music APPRECIATION - week 14
(EBOOK: Chapters 44-45)
lecturenotes_i.pdf | |
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20th_century_modernism_studyguide.pdf | |
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listening_concepts.pdf | |
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webern_op11.pdf | |
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MUSICAL EXAMPLES | ||
Johannes Brahms (1833-1897) Symphony No. 3 in F major, MMT. 3 (1883). Considered a "classicist", he was a master of "absolute" music, and for many provided a consistent direction to follow in the future. |
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Richard Wagner (1813 - 1883), Tristan Und Isolde, Prelude (1865) Extremely chromatic music which in many ways obscured the tonal center of the major-minor scale system, planting the seed of ATONALITY -- which became a driving force in much of the music created later in the 20th Century. |
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Richard Strauss (1864 - 1949) A symphonic tone poem for large orchestra, tonal but highly chromatic, program music inspired by the writings of Nietzsche. This portion of the piece depicts the dawn of man; used in Krubrick's 2001 Space Odyssey movie. |
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Gustav Mahler (1860 - 1911), Symphony No. 3, MMT. 1 (1896) An example of POST Romantic music, representing a continuation/extension of the style of works from the late Romantic period. This piece is perhaps the LONGEST work in orchestral symphonic literature (about 100 minutes total). It is in six movements, the first of which is 30 minutes long all by itself. It is an example of programatic music, and does not follow the classical style of sonata-allegro form, for example. Note the MASSIVE orchestra (and later in other movements a large chorus ala Beethoven's Choral Symphony No. 9). |
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Giacomo Puccini (1858 - 1924), Un Bel Di, from Madame Butterfly, Act II (1904) A beautiful aria and example of the Romantic interest in "exotic" music, themes, and storylines (opera verismo or operatic realism). Note the pentatonic scales, sparse orchestral accompaniment (not unlike a Japanese "gagaku" orchestra). In this scene, after Madame Butterfly's maid expresses doubts that Madame's husband will ever return from an ocean voyage, Madame Butterfly rejects this negative notion, expressing hope as she describes her vision of his return. |
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Claude Debussy (1862 - 1918) Prelude to "The Afternoon of a Faun"(1894). A symphonic tone poem representative of the Impressionistic style; colorful and chromatic parallel harmonies with understated dissonances and references to exotic scales other than the major-minor scale system. Note the prominent use of the harp in the orchestra, etc. |
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Debussy, La Mer (The Sea), MMT. 3 (Dialogue from the wind and the sea), 1903 - 1905. Three symphonic sketches of the sea (tone poems); an excellent example of Impressionistic ideals. |
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Maurice Ravel (1885 - 1937), Rhapsodie Espagnole (1907); A Post-Impressionist; considered to be more formal than his counterpart Claude Debussy, Ravel was greatly influenced by his Spanish heritage. |
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Maurice Ravel (1885 - 1937), Bolero (1928); Ravel's most popular work, originally to be part of a Ballet but later kept simply as a single movement composition. The piece demonstrates Ravel's interest in orchestration techniques and exoticism as it is a simple melody based on a Spanish bolero rhythm. |
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Arnold Schoenberg (1874 - 1951), Pierrot lunaire (1912); A an example of atonality, sprechstimme (spoken song), and extreme orchestration common in the Expressionists movement. He founded the second Viennese School of composers whose compositional approach was summarized in the concept "Emancipation of the Dissonance". |
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Anton Webern (1883 - 1945), Three Pieces for Piano and Cello, 1914 Extreme atonality, short pieces, without any easily recognizable formal structure, but actually highly organized upon closer analysis; German Expressionism. |
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Webern, Piano Variations, 1st MMT. (1935 - 1936) An example of serialism, pieces based on a mathematical series of notes of the entire chromatic scale and various permutations of that series. |
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Alban Berg (1885 - 1935), Wozzeck (Act 1, Scene 1) 1922 For a detailed explanation, click here.
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Tchaikowsky, Dance of the Sugar Plum Fairy and Coda (1892) This late Romantic ballet is placed here only to serve as a reminder of the traditional ballet style normally seen in this performance medium; compare Tchaikowsky's MILD approach to the rather shocking compositional and choreographic approach of Igor Stravinsky's Rite of Spring (shown in the example below), composed only some twenty years la |
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Igor Stravinsky 1882 - 1971), Rite of Spring (1913) This ballet, in stark contrast to the more graceful movements seen in the traditional ballets of Tchaikowsky, actually caused a full-scale riot at its premiere event. Extreme atonality, rhythmic complexity, dissonances, wide orchestral ranges and combinations of instruments, and VERY difficult to play!!! |