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Hayward Community School District 715-634-2619 High School Music Appreciation DiSera Hayward Community School District 715-634-2619 #HurricaneStrong TAade 1in PostrMy.\’ii coil MUSIC APPRECIATION 1 Mr. DiSera [email protected] 2.wi.us Office Hours: 9:OO-11:OOam Monday through Friday I check my emails often so do not hesitate to reach out during other times. The intention of this packet is to provide you with the overview of the history of Music Appreciation from the Medieval Times through the 19th Century. If you are not already in the Google Classroom, the code is: oshpssh. Material that will be assessed for a grade will be the following: • Music Analysis worksheets for each artist • Listening worksheets for the music provided • Online Kahoots for each music history period Music Analysis — you can either complete the form online and send it back to me on Google Classroom OR take a picture of the completed sheet and email it to me. Listening Worksheets — same process as the Music Analysis sheets. Online Kahoots — when you complete a kahoot, you can take a picture of the screen and email it to me so I can see the score that you received. Documents Included in this packet: • Music Appreciation Playlist • Curriculum Outline of what we will cover • Listening assignment for Le Nozze di Figaro • Listening assignment for Toccata and Fugue in D-minor • All notes and history of each music period and each composer • Music Analysis sheets that you will fill out for each song that has an arrow by it on the playlist. • There is a Kahoot Quiz online for each music period. The links for those quizzes will be posted on Google Classroom. MUSIC APPRECIATION PLAYLIST - — Missa Papae Marcelli: Agnus Dei I Giovanni Pierluigi da Palestrina — 0 magnum mysterium — Tomas Luis de Victoria Renaissance — If Ye Love Me - Thomas Talus — Ave verum corpus - William Byrd Cruda Amarilli — Claudio Monteverdi — Tu se morta (L’Orfeo) — Claudio Monteverdi Possente spirto (L’Orfeo) — Claudio Monteverdi Dido’s Lament “When I Am Laid in Earth” — Henry Purcell - I Attempt From Love’s Sickness — Henry Purcell Baroqii —> Concerto in A Minor, RV. 356: Allegro — Antonio Vivaldi Concerto in A Minor, RV. 356: Largo — Antonio Vivaldi Ev’ry Valley Shall Be Exalted (Messiah) — George Frederic Handel And The Glory of the Lord (Messiah) — George Frederic Handel —‘ Toccata and Fugue in D minor, BWV 565 — Johann Sebastian Bach .—> Sonata in D Major, Kk. 491: Allegro — Domenico Scarlatti ___> Hallelujah Chorus (Messiah) — George Frederic Handel - —> Symphony No. 94 in G Major “Surprise Symphony” Franz Joseph Haydn —> String Quartet No. 62 in C Major: Allegro — Franz Joseph Haydn String Quartet No. 62 in C Major: Poco Adagio — Franz Joseph Haydn Le nozze di Figaro (The Marriage of Figaro) — W. A. Mozart Die Zauberfiote — Der Volgelfanger bin ich ja — W. A. Mozart Classical Eine Kleine Nachtmusik - W. A. Mozart Symphony No. 3 in E-flat Major: Allegro — Beethoven _.> Symphony No. 5 in C-Minor: Allegro - Beethoven String Quartet No. 11 in F-Minor: Allegro — Beethoven —> Fur Elise — Beethoven II barbiere di Siviglia: Una voce poco fa — Gioachino Rossini Ii barbiere di Siviglia: Overture (2:13) — Gioachino Rossini William Tell Overture — Gioachino Rossini ..__> Erlkonig — Franz Schubert - —.-) Dichterliebe: Im wunderschonen Monat Mai Robert Schumann .—? Hungarian Rhapsody No. 2 in C-sharp minor — Franz Liszt —. Der Ring des Nibelungen - Richard Wagner Romantic — Symphony No. 1 in C Minor (Andante) - Johannes Brahms —a. The Nutcracker: Sugar Plum Fairy — Piotr Tchaikovsky — Au bord de l’eau — Gabriel Faure Madama Butterfly: Un bel di vedremo - Giacomo Puccini —p’ Gianni Schicci: 0 mio babbino caro — Giacomo Puccini Carnival of the Animals: II. Hens and Cocks Carnival of the Animals: Ill. Wild Asses Carnival of the Animals: IV. Tortoises Carnival of the Animals: V. The Elephant Carnival of the Animals: VI. Kangaroos 1 / Carnival of the Animals: VII. Aquarium Carnival of the Animals: VIII. People with long ears Impressionist Carnival of the Animals: IX. The Cuckoo Carnival of the Animals: X. The Aviary (bird sanctuary) Carnival of the Animals: Xl. Piano Players Carnival of the Animals: XII. Fossils Carnival of the Animals: XIII. The Swan Music Appreciation 1 Curriculum Outline Musical journey from Medieval to Impressionist Different Music History Eras - Medieval Era (Ancient-1420) - Renaissance Era (1420-1600) - Baroque Era (1600-1750) - Classical Era (1750-1820) - Romantic Era (1820-1900) o Impressionist Era (1870-1910) - Twentieth-Century (1901-1999) - Modern/Contemporary (2000-present) Music Era Composers - Renaissance (Rebirth from Medieval) o Thomas Talis o Giovanni da Palestrina (copy p. 159) o William Byrd o Tomas Luis de Victoria - Baroque (ornamented music /Rebellion against High Renaissance) o Claudio Monteverdi (first opera/madrigals) o Henry Purcell (Dido & Aneas) o Antonio Vivaldi (concerto) o George Frederic Handel (Italian operas/oratorios) o Johan Sebastian Bach (pg. 276) o Domenico Scarlatti (harpsichord) - Classical o Joseph Haydn o Wolfgang Amadeus Mozart (Justin Bieber) o Ludwig Van Beethoven - Romantic o G. Rossini o Franz Schubert o Robert Schumann o Franz Liszt o Johannes Brahms o Peter I. Tchaikovsky o G.U. Faure o Giacomo Puccini - Impressionist o Making the statement that art is an experience rather than a specific thing. • Carnival of the Aninals (R. 125) • Paintings • Based on artist AND receiver NAME Le Nozze di Figaro - Wolfgjig Amadeus Mozart In each box, write what you hear in this piece. 1. Setting — in this box, describe a movie scene where you would hear this song. Use at least 5 sentences. 2. Mood — Does this song stay in one mood or does it change (happy/sad/mad/anxious/etc.)? What other moods or emotions do you hear/feel during the performance of this song? 3. Instruments — what instrument(s) do you hear in this piece? 4. Song Layout - This piece begins in a “loose” tempo and then changes to a “fixed” tempo at 2:33. Why do you think this happens? Could this piece be broken into two different pieces? What do you think is the point of the loose tempo at the beginning? 1. SETTING{Movie Sce 2. MOOD(S) 3. INSTRUMENTS PRESENT? 4. SONG LAYOUT NAME Toccata and Fugue in D Minor - Johann Sebastian Bach In each box, write what you hear in this piece. 1. Setting — in this box, describe a movie scene where you would hear this song. Use at least 5 sentences. 2. Mood — take into account the length of this song (8 minutes). Does this song stay in one mood or does it change (happy/sad/mad/anxious/etc.)? What other moods or emotions do you hear/feel during the performance of this song? Use at least 4 sentences. 3. Instruments — what instrument(s) do you hear in this piece? Is there more than one performer? 4. Song Layout - This piece begins in a “loose” tempo and then changes to a “fixed” tempo at 2:3 3. Why do you think this happens? Could this piece be broken into two different pieces? What do you think is the point of the loose tempo at the beginning? 1. SETTING (Movie Sc} 2. MOOD(S) 3. INSTRUMENTS PRESENT? 4. SONG LAYOUT MUSIC APPRECIATION 1 MEDIEVAL/MIDDLE AGES Music began as part of religion. Monophony - single-melody music. No instruments, no harmony, no chords, no clashing notes. - Tn-tone — between 4th & 5th interval. The Tn-Tone was called the “Devils Interval” RENAISSANCE In 1855, Jules Michelet came up with the term Renaissance (French for “rebirth”) in designate the historical period after thMileAghis Histoire de France to (History of France) to In writing and the visual arts (dance,jjnting, etc.) the Renaissance relly_bgJn ijJy and spread north through Europe. In music, the northern countries lead the charge in the 15 century, while Italy came on board in the 16th Century. Renaissance will be defined as the time during the 15th and 16th centuries. The Catholic Reformation was started to rival the Protestant reformers by starting its own program of change and reform. Catholic Reformation was in response to Martin Luther’s rebelliongainst the authority of the Catholic Church and the spiritual leadership of Rome (The Pope). Luther and his colleagues used many well-known secular tunes for choras, and substituted religjpus words. These resulting cflpositions were called con trafacta fLatin for “counterfeits”). The Lutheran Church’s most distinctive and imptant musical innovation became the strophic hyjpn - intended for congregational (church) singing in unison. The goal of the Catholic reformation was to reaffirm the power of music in the churchgoers through an pppiiatstyle of sacred polyphony (vs homophony). Some extremit re against the appal of art in places of wojd in services, and prohibited the singing of texts that were not found in the Bible.) The Catholics aimed to win back those who had left the Catholic Church by appealing to their senses through the sheer beauty of its liturgy and ceremonial music. Instruments were added to the mix! - A group of instruments playing together at one time was called a consort. Giovanni Pierluigi da Palestrina was the most important Catholic composer of sacred music. His style became a model for church-music composition. Giovanni da Palestrina (1525-1594 -Rome, Italy) (copy p. 159) Palestrina spent much of his career in Rome, serving as organist and choirmaster at both the Sistine Chapel and at St. Peter’s Basilica. He wrote over a hundred mass settings and over three hundred motets. At the same time, he managd a very successful furrier business. from which he died a very wealthy man (selling furs). While following the rules of the Council ofTrent (from 1545-1563) Palestrina composed in a purer, more restrained style of music. His goal was to get rid of the “worldly distractions” that the Catholics said the Protestants had in their new music.
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