Year 7 Music - Historical Periods – Overview Chart
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Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band • Name –Surn
th The 5 International Creative Disseminating 2018 Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band Name –Surname Yos Vaneesorn Academic Status Full-time lecturer Faculty of Music University: Silpakorn University Country: Thailand E-mail address [email protected] Tel. 086-4125248 Thesis Advisors - Abstract Siam Symphonic Band is one of the creative research projects in music funded by Thailand Research Fund and led by Natchar Pancharoen who conducted the project concentrating on Thai classical music repertoire of Rattanakosin in 2017. The Siam Symphonic Band project aims to create arrangements of Thai classical music for symphonic bands in order to promote an exquisitely elegant Thai tunes and to show how composers can transcribe Thai classical music into a standard symphonic band repertoire. The process of this project provides 3 types of musical arranging methods as of the following: 1) a traditional type, which preserves several important elements of Thai classical music such as formal structures and textures, 2) a popular type, which has been favorable among Thai arrangers and mostly consisting of homophonic texture added with some modern harmonic languages, and 3) a new original type, which applies compositional techniques of modern music and a concept of transferring the original sound of Thai music into a sonority of the symphonic band. 22 th The 5 International Creative Disseminating 2018 The album called ‘Siam Symphonic Band’ consists of 10 new music arranging pieces for symphonic bands and was published as cds with music scores and elucidation. The pieces were recorded by Feroci Philharmonic Winds and conducted by Vanich Potavanich. -
Multiple Choice
Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance. -
On Teaching the History of Nineteenth-Century Music
On Teaching the History of Nineteenth-Century Music Walter Frisch This essay is adapted from the author’s “Reflections on Teaching Nineteenth- Century Music,” in The Norton Guide to Teaching Music History, ed. C. Matthew Balensuela (New York: W. W Norton, 2019). The late author Ursula K. Le Guin once told an interviewer, “Don’t shove me into your pigeonhole, where I don’t fit, because I’m all over. My tentacles are coming out of the pigeonhole in all directions” (Wray 2018). If it could speak, nineteenth-century music might say the same ornery thing. We should listen—and resist forcing its composers, institutions, or works into rigid categories. At the same time, we have a responsibility to bring some order to what might seem an unmanageable segment of music history. For many instructors and students, all bets are off when it comes to the nineteenth century. There is no longer a clear consistency of musical “style.” Traditional generic boundaries get blurred, or sometimes erased. Berlioz calls his Roméo et Juliette a “dramatic symphony”; Chopin writes a Polonaise-Fantaisie. Smaller forms that had been marginal in earlier periods are elevated to unprecedented levels of sophistication by Schubert (lieder), Schumann (character pieces), and Liszt (etudes). Heightened national identity in many regions of the European continent resulted in musical characteristics which become more identifiable than any pan- geographic style in works by composers like Musorgsky or Smetana. At the college level, music of the nineteenth century is taught as part of music history surveys, music appreciation courses, or (more rarely these days) as a stand-alone course. -
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. -
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways. -
Romantic Music 1810 – 1900
Romantic Music 1810 – 1900 Key Characteristics • A thick texture • Wide range and contrast in dynamics and pitch • Long expressive melodies • Rich harmonies • A large orchestra – a variety of Percussion is now common • Use of recurring themes – Leitmotiv • Nationalism Romantic Orchestra • Orchestra size became the size it is today. • Strings – many more players (plus the Harp) • Brass – introduction of trombone and tuba • Woodwind – more in number (piccolo,cor anglais, bass clarinet and contrabassoon) • Percussion – 3 or more timpani, plus lots of other percussion instruments Symphony • A work for full orchestra • The Classical Symphony usually followed the pattern of 4 movements. • However, in the Romantic era some composers extended this to include 5 movements, • Some experimented with the addition of voices. • In both of the above examples the use of expression through dynamics, modulation and size of orchestra was significant. Concerto • A work for soloist and orchestra • In the Romantic era the Orchestra took a more prominent role in the Solo Concerto. • In Classical music it had played the accompanying part – in Romantic times it became equal with the soloist. • Romantic Orchestra became equal with the soloist Programme Music • Music which tells a story or describes a scene. • This was music composed for the purpose of telling a story or describing a mood or scene from a picture or piece of poetry. • Instruments and harmonies were assigned to certain emotions or characters within the story/picture. • Beethoven's Pastoral Symphony • Composed in 1808 • Beethoven said that the symphony was “more the expression of feeling than painting” • Berlioz composed his Symphonie Fantastique where one melody is used to symbolise a person throughout each movement. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
Baroque & Classical Music
Baroque & Classical Music Structure • Balanced phrasing (phrases are equal lengths, usually two or 4 bars long). • Question and answer (when a 2 or 4 bar phrase is answered by a phrase of an equal length). • Binary form (AB). Each section is repeated (look out for repeat signs). A change in key (home note) provides a contrast between the two sections. • Ternary form (ABA) • Rondo form (ABACA). • Theme and variation. A theme is played and then repeated with variations. Variations can be created in many ways e.g. by adding ornaments, changing the accompaniment, changing the instrumentation, inverting the melody. This is called melodic development. Other features • Ornamentation (twiddly bits / melodic decoration). For example: trill, turn and grace note. • In a trill, 2 next door notes alternate really quickly e.g. CDCDCDCDCDCDCD • A turn is made up of 4 next door notes shaped like this: or • Grace note/s are crushed very quickly onto the main melody note. They appear on the score as tiny notes e.g. • Sequences are created when a motive (a short bit of melody) is repeated on a different note. If the motive is repeated on a higher set of notes this is called an ascending sequence. If the motive is repeated on a lower set of notes this is called a descending sequence. • Imitation (especially in Baroque music) is created when a motive is copied, often by a different instrument or voice. • Melodic inversion is often used to create variation (e.g. CDE becomes EDC) • Ostinato (a repeating pattern, often occurs in an accompanying part) Tonality OR scales and harmonies • Major and minor keys, established in the Baroque period, continued to be used in the Classical period. -
How to Effectively Listen and Enjoy a Classical Music Concert
HOW TO EFFECTIVELY LISTEN AND ENJOY A CLASSICAL MUSIC CONCERT 1. INTRODUCTION Hearing live music is one of the most pleasurable experiences available to human beings. The music sounds great, it feels great, and you get to watch the musicians as they create it. No matter what kind of music you love, try listening to it live. This guide focuses on classical music, a tradition that originated before recordings, radio, and the Internet, back when all music was live music. In those days live human beings performed for other live human beings, with everybody together in the same room. When heard in this way, classical music can have a special excitement. Hearing classical music in a concert can leave you feeling refreshed and energized. It can be fun. It can be romantic. It can be spiritual. It can also scare you to death. Classical music concerts can seem like snobby affairs full of foreign terminology and peculiar behavior. It can be hard to understand what’s going on. It can be hard to know how to act. Not to worry. Concerts are no weirder than any other pastime, and the rules of behavior are much simpler and easier to understand than, say, the stock market, football, or system software upgrades. If you haven’t been to a live concert before, or if you’ve been baffled by concerts, this guide will explain the rigmarole so you can relax and enjoy the music. 2. THE LISTENER'S JOB DESCRIPTION Classical music concerts can seem intimidating. It seems like you have to know a lot. -
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. -
Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you. -
What Classical Music Is (Not the Final Text, but a Riff on What
Rebirth: The Future of Classical Music Greg Sandow Chapter 4 – What Classical Music Is (not the final text, but a riff on what this chapter will say) In this chapter, I’ll try to define classical music. But why? Don’t we know what it is? Yes and no. We’re not going to confuse classical music with other kinds of music, with rock, let’s say, or jazz. But can we say how we make these distinctions? You’d think we could. And yet when we look at definitions of classical music—either formal ones, in dictionaries, or informal ones, that we’d deduce by looking around at the classical music world—we run into trouble. As we’ll see, these definitions imply that classical music is mostly old music (and, beyond that, old music only of a certain kind). And they’re full of unstated assumptions about classical music’s value. These assumptions, working in the background of our thoughts, make it hard to understand what classical music really is. We have to fight off ideas about how much better it might be than other kinds of music, ideas which—to people not involved with classical music, the very people we need to recruit for our future audience—can make classical music seem intimidating, pompous, unconvincing. And so here’s a paradox. When we expose these assumptions, when we develop a factual, value-free definition of classical music, only then can we find classical music’s real value, and convincingly set out reasons why it should survive. [2] Let’s start with common-sense definition of classical music, the one we all use, without much thought, when we say we know what classical music is when we hear it.