Music Appreciation April 23, 2020
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University of Florida Thesis Or Dissertation Formatting
IRISH MUSIC AND HOME-RULE POLITICS, 1800-1922 By AARON C. KEEBAUGH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Aaron C. Keebaugh 2 ―I received a letter from the American Quarter Horse Association saying that I was the only member on their list who actually doesn‘t own a horse.‖—Jim Logg to Ernest the Sincere from Love Never Dies in Punxsutawney To James E. Schoenfelder 3 ACKNOWLEDGMENTS A project such as this one could easily go on forever. That said, I wish to thank many people for their assistance and support during the four years it took to complete this dissertation. First, I thank the members of my committee—Dr. Larry Crook, Dr. Paul Richards, Dr. Joyce Davis, and Dr. Jessica Harland-Jacobs—for their comments and pointers on the written draft of this work. I especially thank my committee chair, Dr. David Z. Kushner, for his guidance and friendship during my graduate studies at the University of Florida the past decade. I have learned much from the fine example he embodies as a scholar and teacher for his students in the musicology program. I also thank the University of Florida Center for European Studies and Office of Research, both of which provided funding for my travel to London to conduct research at the British Library. I owe gratitude to the staff at the Library of Congress in Washington, D.C. for their assistance in locating some of the materials in the Victor Herbert Collection. -
Music Studies (MUS) 1
Music Studies (MUS) 1 MUS 135 Musicology Research 3 MUSIC STUDIES (MUS) Introduction to the basic tools of musicological inquiry, including music vocabulary, reading in the discipline, basic library research, and MUS 100 Fundamentals of Western European Music Theory 2 expository writing; cultural awareness; attentive listening to Western and Fundamentals of the notation and underlying concepts of Western global music. European art music and related traditions, including staves, clefs & MAC: MAC CritThink Hum and Fine Art pitches, rhythm & meter, major & minor scales, key signatures, intervals, Notes: Open to all University students. and triads. MUS 201 Analysis of Western European Music and Related Traditions III MUS 101 Analysis of Western European Music and Related Traditions I 3 3 Elements of Western European art music and related traditions, including Advanced study of Western European art music and related traditions, rhythm & meter, species counterpoint, figured bass, triads, and seventh including modulation, modal mixture, Neapolitan, and augmented-sixth chords; introduction to part writing, diatonic harmonic progression, chords; introduction to small forms, including binary, ternary, variations, phrases, and cadences. Intended to be taken with MUS 105. and vocal forms. Intended to be taken with MUS 205. Prerequisites: Passing score on the music fundamentals exam or Prerequisites: MUS 102 and MUS 106 or permission of instructor. successful completion of MUS 100. Music major or music minor. MUS 202 Analysis of Western European Music -
Roberts on Carter Final
Karl Amadeus Hartmann: The Politics of Musical Inner Emigration Larson Powell Musik-Konzepte, Neue Folge no. 147 (March 2010), edited by Ulrich Tadday. Munich: edition text und kritik. 148 pp., with photographs and music examples. Die politische Theorie in der neuen Musik: Karl Amadeus Hartmann und Hannah Arendt, by Raphael Woebs. Munich: Wilhelm Fink, 2010. 162 pp. Verkettungen und Querstände. Weberns Schüler Karl Amadeus Hartmann und Ludwig Zenk und die politischen Implikationen ihres kompositorischen Handelns vor und nach 1945, by Marie-Therese Hommes. Basel: Edition Argus, 2010. 444 pp., with music examples. The waning of old-modernist models of history, Adorno's chief among them, has made possible the reevaluation of composers once overshadowed by the modernist mainstream. In the case of Karl Amadeus Hartmann, this reconsideration has taken several forms: looking at his symphonies within the larger history of the genre, re-appraising his role as a public postwar musical figure responsible for Munich's Musica Viva concerts,1 and also examining the nature of his political engagement. Hartmann can thus fruitfully be compared to composers such as Eisler and Dessau, whose work served more overt political aims than his own.2 Several recent publications address directly the question of Hartmann's political stance and its musical realization. Vindicating Hartmann as a political composer is no easy matter: not only must one face the far from unambiguous role he played from 1933-1945,3 but one must also rehabilitate the very possibility of political music itself, against its discreditation within the modernist mainstream. Principled appeals to ethics or to Hannah Arendt's political theories must thus be grounded in close musical analysis to be more than a mere rhetorical gesture. -
Comprehensive Course Syllabus Music Appreciation
Comprehensive Course Syllabus Music Appreciation Course Description: In Music Appreciation, students will recognize the development of music from a historical and cultural perspective. Students will study the fundamentals of music and discover basic music terminology, instrument families, tempo, rhythm, form and meter. These elements will then be used throughout the course as a foundation for discussion of music throughout history. Eras covered will include Medieval, Renaissance, Baroque, Classical, Romantic and a variety of 20th century genres. Students will gain an understanding of the context in which music was created by recognizing and aurally identifying style characteristics, genres, and representative masterworks from various periods. INSTRUCTOR: Lara Brink OFFICE: D105 OFFICE HOURS: C: 10:00am-11:00am I: 2:00pm-3:00pm Also available by Appointment CONTACT INFORMATION: Office Phone: 630-907-5915 E-mail: [email protected] MEETING TIMES: A-B, D (3) MEETING ROOM: D110 TEXTS/MATERIALS: • Katherine Charlton, Experience Music, 5th Edition (textbook) • Laptop/Tablet • Notebook • Pencil • Headphones (when needed) Essential Content: Through listening and analysis along with researching the historical and cultural contexts of music from different eras in Music Appreciation, students will develop their aesthetic awareness and skills. Through interpreting the reason for creation of various masterworks and analyzing various interpretations (different versions and performances of works) they will develop musical proficiency. The essential content in this course will include aspects of each of the five overarching Fine Arts Learning Standards: Creation and Creativity 1. Aesthetics Through Critical Listening and Analysis, students will come to appreciate the different building blocks that create music. They will recognize trends throughout the history of music. -
THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13. -
III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo. -
Unit 7 Romantic Era Notes.Pdf
The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. -
The Elgar Sketch-Books
THE ELGAR SKETCH-BOOKS PAMELA WILLETTS A MAJOR gift from Mrs H. S. Wohlfeld of sketch-books and other manuscripts of Sir Edward Elgar was received by the British Library in 1984. The sketch-books consist of five early books dating from 1878 to 1882, a small book from the late 1880s, a series of eight volumes made to Elgar's instructions in 1901, and two later books commenced in Italy in 1909.^ The collection is now numbered Add. MSS. 63146-63166 (see Appendix). The five early sketch-books are oblong books in brown paper covers. They were apparently home-made from double sheets of music-paper, probably obtained from the stock of the Elgar shop at 10 High Street, Worcester. The paper was sewn together by whatever means was at hand; volume III is held together by a gut violin string. The covers were made by the expedient of sticking brown paper of varying shades and textures to the first and last leaves of music-paper and over the spine. Book V is of slightly smaller oblong format and the sides of the music sheets in this volume have been inexpertly trimmed. The volumes bear Elgar's numbering T to 'V on the covers, his signature, and a date, perhaps that ofthe first entry in the volumes. The respective dates are: 21 May 1878(1), 13 August 1878 (II), I October 1878 (III), 7 April 1879 (IV), and i September 1881 (V). Elgar was not quite twenty-one when the first of these books was dated. Earlier music manuscripts from his hand have survived but the particular interest of these early sketch- books is in their intimate connection with the round of Elgar's musical activities, amateur and professional, at a formative stage in his career. -
Entr'acte - Wikipedia, the Free Encyclopedia
Entr'acte - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Entr'acte Entr'acte From Wikipedia, the free encyclopedia For the film by René Clair, see Entr'acte (film). Entr'acte is French for "between the acts". It can have the meaning of a pause between two parts of a stage production, synonymous to intermission, but is more often used to indicate that part of a theatre production that is performed between acts as an intermezzo or interlude. Originally entr'actes resulted from stage curtains being closed for set or costume changes: to kill time, in order not to halt the action, to make a transition from the mood of one act to that of the next, or to prevent the public from getting noisy. During set changes, the action could be continued in entr'actes in front of the closed curtain (only players, no other scenery than the curtain, and a minimum of props). In this sense of taking the action from one part of a large-scale drama to the next by fitting in a part of the story that completes the missing links, an entr'acte is similar to an interquel (which is a concept that was formulated much later on however, and indicates an "interlude" of the same kind of resources and magnitude as the parts it joins). In traditional theatre also incidental music could be used to bridge the 'closed curtain' periods: as well in Ballet, Opera and Drama there is a rich tradition of such musical interludes. The German word for this kind of interludes (Verwandlungsmusik) still refers to its original function during changing of the scene. -
Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation. -
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season April 23, 2017 MANFRED MARIA HONECK, CONDUCTOR TILL FELLNER, PIANO FRANZ SCHUBERT Selections from the Incidental Music to Rosamunde, D. 644 I. Overture II. Ballet Music No. 2 LUDWIG VAN BEETHOVEN Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 I. Allegro con brio II. Largo III. Rondo: Allegro Mr. Fellner Intermission WOLFGANG AMADEUS Symphony No. 41 in C major, K. 551, “Jupiter” MOZART I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro PROGRAM NOTES BY DR. RICHARD E. RODDA FRANZ SCHUBERT Overture and Ballet Music No. 2 from the Incidental Music to Rosamunde, D. 644 (1820 and 1823) Franz Schubert was born in Vienna on January 31, 1797, and died there on November 19, 1828. He composed the music for Rosamunde during the years 1820 and 1823. The ballet was premiered in Vienna on December 20, 1823 at the Theater-an-der-Wein, with the composer conducting. The Incidental Music to Rosamunde was first performed by the Pittsburgh Symphony on November 9, 1906, conducted by Emil Paur at Carnegie Music Hall. Most recently, Lorin Maazel conducted the Overture to Rosamunde on March 14, 1986. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani and strings. Performance tine: approximately 17 minutes Schubert wrote more for the stage than is commonly realized. His output contains over a dozen works for the theater, including eight complete operas and operettas. Every one flopped. Still, he doggedly followed each new theatrical opportunity that came his way. -
Music Appreciation Mus-100 Unit 5 Study Guide
MUSIC APPRECIATION MUS-100 UNIT 5 STUDY GUIDE 1. What was the span of time in which the Romantic era occurred? 2. Describe the melodies of the Romantic period. 3. What term was used by Romantic composers to indicate a flexible tempo that was to be determined by the performer? 4. Describe the harmonies of the Romantic era. 5. What was the most important ‘instrument’ of the Romantic period? 6. How did the Romantic orchestra compare in size to that of the Classic orchestra? 7. What is a general term for any piece of music associated with a story or extra-musical idea? 8. What controlled most of the elements in Romantic music? 9. How were dynamics employed in Romantic music? 10. What is the musical term for a short Romantic piece, lasting only a few minutes and is usually written for piano or voice? 11. Describe the use of tempo in Romantic music. 12. What is the musical term for ‘robbed time?' 13. Describe the use of form in Romantic music. 14. Instead of rigid forms, what type of music did most composers write? 15. What is the musical term for writing that invoved the use of various instruments to produce an effective and total orchestral sound? 16. How was the form of Romantic music determined? 17. What piano genre is a Polish national dance? 18. What musical era used chromaticism the most? 19. Which of the other ‘arts’ had the greatest influence on the early Romantic composers? 20. Which country produced Romantic nationalistic music? 21. Who were three early Romantic composers of piano miniatures? 22.