Cyclical Literature in early19th Century A song cycle is a group of songs designed to perform in a sequence during classical music. All of the songs are by the same composer and often use words from the same poet, lyricist, or relating a story. Each song sang separately, but the composer imagined that they would be performed together as one work. They are for solo voice and piano accompaniment, however, they also can be without accompaniment or instruments. It started before the Romantic period, but it become popular with German composers of the nineteenth century.
1) 2) 3) THEME-BUILDING BLOCK THEMATIC DEVELOPMENT-EXPANDING THE THEME MOTIVE-SMALLEST MELODIC UNIT OF A THEME THE CLASSICAL ORCHESTRA 1) ESTABLISHED IT AS WE KNOW IT TODAY 2) BLENDED THE FOUR INSTRUMENTAL FAMILIES A) THE HEART WAS THE STRING CHOIR B) WOODWINDS ASSISTED THE STRINGS C) BRASS SUSTAINED HARMONIES AND ADDED BODY D) PERCUSSION (TIMPANI) SUPPLIED RHYTHMIC LIFE 3) 30-40 PLAYERS 4) VOLUME OF SOUND WAS NOT STRONG 5) LIFE BEGAN TO MOVE TOWARD THE CONCERT HALL (NEAR THE END OF THE PERIOD) with Beethoven 6) GRADUAL CRESCENDOS AND DECRESCENDOS 7) THE PIANO WAS INVENTED DURING THIS
-abstract expressionism 5. Which of the following techniques is used by modern performers? -all of the above (pianists slamming the keyboard with their fists, pianists doing nothing at the keyboard, & singers making nonvocal sounds) 6. John Corigliano is primarily known as an opera composer and has written few orchestral works. -False 7.
Franz Liszt and Richard Wagner stretched the limits of music and stood among the elite composers of this great age of musical accomplishment. Franz Liszt (1811-1886) was born in a small village in Doborjan, Hungary. Franz came from a musical background. His father worked, as Hadyn once did, at the Esterhazy estate. Franz was like Mozart in that he was somewhat of a child prodigy.
In the early 1740’s, Bach began work on what many consider to be his most monumental project ever, Art of the Fugue. Bach intended this piece to be an extensive study of “the art of fugal counterpoint,” exploring the possibilities and various outcomes that can be produced by manipulating a single theme (“The Art of the Fugue”). Bach was not commissioned to compose this piece, nor was the idea inspired or suggested to him by anyone else; in creating Art of the Fugue, Bach was “alone in his genius” (Herz, 4-5). The result of Bach’s endeavors was a collection of eighteen fugues, all in the same key, and all based on
His influence upon later composers is immeasurable; Haydn's most illustrious pupil, Beethoven, was the direct beneficiary of the elder master's musical imagination, and Haydn's shadow lurks within (and sometimes looms over) the music of composers like Schubert, Mendelssohn, and Brahms. Franz Joseph Haydn is the composer who, more than any other,
Sonata Form There is no perfect definition of sonata form. Sonata form came about to represent a piece of music that has no words to go with it. Also, the popular form of choosing two themes, repeating them, developing from them, and recapitulating those themes is whats given sonata form its name. Over the past 200+ years, sonata form has grown into this commonly used structure of music. Sonata form mainly focuses on the harmonic and thematic expression of music that sets the mood in the exposition.
French composer Maurice Ravel is often associated with Debussy as an impressionist whose music encompasses a variety of influences while carrying traditional forms, diatonic melodies and complex harmonies within a tonal language. This language was developed at an early age, as Ravel was born into a musically nurturing environment and began music lessons at the age of six, giving his first recital at the age of fourteen, and would ultimately attend the Conservatoire de Paris as a piano major. This essay will outline Rapsodie Espagnole (1908), one of Ravel’s major works for orchestra. The Rapsodie Espagnole, composed during 1907-08 was first performed in the middle of March 1908 in Paris. The work is scored for an orchestra of 2 piccolos, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, sarrusophone (oboe/bassoon mixed breed), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, castanets, tambourine, gong, snare drum, celesta, 2 harps and strings.
They may contrast moods within movements and also within themes (Pg. 302).” The piano took the place of the harpsichord during the classical era and was favored by the composers of the time. Mood plays a big part of Classical music with its fluctuation of movement within each piece of music. Classical music is said to have five basic characteristics according to Sporre (2013), “1. Variety and contrast in mood, 2.
Symphonie no.1 Opus 21 By Anton Webern in 1928 was a prime example of 20th century symphony. Webern’s contribution to 20th century music set the standard for 20th century music. The mathematics and calculation created a somewhat elitist style of music with much more dimension than to the untrained eye. Webern redefined the way in which the classic ‘symphony’ was viewed. For him a ‘symphony’ was defined as being a sounding together of instruments.