Transcript Music 105 Final Review

Music 105 Final Review
Fundamentals of Music
• Tempos: from slowest to fastest:
– Largo, Adagio, Andante, Moderato, Allegro, Presto
– Be able to order three tempos from slowest to fastest.
Major and minor: distinguish between the two
--major is often regarded as “happier”
Ex. Mozart, Piano Concerto No. 23, I
Ex. Beethoven, Symphony No. 5 in C Minor, IV
--minor is often regarded as “sad”
Ex. Mozart, Symphony No. 40 in G Minor, I
Ex. Beethoven, Symphony No. 5 in C Minor, I
Music Textures
• Monophony (monody): a single line of melody;
ex. In Paradisum, anonymous composer, 9th c.
• Polyphony: two or more independent melodic
lines; ex. Fugue in C Major, Well-Tempered
Clavier, Book I, J. S. Bach; Josquin Despres, Kyrie,
Pange Lingua Mass (imitative polyphony)
• Homophony: harmony; one primary melodic line
with chords underneath. Generally all voices have
the same rhythm. Ex. Beethoven, Symphony No. 5
in C Minor, IV, beginning 20 seconds or so.
Musical Instrument Families
• Strings: violin, viola, cello, contrabass (double
bass)
• Woodwinds: flute, clarinet, oboe, bassoon
• Brass: trumpet, French horn, trombone, tuba
• Percussion: snare drum, timpani (kettle
drums), bass drum
Music Eras
• Middle Ages: 476-1450
– Hildegard of Bingen, Columba aspexit
– Anonymous, In Paradisum
– Guillaume de Machaut, “Dame de qui toute ma
joie vient”
• Renaissance: 1450-1600
– Guillaume Dufay, Ave maris stella, homophony
– Josquin Despres, Kyrie from Pange Lingua Mass;
polyphonic
Baroque Era
• Baroque 1600-1750
• Tonality, functional harmony, basso continuo
• Dissonances resolve.
– Monteverdi, The Coronation of Poppea (genre:
opera seria)
– Handel, Julius Caesar, “La Giutizia” aria (genre:
opera seria
– J. S. Bach, Well-Tempered Clavier, Book 1, Prelude
and Fugue in C Major. (genre: fugue for keyboard)
Classical Era
• Classical 1750-1820
• Tonality, functional harmony, sonata form—key relations are
important. Tonic key, dominant key.
– Mozart, Symphony No. 40 in G Minor, I
– Mozart, Don Giovanni, “La ci darem la mano”
– Early Beethoven, Symphony No. 5 in C Minor, I
Romantic Era
• Romantic 1820-1900
• Characteristics: rubato; chromaticism; program music;
both miniatures and grandiose compositions.
– R. Schumann, “Eusebius” from piano cycle Carnaval—
piano character piece; program music.
– R. Schumann, Lied “In the Lovely Month of May” from
song cycle Dichterliebe. Doesn’t resolve. Harmony is
less functional; expression of emotion more
important.
– F. Chopin, Nocturne in F Sharp—piano character piece;
program music.
Modern Era
• Modern Era 1900-present
– Impressionism, Claude Debussy, Clouds (Nuages):
• dissolution of tonality; whole tone and pentatonic
scales. Still tonal-sounding, but what about resolution?
Functional harmony—no.
• Resolutions are avoided.
Modernism: Igor Stravinsky, Rite of Spring, “Dance of the
Adolescents”. Functional harmony: no. Tone cluster
chords—very dissonant, not resolving. Octatonic scale.
Expressionism: Arnold Schoenberg, Pierrot Lunaire.
Atonal, “the emancipation of dissonance.” Sprechstimme.
Modern Era, continued
• Experimentalism: John Cage. Sonatas and
Interludes for Prepared Piano (1946-1948). Piano
Sonata No. 5.
– Concrete music –the use of recorded ambient
(environmental) sounds (Varese’s Poeme electronique)
• Minimalism: Steve Reich, Music for 18 Musicians;
tonal, major mode, rhythmic pulse throughout
piece.
• Post-Minimalism: David Lang, Cheating, Lying,
Stealing; tonal, melodic development , more
complex form than Reich’s work.