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The Classical Period (1720-1815), Music: 5635.793 DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE OP EDUCATION THIS DOCUMENT HAS PEENREPRO DUCED EXACTLY AS RECEIVEDFROM THE PERSON OR ORGANIZATIONORIGIN &TING IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTEOF EDUCATION POSITION OR POLICY BEST COPYAVAILABLE AUTHORIZED COURSE OF INSTRUCTION FOR THE U I 00 2:11P '41 Fri MUSIC LISTENING THE CLASSICAL PERIOD (1720-1815) tO O 0 MUSIC ...4 NU, 5635.793 vi =co rov cm 161 C-, DIVISION OF INSTRUCT1ON1911 BEST COPY PARABLE MUSIC MUSIC LaSTFNINO- THE CLASSTCAL PERM (1720-1815) COURRE NUMBER! 5635.793 Written by Jesse Pearl and Raymond Carter for the DIVISION OF INSTRUCTION Dade County Public fchools Miami, Florida 1972 BEST COPYAVAILABLE DADE COUNTY SCHOOL BOARD Mr. G. Holmes Braddock, Chairman Mr. William Turner, Vice Chairman Mrs. Ethel Beckham Mrs. Phyllis Miller Doctor Ban Sheppard Mr. Alfredo Duran Dr. E. L. Whigham, Superintendent of Schools Dade County Public Schools Miami, Florida 33132 Published by the Dade County School Board Miami, Florida 33132 BEST COPYAVAILABLE I. COURSE TITLE Music Listening-The Classical Period (1720-1815) II.COURSE NUMBER 5635.793 III. COURSE DESCRIPTION Instruction designed to teach theprincipal types of vocal, instrumental, and operatic compositions orthe classical period through listening to music.anphasis is placed on listening to the styles of differentcomposers, and recognition of their works. This course is designed for students whowish to acquire an understanding of the music of the classical period. The fundamentals ofscore reading will be studied by the pupil. Stress will be placed on meaningfullistening experiences, development of fastidious listeninghabits and encouraging pupils to become discriminating in choosingmaterial to which they listen on theirown. TV. COURSE ENROLMENT GUIDELINES Pupils will show an interest inexpanding their knowledge in the field of fine arts. Hopefully, they will have participated in one or more of the performingarts. Special consideration should be given to those whoare interested in music history but have no prior musical performancebackground. V. COURSE OF STUDY OBJECTIVES BEST COPY AVAILABLE A. Musicianship 1. The pupil will learn to associate theclassical period with the dates, styles and social changesbrought about by the Seven Years' War, the French Revolution,the Napoleonic Wars, and theAmerican Declarationof Inde- pendence.The composers andthe forms of music will be studied. 2. The pupils will learnthe elements ofrococo and classi- cism through study oftheory and listeningto examples. 3. The pupils will learn to hear and recognizethe charac- teristics of the composers'styles. 4. Pupils will learn to followthe muzicalscore. 5. The pupils will learn to identify thecomposition, the composer and the period of thework from hearingan identifying example. B. Listening 1. The pupil will listen to the music of theperiod. Forms of instrumental musicwill be analyzed. a. Classical sonata b. Classical symphony c. Classical concerto d. Small orchestral forms e. Chamber music f. Opera g. Religious music - oratorio - church music 2 BEST COPY AVAILABLE 2. Instrumentation of the classical periodwill be studied by the pupil. 3. The pupil will become familiarwith the schools of the classical period, thecomposers associated with these schools and stylistic characteristsof each school. VI. COURSE CONTENT A. It is most .liaperative that thepupils be familiar witha general historical background ofthe period. 1. The meaning of classicism a. Objectivity b. Emotional restraint c. Clarity of form d. Adherence to structured form e. Evolution of rococo style 2. Important historical eventsrelating to classicism a. Seven Years' War b. Rise of lower and middle class c. Declaration of Independence d. French Revolution and NapoleonicWars dominate the period in Europe. 3. Predominant philosophywas Rationalism B. Musical characteristics of theclassical period. 1. Classical spirit - Instrumental music. 2. Form became all important "modusoperandi" 3. Melodic style concernedwith manipulation ofa motive. 3 rotsren 4. Counterpoint BEST 5. Orchestm% Al 6. Dynamics C.The tour greatcomposers of the classical period 1. Christoph Willibald Gluck (1714-1787) 2. Franz Joseph Haydn (1732-1809) 3. Wolfgang Amadeus Mozart (1756-1791) 4. Ludwig von Beethoven (1770-1827) D. instrumental music 1. Orchestra- enlarged to include: a. WoodwinUs b. Brass (horns and trumpets) 2. Classical sonata form- three movements a. First movement is an allegro whichfollows the basic structure plan knownas sonata-al3egxo form. b. Second movement is slow tempo(andante, largo) usually in rondo form ( A, B, A,C, A, B, A) c. Third movement- minuet and trio d. Fourth movement or finale;:ometimen added (1) Usually in an allegroor presto tempo (2) Often in rondo form 3. Classical symphony- four movements, each movement in contrasting tempo, form, styleand usinr, changes of key or mode 4 BEST COPYAVAIIABLE a.First Movement: Sonata-All!go form (1) Exposition Introduction(optional) Principle theme (tonic key) Subordinate theme(dominant or other key) Codetta (2) Development Begins with full chord Develops motives of principle,subordinate and/or, new material andchange of key. (3) Recapitulation Principle theme (tonic key) Subordinate theMe (tonic key) Coda (tonic key) b. Second Movement: Rondo form (usually) (1) Theme (2) Digression (3) Theme (4) Second digression (5) Theme (6) Digression (7) Theme c. Third Movement: Sor fc with trio (1) Three-part ;o::'orm (ABA) (2) "Trio" (also a song form) (3) Same musical materialas Part I d. Fourth Movement: Sonata- Allegro 4. Classical Concerto BESTcrnvrmi.ABLE a. An instrumental composition b. Features a solo or soliperformers c. Development (1) Concerto Grosso (2) Piano Concerto (3) Violin Concerto d. Form (1) First Movement:Sonata-Allegro (2) Second Movement: Song-form, rondo,or variation (3) Finale: Hondo form, occasionallyemploying a cadenza, which servedas a show-case vehicle for the soloist 5. Small Orchestral Forms a. Serenade h. Cassation c. Divertimento 6. Chamber Music a. String Quartet- Classical Sonata Form b. Violin Sonata c. Keyboard ;onata d. Piano Quartet- Three stringed instruments and piano e. Piano Quintet- String Quartet and Piano Y. Schools: their composers andforte:. a. The Mannheim School COPYran% (1)Outstanding successin development oforchestra and greater orchestrations. (2) Composers (a) Johann Stamitz (1717-1757) - a pioneer of symphonic design inaugurating the modern style. His works show great advance in effect and expression. He raised the band to a pitch of superlative excellenceand his son's experiments in orchestratton pointed the way for latercomposers. (b) Franz Xavier Richter (1709-1787) - a bass soloist and violinist whose workslacked real individuality but encompassed 64 symphonies and an enormousmass of church music. He introduced "Hosalia" (anidenti- cal repetition of a melodya tone higher). (c) Ignaz Holzbauer (1711-1783) -His German opera "Gunther von Schwarzburg"was brilliantly successful.He wrote a fine church styleand his vocal and instrumentalparts were well conceived and integrated. b. The Milan School (1) Premiers of the greatoperas were magnificently presented. (2) Giovanni Sammartini (1701-1775) -was a prolific composer of sonatas and festivalmasses. He brought BEST COPY AVAILABLE woodwinds (flutes andoboes) to the fore. c. The Vienna School (1) The heart of the development of classicismis in Vienna (2) Composers (a) Georg Matthais Moun(1717-1750) -his symphonies, triosonatas, quartets, etc. are in a stage of transitionfrom the old to the modern school of instrumentalcom- position. (b) Georg Wagenseil(1715-1777) - a great organist and favoritecomposer for the clavier as wellas a great teacher. He was prolific in religious,dramatic and instrumental composition. E. 18th CenturyOpera 1. Prevailing types a. Characteristics ofopera seria (1) Recitative (2) Aria (3) Involved plots (4) Orchestral accompaniment (5) Male and femalevoices b. Characteristics ofopera buffa (1)
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