Porter, and Chris Goertzen, eds.
Garland Encyclopedia of World Music. Vol. 8, Europe.
New York and London: Garland Press, 2000.
Slobin, Mark, ed. Retuning Culture: Musical Changes in
Central and Eastern Europe. Durham, NC: Duke
University Press, 1996.
Eastern Europe/Jewish Culture
Eastern European/Jewish Music Included in the
Music Example Bank
IV/5
IV/11
Havah nagilah
Ribono Shel Olom (Jewish cantor music),
cantor, responsorial singing
Eastern Europe/Hungary/Romania/Bulgaria
Eastern European Music Included in the Music
Example Bank and iMusic
Hungarian Traditional
IV/35
Aki Dudas Akar Lenni, folk song collected
by Bartk, art music inspired by traditional
styles
II/6
Enescu, Romanian Rhapsody No. 1
II/4
Kodly, Hry Jnos, Song
I/42
Liszt, Hungarian Rhapsody No. 2
I/59
Ravel, Tzigane (Gypsy)
Supplemental Recordings
The Art of the Cantor, with Jan Peerce. Vanguard VCD
72017.
Traditional Jewish Music from Eastern Europe. Buda
92567.
Additional Readings
Jaffe, Kenneth. Solo Vocal Works on Jewish Themes: A
Bibliography of Jewish Composers. Lanham, MD:
Scarecrow Press, 2011.
Americas/African American
African-American Music Included in The Norton
Recordings
Still: Suite for Violin and Piano, III (LG 72 Complete, 47
Shorter)
Joplin: Maple Leaf Rag (LG 76 Complete, 50 Shorter)
Holiday: Billies Blues (LG 77 Complete, 51 Shorter)
Ellington/Strayhorn: Take the A Train (LG 78 Complete, 52
Shorter)
118 | Chapter 10
Suggested Videos
American Patchwork (PBS, 60 minutes each, $24.95 each)
Cajun Country: Dont Drop the Potato (includes French
and black Creole, Native American, and Cajun song
and dance)
Dreams and Songs of the Noble Old World (Alan Lomax
introduces historical singers and Preservation Hall
Band)
Jazz Parade: Feet Dont Fail Me Now (Alan Lomax
interviews jazz legends)
The Land Where Blues Began (Origins of blues from
Mississippi Delta through Leadbelly)
Repercussions: A Celebration of African-American Music.
4 videos (1984, $39.95 each)
Born Musicians/On the Battlefield (West African traditional
music)
The Drums of Dagbon/Caribbean Crucible (northern
Ghana, Jamaica, Dominican Republic, origins of
reggae
Legends of Rhythm and Blues/The Max Roach Story (gospel
quartets, rhythm and blues, bebop)
West African Popular Music (modern pop music)
Additional Readings
Baraka, Imamu Amiri. Black Music: Essays. New ed. New
York: Akashic, 2010.
Bohlman, Philip V. Ethnic North America. In Excursions
in World Music. 5th ed. Upper Saddle River, NJ:
Prentice Hall, 2007.
Evans, David. Big Road Blues: Tradition and Creativity in
the Folk Blues. Berkeley: University of California
Press, 1982.
Evans, Freddi Williams. Congo Square: African Roots in
New Orleans. Lafayetter, LA: University of Louisiana
at Lafayetter Press, 2011.
Floyd, Samuel A., Jr., and Marsha J. Reisser. Black Music
in the United States: An Annotated Bibliography of
Selected Reference and Research Materials. Millwood,
NY: Kraus International Publications, 1983.
Hamm, Charles. Music in the New World. New York: W. W.
Norton & Company, 1983.
. Yesterdays: Popular Song in America. New York:
W. W. Norton & Company, 1983.
Hayes, Eileen M. and Linda F. Williams, eds. Black Women
and Music: More than the Blues. Urbana: University of
Illinois Press, 2007.
Koskoff, Ellen, ed. The Garland Encyclopedia of World
Music. Vol. 3, The United States and Canada. New
York and London: Garland Press, 2001.
Jones, LeRoi (Amiri Baraka). Blues People: Negro Music in
White America. New ed. New York: Perennial, 2002.
IV/44
IV/44
IV/45
IV/51
iMusic
iMusic
Additional Readings
Axelrod, Alan, and Dan Fox. Songs of the Wild West. New
York: Simon and Schuster, 1991.
Bronson, B. H., ed. The Traditional Tunes of the Child
Ballads; with Their Texts, According to the Extant
Records of Great Britian and America. Princeton, NJ:
Princeton University Press, 195972.
Chase, Gilbert. Americas Music, from the Pilgrims to the
Present. Rev. 3rd ed. Urbana: University of Illinois
Press, 1987.
Hamm, Charles. Music in the New World. New York: W. W.
Norton & Company, 1983.
Herbert, Trevor, ed. The British Brass Band: A Musical and
Social History. New York: Oxford University Press,
2000.
Lomax, Alan. The Folk Songs of North America, In the
English Language. Garden City, NY: Doubleday, 1960.
Nettl, Bruno. Folk Music in the United States: An
Introduction. 3rd ed. Detroit, MI: Wayne State
University Press, 1976.
Americas/Latin America
Latin American Music Included in The Norton
Recordings
Revueltas, Silvestre. Homenaje a Federico Garca Lorca,
III: Son (LG 74 Complete, 49 Shorter)
El Cihualteco (Mexican son) (LG 75 Complete)
Latin American Music Included in The Norton
Recordings and the Music Example Bank
Traditional and popular music
IV/31
Tres Lindas Cubanas, II, Cuban habanera
Supplemental Recordings
Afro-Hispanic Music from Western Colombia and Ecuador.
Folkways FE 4376.
An Island Carnival: Music of the West Indies. Nonesuch
72091.
Cult Music of Cuba. Folkways FE 4410.
The Inca Harp: Laments and Dances of Tawantinsuyu, the
Inca Empire [Peru]. Lyrichord LLST 7359.
Huayno Music of Peru, vol. 1. Arhoolie CD 320.
Llegaron Los Camperos!: Concert Favorites of Nati Canos
Mariachi Los Camperos. Smithsonian Folkways
Recordings SFW CD 40517.
Marimba Music of Tehuantepec. University of Washington
Press UWP 1002.
Mariachi Vargas de Tecalitln: Their First Recordings
19371947, vol. 3.Arhoolie Folklyric CD 7015.
Mountain Music of Peru, vol. 2. Smithsonian Folkways CD
40406.
Msica andina de Bolivia. Lauro Records LPLI/S-062.
Msica folklrica de Venezuela. Ocora OCR 78.
Music of Mexico: Sones Jarochos. Arhoolie 3008.
Music of Mexico, vol. 2, Sones Huastecos. Arhoolie 3009.
The Rough Guide to Afro-Cuba. World Music Network
RGNET 1070CD.
Texas-Mexican Border Music, vol. 24, The Texas-Mexican
Conjunto. Folklyric 9049.
120 | Chapter 10
Additional Readings
Baker, Geoffrey and Tess Knighton, eds. Music and Urban
Society in Colonial Latin America. New York:
Cambridge University Press, 2011.
Bhague, Gerard. Music in Latin America: An Introduction.
Englewood Cliffs, NJ: Prentice Hall, 1979.
Chase, Gilbert. A Guide to Latin American Music. 2nd ed.
Washington, DC: Pan American Union, 1962.
Hinds, Harold E., Jr., and Charles M. Tatum, eds.
Handbook of Latin American Popular Culture.
Westport, CT: Greenwood Press, 1985.
Koskoff, Ellen, ed. The Garland Encyclopedia of World
Music. Vol. 3, The United States and Canada. New
York and London: Garland Press, 2001.
Olsen, Dale A. Folk Music of South America: A Musical
Mosaic. In Musics of Many Cultures: An Introduction,
386425. Edited by Elizabeth May. Berkeley:
University of California Press, 1980.
Olsen, Dale A., and Daniel E. Sheehy, eds. The Garland
Encyclopedia of World Music. Vol. 2, South America,
Mexico, Central America, and the Caribbean. New
York: Garland Pub., 1998.
, eds. The Garland Handbook of Latin American
Music. New York: Garland Pub., 2000.
Roberts, John Storm. The Latin Tinge: The Impact of Latin
American Music on the United States. 2nd ed. New
York: Oxford University Press, 1999.
Schechter, John M. Latin America/Ecuador. In Worlds of
Music: An Introduction to the Music of the Worlds
Peoples. 5th ed. Edited by Jeff Todd Titon. Belmont,
CA: Schirmer/Thomson Learning, 2009.
Schechter, John M., ed. Music in Latin American Culture:
Regional Traditions. New York: Schirmer, 1999.
Sheehy, Daniel. Mariachi Music in America: Experiencing
Music, Expressing Culture. New York: Oxford
University Press, 2006.
Turino, Thomas. Music in Latin America. In Excursions
in World Music, 223250. 4th ed. Upper Saddle River,
NJ: Prentice Hall, 2004.
Americas/Native American
Native American Music Included in the Music
Example Bank
IV/13
IV/14
IV/49
Supplemental Recordings
Music of the American Indians of the Southwest. Folkways
4420.
122 | Chapter 10
Sousa on Review. Eastman Wind Ensemble; F. Fennell,
director. Mercury 420970-4 EH.
The Sousa and Pryor Bands. Original recordings, 190126.
New World NW-282.
The United States Marine Band Presents the Heritage of
John Philip Sousa. U.S. Marine Band; Jack Kine,
director. 18 LPs. 197578.
Paul Hindemith
A German composer, Hindemith wrote much chamber music
in his early years as a performer. He wrote in nearly every
genre, including sonatas for most standard instruments. He
composed music for new instruments and for student players
as well as wrote a theoretical treatise ranking intervals and
harmonies from most consonant to most dissonant (Craft of
Musical Composition, 193739). Hindemiths works for band
include Konzertmusik, Op. 41 (1926), written originally for
a small German band with saxhorns, and the Symphony in
B-flat (1951, composed for the U.S. Army Band), which
quickly established itself in the central repertory for winds as
a masterwork of counterpoint and orchestration.
Suggested Listening
Symphony in B-flat
Eastman Wind Ensemble; F. Fennell, conductor. Mercury
MG 50143/SR90143; reissued as Mercury SRI 75057.
University of Michigan Symphony Band; W. Revelli,
conductor. Golden Crest CRS 4214.
University of Northern Colorado Wind Ensemble; E.
Corporon, conductor. Soundmark R 990 BSCR.
Cornell Wind Ensemble; M. Stith, conductor. Cornell U.
12.
William Schuman
Schuman was an American composer who was president of
the Juilliard School of Music and later at Lincoln Center, in
New York. He wrote a nationalistic work entitled New England Triptych: Three Pieces for Orchestra after William
Billings. Each piece was based on a hymn by the early American composer Billings; two movements were later arranged
by the composer for the band: Chester (1957), based on the
most popular song of the American Revolution, and When
Jesus Wept (1958), based on a Billings round of the same
name. He also wrote George Washington Bridge (1951) as a
tribute to the famous New York bridge.
Recordings
George Washington Bridge (Eastman Symphonic Wind
Ensemble; F. Fennell) Mercury MG50079; reissued as
Mercury SRI 75086.
124 | Chapter 10
Vol. 1, The Wind Band and Wind Ensemble before 1500.
Vol. 2, The Renaissance Wind Band and Wind Ensemble.
Vol. 3, The Baroque Wind Band and Wind Ensemble.
Vol. 4, The Wind Band and Wind Ensemble of the Classic
Period, 17501800.
Vol. 5, The Nineteenth-Century Wind Band and Wind
Ensemble in WesternEurope.
Vol. 6, A Catalog of Multi-part Instrumental Music for
Winds or for Undesignated Instrumentation before
1600.
Vol. 7, A Catalog of Baroque Multi-part Instrumental
Music for Wind Instruments or for Undesignated
Instrumentation.
Vol. 8, Wind Band and Ensemble Literature of the Classic
Period.
Vol. 9, Wind Band and Ensemble Literature of the
Nineteenth Century.
. A Concise History of the Wind Band. Northridge,
CA: Winds, 1985.
Whitwell, David, and Acton Ostling, eds. The College and
University Band: An Anthology of Papers from
the Conference of the College Band Directors National
CHAPTER 11
All questions are answered here except those that ask for the
students opinion, an entirely subjective response, or for special projects to be determined by the student and instructor.
Alternate acceptable answers are indicated in parentheses. A
semicolon separates answers to parts of the same question.
Square brackets are used for text already given in the Study
Guide, as in the case of an example.
interval
melody
contour; range
conjunct; disjunct
cadence
frequency
countermelody
beat
accented (strong); unaccented (weak)
meter
simple (duple)
compound (sextuple)
sextuple (Z); upbeat
duple
syncopation
polyrhythm; jazz, rock, and African musics
additive
nonmetric
narrow
wavelike
simple
second (unaccented beat)
2. REVIEW (CHAPS. 3, 5)
Elements of Music: Harmony and Texture
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
chord
harmony
[do] re mi fa sol la ti do
do
sol
[do] mi sol; [1] 3 5
tonic
dissonant; harsh (unpleasant, discordant)
consonant; agreeable (pleasant, concordant)
drone
major; minor
diatonic; chromatic
minor
texture
monophonic; homophonic
heterophony; jazz and non-Western music
polyphonic
homorhythmic
imitation; polyphonic
canon; round
consonant
major
homophonic
monophonic
dissonant
homorhythmic
125
126 | Chapter 11
3. REVIEW (CHAP. 4)
The Organization of Musical Sounds
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
octave; twelve
two
whole step
twelve
sharp (#)
tonality
major scale: [W]WHWWWH
minor scale: WHWWHWW
diatonic
chromatic
pentatonic; Far East, Africa, Native Americans
tritonic; Africa
interval smaller than a half step
They sound out of tune (off-key).
a microtonal dip in pitch
triad; tonic (I chord); subdominant (IV chord);
dominant (V chord)
transposition
modulation
major scale; diatonic
minor
four phrases; only the last has a sense of finality or
rest; the second sounds especially incomplete or
active.
5. REVIEW (CHAP. 7)
Elements of Music: Tempo and Dynamics
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
allegro
non troppo
molto allegro (vivace, presto)
andante
ritardando; accelerando
a tempo
little by little slower
very fast (very lively)
piano; forte
crescendo; decrescendo
sforzando (sf)
true
false
false
false
true
adagio
allegro
accelerando
moderato
piano
fortissimo
allegro
crescendo
fortissimo
ritardando
4. REVIEW (CHAP. 6)
Elements of Music: Form
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
form
repetition; contrast; variation
strophic
A-B; contrast
A-B-A; contrast and repetition
theme; motives; sequence
call and response (responsorial); non-Western
(African)
improvisation; jazz, traditional music, non-Western
musics
ostinato
movements
strophic
improvisation
repetition
contrast
sequence
motive
ostinato
A-A-B-B; binary
c
a
a
b
d
c
aerophone
idiophone
membranophone
chordophone; bowing, plucking (striking)
guitar, timpani (tambourine, cymbals)
true
true
true
true
true
true
false
true
false
true
true
true
false
true
false
true
false
SATB
chordophone, membranophone
idiophone, membranophone
aerophone, chordophone
7. REVIEW (CHAP. 9)
Western Musical Instruments
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
[Example: l, o, s, x]
e, m, v, w
d, p, u, w
h, n, t, z
j, m, v, w
f, p, q, w
c, o, s, x
b, p, r, w
k, m, v, w
i, m, v, w
a, p, q, w
g, p, r, w
guitar (strings)
organ (keyboard; aerophone)
brass, percussion
piano (keyboard)
cello (strings)
piccolo (woodwinds)
harpsichord (keyboard)
trumpet (brass)
6. pitched; unpitched
pitched: timpani (kettledrum), glockenspiel, celesta,
xylophone, marimba, vibraphone, chimes, tubular
bells; unpitched: snare drum (side drum), tenor drum,
bass drum, tom-tom, tambourine, castanets, triangle,
gong, tam-tam
7. embouchure
8. a cappella
9. piano
10. organ
11. chamber music
12. string quartet
13. woodwind quintet
14. piano trio (piano quartet, piano quintet)
15. c
16. a
17. g
18. b
19. f
20. d
21. e
22. choir (a capella)
23. jazz ensemble
24, mens chorus
25. concert band
26. orchestra
27. womens chorus
28. bassoon, clarinet, oboe, flute, French horn
d
g
b
i
c
k
l
m
j
young Venezuelan conductor appointed director of
the Los Angeles Philharmonic at the age of 28; tours
with famous Latin American youth orchestra
128 | Chapter 11
2.
3.
4.
6.
12.
13.
14.
15.
true
false
true
false
true
true
true
false
true
false
c
b
b
a
a
b
a, b, e
a
Michelangelo: c
Machiavelli: b
Galileo: a
Luther: e
Shakespeare: d
20. Leonardo da Vinci, Mona Lisa
Michelangelo, David
true
false
true
true
true
false
false
Mass; daily
Offices
Gregorian chant (plainsong, plainchant)
modes
antiphonal
Latin
b
d
a
c
b
d
c
e
a
d
b
d
idealization of the fearless warrior who commits
deeds of daring and self-sacrifice; idealization of
romantic, unrequited love of women; elevation of
women to status parallel to worship of the Virgin
Mary
16.
17.
18.
19.
b
b
rising interval of fifth (soaring line)
viscera (flesh), flore (flower), venter (womb) = high
range
orto (purity), Alleluia = melismatic
20. three
21. arched, flowing melody with opening leap
22. wide ranging, with expressive leaps
organum
harmony
chant (Gregorian chant)
Lonin; Protin; Notre Dame, Paris; twelfth and
thirteenth centuries
Lonin
Protin
Virgin Mary; feasts of the Virgin Mary
melismatic, neumatic; two
tenor (chant)
polyphonic; monophonic
rhythmic mode; long-short
false
true
false
true
true
true
troubadour
courtly love
estampie
three
strophic
nakers
a courtly lady
triple
an early violin
middle English
ostinato
six
syllabic
full triads
the coming of summer
secular
130 | Chapter 11
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
Ars nova
polyphonic
a fixed form
unrequited love
refrain
rondeau
three low voices
two (a, b)
triple
a courtier and cleric
elaborate repetition scheme alternating irregularly
between the two musical sections, sometimes with
new text, other times with refrain text
28. refrain (recurring text and music)
29. pain of unrequited love; bitterness; overwhelming
love
a
b
a
c
b
b
true
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
false
true
false
true
false
false
false
false
true
true
false
true
true
true
true
c
d
b
a
first collection of Italian madrigals published in
England (1588); translated into English; English
composers followed these models to compose their
own English-language works
28. preference for lighter, humorous, pastoral texts, often
with refrain syllables
four
Ordinary
secular song Lhomme arm (The Armed Man)
A-B-A (ternary; three part)
polyphony without imitation (nonimitative
polyphony)
triple; duple; triple
both hollow (with open fifths and octaves) and full
sounding (with thirds and sixths)
it had a secular tune as its basis
four
Virgin Mary
rhymed poem: couplet, five quatrains, couplet
Latin
imitative polyphony (imitation, paired imitation) and
homorhythm (homophony)
based on a chant at opening, then freely composed
mixed voices; all male
a cappella
music (words set polyphonically; hard to hear) (text;
some parts set in homorhythm, where text is clear)
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
French
pain and suffering of love (unrequited love)
Phrygian mode (harmony)
Four
Italy
melisma on happy (beata); many repetitions of a
thousand deaths (di mille morte); chromaticism,
suspensions and dissonance: E-flat on weeping
(piangendo); tritone representing death (morire)
draws on the belief that swans sing only when they
die; death here a metaphor for sexual climax
largely homorhythmic; mostly syllabic; simple
rhythms; not highly chromatic
four (SATB)
one voice begins on text all alone; musical laughter
on joke and laugh; chromaticism on new ardors;
voices sing together homophonically on be joyous
everyone
text about shepherd and shepherdess in the fields
at triple meter, text is clear and all voices sing
together
both are SATB; Fair Phyllis is lighter in text and has
varied textures, changing meter, and repeated
sections; the Arcadelt work is more contemplative
and features subtle chromaticism and dissonances.
The English strongly preferred the rustic, lighter style
of madrigal
homorhythmic
all men
syllabic
8.
9.
10.
11.
132 | Chapter 11
12. textures and use of cori spezzati similar; combination
of voices and instruments in Hassler
13. church service, religious procession, funeral
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
libretto; librettist
overture
aria; recitative
sparse accompaniment (dry); accompanied by
various instruments; recitative
da capo aria
Monteverdi; Orfeo
Barbara Strozzi; she was trained in singing, playing
the lute, and poetry as well as in entertaining men
(rather like a Japanese geisha)
Handel; Messiah; Julius Caesar, Rinaldo
true
false
true
true
false
false
true
true
true
false
false
false
use of sets, costumes, staged acting, and subject
matter (nonreligious)
a chorale tune, arranged in various ways in choruses
and arias
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
strophic form
hornpipe
secco, or sparsely accompanied; very short
ground bass; a five-measure repeated bass line in
triple meter
chromatic bass line symbolic of grief and death
Remember me
A-B-A (da capo)
rising line at opening to get Cupid up and out of bed;
quick descending lines to signify firing of arrows;
static melodic line to show Cupids laziness
aria; moving in time and more lyrical than recitative
built on ground bass; slow tempo to signify lament;
accompanied by continuo
expressive chromaticism; more disjunct melodic line;
accompanied by continuo
134 | Chapter 11
30. LISTEN (LG 19; LG SH 13)
Bach and the Lutheran Cantata
1. hymn tune associated with the German Protestant
church (Lutheran church)
2. Wachet auf; Sleepers, Awake
3. Parable of the wise and foolish virgins; watchmen
sound a call on the city wall above Jerusalem to have
the virgins meet the bridegroom Christ; is about
preparing onself for the coming of Christ; Matthew
25:13
4. bar form (A-A-B)
5. soprano (top) voice
6. insistent dotted rhythms; majestic feeling
7. to unify the sections of the movement; recurs several
times between vocal statements
8. seven; nos. 1, 4, 7
*9. violin piccolo (small violin)
*10. A-B-A (da capo)
*11. Soprano = soul; bass = Jesus Christ
12. tenors
13. first movement: chorale sung by soprano section; set
against complex choral polyphony; hard to hear at
times; phrases broken up by instrumental ritornelli
with large orchestra; major key; movement in bar
form (A-A-B) based on chorale; majestic mood
fourth movement; tune sung in unison by tenors
against gentle violin countermelody and basso
continuo; simpler texture, so easier to hear; phrases
also broken up and separated by ritornelli; major key;
movement in bar form (based on chorale); gentle,
lilting character
*14. homophonic
*15. sopranos (top voice)
16. end of the church year
18. aria
19. polyphonic (contrapuntal)
20. bass (baritone)
21. oboe; bassoon (and organ)
22. melismatic
c
d
e
b
f
a
true
false
true
true
true
false
b
a
b
a
binary
harpsichord
concerto grosso
French horns, oboes, violin
strings and basso continuo
allegro
free, improvisatory style
organ
strict imitation
ground bass
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
136 | Chapter 11
18.
19.
20.
21.
22.
23.
24.
25.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
b
b
e
c
a
b
d
Haydn; Mozart; Beethoven; Schubert
b; c; f; h; i; l
aristocracy hired musicians and artists as part of their
lives; steady demand for new works provided steady
jobs, economic security, and a social setting for
musicians; musicians were little more than servants;
had to write what was needed or desired by patron
13. a few were professional musicians, especially
singers, violinists, and keyboard players; could teach
music at court; more opportunities in music
businesses; amateur home music making on the rise
13.
14.
15.
37. REVIEW (PRELUDE 4)
The Classical Spirit
1. [a] order, poise, serenity; [b] objectivity; [c] reserved
expression of emotions
2. b
16.
17.
18.
19.
20.
21.
motive
theme
themetic development
fragmentation, expansion of musical idea,
contraction, repetition
four
string quartet (other chamber works), symphony,
sonata (concerto)
b
b
c
d
c
[Theme 1]: in home key; may contain several ideas;
strong, aggressive theme
[Theme 2]: contrasting key; more lyrical
remains in tonic key throughout
to reveal potential of themes by fragmentation,
expansion, or other means; provides drama and
conflict; frequent modulations provide restlessness
melody, rhythm, meter, harmony, texture,
instrumentation, dynamics, tempo
false
false
true
true
aggressive, ascending (rocket) theme; strong and
energetic
rhythmic and dancelike, in triple meter
138 | Chapter 11
11. high level of emotional expression, sudden shifts in
dynamics, drama, harmonic language
12. substituted scherzo for minuet in third movement,
longer movements, thematic development, more
emotional expression
7. Fourth of July
8. poem Ode to Joy by Friedrich von Schiller
9. expression of universal brotherhood; suited spirit of
French Revolution
10. Council of Europe and European Union; national
anthem of Zimbabwe; Japan on New Year
11. triumphant, joyful mood; wavelike motion;
fortissimo
12. triumphant, joyful mood; forceful dynamics (ff)
b
c
a
b
a
a
c
b
c
c
[Haydn]: over 100 (104); [Mozart]: approximately 40
(41); [Beethoven]: 9
he lived a much shorter life; wrote in other forms
(opera)
his symphonies are much longer, more complex
works
Austria
a
a
b
a
b
b
a
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
b
c
c
fanciful solo passage played as though improvised,
which interrupts a movement of a concerto; generally
played just before the coda (after the recapitulation)
ritornello form and sonata-allegro form
piano, violin
piano and violin
his student Barbara von Ployer
solo piano, piano and violin, piano and cello
thirty-two
c
a
b
Adagio (largo)
Yes
lilting, triple meter, but gentle rocking character;
major mode
alternates with orchestra, which imitates the soloist
slow-moving, lyrical (singing) melody; repeated
notes
first
140 | Chapter 11
48. REVIEW (CHAP. 26)
From Classicism to Romanticism
1. [Mozart] Romantic symphony (no. 40), use of
minor keys, dramatic themes and modulations,
deeply emotional writing; [Haydn] use of new
instruments, sudden dynamic contrasts, daring
modulations
2. striking dynamic contrasts, explosive accents,
expansion of Classical forms, hymnlike slow
movements, dramatic intensity
3. Franz Schubert
4. chamber music and symphonies; songs (Lieder)
5. bubbling piano accompaniment
6. bouncy line, conjunct; repetitive (almost strophic)
7. change to minor mode; new music
8. [Romantic composers]: Chopin, Brahms,
Tchaikovsky (Beethoven, Schubert, Fanny
Mendelssohn Hensel, Mendelssohn, Clara
Schumann, Liszt, Berlioz, Verdi, Wagner)
9. b
10. a
11. b
12. b
13. a
14. b
15. b
16. a
17. a
18. b
19. b
20. a
21. a
22. a
23. b
24. [Classical]: c. 17501825
[Romantic]: c. 18201900
12.
13.
14.
15.
16.
17.
18.
19.
20.
strophic form
through-composed (durchkomponiert)
modified strophic form
song cycle; Schubert: Winters Journey (Winterreise),
The Lovely Maid of the Mill (Die schne Mllerin)
true
true
false
true
true
false
Goethe; Elfking; Schubert (Heine; In the lovely
month of May, Schumann)
Brahms, Robert Schumann; Clara Schumann, Fanny
Mendelssohn Hensell
eighteen; Goethe
a song cycle; Wilhelm Mller
600 (or more)
more than 100 songs
love, especially from a womans point of view
Heinrich Heine
bubbly piano accompaniment; simple melody that is
repeated; light quality; about a fish
modified strophic
11.
*12.
*13.
*14.
*15.
*16.
*17.
18.
19.
true
false
true
Chopin; Liszt
Forest Murmurs, Wild Hunt; impromptu; prelude;
intermezzo
Chopin wrote much Romantic piano music; his
music is very songful and expressive
half Polish, half French
robbed time, rhythmic liberties taken within a
measure while maintaining the basic beat
George Sand (Aurore Dudevant)
nocturnes; preludes; tudes; impromptus; waltzes;
mazurkas; scherzos; rondos; marches; ballades;
polonaises and mazurkas
none (virtually none)
Hungary
Daniel Stern (Countess Marie dAgoult)
Princess Carolyne Sayn-Wittgenstein
religious life; he took minor orders
thematic transformation
Richard Wagner
mostly songs and piano music; one piano trio, one
orchestral work, one string quartet; also a cantata
by her mother, then theory/composition studies with
a tutor
142 | Chapter
55. LISTEN (LGS 4546; SH LG 30)
Music in Nineteenth-Century America
1. his wife Jane Denny McDowell
2. A-A'-B-A
3. strophic (two verses) with an instrumental
introduction, interlude, and postlude
4. at the end of each B section, leading back to A (the
return of the opening music)
5. hammer dulcimer
6. piano
7. Oh, Susannah!, Camptown Races, Old Folks at
Home, My Old Kentucky Home
8. brass group (with percussion)
9. binary (A-A-B-B) or more correctly rounded binary
(A-A-B-A-B-A)
10. both are minstrel songs, because they talk about
African-Americans in the South; Camptown Races
uses dialect.
*11. New Orleans
*12. Home, Sweet Home; Union; The Star-Spangled
Banner; Yankee Doodle; Hail, Columbia; Camptown
Races
*13. rhythmic accompaniment, set against a high-range
melody; syncopated; imitates strumming and picking
on a banjo
*14. Camptown Races
*15. a
*16. a
17. slowing down and speeding up within the measures
throughout
18. b
19. a
20. cartoon music, after character is hit on head
d
a
e
f
c
b
a
b
Mendelssohn, Overture to A Midsummer Nights
Dream; based on Shakespeare play of same name
10. Berlioz, Symphonie fantastique
11. folk song or dance basis; works on folklore or life of
lower classes; works about national heroes, historic
events, or scenes from their country; political themes
12.
13.
14.
15.
16.
17.
18.
19.
c
b
e
a
c
a
d
b
14.
movements
Classical
Haydn; Mozart; Beethoven
four
first; sonata-allegro
three-part form; theme and variations
c
a
b
larger proportions; number of movements and tempo
schemes may vary
orchestra and soloist alternate in playing themes
Felix Mendelssohn, Chopin, Liszt, Robert
Schumann, Clara Schumann, Brahms, Tchaikovsky
public concerts on rise, became big business;
improved instruments and more educational
opportunities for musicians
form/structure; key centers; thematic development
9.
10.
11.
*12.
*13.
four
FA-flatF = Frei aber froh (free but happy)
four
it is not a scherzo (nor a dance); it is a melancholy
waltz
[opening] arched melody, like an orchestral sigh;
[middle] smaller range; conjunct; chromatic
new orchestration (instruments); French horns and
oboes
Beethoven
form (four-movement structure and internal
movement form); emotional expression,
chromaticism, personal motto
dramatic, theatrical, passionate
crescendo, strong percussion
repetition (ostinato, repeated harmonic progression)
Dvork was working/teaching in the United States
when he wrote it
use of pentatonic melodies; inspired by his travels in
America; claimed himself it was American; loose
poetic basis on American epic poem
144 | Chapter 11
*11. more dramatic, emotional
*12. overall form of concerto; use of (modified) firstmovement concerto form; balanced symmetrical
phrases; use of orchestra
*13. sentimental; movements played without pause
(making it an extended work); cyclical form; minor
key; variations in form; highly virtuosic
9.
10.
*11.
*12.
*13.
*14.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
19.
20.
true
false
false
true
true
a. Swan Lake
b. The Sleeping Beauty
c. The Nutcracker
E. T. A. Hoffmann; Alexandre Dumas (pre)
teacher at Conservatory of Moscow
guilt ridden; unaccepting
patroness; supported his music; never met him
Americans loved it; he was more famous in New
York than in Russia
symphony, opera, concerto (piano and violin),
overture, chamber music, keyboard music, choral
music, song
Christmas eve in a family home
children Clara and Fritz; godfather;
Nutcracker/Prince; Mouse King; Sugar Plum Fairy
Act II takes place in land of sweets
(Confiturembourg) ruled by Sugar Plum Fairy;
dances reveal all attractions of magic realm
new meter, tempo, and instrumentation
*[March]: lively duple meter with brass; majestic
[Sugar Plum Fairy]: light (pizzicato), with bell-like
celesta; ethereal
[Trepak]: very energetic; with tambourine
harp, oboe (woodwinds)
dreamy, lilting
c
a
c
b
retain freshness of first impressions; show continual
change in appearance; focus on light and color;
simple subjects (nature, everyday scenes)
6. alienation from established institutions with a focus
on dynamism of twentieth century; arose around
1909
7. rejection of high art; produced absurd works with
simplicity of a childs view; founded 1918
146 | Chapter 11
8. wrote simple, everyday music; influenced the
group Les Six
9. Surrealism; artists Salvador Dali and Joan Mir
10. was a Germanic movement against Impressionism
and involved delving into the soul
11. artists Wassily Kandinsky, Oskar Kokoschka; writer
Franz Kafka; composers Arnold Schoenberg, Anton
Webern, and Alban Berg
12. wide melodic leaps, extreme ranges for instruments,
hyperexpressive harmonies, pressing the diatonic
tonal system
13. return to earlier eras and objectivity; preferred
absolute over programmatic music genres; focus on
craftsmanship and balance; invoked Classical ideals
14. The simplicity and abstraction of non-Western arts
was an attraction; primitivism was manifested in
powerful, driving rhythms.
*14. b
*15. c
*16. Mother Goose Suite (China), The Child and the
Enchantments and violin sonata (jazz and blues),
Sheherazade (Asia), Songs of Madagascar (Africa),
Tzigane (Gypsy)
d
e
b
c
a
f
true
false
true
false
true
true
false
false
true
true
He abandoned tonality, first using atonality, then
applying a new organization principle to music:
serialism, in which a twelve-tone row is established
that controls all the pitch material in a work.
d
b
f
a
e
b
148 | Chapter 11
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
c
a
c
f
e
combined objectivity with Neoclassicism and new
harmonic idiom
miltary bands (British bands tradition)
John Philip Sousa; Stars and Stripes Forever, The
Washington Post, Semper Fidelis
Charles Ives
a. [woodwinds] flutes, piccolos, clarinets,
saxophones, bassoons, other sizes of clarinet
b. [brass] trumpets, French horns, trombones,
tuba/sousaphone
c. [percussion] cymbals, bass drum, snare drum
traditions of marches in parades and for sporting
events
150 | Chapter 11
10. Black Eyed Peas member will.i.am
11. Public Enemys Dont Believe the Hype (against
discrimination, poverty, corruption, government
policies); Michael Jacksons We Are the World
(against famine in Africa)
5. New Orleans
6. hand clapping, storytelling, call and response,
syncopation, various instruments
7. musical storytellers; preserved and transmitted
history, stories, poetry of African peoples; glorified
deities
8. dancing to accompaniment of drums, gourds, mouth
harps, and banjos; strongly accented, with
syncopations and polyrhythmic elaborations; use of
rhythmic interjections, vocal glides and percussive
sounds, all derived from African musics; musical
scales using blue notes
9. in Mississippi Delta, as a raspy-voiced singer
accompanied by steel-string guitar; Charlie Patton
and B. B. King
10. covers of famous blues; expressive singing style;
influence on Jimi Hendrix, Janis Joplin, among
others
11. [Swing Low, Sweet Chariot]: slow and syncopated,
free and improvisational; call-and-response style;
emotional; theme of preparation for death
12. [Pine Apple Rag]: highly syncopated melody over
steady oom-pah bass; short sections with repeats;
disjunct melody
13. [When the Saints Go Marching In]: instruments
treated equally (multiple improvisation); trombone
(and tuba) and percussion; regular tempo; voice and
instruments exchange ideas
5.
6.
7.
8.
152 | Chapter 11
7. rival gangs in New York; Maria and Tony fall in love,
but Tony belongs to a different gang; Tony killed in
fight; Shakespeares Romeo and Juliet
8. syncopated dance rhythms, instruments (bongos,
cowbells); syncopation, orchestration; jazzy riffs
9. A-A'-B-A" (32-bar song form)
10. different characters reflect on the situation with
different emotions; Tony and Maria sing love song;
others ready for fight; grand finale of section
11. dynamic music; gangs and gang warfare still
prevalent
12. both; some art music works, some popular, many in
between (film and musical theater)
13. conductor, teacher, pianist, television personality
154 | Chapter 11
7. They both push their technique beyond what had
been possible, redefining what is possible.
3.
4.
*5.
6.
*7.
*8.
*9.
*10.
*11.
*13.
*14.
*15.
*16.
10.
11.
b
a
Samuel Barber, Adagio for Strings
more immediate appeal; more emotional
b
a
Terry Riley, Steve Reich, Philip Glass, John
Adams
hypnotic, mesmerizing, soothing, or trancelike
meditative music; inspired by religious belief;
nonpulsed music with chains of suspensions; Henryk
Grecki, Arvo Prt, John Taverner
funeral service for Princess Diana at Westminster
Abbey; Taverners Song for Athene
Nixon in China: historic visit of President Nixon to
China in 1972
The Death of Klinghoffer: hijacking of the cruise
ship Achille Lauro by Palestinian terrorists and
killing of Jewish-American passenger Leon
Klinghoffer; El Nio, a nativity work modeled on
Handels Messiah
11.
156 | Chapter 11
12. modern (angular lines, asymmetrical phrasing,
dissonant; syncopated); Broadway-musical style
singing (breathy, speechlike); quirky
13. deamy, mysterious, frenetic, dramatic
14. progresses from innocence (Clothes Line), to
awareness of the world (Blowin in the Wind), to
political fury (Masters of War) to a premonition of
the apocalypse (All Along the Watchtower).