137
UNIT V - A SURVEY OF EUROPEAN MUSICAL STYLES:
ROMANTICISM AND IMPRESSIONISM
A. AUDIO-VISUAL MATERIALS: RECORDINGS AND FILMSTRIPS USED IN UNIT V
B. LESSONS: 1. Romanticism in Music and Art; Part II (Filmstrip)
2. The Romantic Style: Berlioz - Symphonie Fantastique
3. Romantic Piano Virtuoso: Chopin and Liszt
4. Symphonic Poem: Tschaikowsky - Romeo and Juliet
5. Nationalism: Smetana and Tschaikovsky
6. Exoticism: Rimsky-Korsakov - Scheherazade
7. Stravinsky - The Rite of Spring
8. Impressionism in Art and Music, Part I (Filmstr ip)
9. Im?ressionism in Art and Music, Part II (Filmstr ip)
10. Flamenco and Its Influence on French Composers
11. Review of Romanticism
12. Review of Impressionism
13. Exam
Doc. 0173b - Page 1 138
RECORDINGS" AND FILMSTRIPS USED IN UNIT V
EAV filmstrip Lesson 1 Romanticism in Music and Art
Lesson 2 Berlioz - Symphonie Fantastique
Liszt - Hungarian Rhapsody f8 Lesson 3 Movie Liszt and His Music Chopin - Mazurka B Flat Major Etude in E Major prelude in E Minoc Nor ton ScOt:es Enjoyment of Music
Tschaikowsky - Romeo and Juliet Lesson 4 Columbia 34330 Hubert Laws - Romeo and Juliet
LeSson 5 smetana - The Moldau Tschaikowsky - 1812 Overture
. Lesson 6 Rimsky-Korsakov - Scheherezade ~
Lesson 7 Stravinsky - Rite of spring EAV filmstr ips Impressionism in Art and Music - Part I, II Lesson 8 & 9
Nonesuch 7s 72002 Lesson 10 The Soul of Flamenco Ravel - Bolero Debussy - Iberia
*~ny recordings of the works cited in unit V are available.
Doc. 0173b - page 2 \ I· I 139 I
UNIT V - LESSON 1
AIM "how did romantic music reflect the individual character of its composers? "
PERFORMANCE OBJECTIVES Students will be able to:
name seven important romantic composers and their individual accomplishments. compare similarities between romantic music and art shown in the filmstrip.
Show Romanticism in Music and Art, Part II (EAV filmstrip) • Marl VAT ION
PROCEDURES:
1. Review the highlights of the filmstrip and write the following on the board for class notes.
Romantic Composers and Their Music
Berlioz - grandiose instrumental and choral effects; symphonie Fantastique, Requiem
Chopin _ piano works such as mazurkas, nocturnes using singing melodies and experimental harmonies influenced by a revival Mendelssohn - composed A Midsummer Night'S Dream; of interest in Shakespeare
I Schumann _ wrote character pieces for the piano, short works describing a l. feeling or a mood such as Scenes f·romChildhood or Fantasy Pieces
paganini - violin virtuoso; seemed possessed by a supernatural, diabolical power
Liszt _ piano virtuoso with dazzling technique and profound expression; influenced modern composers and pianist of the 19th century
Wagner revolutionized operas to become monumental music dramas; composed The Flying Dutchman, Tristan and Isolde, cycle of The Ring of the Nibelunoen based on pagan mythology
DOC. Ol73b - Page 3 140
POINTS FOR FURTHER DISCUSSION \ H9 did romantic artists display similar traits to the composers of the 19th \ ~ W century? Both express a subjective, individual point of view and are deeply emotional. Romantic paintings are matched by the restless, agitated character of romantic music.
Doc. 0173b - Page 4 141
UNIT V - LESSON 2
How did Berlioz express a romantic philosophy in his symphoni~ ---AIM ° Fantastique?
PERFORMANCE OBJECTIVES: students will be able to:
list various characteristics of 19th century romanticism identify the innovative compositional aspects of the symphonie Fantastique such as the use of the id~e fixe, the expanded orchestration, the
descriptive program discuss program music in its relationship to the romantic style
MOTIVATION : AS the class enters and attendance is taken, play the second movement of the symphonie Fantastique and aks the class to discuss what effect the music has upon them. "DOeS the music create a special moOd or atmosphere?
Could this music be used in a movie ° for any special purpose?" Place the following notes on the board, b:iefly discuss each romantic
subject, and relate this material to the previous class discussion: ° Romantic Style (1820-1914) popular subjects -Myths, folklore, legends, folksongs -supernatural aOnd the occult -Beauty of nature (countryside, forests, brooks) -Imagination1 subjective emotional states -War, ~atriotism, heroism, nationalism -Middle Ages (knights, castles, chivalry) -Exoticism - mysteries of the orient -Joys o.f childhood DiscusS the extramusical idea or story behind thiSosymphony regarding a young man, the woman he loves, taking an opium overdose, etc.
n~r 0171h - Paqe 5 142
PROCEDURES
1. Put the following on the chalkboard for class notes and define them as they appear in the lesson: a) absolute music - music which is free from extramusical ideas b) program music - music which is based on extramusical ideas c) id~e fixe - a recurring them (associated with a person) that unifies a work d) Berlioz - Symphonie Pantastique (1830) Berlioz wrote program notes about this symphony, an explanation or descrip- tion of what music truly means e) Romantic Period - l820-1914 use of large orchestras, rich tonal colors, great emotion and the symphonic poem 2. Mention that much baroque and classical music tends to be abstract or "absolute" music, while many romantic pieces tend to be more "programmatic" or.based on extramusical ideas. BeethOVen, who bridges the gap between the classic and romantic styles, wrote a five movement Pastorale Symphony in 1808 with titles similar to ones used by Berlioz such as "Cheerful impression awakened by arrival in the country"i "Scene by the brook"; "Merry Gathering of Country Folk": "'Thunderstorm, Tempest": "Shepherd's song, glad aod grateful feelings after the storm." As- Europe became more urbanized in the wake of the industrial revolution, the countryside became a place of special significance for creative artists. 3. The Industrial Revolution is also apparent in Berlioz' expanded orchestra of 1830 which includes: English horn E flat clarinet
h Piccolo Cornet-· --- Trombones Tubas Percussion Bells They were additions to the· other standard orchestral wind, brass, and string instruments. 4. Introduce the id~e fixe or obsession theme that unifies all the five movements of the Symphonie Fantastique (1830). 5. If time permits, play the "March to the Scaffold," Movement 4 and "Dream of a Witches' Sabbath,'" Movement 5. Have the class write down their impressions of each movement for discussion. Listen for the idee fixe •
.POINTS FOR FURTHER DISCUSSION
How did this type of music influence Hollywood movie composers of the 1930s and 40s7 (Frankenstein and Dracula movie$)
How could the 1960s have been called a Nee-Romantic era? (back to nature, drug experiences, interest in occult and Asian religions, new ethnic awareness of cultural roots)
DoC. Ol73b - Page 6 143
UNIT V - LESSON 3
~ How did Liszt and Chopin revolutionize the 19th century romantic piano
s~l~
PERFORMANCE OBJECTIVES students will be able to: define the following terms' rubato, virtuoSo, mazurka, rhapsody, ~tude describe hoW both composers expressed nationalistic musical styles compare the differences in pianistic approach and temperament between the
two composers
Show the movie' Liszt and His Music. DiscuSS the influence of MarIVATION Hungarian peasant and gypsy music on Liszt'S compositional style.
PROCEDURES 1. write the. following terms on the chalkboard and define them as they appear in the lesson. Have students copy them in their notebOOkS. a) rubato _ elasticity and freedom of tempo b) mazurka. - a polish dance in triple time c) virtuoSO _ a performer with a brilliant technique d) rhapsody _ a composition of a free, fanciful character ej etude _ a composition devoted to a special technical problem 2. Play Hung~rian Rhapsody 48 and draw attention to the various virtuOSO ree devices Liszt employs. His music includes big chords; octaveS, fillig finger work, use of the highest register of the piano, trills, complex arpeggiO patterns that create the sound of two pianists playing at once. Liszt studied with czerny, Beethoven'S pupil. he was the first to give a piano re"ital in a publiC hall and play from memory. He was a matinee idol in his day, but developed piano technique to its highest level of
3. Chopin,complexity.who came from poland, was far more refined and poetiC in his pianis and compositional style. He featured singing melodies, adventurous harmonies,m and a distinctive use of~ rubato - elasticity, and freedom of
tempo which is typical of m~ ~ century piano music.
DOC. Ol73b - Page 7 144
-_.4.. (Play the following examples from Enjoyment of Music (Album ~ Side 2, Bands l, 2 ,3) .] a) a) Mazurka in B Flat Major (Polish dance in triple time) or Revolutionary Etude. Performer: Brailowsky (An etude is a composition b) Etude in E Major or Military polonaise Chopin's etudes combine devoted to a special technical problem. technical difficulty with high artistic quality. ) Performer: Novaes
c) Etude in E Minor ~written as homage to Bach's Preludes} 0 Notice the range of emotional expression in such a brief work. Performer: Brailowsky S. write the following list on the board. Add descriptions
19th century Romantic piano styles Liszt - Hungarian Rhapsody *8 Chopin - Mazurka in B Flat Majer Etude in E Major prelude in E Minor
POINTS FOR FURTHER DISCUSSION
why does the piano remain the most popular solo instrument?
Why do pianists still perform Chopin and Liszt?
Doc. 0173b - Page 8 145
UNIT V -.LESSON 4
AIM How did TschaikOwsky achieve a fusion of drama and music in his Romeo and
Juliet overture?
PERFORMANCE OBJECTIVES: students will be able to:
define the following terms: overture, symphonic poem, accelerando, ritardando, epilogue identify the various themes, characters and situations represented in the
above work name three ballets Tschaikowsky composed compare this composition to the romantic tradition
Review the story of Shakespeare's Romeo and Juliet stressing the WIT IVA TION roles of the Friar, Romeo, and Juliet.
PROCEDURES 1. Introduce Peter I. Tschaikowsky (1840-1893). Mention his three famous ballets: The Nutcracker, Swan Lake, Sleeping Beauty and the Christmas tradition of performance at the New York State Theatre of The Nutcracker. 2. Show his connection to the romantic style; the melodiousness, -the colorful orchestration, the descriptive or programmatic element connected with a literary work, the emotionality of the work and the differing moods described~ the changes in tempO, the relatively free developm~nt of themes in an expanded sonata-allegro form.
3. Terms a) Romeo and Juliet overture by Peter I. Tschaikowsky b) overture - a musical introduction to an opera, oratorio, or musical comedy ora concert, an independent composition in sonata-allegro form c) symphoniC poem - an extended orchestral composition which follows the thread of a story or the ideas of a poem, repeating and interweaving its themes appropriately d) accelerando - increasing the tempo e) ritardando - slowing the tempo f) epilogue - a coda or closing section of a drama 4. Introduce the various themes on the piano: play them out of order; see if the class can recognize them. S. Play the recording of the Romeo and Juliet overture and callout the themes.
DOC. 0173b - Page 9 :r: ttj --J 0'1 0 ~ 0 ~ -< H Z OMH\'U1lI '0 n. f-" >-3 I"\~Ct-';J ~ 0 III (Jl f-'.Q III III III W ro Ul ~. f-'.-< ~ ~ III >-3 "l f-"1Il 0 ro CJl 0 ;:l III ;:l AI M 3 O ;lJ III ' CJl ;J g- P" ~ III CJl • III ro III "l t-'. n. P" :3 t-'. c: <; III III 0 ro a 7\ ro 'tJ .., C 0 ~ 1"\ III n- n- rv- III ~ III III ::r f-'. III gj f-'.;:l n- III III () ;lJ o 0 f-'. X n- III '-< ;l n- 0 () t-' " >\.JC1) ;J ro n- o H an..· .., ::r ~ ;J "(j} 'tJ ro ro ro '0 n- :=3 III 8 o e:-<. ro n- O (j} 'd III 0 :! H\ (j} ~ H\ (j} H III III f-'. n- O t-'. :r: n. ::r z ;:l ~ C III ctl Ul III 0" n- 0 (I) III ro 0 O M .., () :3 '0 \:n- O . III n- O CJl g. 0 n- H\e:-< ~ ~ .... III (1) .... ~ C ~ --J () ,., ...... w '8 P"rt"1Il 0 'd f-'. ClI> Itl J:>. 0" :3 C () () m ! 'tJ t-' ::rs f5 0 III III III :=3 .., 1"\ H (j) 0.. 'U (I) g: o· 0 f-'. III .., (I) ,., ;J Ul .lQ (I) n- O ::I III a s C1) III ;J t-' III (t 0.. III 0 ;J n. (1)" 9"- n- o t.j '-4 III t-'. III C C III () III t-' I-' ;J III I-'" t-'. rt" () e:-< t-'. ro 0 0 0 III III n- O" t1 ~ 1"\ <: ~ .B II! 0.. ~ 1-" 0 . P" 0 0 III C1) t-'. C H\ to , 3 () III 11 'O>I:::r ::0 III ::r t-'. II! Q 'v III III t-'. :3 III III '8 ro t-'. III rv- 0 N f-'. PI ro Ul n- DJ n- w. 0 ;J H\(I) III n. 1"\ 1"\ N ro o ' N .... '-4 ;3 I f-'. C 1"\ () t-' 0 ...,. ...,. g: () roo ro rt rt 'v "
I·
..--.---.-~----- Id.L.lilj"I.~ -'·.::i'" ""};;'j) "w'w'e!""g¢'riHi?t ,it t· 147
UNIT V - LESSON 5
AIM How was nationalism expressed in romantic symphonic music?
PERFORMANCE OBJECTIVES Students will be aqle to:
describe the program or story of Smetana's Moloau (1874) and Tschaikowsky's 1812 Overture (1882) and relate the aspects of nationalism and romanticism Identify the thematic content of the 'above works, n i.e., Moldau; "Marseillaise : Russian hymn
In which Slavic country is Bohemia and the Moldau River located? Marl VAT ION (Czechoslovak ia)
PROCEDURES
1. The Moldau by Smetana contains many romantic characteristics. write the folowing descriptions of these characteristic on the board for class notes. The Moldau by smetana contains the following romantic subjects: -nature: river, forest, sun, valleys, springs, dense woods, hunting horns, meadows, peasant wedding, foaming- rapids, chasms -supernatural: wood nymphs and water sprites -Gothic revival: fortresses, castles, remembrance of chi";alry and knights, ancient kings -nationalism: glorification of the homeland, Smetana called his cycle of tone poems My Fatherland-or My country, climax of work is the river reaching Prague -folkmelodies; the Moldau theme seems to be a variation on "Hatikvah," hunting melodies and peasant dance tunes -colorful orchestration: clarinets for the streams, woodwind solos - large orchestra especially brass, percussion and harp as they 2. Play recording of The Moldau. Ask students to identify themes occur. 3. write on the chalkboard for class notes: Tschaikowsky - l8l2 Overture. -Which famous military defeat does Tschaikowsky's 1812 OVerture describe?" (Napoleon defeated by the Russian winter and troops.)
Doc. 0173b - Page II .~ ~ "0 0'ILf1 ... p- o H j-" z ",:'01 !PI;!1 9- ~~I-' :JO ~ :J"WC!\J;3CU\:t: 0. ...,. 1-" '< U\ ot PI UI :r: '"'1 .., ~ ~ 0. ~ o 9- iT) (t"O .., a <: 0 :J" g. a ::r p- a .. ~ ..... ;:0 Ul 0 o :r: ~ Ho ro III Ho '"'1 a PI til 'tl ~ (l) .. (t" I-' t-3 Ul C! I-'~ § .., PI ~ :J P- PI til UI .., o.Ho(l)'
UNIT V - LESSON 6
AIM How did the Near East inspire Russian exoticist composers?
PERFORMANCE OBJECTIVES: Students wil~ be able to:
define the 'following terms: symphon·ic poem, motif, cadenza, solo, tutti, ornamentation, runs, trill, exoticism, legato, and staccato identify the various motives used in Scheherazade discuss Rimsky-Korsakov's compositional style and coloristic use of orchestration. differentiate between Oriental and Western elements in Scheherazade
MarIVATION Which was one of the most famous collections of stories to come from the Moslem world? (Arabian Nights; its origin lies in the story of Scheherazade.)
.;,. PROCEDURES:
1. Review the story of Scheherazade and write on bo~rd relevant descriptions. 2. Mention the Russian five (Rimsky-Korsakov, Balakirev, Borodin, Moussorgsky, Cui) was interested in using native Russian and Near Eastern melodies in their music to create a distinctive nationalistic style. Dabbled in exoticism - use by Westerners of non-Western music. Popular in late 19th century. _ 3. Introduce the various motives of Scheherazade: sultan, Scheherazade, ship (derived from sultan), calm of the sea a) Define and write on the board for class notes: symphonic poem - orchestral music based on a poetic or realistic theme. Also known as program music (a review term) • motif - a short figure of characteristic design that recurs throughout a composition as a unifying element (a review term) • cadenza - a solo in the style of an improvisation, usually the orchestra is silent solo - a passage to be performed by one player to an orchestral accompaniment tutti - the entire orchestra plays (a review term) exoticism - use of musical style strikingly unusual'in color a·nd des ign and from another coun try
Doc. 0173b - Page 13 ottl H Z >-:3 U! tTl o :u tTl ~ P.l ::r: tIl ::0 Cl H U! 8 Ul Ul H o Z
..:> J J r g. j ~ j ! i3 ) III rt ro ~.t'I III I-' o g: HI ro i3 ro g: (Jl ~
III HI ;:1 o 0- ~-H ;l (Jl (Jl rt (j o o I-' III () o g: t'I (Jl t1 0. ~ . 1 III ro III (Jl I-' III 151
UNIT V - LESSON 7
AIM What were the unusual romantic characteristics of Stravinsky's The Rite of Spring?
PERFORMANCE OBJECTIVES Students will be able to:
define the following terms: dissonance, polyrhythms, changing meters, syncopation, polytonality, primitivism discuss how this work was revolutionary in its use of rhythm in European. music as well as in its subject matter and musical expression to popular music styles of the present
MGrIV1\TION Why did Stravinsky's The Rite of Spring cause a riot at its Paris premiere in 1913?
PROCEDURES:
1. write the following terms and definitions on the board for class notes:
dissonance - clashing sounds .: changing meters - changing of time signatures polyrhythms - many rhythms played· simultaneously (a reviewter'm) syncopation - shifting accents from strong to weak beats· (a "teview term) polytonality - music played in different keys simultaneously' primitivism - music which tries to capture the sound and atmosphere of a primitive culture _. __ u Spr ing - composed by stravinsky (add _relevant descr iptions) Mentionfthe ballet The Rite of spring (Le sacr' du printemps) portrays arbaric fertility rites in pagan Russia which culminate in a human sacrifice in which the chosen victim dances herself to death. Discuss the different sections of Part I.
Part I a) the adoration of the earth b) dance of the adolescents c) dance of seduction d) rounds of spring e) games of the rival communities f) procession of the sage g) dance of the e.?rth
Doc. 0173b - Page 15 152
30 The orchestration .includes the following:
4. tympany 2 piccolos 4 bassoons contrabassoons small kettledrums 2 flutes 2 bass drum alto flute 8 horns 4. trumpets tambourine 4. oboes cymbals English horn trumpet in D antique cymbals E flat clarinet bass trumpet tr iangle 2 clarinets 3 trombones guiro 2 bass clarinets 4 tubas pl us normal orch es tr al strings
What would the predominant tone color of the orchestra sound like given these instruments?" 40 How was The Rite of spring revolutionary musically?ffi It used a new tonal language: a) harsh percussive use of dissonance (clashing sounds), polyrhvthms, polytonality (music played in different keys simultaneously) b) constantly changing time signatures: 3 45 3 2 3 4. 5 6 7 16 16 16 8 4 4 4. 4 8 8 or changing meters and syncopations (shifting accents from strong to weak beats ~ a review term) c) rhythm became a separ~te element overshadowing melody and harmony d) themes resemble crude folk tunes 50 Play The Rite of spring, Side -"1. Mention the specific subsedtions as the record playso .
P'OINTS FOR FURl'HER DISCUSSION
Which elements in this work come out of the 19thce~tury romantic tradition? (large orchestra, emphasis on tone color, folk-like material, "exotic" subject matter)
Why was this work so controversial in 1913? What were the unusual characteristics of The Rite of spring? ("barbaric" percussive use of rhythm, "X-rated" choreography and story, harsh dissonant harmonies, extreme orchestral effects)
-How does this work stike the listener today?
Which elements in modern popular music were anticipated by this work? -emphasis on percussive rhythm patterns -loud sonqrities -the dynamic appeal of heavy metal rock and disco -overt sexuality of much rock and disco -downgrading of melody and supremacy of driving rhythms
Doc 0 Ol73b ~ Page 16 153
UNIT V - LESSON 8
AIM How did Impressionism influence French art and music from 1890-1930?
PERFORMANCE OBJECTIVES students will be able to:
name important impressionist painters (MOnet, Renoir, and Degas) and major cOmPOsitions. by Debussy shown in the filmstrip. describe stylistic characterisitics of Impressionistic art and music
Show Impressionism in Art and Music, Part 1 (EAV filmstrip) • I· MmIVATION
I PROCEDURES
L Define: Impressionism _ 19th and early 20th century art and music, French in character, which seems to hint rather than to state, is vague and intangible, and deals with nature 2. Review major highlights of the filmstrip and write on the board for class notes: --_. ~-..~.-.-..:.--.---- .._---.-_.-- MUSIC MT . Debussy was concerned with the Impressionistic art attempted sensuous effect of sound and to capture the immediacy and instrumental color as an entity spontaneity of nature by in itself, rather-than within emphasizing mood, atmosphere, a structural context. Form, and transitory aspects of rhythm, harmony, and timbre were a scene. They were concerned used in a·revolutionary way. with the sensory impact of Examples: light and shadow, and often orchestral works used short brush strokes • La Mec - (the Sea) and dabs of color to achieve • Nuages (Clouds) their effects. • L'Aores-Midi d'un Faun (Afternoon Examples: of a Faun) • Monet - ~ Sunrise, Piano works water Lilies Reflections in the water Renoir • Sunken Cathedral· • Degas • pagodas (influenced by Far Eastern music)
Doc. 0173b - Page 17 .w tU nj ;po H s~ 0 H 'd 11 !:l HI o ~. H 'tI 'd Z ::r 1-'- ~ o 0 11 1:1 ro HI ::I ~!"1" o.::T 8 1-'- tJ} a ~ (l 0.<: ~- ::l <: ro c ~- ttl 8 rt 0 1-'- rt a nj '0 ~- ro co.<: 1-'- 0 0 ro PI III ttl'd 0 '0 I-' HI ~ '0 ~- ro ~ III I ~-;:l ro o III I-' () rt 11 . III I-' ::r ;po 3 0 d g. ~- ro 1-'- ~HI a . ::l OJ rt ro ~ Pol I'll II! :P' 0 ~ a x ;p- 1-20 tIl ro '0 ~ HI I-' I ~ 11 o II! ID Cl ID 110.<: ro 11 H Ul S PI () Ul (t 11 Ul ~- III ~ro ><: III B rt !"1" () I-' Ul ro ro 0 I-' Ul 0- 11 11 H ~- ::l ;:l Q, til C @ 1-'- !ll r-- (t III ::l 11 ;:l ro ~, 0.<:.0 Cl ;:l (l !ll 0 r-- c HI 0 () ;J ::r .a o HI .a !ll --- <: ~ "'a Cl 0 ro ::I ---ro -' rt 01 I-' 0- .t;>.. -..I 0- III C w ro rt II! 0- ro 1-" til ::l 0 >-< & ::l ~- I tU ::l ~ HI ;p: ..0 ~ rt\ ro C rt ro (l) ~ ;l ;l co 0 0 ID 0 0- ;:i
0- 0 0.<: HI 1-'- PJ
~ t>j 11 (\) III til C III ,::l t-'- ~ 0 ;J r-- til 'av 155
UNIT V - LESSON 9
AIM Which artists and musicians were influenced by Impressionism?
PERFORMANCE OBJECTIVES Students will be able to:
name important artists, musicians, paintings, and compositions shown in the filmstrip, Impressionism in Art and Music discuss the revolutionary implications of impressionism on 20th century art and music.
Show Impressionism in ~rt and Music, Part 2 (EAV filmstrip). MOrrw.TION
PROCEDURES l. Review major highlights of the filmstrip and write on the board for class·
notes: MUSIC ART _Debussy--fascinated by sound A visual response to the texture as an entity, his music had of color and light, it attempted a spontaneous improvisatory to capture its shimmering and quality. vibration. Impressionistic -Resphigi: Pines of Rome artists were not concerned -Ravel:- Daphnis and Chloe, ~ with traditional perspective, d'eaux--water play of fountains, but ;elt color had a logic of waterfal~s, also showed oriental its own. pentatonic effects as did Artists -Griffes: Pleasure DOme of Monet Genghis Khan Degas -Ravel: Sad Birds (Oiseaux Renoir Tristes) and BOat on the Ocean-- P isarro used short melodic fragments Van Gogh to suggest a mood. Bonnard -Stravinsky: Firebird--influenced Whistler by this technique, said his oriental art (Japanese prints) generation owed the most to Debussy. Electronic composers were also influenced.
2. If time permits play opening (as far as possible of Daphnis and Chloe, suite ~2 by Ravel. Listen carefully for shimmerin~. color and nature effects.
POINTS FOR FURTHER DISCUSSION
What were some of the favorite subjects of Impressionist artists and musicians?
Doc. 0173b - page 19 .,,~¥--., -.._._-_.., -= A __ ' ••••
156
UNIT V - LESSON 10
AIM How did Spanish music (flamenco) inspire French composers?
PERFORMANCE OBJECTIVES Stude~ts will be able to:
define the following terms: bolero, ostinato, flamenco, crescendo, accellerando, orchestration, suite identify instrumental solos used in the Bolero as well as the ostinato ~hythm pattern common to both the Bolero and Iberia. contrast differences in Ravel's and Debussy's compositional techniques compare these pseudo-Spanish examples with authentic flamenco music
MarIVATION Which famous French opera was based on a Spanish story and uses Spanish dances and melodies? (Carmen by Bizet)
PROCEDURES:
10 write these terms and definitions on the chalkboard for class notes: bolero - a Spanish dance in moderate triple time ostinato - a clearly defined rhythmic and melodic phras-e--constantly repeated flamenco - the dance and dance music of the Spanish gyps·te-s- crescendo - intensity of sound or loudness ~---- - orchestration - writing for instruments to achieve desired-effects suite - a collection of movements or dances based on a common· theme accelerando - increase tempo 2. Mention proximity of France to Spain. Many Fren~h composers wrote Spanish-type pieces, notably Ravel. and Debussy. 3. [Play example of authentic flamenco music, The Soul of Flamenco (Side 2, Band 4).] Which are the important stylistic elements? a) melismatic singing d) castanets b) heel stamping e) accelerando - increase tempo c) guitars f) crescendo - gradual increase in intensity of sound or loudness 4. Introduce Ravel's Bolero a) Review the following terms: Bolero - a Spanish dance in moderate triple time accompanied by castanets using this rhythm pattern: ostinato - a clearly defined rhythmic and melodic phrase which is persistently repeated (a review term) • b) Ask: In which recent movie was Ravel's. Bolero used in c,n X-rated fashion? (~- the heroine could only get into a ~romantic~ mood while listening to this selection.) The Bolero is based on a melodic and rhythmic ostinato varied only by
the use of different instrumental solos (themes A & B alternate) 0
Doc. 0173b - Page 20 157
the record plays ask the class to list solo 5. Play Ravel's Bolero. As they hear them. Give the class the exact ox:;derof instr uments in the order solos after listening. f) trumpet and flute a) flute (lower register) g) alto sax b) clarinet h) soprano sax c) bassoon i) various combinations d) clarinet in Eb j) trombone solo e) oboe k) eventually strings are added as instruments (gain theme very late) and a massive climax is achieved 6. Ask: _ What is the effect of this constant repetition and crescendo on the listener? (hypnotic trance, rising excitement to a frenzy) _ HoW does Ravel maintain interest with only two themes in a 15. minute piece? (through his technique of orchestration - writing for instruments to achieve desired effectS) _ In which way is this related to impressionism? (tone color) 7. Debussy in his Iberia suite (suite - a collection of movements or dances based on a common theme - a review term) is more subtle in his approach. play MOvement 1 of Iberia (Side 2, Band 2) . Ask: Which .rhythmic elements of the Bolero remain? How does Ravel produce the effect of the flamenco singer? (through the various solos) 8. write the following on the chalkboard for class notes and add relevant descriptions: Ravel composed the Bolero. Debussy composed the Iberia suite.
POINTS FOR FURTHER DISCUSSION: Which authentic flamenco elements did not appear in these two· selections?
HoW does the composer transfer these elements into orchestral writing?
why were French composers considered to write the 'best' Spanish music? (attention to detail, color, exactness - captured the unsentimental, dry quality of much spanish music)
Which American music captured some of this Spanish flavor? (West Side Story by Leonard Bernstein and El Salon Mexico by Aaron Copland)
Doc. 0173b - page 21 158
REVIEW PLAN FOR MUSIC SURVEY EXAMS UNIT V - ROMANTICISM
AIM How did romantic music develop from 1820-19137
PERFORMANCE OBJECTIVES students will be able to~
name subject matter that expre~sed the emotional, fanciful, ·and imaginative nature of the romantic style recognize recorded examples previously studied which are representative of
romanticism define the 29 terms stud5.ed in this unit name the major romantic composers name the composer and style and give a description of each composition studied in class .
Remind students this is a review for the final eAam to be given MOTIVATION the day after tomorrowo
POINTS FOR FURI'HER DISaJSSION 10 Review popular subjects of romanticism as indicated in Lesson 2 by playing excerpts of the following works and discussing their significanceo
a) Berlioz _ symphonie Fantastique, Dream of a witches Sabbath: supernatural, occult, subjective emotional states Terms: idee fixe, program music b) Rimsky-Korsakov _ Scheherazade, The Young prince and young princess (Play last third of selection to in;lude violin cadenza): exoticism. legends Terms: cadenza c) Tschaikowsky - Romeo and Juliet: historical love stories, chivalry Terms: symphonic poem, overture d) Tschaikowsky _ 1812 overture: nationalistic piece, use of folk songs, hymns, marches, use of a cannon Terms: accelerando, ritardando, symphonic poem e) smetana _ The Mo1dau: nationalistic piece dealing with nature, supernatural, Gothic revival, nationalism, and folk melodies
Terms: symphonic poem f) Stravinsky _ The Rite of spring: (use Dance of Adolescents or Games of Seduction: nationalism, legends, nature worship
Terms: barbarism, primitivism (If time doesn't permit review of all, continue in next lesson)
2. Review terms and definitions. 3. Name five favorite subjects of romanticism used in class recordings. 4. Refer students to class notes.
naco 0173b - Page 22 159
REVIEW PLAN FOR MUSIC SURVEY EXAMS UNIT V - IMPRESSIONISM
AIM How did impressionism influence art and music from 1890-1930?
PERFORMANCE OBJECTIVES Students will be able to:
recognize recorded examples previously studied in class which are representative of impressionism name the major impressionistic composers name the composer and style and give a description of each composition studied in class define the 29 terms studied in this unit name impressionistic artists
Remind students that the final exam on romanticism and MorIVATION impressionism will be given .tomorrow.
PROCEDURES:
1. Compiete unfinished selections of romantic style. 2. Review names of important impressionist painters and coloristic aspects of their style. 3. Play exce~pts of the following worKS and discuss their significance: a) Debussy _ Afternoon of a Faun: tone colors and mood suggested. Define: ~ (goat) - head of man and body of a Greek mythological figure. b) Ravel _ Daphnis and Chloe: shimmering color and nature effects. c) Ravel _ Bolero: pseudo-Spanish work used in movie lO; orchestration,. Mention Debussy - Iberia. Terms: flamenco, bolero, suite 4. Review terms and definitions.
POINTS FOR FURTHER DISCUSSION:
How were romanticism and impressionism related?
Which subject matter appealed to composers of both styles?
Refer students to class notes.
Doc. 0173b - Page 23 H H H H H <: H. H. 0-3 tlj Ie-' t-' t-' t-' -J 0"1 lJI .;>. W tv t-' t-,) () Z Z t-' 0
(II () ~. () H co I-' g CD o H Ul til o ;::l 0. o w o
'6 ()
;po t'l o y H • Ci z .. . rh PJ .... ;::l Ul III :( ...a. til ~ ~ P,C ;::l () () ~ H CD Ul ()0 H B 9- ~. til .... co o o (l) ...·rt .... a H () CD .... Ul () til g: ;o;C <: ;::l 8''8 til H rolQ 0" r' til .... ;::l H til .... ~ til lQ ;::l ~. P,rh () rt p, ;::l CD 0 CD :::r ..... lQ Ul H P, til 0 g: o ~. H ;::l o H ~. o til co ;::l CD ::l ::l ()0 ;::l p.tIl rt rh rt (l) CD CD co H til Ul o CD It x a (l) rt rhC CD rha It rh '8 o til H rt P, CD ro ~. () ;;:l a CD rtrl" c:: co o til ;::l til, Ul ~. rt () o '0 III rh r' 162
II. NAME 5 SUBJECTS POPULAR WITH ROMANTIC COMPOSERS (5 pts.)
D. _ E. _ A. _ Bo _ c. _
Ill. NAME 5 IMPRESSIONIST PAIN'l'ERS (5 pts.)
Do _ Eo _ A. _ B. __ ~ __ c. _
IV. MATCH the Composer to the Composition and Description by Placing the Letter of the correct Composition in Colunn A and the Letter of the correct Description in column B: (40 Pts)
Composition DescriEtion A B Composer
1. Berlioz A. The Bolero K. impressionist piece with shimmering lights and nature effects romantic piano virtuosity 2. Ravel B. The Rite of Lc Spring 3. Ravel C. Mazurka in B M. romantic program. Flat Major symphony, uses idee fixe 4" Liszt D. The Moldau N. caused a riot in its premiere in 1913 5" Stravinsky Eo Daphnis and O. a suite based on a common Chloe theme 6Q Tschaikowsky F. Iberia P. symphonic poem based on Shakespearean play 7. Chopin G. Hungarian Q. nationalistic piece about Rhapsody #8 a river 8. Smetana H. Scheherazade R. Russian exoticism based on Arabian Nights 9. Debussy 1. Symphonie S. Spanish dance used in Fantastigue movie 10 Po1ish~ance written for 100 Rimsky~ J'. Romeo and T. Korsako~ .. Juliet piano
V. LISTENING: NAME: THE COMPOSER, COMPOSITION AND STYLE: SELECTIONS WILL BE CHOSEN FROM SECTION IV OF THE EXAM (20 pts.) Composer Composition ---Stvle
3.
4. s.
Doc. 0173b ~ page 26 163
MUSIC SURVEY UNIT EXAM 5: UNIT V
TEST B GRADE __ DATE: NAME
(30 pts.) I. MATCHING QUESTIONS A. short and separated l. flamenco B. glorification of the homeland 2. impressionist period C. music which is free from extra changing meters 3. musical ideas
D. 1820-1914 use of large orchestras dissonance 4. and grogram music
E. slowing the tempo 5. staccato F. orchestral work that follows 6. cadenza the ideas of a story
G. a Polish dance in triple time 7. nationalism H. an explanation of what the music ritardando 8. . truly means
I. the da~ce and dance music of 9. symphonic poem . Spanish gypsies J. gradual increase in tempo 10. etude K. writing for instruments to mazurka 1l. achieve desired effects
L. switching from one time signature 12. J?cogram notes t03.nother
M. a solo in the style of an im- absolute music 13. provisation- orchestra silent
N. a composition devoted to romantic period 14. a special technical problem
O. clashing sounds 15. ocches tr ation P. 19th and early 20th century music - French in character - vague and intangible sounds
Doc. 0173b - page 27 164
II. NAME 5 SUBJECTS POPULAR WITH ROMANTIC COMPOSERS (5 pts.) Eo _ C. _ D. _ 1'1.. _ B. _
III 0 NAME 5 IMPRESSIONIST PAINTERS (5 ptso) D. _ E. - B. _ A. -- Co__ ---
IV. MATCH the composer to the Composition and Description by Placing the Letter of the Correct composition in colunn A and the Letter of the Correct Description in column B: (40 Pts) Description Composer Composition A ~B a kind of piece devoted A. Scheherazade K. 1. Debussy to a special technical problem romantic program piece B. 18.12 QIlerture L. 2. Debussy using the idee fixe M. based on the Arabian 3. Rimsky- C. aungarian Rhapsody lt8 Nights and Russian Korsakov exoticism N. nationalistic piece 4. smetana D. syrophonie Fantast:iaue that deals with the defeat of Napoleon o. romantic piano virtuosity 5. Tschaikowsky Eo The Rite --_. --' - of spr ing F. The Moldau P. deals with Greek mytho- 6. Ravel logical figure - impressionistic work Q. nationalistic piece about 7. Liszt G. Afternoon of a Faun / a river deals with primitivism H. The Bolero R. 8. Stravinsky and pagan ritual 1. -Etude in E S. based on spanish 9. Chopin dance .~ flamenco Major a suite based on a common J. Iberia T. 100 Berlioz theme ~ impressionistic work
V. LISTENING: NAME THE COMPOSER. COMPOSITION AND STYLE: SELECTIONS WILL BE CHOSEN FROM SECTION IV OF THE EXAM (20 _pts.) Style composer Composition.
1.
2.
3.
4.
______--s-~-. 165
.------_ .._- ,_ ...--_._.---- _. -- - .. ---
ANSWERSTO MUSIC SURVEY UNIT EXAM 5: UNIT V
TEST A
--- r. MATCHINGQUESTIONS (2 pts. each) 9. C l. K 10 : G 2. P 1L D 3. F 12. E 4. A 13. J 5. 0 14. L 6. M 15. I 7. B
8. N
- -- II. NAME 5 SUBJECTS POPULAR WITH ROMANTICCOMPOSERS (1 pt. each)
nationalism exoticism myths legends supernatural great emotions joys of childhood folklore folksong nature war middle ag~s
III. NAME5 IMPRESSIONIST PAINTERS (1 pt. each) Whistler Pisarro Van Gogh Bannard Monet Renoir oegas
- _ ,_ -.0-.---·· .-'-'-----
Doc. 0 173 b - Pag e 29 --"'- .'-. ------H ,-< <: i . 0("' i t"". :1-' ,p. W IV !-' o m ~ Ul ~ W IV ~ '0 \0 CD -...I 0'\ lJl .-3 r IH 0 , " (t" ; 0 . • . . t1 ; Cf.l . . . rt n '. m III ;:r: \~ t-3\ "tt: () ~ 2, rt " fool ~ o g. 2, CJ rt\ III Cl m ". til rt 0 () ::r 0 ." III :3 o 2: 1-" '0 'd n 0 ;:r:o ~.. (t 0 til :P' ...,.1"1 m ~ J o " ., ~ :z: ~i I :J III () rt hj~ n ..." rt 0 ::0 0 :J n on s 00& y G) :P' tt.l H :3: ~~ ;:r: hj t:l n c.:J o ::l I1l Ul g}~ .... ::' '8 0 OCJ) rt til 0 8 § .... ::l 0 r3 til 1-" H::O 0 rt'O . ",," 0.. !:I c.:J 1-',0 .. 0 Ul 0 :Z:n ;:l .... I-' -I. -...I 0 rt m W 0 ~~ --~.~. en cr S ~ ,&>. ::;I 0 00 'd 0 :;J I 0 "l [J) til H 01 rt 0 ~ rei .... 8 I~ !II I-' :;J III rt i . C 0- ..0 ...' gj:j :J m 0 Z d III :J 0 ;:i ttl m III ill w til o ;po Ul () ::r () 0 to Z ("' (J), :;>'; ~ ~~ :0 0 rO .-3 t1 ~ !lJ t1 .... :J ...' CJ) p.'d ~8 (t" rt ,p.~ , ...' 0 g. b' 'dttl ;:J m ;:J (t" .. til ("' cr 0 11l'<: CJ) m tt.l ~'tI m t-' ~~ " III() ::rn ~., ~8 1-" ;., o .!.' H a-I):;J , ~ 0 l!.\ Ii Z ~ m g. Cl) g: ~ m t H ~: t" ("' ~ OJ ~. ttl R' [:.~. ~
\),.~~ i m: H t-3 H H tx:l H H (fl I .H . t-3 tp Z HIE! Z CX) .,. W IV 5 o '< ...... U1 r' ~ ::l . . .'" . . . . . CD ~ ~t} ~ ~ r' til ::a rt H U1 0 U1 tp tp 'tj H Z tt tx:l ~ 0 t"1 G:\. H CD , en r' ~ CD ~ ~ IQ a ::l tx:l HI CD ~ tx:l :J () en 0 en 0 t-3 >' 1-" Ul r'o. t-3 z H H en H (fl [Jl'" til 0 ~ 0 'tl Z ~ H ::l 0 Ul ~ Ul Ul til (fl t-3 c: ;g ~ 't:l ~ IV t-3 IQ 'tl CD 0 >' ::l tt ~ H 't:l til '" :J ~ '" z rt C 8' t-3 c:rt rt'" ~ til Ul 0 I tx:l H c: t-3 . H ~ CD H ::a () 'tl Ul CD 0 ...... I-' ~ III (fl r' [Jl '" 0 c ...... III ~ ~ p- W h r' j ~ 0" tt ttUl ~ 0 't:l '" h ~ f< ...... I rt CD H . () 0> 'tl S rt r' I-' r' r' I-' ~ -....J CD ...... '" () U1 .,. W IV I-' b \D H Ul <: 0. CD 0 ...... t-3 CD'" 0 :J '"p- g:s ~ tx:l w '" ~ CD rt 0 x r' G) ...... en ~ 0 () ::a C) z txj >' 0 tx:l :3: IQ Ul'" 0:J ~ ::r 'CD til en U1 Ul .. ~ ;:I I-' ~ u. '" H rzJ o rt 't:l t-3 ::l '< ...... rt ::l til 0 . ::l <: t"1 o III CD '"0. HI I-' 1-" 0 o til '"::r ::rS 1-" r' ~ 0. 1-" ::rro til ox rt o 0 r' o.rt ro 1-" t"1 0 1-" Ul S 168
IV c MATCHthe Composer to the Composition and Desc~ iption by Placing the Letter of the Correct composition in Co.lunn A and the Letter of the Correct Description in Column B: (4 pts. each)
Com~se_~ A - Composition B - De"scr iption
1- G P
2. J T
3. A M
4. F Q
5. B N
6. H S
7. C 0
8. E R
9. I K
10 c D L
------.. --, .-..
v c LISTENING: NAME THE COMPOSER, COMPOSITION AND STYLE: SELECTIONS WILL 8E CHOSEN FROM SECTION IV OF THE EXAM (4 pts. each)
Composer Composi tion Style
1.
2.
3.
4.
5.
Doc. 0173b - Page 32