Enjoyment of Music Instructors Manual

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INSTRUCTOR’S RESOURCE MANUAL

The Enjoyment of Music ELEVENTH EDITION

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INSTRUCTOR’S RESOURCE MANUAL

The Enjoyment of Music ELEVENTH EDITION

Alicia M. Doyle CALIFORNIA STATE UNIVERSITY, LONG BEACH

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W • W • NORTON & COMPANY • NEW YORK • LONDON

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Copyright © 2011, 2007, 2003, 1999, 1995, 1990 by W. W. Norton & Company, Inc. All rights reserved Eleventh Edition ISBN 978-0-393-11841-4 W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110 wwnorton.com W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T 3QT 1 2 3 4 5 6 7 8 9 0

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CONTENTS

Chapter 1 | Introduction

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Chapter 2 | Goals and Content

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Chapter 3 | Approaches to Teaching Historical/Chronological Approach Biographical, or Great Composer, Approach Listening Approach Analysis Approach Development of Styles Approach Genre Approach Multicultural Approach Gender Equity Approach

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Chapter 4 | Teaching Materials Available

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Chapter 5 | The Course Plan

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Chapter 6 | Planning an Exam Schedule

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Chapter 7 | Other Assessments of Competence Quizzes on Specialized Topics Concert Reports Special Activities and Listening Assignments

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Chapter 8 | The Course Syllabus

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Chapter 9 | Teaching Guide Part 1: Materials of Music Prelude 1: Listening to Music Today Chapter 1: Melody: Musical Line Chapter 2: Rhythm and Meter: Musical Time Chapter 3: Harmony Chapter 4: The Organization of Musical Sounds Chapter 5: Musical Texture

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vi | Contents Chapter 6: Form Chapter 7: Musical Expression: Tempo and Dynamics Chapter 8: Voices and Musical Instrument Families Chapter 9: Western Musical Instruments Chapter 10: Musical Ensembles Chapter 11: Style and Function of Music in Society Part 2: Medieval and Renaissance Music Prelude 2: The Culture of the Middle Ages and Renaissance Chapter 12: Sacred Music in the Middle Ages Chapter 13: Secular Music in the Middle Ages Chapter 14: Renaissance Sacred Music Chapter 15: Renaissance Secular Music Part 3: The Baroque Era Prelude 3: The Baroque Spirit Chapter 16: Baroque Opera and Its Components Chapter 17: The Baroque Cantata and Oratorio Chapter 18: Baroque Instruments and the Suite Chapter 19: The Baroque Concerto Chapter 20: Other Baroque Instrumental Music Part 4: Eighteenth-Century Classicism Prelude 4: Classicism in the Arts Chapter 21: The Development of Classical Forms Chapter 22: Classical Chamber Music Chapter 23: The Classical Symphony Chapter 24: The Classical Concerto Chapter 25: The Sonata in the Classical Era Chapter 26: Classical Choral Music and Opera Part 5: The Nineteenth Century Prelude 5: The Spirit of Romanticism Chapter 27: Song in the Romantic Era Chapter 28: Romantic Piano Music Chapter 29: Music in Nineteenth-Century America Chapter 30: Romantic Piano Music Chapter 31: Absolute Music in the Nineteenth Century Chapter 32: National Schools of Romantic Opera Chapter 33: Late Romantic and Post-Romantic Music Part 6: Impressionism and the Early Twentieth Century Prelude 6: Modernism in the Arts Chapter 34: Impressionism and Post-Impressionism Chapter 35: Early Modern Musical Style Chapter 36: Music of the Early Modernists Chapter 37: European National Schools Chapter 38: American Modernism in Music Chapter 39: Nationalism in the Americas

27 28 29 31 34 36 38 38 39 40 41 42 44 44 45 47 48 49 49 51 51 52 53 55 58 59 60 62 62 63 65 67 68 71 73 76 79 79 79 81 82 85 87 89

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Contents | vii Part 7: Music beyond the Concert Hall Prelude 7: The Rise of American Popular Styles Chapter 40: Ragtime, Blues, and Jazz Chapter 41: Musical Theater Chapter 42: Music for Films Chapter 43: The Many Voices of Rock Part 8: World War II and Beyond Prelude 8: New Directions in the Arts Chapter 44: The New Virtuosity in the Modern Age Chapter 45: Contemporary Composers Look to World Music Chapter 46: Technology and Music Chapter 47: Some Current Trends

91 91 92 94 95 97 99 99 100 101 104 105

Chapter 10 | General Resource Guide Women and Music Multicultural Music Guide East Asia/Japan East Asia/China South Asia/India Southeast Asia/Indonesia Middle East/Turkey Africa/Sub-Saharan Africa Eastern Europe/Russia Eastern Europe/Hungary/Romania/Bulgaria Eastern Europe/Jewish Culture Eastern Europe/Roma Culture Western Europe/Spain Americas/African American Americas/British-American Traditional Music Americas/Latin American Americas/Native American Wind Band Music in America Revolutionary and Civil War Bands French Military Bands John Phillip Sousa Paul Hindemith William Schuman Karel Husa Michael Daugherty Selected Wind Works by Other Composers

108 108 110 111 112 112 113 114 114 115 116 116 117 117 117 118 119 120 120 121 121 121 122 122 122 122 122

Chapter 11 | Answers to Study Guide Questions

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CHAPTER 1

Introduction

Having taught music appreciation at several institutions over the last two decades, I have found that the course is consistently a popular choice to fulfill a general education arts requirement, as few people do not “appreciate” music on a daily basis. Students come in confident in their understanding of what they consider “good” music and what music they like (and don’t like). Appreciating art music, however, understandably demands more formal guidance as this music has not been a part of many students’ experience. Students often have little prior knowledge of art music to build upon. Likewise, the body of available music is so large and dynamic that making analogies to popular music relevant to a majority of students in a given classroom is very difficult. The first few weeks in a music appreciation class are typically characterized by a group of students who are united in their love of music but struggling with the realization that they are going to be challenged to learn some practical listening skills and examine a body of music outside of their realm of experience. Initially, this realization is often uncomfortable, but our goal as instructors is of course to guide students toward a positive relationship with complex music, a relationship that will serve to enrich their education and hopefully last a lifetime. In a music appreciation course, learning is not relegated to the students alone, as the classroom is a wonderful place for

the instructor to learn about a diverse array of musics. Moments of discovery are challenging and thrilling for all involved, as opening minds (of professors as well as students!) to a world of music is often the true goal in music appreciation, a goal that extends beyond simply learning about European art music. Particularly exciting is the moment when a student recognizes that characteristics of a piece of art music are also evident in her own favorite music. Witnessing a group of students learn to hear in a more sophisticated manner and have a deeper, richer relationship with music is continuously fulfilling. Since music appreciation is often intended for students who are not music majors, in many cases it constitutes their only formal exposure to the world of art music. However, such a course may also serve as a general introduction for aspiring music students, and it is generally followed by more in-depth music history classes. Enrollments for music appreciation understandably vary widely, from large lecture classes of five hundred or more students to small discussion groups of a handful of students. Regardless of the class size, this type of course is invaluable, as it offers the opportunity to introduce the enjoyment of music to vast numbers of students, enriching their awareness and helping them understand their musical tastes as well as their connection to our collective cultural history.

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CHAPTER 2

Goals and Content

What should be the primary goal of a music appreciation course? According to Joe Machlis, it should be to bring students as far as possible along the road to being music lovers. I believe this remains the most important goal. This aim can be accomplished by a variety of means including a maximum of listening exposure to all styles of music in the classroom, focusing on the basic elements of music (melody, harmony, rhythm, etc.), frequent required attendance at concerts, examination of the relationship of music to the sociocultural environment in which it was created, looking in depth at patronage and politics and their effect on music or vice-versa, investigating the lives and ideas of music’s leading creators, the composers, or through some combination of all these methods. Other issues to address in designing course content are the balance of popular and traditional music versus art music, Western music versus world music, and music written or performed by women versus music by men, and whether to follow a chronological outline or to address music by genre, geographical region, performing forces, or something else altogether. If you have small enough class, you may have the luxury to design the course around specific interests of your students; in a large classroom this is less likely but still possible. This new edition of The Enjoyment of Music has been designed to assist the instructor with these issues and to facilitate an interactive learning experience. The various components of the package are explained further in Chapter 4. Overall, the text and its organization is streamlined and simplified for easy consumption. Detailed information, such as lists of compositions with dates and Listening Guide analyses, with clear descriptions of “what to listen for” in terms of the musical elements, is presented graphically. This arrangement allows you flexibility in selecting the amount of detail

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most appropriate for your classroom and for your individual teaching style. The Eleventh Edition reflects our technological culture as well, with easy-to-use multimedia resources. For instructors, these include this online instructor’s manual and the newly expanded Instructor’s Resource Discs with 143 musical excerpts, ready-to-use PowerPoint lecture slides for each textbook chapter, and PowerPoint-ready Instruments of the Orchestra videos. New videos of orchestral performances are also included on the Instructor’s Resource Discs, and the Norton Opera Sampler includes over two hours of video excerpts of Metropolitan Opera performances. The text is supported for students with StudySpace, a multilayered online resource that enhances learning through composer biographies, era overviews, chapter-by-chapter outlines, quizzes, and more. In addition, students who purchase a new text can access Norton iMusic streaming audio, Metropolitan Opera videos, and Materials of Music Interactive. For a small fee, students can also access streaming audio of all the pieces found in the shorter Norton Recordings repertoire, along with interactive listening guides. Although many academic institutions now offer separate classes in popular, traditional, film, and world music, the movement to internationalize the general education curriculum beyond a singularly Western focus has a strong footing on many campuses. In this new edition, Kristine Forney is sensitive to this increasingly global trend. Discussions of nonWestern musics are integrated throughout the book, and included in the Materials of Music Interactive. The Teaching Guide in this manual offers further resources to enhance these subjects in your classroom. Furthermore, popular styles of music—jazz, musical theater, film music, world music, traditional music, hip-hop, and rock—are presented in some detail throughout the text, with supporting music examples.


CHAPTER 3

Approaches to Teaching

Depending on your particular style and interests, and the goals you have set for your students (and perhaps institutionally established objectives), there are many different tactics for approaching and teaching music appreciation. The end goal is, of course, the same: to create a lifelong love of music supported by a sophisticated understanding of what is being heard. The intended outcome is always enjoyment. With this in mind, there are several ways in which one might approach the material. The chronological organization of The Enjoyment of Music encourages a multidisciplinary view, relating the development of music to parallel artistic and intellectual trends. In the text, the prelude for each era focuses on these developments and provides visual reinforcement in timelines. Each historical era is also supported by an overview of historical themes, musical context, and style in the StudySpace online at wwnorton.com/enjoy. Whether you as the instructor go through the text methodically in chronological order or use the book as a “backstop” against which you introduce ideas you have selected to focus upon, the book and the ancillary materials are flexible resources, designed to meet your needs. Below are a few ideas of different approaches that have met with success in the classroom.

introductory class for music majors. There are other merits to this approach: since notated Western art music started out simply, with one melody and no harmony, the gradual introduction of terms and labeling of sounds at the beginning of a course is easier for students unfamiliar with music and musical terminology. As the music gets more complex through history, so does the analysis. Progressively the student continues to build on the foundation of the analytical structure that has already been established. Some instructors may opt to begin with the composers with whom students might have some acquaintance—Haydn, Mozart, and Beethoven, for example—and either go back later to pick up the first three eras of Western art music or leave them out altogether. Some choose to speed though the Middle Ages and Renaissance, and then slacken the pace when they reach the Baroque era. It is, of course, up to the instructor to choose where to begin and where to stop. Other instructors have found that a complete chronological approach works best, for many reasons. For example, it is easier to teach the significance of the Dies irae in Berlioz’s Symphonie fantastique if the students have been exposed to Gregorian chant. As contemporary art music becomes more eclectic and encyclopedic in nature, putting it in the context of the entire history of Western art music is often most beneficial.

HISTORICAL/CHRONOLOGICAL APPROACH

BIOGRAPHICAL, OR GREAT COMPOSER, APPROACH

Probably the most common method for teaching a music appreciation course is to start at the beginning and go to the end. This approach allows for a simple and logical introduction to the world of art music; it works especially well in traditional lecture classes, in which interaction between the student and the teacher is difficult. It also works well for an

The biographical approach works well for a class when the objective is to produce students who will become informed patrons of the arts. This approach also encourages classroom discussion and a more interactive experience in classes with smaller enrollments.

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4 | Chapter 3 The Enjoyment of Music has long been known for its informative, highly readable biographies of the great masters of Western art music that include memorable quotes and anecdotes that students retain long after the course is completed. The biographical information found in the text engages students, allowing them to easily master the material on their own, while providing a common framework for greater understanding in the classroom. In the text, the principal works of each composer are discussed and summarized for quick reference. The instructor can use the outline of the composer’s life to emphasize selected events and works and bring to light the students’ shared humanity with the composers. The text includes composers who have been deemed “the greats” (both men and women) in the Western tradition; this approach will prepare your students well for most classical concert settings. StudySpace supports this approach with informative composer biographies and other information. The iMusic examples enhance this approach further by offering many pieces by selected masters beyond the principal works available in the CD set that accompanies the textbook.

LISTENING APPROACH Perhaps the single most important teaching tool we have for music appreciation is the actual listening experience, through either recordings or live performances. Most music appreciation students will be surprised to find that, in the middle of a lecture, music is played! These experiences are often the only exposure to Western art music that students have, although they may also be familiar with some styles from sampling in hip-hop and other popular musics, film scores, and video game music. A major goal of a listening-based approach is to help the students become active listeners. This is no small task given that we, as a sound culture, are bombarded with noise constantly, and we have developed, culturally, skills to tune out music subconsciously. Technology is helpful to this listening-centered approach as portable audio devices are varied and omnipresent. Additionally, today’s digital natives are well versed in compiling and manipulating audio files. A listening-centered approach to the material works best with a smaller class in which interaction with live music and performers is manageable, however I have witnessed success using this approach in a large lecture as well. Recordings are convenient teaching tools because you can easily highlight specific moments and replay them for clarity. Of course, nothing can replace a live performance, and if possible, students should get to see and hear art music performed live by high-quality performers. In-class demonstration by music students is often quite successful and the peer-to-peer dialog that takes place in such an event is valuable for all involved. Not only will the students in the class engage differently with a

“classical” musician who is their own age (imagine!), but the student musicians and the instructor will gain insight into the thoughts of the younger listening audience. Classroom teaching provides the perfect setting for guided listening, especially when examining longer, more complex forms. The electronic Listening Guides, Materials of Music Interactive activities, and iMusic examples provided on StudySpace will encourage interaction between listening and learning in the classroom and will provide a model for students to analyze the music independently. Regular out-ofclass listening can be encouraged through use of the CDs in The Norton Recordings and through iMusic examples.

ANALYSIS APPROACH With students who are for the most part not musicians, the appropriate level of musical analysis needs to be determined. While it is not suggested to completely avoid the issue of form and analysis, hearing secondary dominants is perhaps too much to ask of beginners. Hearing a tonic and the tension created through the use of chromaticism is certainly possible, however, and enriches listeners’ experience, as they grow to understand that the composer creates musical drama intentionally. Listening Guides provide options: you as the instructor can introduce the general form and go into as much detail as you wish, or as the level of the class allows. The electronic Listening Guides and online examples also provide visual cues to students that will help them find where they are in the piece. Each guide is designed for the student to follow while listening. It is probably not possible to cover every work in the text in analysis-focused course. For those works that you wish to cover quickly or not at all, the detailed Listening Guide can simply be left out. The Materials of Music Interactive exercises on StudySpace are also useful tools to aid in the mastery of formal structures.

DEVELOPMENT OF STYLES APPROACH Understanding what makes one style different from another is a complex issue. The Enjoyment of Music provides a solid approach to understanding style for beginning music students, offering several features that will facilitate this method. The genre organization within each part in the book allows students exposure to all examples of one genre in an era, proceeding from the earliest to the latest. Tabular summaries assist students in comparing two consecutive style periods. The multidisciplinary focus of the prelude for each historical era serves to place music within the context of major artistic styles and developments. Using these features, a student can learn to understand the development of a genre through several style periods. StudySpace reinforces these principles, notably


Approaches to Teaching | 5 through the overviews, quizzes, and listening excerpts. Stylistic traits can be emphasized with extra listening on StudySpace.

GENRE APPROACH Another way to emphasize musical style is to use a genrebased approach. This organization, proceeding chronologically through each vocal and instrumental form, highlights the stylistic differences found among similar forms composed in various eras. The survey of each genre covers roughly the same historical periods, although it points out developments specific to individual forms. This survey might begin with vocal music, as generally the words make the students’ understanding of these works easier. One possible path would begin with sacred vocal music and then follow with secular vocal music and opera. Instrumental music could then be presented, beginning with the most accessible genres—such as program music and works with simpler forms—before proceeding to the larger and more complex sonata cycle.

MULTICULTURAL APPROACH The main goal of this text is to help the student gain an appreciation of Western art music. The evolution of popular, folk,

and art musics is inseparable, and it is impossible and counterproductive to remove popular and traditional music from a discussion of art music. Integrated throughout the book are readings and recordings that give insight into traditional or popular music relevant to the topic at hand. These developments can be expanded on with supplemental reading, listening, videos, or online resources. The Study Guide also contains exercises with independent listening projects that serve to enhance these readings.

GENDER EQUITY APPROACH Although many institutions have independent courses on women and music, a general music appreciation class can easily introduce the role that women have played in music throughout history. Some instructors may elect to focus on women as composers, while others may look more broadly at women as patrons and as performers, both amateur and professional. The broader approach encourages an understanding of the sociocultural setting of each era and allows a more balanced perspective of the role gender has played. The text supports this approach by providing important historical information in the introduction to each era and by focusing on particular women performers and pieces written for women throughout the centuries.


CHAPTER 4

Teaching Materials Available

A. The Enjoyment of Music, Eleventh Edition 1. Full Version 2. Shorter Version (also available as an eBook) 3. Essential Listening Edition (forthcoming in 2013) B. The Norton Recordings, Eleventh Edition 1. 8 CDs (for the Full Version) 2. 4 CDs (for the Shorter Version, also available with Interactive Listening Guides as mp3s on DVD and as streaming audio) C. Student Resources at StudySpace (www.norton.com/studyspace) D. The Study Guide to Accompany The Enjoyment of Music, Eleventh Edition E. The Norton Scores, Eleventh Edition, edited by Kristine Forney, with textual notes by Roger Hickman 1. Volume I: From Gregorian Chant to Beethoven 2. Volume II: From Schubert to the Present F. The Norton Opera Sampler (available as DVD for instructors and streaming video for students) G. Instruments of the Orchestra (available as DVD for instructors and streaming video for students) H. Instructor’s Resource Manual, by Alicia M. Doyle I. Instructor’s Resource Discs 1, Enhanced PowerPoint Slides 2. Art PowerPoints 3. PowerPoint-ready Instruments of the Orchestra Video 4. Music Example Bank mp3 excerpts 5. Orchestral Performance Videos

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J. Test Bank and Computerized Test Bank, by Roger Hickman K. Norton Gradebook L. Music Example Bank (4 CDs) M. Coursepacks A. Text Versions The Enjoyment of Music, Eleventh Edition, is available in three different versions: 1. The Full Version (595 pp. + appendices) presents an introduction to the elements of music, followed by the musical style periods in historical sequence, beginning with the Middle Ages and ending with the Contemporary era. This version includes detailed discussion and listening guides for 97 works, all of which are included on the 8-CD set of The Norton Recordings. 2. The Shorter Version (425 pp. + appendices) is also ordered chronologically, with the basic elements of music at the beginning. Maintaining the same chapter structure, this version offers an abridged discussion of some topics, and includes 62 listening guides, the music for which is on the 4-CD set of The Norton Recordings. These recordings are available in other formats as well (see below) 3. The Essentials Version, forthcoming in 2012, will feature a new modular organization. Features of the Full and Shorter Versions: a. A simplified two-tiered organizational plan facilitates the use of the book: the larger division is


Teaching Materials Available | 7

b.

c.

d.

e.

f.

g.

h.

the part (generally comprising an entire era), each of which begins with an introductory Prelude presenting the historical and cultural context of the era, followed by short chapters on a musical genre or style. The Full and Shorter versions maintain the same part and chapter structure, allowing for more flexibility within the package. Redesigned Listening Guides, or study outlines, appear in the text for all works discussed in detail (97 in the Full Version; 62 in the Shorter Version). The Listening Guides supplement the prose descriptions of the repertory with a more in-depth look at each work and are designed for ease of reading while listening. New color-coded What to Listen For boxes help students identify key musical elements and hone critical listening skills. New Listening Activities placed throughout the text challenge students to identify musical elements and to differentiate styles and genres. Each elements of music chapter features a listening activity. Here & There, Then & Now features (informative text windows) connect the musical past and the present while highlighting the role music plays in everyday culture in the West, around the world, and in popular as well as art music. They further aid students in making connections between music and other disciplines (politics, science, technology, American and world history, gender studies). New Meet the Performers boxes, interspersed throughout the text, introduce students to some of the world’s most famous musicians and make recommendations for recordings and videos by each player or group. Featured artists include Wynton Marsalis, Yo-Yo Ma, Gustavo Dudamel, Lang Lang, Mikhail Baryshikov, and many more. Incisive Critical Thinking questions appear at the end of each chapter, raising issues for further study. By the way . . . (BTW) sidebars engage students with concise answers to common questions students ask about composers and music. Dynamic new repertory constitutes about thirty percent of the selections in the text. These works were selected for their accessibility, “teachability,” as well as for the balance of genres and styles. New works span all eras including the famous medieval canon Sumer is icumen in, Haydn’s Emperor Quartet, Stephen Foster’s well-known Jeanie with the Light Brown Hair, Grieg’s Peer Gynt Suite, Verdi’s dynamic Requiem, and Orff’s powerful Carmina burana. In particular, this

edition offers rich coverage of contemporary music, including John Corigliano’s delightful song cycle Mr. Tambourine Man: Seven Songs of Bob Dylan, Jennifer Higdon’s shimmering tone poem blue cathedral, and John Adams’s compelling opera Doctor Atomic. i. Enhanced coverage of popular music styles, including a new musical theater work (Gershwin’s Porgy and Bess), new listening activities focused on classic rock selections (by The Rolling Stones and Nirvana), and several Meet the Performer boxes for important rock groups and performers (Bob Dylan, Mick Jagger, Nirvana). This section includes chapters on jazz, musical theater, film music, and rock, all introduced by an informative prelude setting the sociocultural context for this music. j. The role of women as composers and performers is underscored throughout the book. In this edition, we endeavored to present a balanced perspective through history of the role that women have played in music. Works by seven women composers are included in the primary repertory, ranging from early times (Hildegard of Bingen and Barbara Strozzi) to the twentieth century (Ruth Crawford Seeger, Billie Holiday, and Jennifer Higdon). Discussions throughout are genderinclusive, and, where possible, feature women as important creators, interpreters, and patrons of music and the arts. k. A dynamic narrative has been revised for clarity and accessibility to today’s students, and both versions of the book are a full 10% shorter than the previous editions. l. A stunning new design features eye-catching colors and abundant full-color illustrations that reinforce learning by making the book more accessible to today’s students. B. Flexible recording options give instructors and students choices. The large set of The Norton Recordings (8 CDs) includes all or some part of the 97 works outlined in Listening Guides in the Full Version. The recordings for the Shorter Version of the text are available in three formats: as streaming audio, on a DVD with mp3 files, and on a 4-CD set. As always, the recorded selections are carefully chosen for their performance quality, stylistic validity, and audio clarity. They represent some of the world’s leading artists, and many selections feature original instrument groups for early music examples. C. StudySpace provides an integrated online learning environment that includes study plans, chapter


8 | Chapter 4 outlines, overviews, flashcards, and Quiz+ assessments; these materials are free, open content. With the purchase of a new text, the standard content also provides streamed video of the Metropolitan Opera excerpts, iMusic examples and Materials of Music Interactive activities, and listening activities and quizzes. StudySpace Plus, available for purchase as a recording option, provides all 62 works in the Shorter Version in streaming format, as well as eBook access and redesigned interactive Listening Guides (iLGs) that offer a sequential listening pedagogy (each with Overview, Journal, Guide, Listen For and Quiz modules). Registration codes for this option ($12.50) are packaged with The Enjoyment of Music. D. The Study Guide, written by Kristine Forney, is a workbook designed to help students with listening exercises (drawn both from the text’s main repertory and short iMusic examples), exam preparation, and special music projects, such as writing concert reports. This ancillary includes the following:  Review exercises, based on the most important terms, concepts, and historical information presented in the text; these exercises aid students in preparing for quizzes and exams.  Listen exercises that guide the study of musical selections outlined in the text and included on the recording sets.  Explore studies that review the factual information presented in the Here & There, Then & Now boxes in the text and suggest outside assignments (listening or Web-based) that enhance the understanding of certain works and traditional musics.  Musical Activities that allow students hands-on experience with music, either as individuals or in small groups.  Concert Report outlines that can be completed during or after a concert and may serve as the basis for concert credit or as an outline for a prose report.  Surveys, one to be completed at the beginning of the course and one at its close, to be used either by students or faculty. These can help students gauge how their own tastes and experiences have changed as a result of the course, and assist faculty with knowing the musical preferences and backgrounds of their students. E. The Norton Scores, edited by Kristine Forney, with textual notes by Roger Hickman, is a two-volume study anthology that includes scores for nearly all the primary repertory in The Enjoyment of Music. (Several contemporary and world music examples are not available.) The scores are essential for the instructor’s

classroom use and lecture preparation; they can also assist students, especially beginning music majors, with music-reading and score-reading skills. The unique highlighting system used in the full orchestral and instrumental chamber music scores helps the untrained eye follow the music: the most prominent line at any time is highlighted in white and an arrowhead directs the user to the appropriate line in the next musical system. A stylistic commentary places works in their historical context. The scores also provide dates for composers and works, as well as recording locators in both CD sets and index numbers for internal tracks throughout the pieces. The scores include directions for how to follow the highlighted scores, notes on performance practices, and explanatory footnotes for individual pieces. Appendices include a list of instrument transpositions and commonly-used foreign-language names of instruments, a glossary of terms used in the scores, an index of forms and genres, and a concordance table for recordings and listening guides. F. New to this edition, The Norton Opera Sampler is a DVD that includes over two hours of stunning live opera excerpts, with English subtitles, from the New York Metropolitan Opera Company. Seven classic operas from The Enjoyment of Music repertory are included in this resource: Mozart’s Don Giovanni, Bizet’s Carmen, Wagner’s Die Walküre, Verdi’s Rigoletto, Puccini’s Madame Butterfly, Berg’s Wozzeck, and John Adams’s Doctor Atomic. This resource, featuring some of opera’s greatest stars, brings extraordinary theatrical performances alive in the classroom. This exclusive DVD, the result of a ground-breaking collaboration between W. W. Norton and the esteemed Metropolitan Opera, is free to all adopters of The Enjoyment of Music and the performances will be available to students on StudySpace with every purchase of a new textbook. G. The Instruments of the Orchestra DVD includes 45 instrument videos (including 11 of percussion instruments) made by the talented students of the Eastman School of Music to demonstrate orchestral instruments. Ideal for classroom use, these full-screen videos can be accessed alphabetically or by family, complete with a basic description of each instrument. The videos are also available online at StudySpace. (ISBN 978-0-393-10692-3) H. The Instructor’s Resource Manual, by Alicia Doyle, is available as a PDF and includes an overview of all ancillaries accompanying The Enjoyment of Music, Eleventh Edition. It further provides suggested approaches to teaching, a sample course syllabus,


Teaching Materials Available | 9 possible exam schedules, chapter outlines, the answers to the Study Guide questions, and other useful resources for instructors. I. The Instructors’s Resource Discs provide many classroom presentation tools: Enhanced Lecture PowerPoint slides include lecture notes in the notes field and slides for the Shorter Version of the text included in the embedded media (video, audio, and graphical materials); Art PowerPoints feature all the photographs, art, painting and drawings from the book; Performance videos include professional instrumental ensembles playing seminal eighteenth-century works from the text’s repertory (J. S. Bach’s Contrapunctus I from The Art of Fugue; Mozart’s Eine kleine Nachtmusik; Mozart’s Piano Concerto in G major, K. 453; and Beethoven’s Symphony No. 5); 143 electronically-indexed mp3 excerpts from the Music Example Bank are easily navigable in the classroom; and a PowerPoint-ready version of the Instruments of the Orchestra Video (see above) makes this resource easily incorporated into the lecture. J. Test Bank Edited by Roger Hickman, this resource includes over 2,000 multiple-choice, true/false, and essay questions that span the entire content of the text. The Test Bank is available on CD-ROM, in Microsoft Word, PDF, and RTF as well as ExamView test generator Software, which allows instructors to create, administer, and manage assessments, create paper exams with algorithmically generated variables, and export files directly to Blackboard, Angel, and WebCT. This time-saving resource also ranks each question according to its difficulty level.

K. Norton Gradebook allows instructors to easily access student practice-quiz results from StudySpace and avoids email inbox clutter. This resource is free and easy to use, with no course setup required. More information on this resource is provided in an audio tour of the Gradebook; visit wwnorton.com/college/nrl/gradebook. L. The Music Example Bank, compiled by Richard Viano, is a rich resource of 4 CDs including 270 short musical excerpts, selected to illustrate all major concepts, genres, and styles discussed in the text. The accompanying booklet includes a table of contents of the discs, with a complete citation (composer, title, movement and/or excerpt); an alphabetical listing by composer, including the concepts illustrated by the excerpt; and an alphabetical listing by concept, providing several appropriate examples for each. 143 selections from the Music Example Bank appear on the Instructor’s Resource Discs (see above), with electronic indexing. (ISBN 978-0-393-10756-2) M. Coursepacks for online or hybrid courses are available at no cost to instructors or students in a variety of formats, including all versions of BlackBoard and WebCT. The content includes chapter-based assignments, test banks and quizzes, interactive learning tools, and other materials from StudySpace. N. Downloadable Instructor’s Resources include content for use in lectures and in distance education. These include the Instructor’s Resource Manual, coursepacks, test banks, PowerPoint lecture slides, images, figures, and more.


The Course Plan

CHAPTER 5

Every instructor designs a course differently, focusing on a variety of repertories because of personal interests, connections to performances, the interests of students, and so forth. Often instructors bring in additional material to supplement/enhance material found in the text. The following information is designed to serve as a general guide, useful for both those who have supplemental materials and those attempting to cover all or most of the material in the textbook. In the following chart, you will find suggestions for apportioning the available class hours in order to cover the material in the text. The chart is arranged to reflect an historical/ chronological approach, but it can be arranged to reflect any

Part

30 hours = quarter course (10 weeks) of 3 units 40 hours = quarter course (10 weeks) of 4 units 45 hours = semester course (15 weeks) of 3 units 60 hours = semester course (15 weeks) of 4 units or 2-quarter course (20 weeks) of 3 units 90 hours = 2-semester course (30 weeks) of 3 units

30

40

Total hours 45 60

90

1

Materials of Music

3

4

5

8

10

2

Medieval and Renaissance Music

2

3

3

4

6

3

The Baroque Era

4

5

5

6

10

4

Eighteenth Century Classicism

4

5

6

7

12

The Nineteenth Century of Music

4

5

6

7

12

Impressionism and the Early Twentieth Century

3

4

5

6

10

Music Beyond the Concert Hall

2

4

5

6

10

World War II and Beyond

5

6

6

10

12

3

4

4

6

8

5 6 7 8

Exams/vacations 10

mode of teaching. The chart reflects hours for a course using either the Full or Shorter Version of the text, including hours dedicated to exams. Offering online tests is a way to regain several days of instruction. The columns refer to the following course lengths:


Planning an Exam Schedule

CHAPTER 6

W. W. Norton has excellent online resources including a test bank and coursepacks designed to work with the most popular course management systems (WebCT, Blackboard). If assessments are attempted via a course management system coursepack, the scores for each student are automatically recorded in the instructor’s course management gradebook. By utilizing these online assessment tools for concept and context quizzes, instructors are able to free up valuable class time for discussion, extended listening instruction, and other assessments. The first and last examples below make full use of the online capabilities of the Enjoyment of Music course

management system coursepacks. If your institution does not support a course management system, score for the same quizzes can be uploaded to your personal gradebook via the free, easy-to-use Norton Gradebook (no course setup required). Typically, if the online quizzes are utilized, students are required to sign an integrity oath, as the instructor does not monitor the online quizzes. These charts are arranged to reflect an historical/chronological approach, but they can be arranged in any manner to reflect the instructor’s agenda.

PLAN A: ONLINE CONCEPT QUIZZES, IN-CLASS LISTENING QUIZZES Using any version of the text Part 1: The Materials of Music

Online quiz on terminology

Part 2: Medieval and Renaissance Music

Online quiz on Medieval and Renaissance Music concepts In-class quiz on Medieval and Renaissance Music listening

Part 3: The Baroque Era

Online quiz on Baroque Era concepts

Part 4: Eighteenth-Century Classicism

Online quiz on Eighteenth-Century Classicism concepts In-class quiz on Baroque Era and Eighteenth-Century Classicism listening

Part 5: The Nineteenth Century of Music

Online quiz on The Nineteenth Century of Music concepts

Part 6: Impressionism and the Early Twentieth Century

Online quiz on Early Twentieth Century listening In-class quiz on Nineteenth and Early Twentieth Century listening

Part 7: Music Beyond the Concert Hall

Online quiz on Music Beyond the Concert Hall concepts

Part 8: World War II and Beyond

Online quiz on World War II and Beyond concepts In-class final quiz on Music Beyond the Concert Hall and World War II and Beyond listening. 11


12 | Chapter 6 Advantages to Plan A 1. Lower anxiety level for students as the quizzes are all equally counted. 2. Allows students to master vocabulary and concepts by era prior to being quizzed on the listening of that era. 3. Allows for manageable amount of material and listening for each examination by frequent testing. 4. Fits traditional scheme of testing in many institutions. 5. Works well with 3- or 4-unit quarter-system courses. 6. Keeps grading and paperwork to a minimum, especially important for large-enrollment classes. 7. Provides students more demonstrations of competence as listening and concepts are separated. 8. Allows for comparison of styles and examination of evolution of styles. PLAN B: IN-CLASS ASSESSMENT, SEPARATE LISTENING AND CONCEPT QUIZZES ARE SEMI-CUMULATIVE Using any version of the text Part 1: The Materials of Music

Quiz on terminology and/or application of terms to music examples


Quiz on Medieval and Renaissance Music listening


Quiz on Baroque Era listening Midterm on Medieval, Renaissance and Baroque concepts


Quiz on Eighteenth-Century Classicism listening


Quiz on The Nineteenth Century of Music listening Midterm on eighteenth- and nineteenth-century concepts


Quiz on Early Twentieth Century listening


Quiz on Music Beyond the Concert Hall listening


Quiz on World War II and Beyond Listening Final exam on Impressionism, Early Twentieth Century, Music Beyond the Concert Hall, and World War II and Beyond concepts.

Advantages to Plan B 1. Allows for manageable amount of material and listening for each listening examination by frequent testing. 2. Provides students more demonstrations of competence as listening and concepts are separated. 3. Makes it possible to drop lowest test grade (or not give makeups for a missed exam). 4. Takes pressure off students by not having a comprehensive final exam. 5. Works well with 3- or 4-unit semester-system courses. 6. Allows for comparison of styles and examination of evolution of styles.


Planning an Exam Schedule | 13 PLAN C: IN-CLASS ASSESSMENT, SECTIONAL QUIZZING Using any version of the text Part 1: The Materials of Music

Quiz on terminology and/or application of terms to music examples


Quiz on Medieval and Renaissance Music listening and concepts


Quiz on Baroque Era listening and concepts


Quiz on Eighteenth-Century Classicism listening and concepts


Quiz on The Nineteenth Century of Music listening and concepts


Quiz on Early Twentieth Century listening and concepts


Quiz on Music Beyond the Concert Hall listening and concepts


Quiz on World War II and Beyond listening and concepts

Advantages to Plan C 1. Lower anxiety level for students as the quizzes are all equally counted and test material is not cumulative. 2. Allows for manageable amount of material and listening for each examination by frequent testing 3. Fits traditional scheme of testing in many institutions. 4. Works well with 3- or 4-unit quarter-system courses. PLAN D: ALL ONLINE ASSESSMENT, SECTIONAL QUIZZING USING W. W. NORTON ONLINE RESOURCES Using any version of the text Part 1: The Materials of Music

Online quiz on terminology and/or application of terms to music examples


Online quiz on Medieval and Renaissance Music listening and concepts


Online quiz on Baroque Era listening and concepts


Online quiz on Eighteenth-Century Classicism listening and concepts


Online quiz on The Nineteenth Century of Music listening and concepts


Online quiz on Early Twentieth Century listening and concepts


Online quiz on Music Beyond the Concert Hall listening and concepts


Online quiz on World War II and Beyond listening and concepts


14 | Chapter 6 Advantages to Plan D 1. Lower anxiety level for students as the quizzes are all equally counted and test material is not cumulative. 2. Allows for manageable amount of material and listening for each examination by frequent testing. 3. Fits traditional scheme of testing in many institutions. 4. Works well with 3- or 4-unit quarter-system courses. 5. Works for online or hybrid music appreciation courses.


CHAPTER 7

Other Assessments of Competence

QUIZZES ON SPECIALIZED TOPICS 1. Listening (use Instructor’s Resource Discs, orchestra and chamber music videos, Music Example Bank, iMusic, and Instruments of the Orchestra DVD to prepare) a. Elements of music: understanding and application of terms to listening examples b. Identification of instruments c. Identification of required repertory d. Identification or comparison of styles 2. Objective (use the Test Bank) a. Materials of music (elements, instruments, ensembles) b. Other sections of text (terms, forms, etc.) c. Musical notation in Appendix I Note: Quizzes can be conveniently created from the electronic test bank. Quizzes can be very short (10 to 15 questions), so they do not take up too much class time to administer. Depending on how many quizzes are given during the course, the lowest grade or missed quiz could be dropped.

CONCERT REPORTS (REQUIRED OR OPTIONAL) Since the main objective of a music appreciation course is to have students actively engaged in listening to music, most courses contain required concert reports. 1. Use outlines provided in the Study Guide a. Instrumental music (orchestra, band, chamber music, solo recital) b. Choral/vocal music (choir/chorus, chamber choir/madrigal choir, solo vocal recital)

c. Dramatic music (opera/operetta, musical/play with incidental music) d. Popular music (jazz combo/ensemble, rock group, solo singer) e. World music 2. Use free essay format Note: The five Concert Report outlines in the Study Guide will be useful for diverse types of concerts. In each report the student is asked to record certain information about the event (date, place, performers, repertory) and to write about several of the played selections. While it is suggested that three Concert Reports be required, more might be accepted for extra credit. The reports could be graded or simply marked Pass/Fail. The latter places the emphasis on attending concerts rather than on the correct application of terms and information.

SPECIAL ACTIVITIES AND LISTENING ASSIGNMENTS 1. Musical activities for active participation or hands-on experience a. Keep a music journal and record all music exposure over a period of days. b. Start a music blog where you write about your musical observations. c. Create a slide show and select appropriate music to accompany it. d. Interview a musician. e. Interview two musicians from different styles and compare their experiences. f. Create a radio station on Pandora (internet radio) using a single musician or group as a starting point 15


16 | Chapter 7

g. h. i. j. k. l. m. n. o. p. q.

r.

and compare two or more musicians/groups that Pandora has determined “sounds like” the one you started with. Create a piece of music or song using GarageBand. Experience traditional music live. Experience new original classical compositions on Pandora and YouTube. Explore PBS/Public Radio music programming. View a recorded opera or musical theater work at home. View a performance of the Metropolitan Opera live in HD at a local movie theater. Explore a music video network on cable/satellite television. Explore a classical music channel on satellite radio. Sing karaoke. Interview an international student about music of his or her homeland. Create a short piece in ternary form and design the notation to be performed by others (does not need to be traditional notation!). Write a rap song or blues lyric.

s. Play in a percussion ensemble. t. Discover and listen to a music group on the Web. u. Discover and listen to a modern composer’s music on the Web. v. Create a classical music video. w. Find a piece that would be a suitable alternative for a scene in a movie or a part of a video game. x. Find a piece of music from your own collection that exhibits a particular musical characteristic (disjunct melody, dissonant harmony, syncopation, polyphony, rondo form, etc.). y. Compare music played at different stores in the mall. z. Compare music played at the same supermarket at different times of the day and/or week. 2. Outside Listening and Web assignments (given under Explore exercises in the Study Guide and focused on traditional, popular, and non-Western musics) 3. StudySpace content and listening quizzes 4. Set up a discussion group/thread on a course mangagement system such as WebCT or Blackboard; require responses from students to questions posed and monitor participation.


CHAPTER 8

The Course Syllabus

It is essential that all students have access to the basic information about the courses in which they are enrolled. In addition to summarizing basic information, the syllabus can be an important learning tool that will not only reinforce the content goals and expected outcomes but also outline attitudes and strategies that you will use to promote active, engaged, effective learning. Your syllabus can be an important point of interaction between you and your students, both in and out of class. The traditional syllabus is primarily a source of information for your students, but a good syllabus should also provide specific information about course requirements and course outcomes. Often institutions have strict guidelines with regard to attendance, makeup work, and accommodations for disabilities; clearly your syllabus must be in line with them. Given today’s technological climate, many instructors choose not to distribute a printed syllabus but rather to deliver it electronically. If the syllabus is only distributed electronically, the instructor must provide detailed instructions on how to access the syllabus. In the case of distance-learning classes that do not meet in person in the same physical setting, the enrolled students need to be provided with the electronic address, access instructions, and required information either by mail or e-mail. The following are suggestions for what to include in your syllabus: 1. Course name, number, semester, and prerequisites 2. Instructor contact information 3. Office hours and location 4. Course meeting location and times 5. Mode of content delivery (lecture, discussion, online, hybrid)

6. Course description from catalog 7. Course goals and/or objectives and/or expected student learning outcomes 8. Required and optional textbooks and recordings a. Link to Norton’s The Enjoyment of Music Web site www.wwnorton.com/enjoy 9. Types and sequence of assignments and basis for assigning course grade a. Due dates for assignments b. Test and exam dates c. Reading assignments d. Concert Reports or other listening assignments e. Makeup policy for exams and quizzes f. Grading rubric for subjective work 10. Attendance policy 11. Reminder that it is the student’s responsibility to notify the instructor in advance of the need for accommodation of a university-verified disability 12. Other information essential to the course; for example, safety information, information about accessing online resources, information about assignments that must be accomplished at off-campus locations (e.g., field trips, service learning) 13. Week-by-week plan with reading and listening assignments If some of the information is subject to change, that fact should be noted in the syllabus (examples: due dates, exam dates). Online courses often require more information about issues specific to online instruction such as: 17


18 | Chapter 8 1. How the instructor will communicate with the students and how the students will communicate with each other; 2. How online participation will be assessed and graded; 3. How the instructor will monitor the online activities of the students; 4. How the standards of appropriate online behavior will be maintained; 5. The level of technical competence required of the students;

6. What the minimum computer hardware and software requirements are for the class, and what department, college, or university facilities are available to support these requirements for students who cannot afford to buy the technology; 7. The alternative procedures for submitting work in the event of technical breakdowns; 8. The on-campus meeting requirements, if any; 9. How academic honesty will be enforced.


CHAPTER 9

Teaching Guide

This section of the manual is intended to assist with the efficient preparation of your in-class lectures and activities. Detailed outlines for each chapter, which can be used as lecture notes, appear here and include a summary of each piece found in the Listening Guides (LG). Also provided here are overviews for each part, as well as suggested teaching goals and discussion topics for each chapter. Listed for each chapter are appropriate iMusic and Music Example Bank (MEB) selections for each composer and concept. (On the Music Example Bank, see p. 9 in this Instructor’s Resource Manual and the booklet accompanying the CDs.) Individual chapter overviews and goals are included when the Part overview is not sufficient. Each part concludes with suggestions for further reading; in some parts, individual chapters are afforded individual suggested reading lists. The outlines found here directly correlate to both the Full and Shorter Versions of The Enjoyment of Music and can be useful in preparing lectures. Asterisks indicate those points that are only covered in the Full Version. Also useful are the PowerPoint presentations included on the Instructor’s Resource Discs; many instructors find that a PowerPoint presentation helps students to organize their notes in class and saves valuable instructional time since it eliminates the need to write on a board or overhead projector. In large classes this is particularly beneficial as the slides can be projected on a large overhead screen, making them visible to every seat in the room. In smaller classes they can be projected on a smaller screen or dry-erase board, or even the wall. With the slides there will be no questions as to the spelling of terms mentioned in class and other distracting issues that take away from class time. Slides can also be posted to WebCT or BlackBoard Coursepacks. Many instructors have their students print out the slides before class and have the students take notes right on the slide printout.

The PowerPoint slide set included in the Instructor’s Resource Discs follows the book in detail. Also on the discs are Enhanced PowerPoint slides, Art PowerPoint slides (with all of the photographs, art, paintings, and drawn figures from the text), and a PowerPoint-ready Instruments of the Orchestra video. Classroom response systems are compatible with PowerPoint as well. Integrating quizzes for use with the slides (iClicker, for example) is quick and easy. The PowerPoint slides for the Shorter Version of the text are enhanced with images, maps, hyperlinks to Listening Guide PDFs, and sound files. The instructor can simply use the slides as they are or change them to meet the needs of the class. Most instructors will want to personalize the slides to their style of teaching, but they can be used “as is.” The slides are divided by chapter, so whether you choose to teach chronologically, by genre, or by any other modular method, the slide content can be easily rearranged, edited, or omitted. Of course, personalized information that is not included can be added to a slide or slides (exam dates, extended readings, upcoming concerts, etc.). In order to personalize the slides, simply save the presentation to your computer, then open the application and add or subtract information as needed. You will need PowerPoint software to edit the slides. This software typically comes standard in the Microsoft Office suite. The slides provided for you then will create a lecture framework and will hopefully be a time-saving device. Each of the eight Parts includes a list of suggested readings. Sources on composers are included in chapters where life and works are discussed; these references are not repeated in other chapters where composers may reappear. (For example, Verdi’s biographical sources appear in the chapter on National Schools of Romantic Opera, where Rigoletto is discussed, and not in the later chapter on Romantic Choral Music.)

19


20 | Chapter 9 PART 1: MATERIALS OF MUSIC Prelude 1. Listening to Music Today Overview The introductory section is designed to make students think about how the technological society in which they live has affected how, why, and when they listen to music. It justifies the need to establish a working vocabulary of terms and explains the goals behind using this information to build a personal understanding of all styles of music. It further offers some practical suggestions on how to study for a music course, emphasizing both the importance of active listening (to recordings and live concerts) and basic issues of concert attendance. There is a preview of the listening guides and listening activities using O fortuna from Carl Orff’s Carmina burana. Part I introduces the first of the component parts that make up music. These elements are presented in an order that moves from the simplest and most familiar—melody—to the most complex, including issues of structure and musical expression. Part I presents a working vocabulary of terms, each of which is defined and illustrated with a music example, most of which are selected from traditional music. This first part of the book further defines the properties of each musical sound, the world instrument classification system, and the families of Western instruments. It further provides basic information about the history and traditional role of individual instruments. Various vocal and instrumental musical ensembles are introduced, as are Western and non-Western music, as well as popular and classical. The role of the conductor is featured, along with graphic representations of the standard conducting patterns for duple, triple, quadruple, and sextuple meter. The content is summed up with two videos on StudySpace: Britten’s The Young Person’s Guide to the Orchestra and the Instruments of the Orchestra videos. These videos reinforce visual as well as aural familiarity with orchestral instruments, present detailed information about the construction of various instruments, and show a professional conductor in action. The relationship between musical style and social function is discussed, as are the means of transmission (oral and notated). The discussions emphasize the universality of certain musical concepts, citing various world cultures as examples. The concepts presented in these eleven chapters are reinforced by graphic summaries, and marginal side heads assist with locating the definitions of terms. Pertinent listening examples, chosen from both recording sets, are suggested at the end of each chapter. Music Example Bank and iMusic examples are also listed. Goals for students in Part I • To become aware of the individual elements or components of music and the role of each • To develop a working vocabulary of terms for use throughout the course

• To recognize the universality of certain musical concepts in various world cultures • To perceive form as a conscious unifying feature in music • To become attuned to the subtleties of expression possible in music • To become aware of the different classification systems, means of sound production, and characteristic sound and effects of each instrument • To understand the development of the Western orchestra and its instruments • To know the basic makeup of other musical ensembles, such as choirs,bands, jazz groups, and rock bands • To appreciate and understand better the role of the conductor in an ensemble • To recognize the role music plays in various societies • To discern differences in musical styles Discussion Topics: What are some challenges encountered when discussing music as opposed to other arts (painting, sculpture, theatre, film, dance, etc.)? What is different between listening to a recorded performance and a live performance? What are some concert traditions in the Western tradition? How are concert programs helpful to listeners? Chapter 1. Melody: Musical Line I. Defining Melody A. Horizontal aspect of music B. Succession of single pitches perceived as a whole; tune 1. range: distance between lowest and highest notes a. narrow, wide 2. contour: shape a. ascending, descending, wave, static 3. interval: distance between two pitches 4. conjunct: melodies connected with small intervals 5. disjunct: melodies connected by larger intervals II. The Structure of Melody A. Phrase: musical unit within larger structure of melody 1. component parts (like parts of a sentence) 2. cadence: resting place, where phrases are punctuated a. inconclusive or conclusive (like comma and period) 3. rhyme scheme: ending of text lines coincide with musical phrase


Teaching Guide | 21 B. Climax: high point in the melodic line C. Countermelody: added melody of secondary or equal importance Discussion Topics The universality of the concept of musical line The central role of melody in music The diversity of melody Melody as the horizontal element in music Music Example Bank Range, narrow IV/2 Beethoven, Symphony No. 9, Ode to Joy IV/1 Shall We Gather at the River, American Traditional IV/5 Havah nagilah, Jewish Traditional I/1 Gershwin, Piano Concerto in F, III I/29 Khatchaturian, Gayne Suite No. 1, Sabre Dance I/40 Mendelssohn, Symphony No. 4 in A major (Italian), IV II/24 Tchaikovsky, Piano Concerto No. 1 in Bflat minor, III Range, medium IV/2 Joy to the World, American Christmas carol I/2 Copland, Appalachian Spring, III I/67 Grieg, Peer Gynt Suite No. 1, Åse’s Death I/30 Greensleeves, British Traditional II/45 Weelkes, Welcome sweet pleasure Range, wide IV/3 III/74 I/52 I/50 I/3 III/70 Shape, wave IV/1 IV/3 I/36 I/4

The Star-Spangled Banner, American national anthem Bernstein, On the Waterfront, Love Theme Debussy, Syrinx Holst, The Planets, “Jupiter” Strauss, Don Juan Villa-Lobos, Bachianas brasileiras No. 5, I Shall We Gather at the River, American Traditional The Star-Spangled Banner, American national anthem Barber, Adagio for Strings, Op. 9 Mozart, Piano Concerto No. 21 in C major, II

Shape, ascending II/65 Bach, J. S., The Well-Tempered Clavier I, Prelude No. 1 III/3 Mozart, Symphony No. 40 in G minor, IV

I/3

Strauss, Don Juan

Shape, descending IV/2 Joy to the World, American Christmas carol I/54 Bizet, Carmen, Habanera II/41 Josquin, El grillo Saint-Saëns, Le carnaval des animaux, II/15 Fossiles I/5 Tchaikovsky, The Nutcracker, Act II, Pas de deux Conjunct movement IV/5 Havah nagilah, Jewish Traditional IV/2 Joy to the World, American Christmas carol IV/1 Shall We Gather at the River, American Traditional I/6 Mozart, Clarinet Concerto in A major, III I/36 Barber, Adagio for Strings, Op. 9 II/30 Beethoven, String Quartet in F major, Op. 59, No. 1 (Razumovsky), I Disjunct movement IV/3 The Star-Spangled Banner, American national anthem I/7 Brahms, Violin Concerto in D major, Op. 77, III I/51 Debussy, Golliwog’s Cakewalk II/14 Strauss, Burleske in D minor Phrase/cadence IV/4 Amazing Grace, Traditional hymn I/8 Sibelius, Finlandia, Op. 26 I/4 Mozart, Piano Concerto No. 21 in C major, II I/30 Greensleeves, British Traditional II/45 Weelkes, Welcome sweet pleasure Melody, climax IV/3 The Star-Spangled Banner, American national anthem I/3 Strauss, Don Juan I/50 Holst, The Planets, “Jupiter” iMusic Examples Conjunct movement, small range: America (patriotic song) Disjunct movement, large range: Ride of the Valkyries (Wagner) Wavelike contour: La Marseilleise (French national anthem) Regular phrasing/cadence: My Bonnie Lies over the Ocean (folk song) Countermelody: Stars and Stripes Forever, Trio (Sousa)


22 | Chapter 9 Chapter 2. Rhythm and Meter: Musical Time I. Rhythm: Movement of Music in Time A. Propels music forward B. Beat: basic unit of rhythm 1. accented: strong beats, provide rhythmic pulse C. Meters: organized groups of beats 1. measures: meters marked off notationally 2. measure lines: vertical lines that mark off measures II. Metrical Patterns A. Regularly recurring patterns of beats 1. downbeat: first accented beat in each pattern 2. meters a. duple: alternating strong and weak beats b. triple: three beats per measure, strongweak-weak i. waltz, minuet c. quadruple: four beats per measure, strongest-weak-strong-weak d. simple: meters with duple subdivisions e. compound: beats subdivided into three i. sextuple most common, strongweak-weak-strong-weak-weak 3. upbeat: music begins with last beat of the measure B. Syncopation: accents fall on offbeats 1. offbeats: weak beats, between the stronger beats 2. used in African-American dance rhythms, jazz C. Polyrhythm: simultaneous use of conflicting rhythmic patterns D. Additive meter: grouping of irregular numbers of beats 1. beats add up to larger pattern, (e.g. 14 = 2 + 4 + 4 + 4) a. music of India E. Nonmetric: no strong sense of beat or meter 1. early Christian chant Discussion Topics

IV/44 I/14 III/2 IV/61 I/56 I/10 Meter, duple IV/6 I/9 IV/61 I/29 I/28 II/26 II/35 Meter, triple IV/4 IV/8 IV/7 IV/3 IV/24 IV/25 II/20 I/56 I/10

El Jarabe Tapatío, Mexican Traditional Borodin, Polovetsian Dances (Section D) Haydn, Symphony No. 94 in G major (Surprise), III Hopkinson, President’s March Verdi, Rigoletto, “La donna è mobile” Vivaldi, The Four Seasons, Autumn, III Yankee Doodle, American Traditional Beethoven, The Ruins of Athens, Turkish March Hopkinson, President’s March Khatchaturian, Gayne Suite No. 1, Sabre Dance Mahler, Symphony No. 1 in D major, III Poulenc, Gloria in G major, Laudamus te Sousa, The Stars and Stripes Forever Amazing Grace, Traditional hymn America, American Traditional Goodbye, Old Paint, American Traditional The Star-Spangled Banner, American national anthem O Tannenbaum, German Christmas carol Chopin, Mazurka, Op. 53, No. 3 Shostakovich, Ballet Suite No. 1, Music Box Waltz Verdi, Rigoletto, “La donna è mobile” Vivaldi, The Four Seasons, Autumn, III

Meter, quadruple IV/41 Battle Hymn of the Republic, American Traditional IV/57 La Cumparsita, Argentinian Traditional IV/1 Shall We Gather at the River, American Traditional IV/17 Simple Gifts, American Traditional II/66 Bach, C. P. E., Trio Sonata in G major, I I/11 Brahms, Symphony No. 1 in C minor, Op. 68, IV I/67 Grieg, Peer Gynt Suite No. 1, Åse’s Death III/4 Mozart, Sinfonia Concertante for Violin and Viola in E-flat major, I

Music Example Bank

Meter, compound I/30 Greensleeves, British Traditional II/61 Corelli, Violin Sonata in A major, Op. 5, No. 9, Gigue I/55 Handel, Messiah, No. 9, “O thou that tellest” I/12 Prokofiev, Violin Concerto in G minor, II III/70 Villa Lobos, Bachianas brasileiras No. 5, I

Beat, accented IV/41 The Battle Hymn of the Republic, American Traditional

Upbeat IV/7 IV/17

The relationship between rhythm and physical movement Means of organizing music in time Additive versus divisive meters Rhythmic complexities of some world musics

Goodbye, Old Paint, American Traditional Simple Gifts, American Traditional


Teaching Guide | 23 IV/24 IV/3 I/61 I/11 I/55 II/10 I/40 I/6 Syncopation IV/21 IV/48 IV/31 IV/59 II/48 IV/19 I/14 I/7 I/1 IV/62 I/18 II/24 Offbeat IV/5 IV/49 IV/43 I/15 II/11 I/29 II/26 II/15 Polyrhythm IV/51 IV/47 IV/52 III/38

O Tannenbaum, German Christmas carol The Star-Spangled Banner, American national anthem Boccherini, Cello Concerto in B-flat major, III Brahms, Symphony No. 1 in C minor, Op. 68, IV Handel, Messiah, No. 9, “O thou that tellest” Mendelssohn, A Midsummer Night’s Dream, Nocturne Mendelssohn, Symphony No. 4 in A major (Italian), IV Mozart, Clarinet Concerto in A major, III Beethoven Medley (disco arr.) Santa Rosa, Que manera de quererte Tres Lindas Cubanas, II, Cuban Traditional Youssou N’Dour, Live Television Anonymous villancico, Ríu, ríu, chíu Bernstein, Mass, Trope “I don’t know” Borodin, Prince Igor, Polovetsian Dances (Section D) Brahms, Violin Concerto in D major, Op. 77, III Gershwin, Piano Concerto in F, III Price, Piano Sonata in E minor, II Stravinsky, The Rite of Spring, Dance of the Youths and Maidens Tchaikovsky, Piano Concerto No. 1 in B-flat minor, III Havah nagilah, Jewish Traditional Marley, One Love Trevino, Doctor Time Glière, The Red Poppy, Russian Sailor’s Dance Grofé, Grand Canyon Suite, On the Trail Khatchaturian, Gayne Suite No. 1, Sabre Dance Poulenc, Gloria in G major, Laudamus te Saint Saëns, Le carnaval des animaux, Fossiles Atine, African Traditional, Ghana (Ashanti kete) Congo Satiaguera, Cuban Traditional Reich, Music for Pieces of Wood Stravinsky, The Rite of Spring, Sacrificial Dance of the Chosen One

Meter, additive IV/38 Aki Dudas Akar Lenni, Hungarian Traditional IV/9 Shankar, Bhimpalasi

Nonmetric II/36 II/37

Psalm 94, Venite, exsultemus Domino Whitsunday Mass, Alleluia, emitte spiritum

iMusic Examples Duple meter: Camptown Races (Stephen Foster) Triple meter: Lullaby (Brahms) Quadruple meter: O Canada (Canadian national anthem) Sextuple meter: Pop Goes the Weasel (traditional, UK) Offbeat: Oh! Susannah (Stephen Foster) Syncopation: Pine Apple Rag (Scott Joplin) Shifting meter: El Cihualteco (Mexico, mariachi song) Polyrhythm: Osain (Cuba, Santería) Nonmetric: Kyrie (Hildegard of Bingen) Chapter 3. Harmony I. Harmony: Vertical Relationships of Intervals Form Chords A. Implies movement and progression B. Chord: three or more tones sounded together C. Scale: collection of pitches arranged in ascending or descending order 1. do-re-mi-fa-sol-la-ti-do, or 1–2–3–4–5–6–7–8 D. octave: interval spanning eight notes of the scale E. triad: three-note chord, every other note of scale combined II. The Organization of Harmony A. Tonic: first note of a scale 1. home base to other notes B. Tonality: music organized around the tonic 1. scale chosen determines tonality III. Consonance and Dissonance A. Dissonance: discordant combination of tones 1. unstable: needs resolution B. Consonance: concordant, agreeable combination of tones 1. resolution: relaxation, fulfillment C. Asian cultures, European folk music: simpler harmonies 1. drone: single sustained tone Discussion Topics How do composers use dissonance and consonance to move the listener? Harmony as the vertical element in music Harmony as providing perspective in music Tonality as an organizing structure in music The role of dissonance in music Varying use of harmony in Western art music versus traditional and non-Western styles


24 | Chapter 9 Music Example Bank

II/10

Chord II/65

I/8

I/16 IV/7 I/4 Major scale IV/2 IV/4 IV/17 II/3 IV/6 Minor scale IV/23 IV/20 Rondo IV/62 I/21

Bach, J. S., The Well-Tempered Clavier I, Prelude No. 1 Chopin, Prelude in E minor, Op. 28, No. 4 Goodbye, Old Paint, American Traditional Mozart, Piano Concerto No. 21 in C major, II Joy to the World, American Christmas carol Amazing Grace, Traditional hymn Simple Gifts, American Traditional Vivaldi, Concerto for Piccolo in C major, I Yankee Doodle, American Traditional Brahms, Wiegenlied (Lullaby), Op. 49, No. 4 Mozart, Adagio and Rondo in C minor for Glass Armonica, Price, Piano Sonata in E minor, II Vivaldi, Concerto Grosso in D minor, Op. 11, No. 3, III

Diatonic scale II/65 Bach, J. S., The Well-Tempered Clavier I, Prelude No. 1 II/9 Haydn, Concerto for Trumpet in E-flat major, III Chromatic scale I/17 Bach, J. S., Chromatic Fantasy and Fugue in D minor II/1 Bozza, Scherzo for Woodwind Quintet, Op. 48 I/29 Khatchaturian, Gayne Suite No. 1, Sabre Dance III/29 Wagner, Tristan und Isolde, Prelude Dissonance III/46 III/40 I/18 IV/32 Consonance IV/41 IV/15 II/9

Ives, 67th Psalm Schoenberg, Suite for Piano, Op. 25, I Stravinsky, The Rite of Spring, Dance of the Youths and Maidens Taruna Jaya, Balinese Traditional (gamelan) Battle Hymn of the Republic, American Traditional Billings, Chester Haydn, Concerto for Trumpet in E-flat major, III

Drone III/61 III/60

Mendelssohn, A Midsummer Night’s Dream, Nocturne Sibelius, Finlandia, Op. 26 Shankar, Bhimpalasi Thumri, South Indian Traditional

iMusic Examples Octave: Prelude in E minor (Chopin) Chord: If I Had a Hammer (Pete Seeger) Triad: Pop Goes the Weasel (traditional, UK) Tonic: Camptown Races (Stephen Foster) Major scale and tonality: Joy to the World (Christmas carol) Minor scale and tonality: Moonlight Sonata (Beethoven) Consonance: America (patriotic song) Dissonance: “In the lovely month of May” (Schumann) Drone: Skye Crofters (bagpipe, Scottish dance music)

Chapter 4. The Organization of Musical Sounds Overview This brief chapter introduces more advanced concepts of harmony, which are needed in order to understand music of later eras. The concept of tonality is explained, as well as the patterns from which major and minor scales are built. Other scale types presented include pentatonic, tritonic, and heptatonic formations used outside Western art music. The concept of microtones is introduced, as is the raga of North India. The concepts of transposition, modulation, and active and rest chords are presented in order that tonality can be understood as an element of form in the ensuing chapters. I. Western Music Based on the Octave A. Divided into twelve equal semitones, half steps II. The Formation of Major and Minor Scales A. Chromatic scale: twelve half steps of the octave 1. sharp: raises a tone by a half step 2. flat: lowers a tone by a half step 3. whole step: two half steps B. The Major Scale: specific pattern of whole (W) and half (H) steps 1. (W-W-H-W-W-W-H) 2. important thrust from seventh to eighth tone: tension-resolution 3. tonic (do), first note of scale a. point of ultimate rest 4. dominant (sol), fifth note of scale a. represents active harmony


Teaching Guide | 25 5. tonic-dominant-tonic: basic progression of harmony C. The Minor Scale 1. (W-H-W-W-H-W-W) 2. lowered third degree III. Diatonic and Chromatic Scales A. Diatonic: music clearly in major or minor key B. Chromatic music: full gamut of the twelve half steps IV. Other Scale Types A. Pentatonic: five-note scale 1. African, Asian, Native American music B. Tritonic: three-note pattern 1. music of some African cultures C. Microtones: intervals smaller than half step 1. inflection: brief microtonal dip from original pitch V. The Major-Minor System A. Western music: active chords seek resolution 1. dominant (V), built on fifth scale step a. chief active chord 2. subdominant (IV), built on fourth scale step a. active chord b. (IV to I), “Amen” 3. tonic (I), built on first scale step a. point of rest VI. The Key as a Form-Building Element A. Key provides musical unity 1. three main chords used a. tonic (I), dominant (V), subdominant (IV) B. Contrast adds variety, structure 1. modulation: shift to a different key 2. statement-departure-return C. Transposition: entire work set in new key Chapter goals for students • To learn to perceive the division of the octave in Western music • To observe the patterns for major and minor scales and to recognize other scale types used in world music cultures • To view key as an element of form Discussion Topics Scales and tonality as a means of creating a narrative How do composers use scales to set a mood? How do film score composers use scales to emphasize the visual drama? How can scales be used ironically? Variety of scale patterns used throughout the world Key as an element of form

Music Example Bank Half steps I/54 I/29

Bizet, Carmen, Habanera Khatchaturian, Gayne Suite No. 1, Sabre Dance

Whole steps I/8

Sibelius, Finlandia, Op. 26

Major scale II/3

Vivaldi, Concerto for Piccolo in C major, I

Minor scale I/21

Vivaldi, Concerto Grosso in D minor, Op. 11, No. 3, I

Chromatic scale I/29 Khatchaturian, Gayne Suite No. 1, Sabre Dance II/1 Bozza, Scherzo for Woodwind Quintet, Op. 48 Diatonic scale II/9 Haydn, Concerto for Trumpet in E-flat major, III II/65 Bach, The Well-Tempered Clavier I, Prelude No. 1 Transposition II/50 Vivaldi, The Four Seasons, Autumn, III (brass) Modulation II/51 I/64

Beethoven, Symphony No. 7 in A major, II Rodrigo, Concierto de Aranjuez, I

Major/minor, alternating II/51 Beethoven, Symphony No. 7 in A major, II Pentatonic scale I/20 Miyazaki, Shimabara No Komoriutta III/61 Shankar, Bhimpalasi, excerpt III/63 Spring on a Moonlit River, Chinese Traditional IV/32 Taruna Jaya, Balinese Traditional (gamelan) Tritonic scale III/64 Herding Song, African Traditional, Middle Congo (Kouyou Tribe) Microtones IV/55 III/57 Raga/tala IV/9 III/61

Nakai, Shaman’s Call Partch, And on the Seventh Day, Petals Fell in Petaluma (1964) Shankar, Bhimpalasi, opening Shankar, Bhimpalasi, excerpt


26 | Chapter 9 iMusic Examples

Music Example Bank

Major scale and tonality: Eine kleine Nachtmusik, I (Mozart) Minor scale and tonality: Toccata in D minor (Bach) Pentatonic/heptatonic scale and microtonal intervals: Bhimpalási (North India) Tritonic scale: Sleep Song (Hopi lullaby) Modulation: Eine kleine Nachtmusik (Mozart), I (during first minute, modulates from G major to D major)

Texture, monophonic Dance (zurna and davul), Turkish IV/12 Traditional I/52 Debussy, Syrinx II/36 Gregorian chant, Venite, exsultemus Domino Gregorian chant, Whitsunday Mass, II/37 Alleluia, emitte spiritum I/19 Khatchaturian, Gayne Suite No. 2, Adagio I/20 Miyazaki, Shimabara No Komoriutta IV/13 Taos Pueblo Round Dance Song, Native American Traditional

Chapter 5. Musical Texture I. Types of Texture A. Monophony: single-voiced (sung or instrumental) 1. one line of music B. Heterophony: melody combined with ornamented version of itself 1. heard outside Western art music 2. improvisation: music created on the spot 3. folk, jazz, spirituals C. Polyphony: two or more melodic lines of equal importance 1. based on counterpoint D. Homophony: melody with blocks of harmony 1. homorhythm: all voices move in same rhythm II. Contrapuntal Devices: Types of Polyphony A. Imitation: melodic idea presented then restated in another voice 1. canon: strict imitation 2. round: simplest type of canon (Row, Row, Row Your Boat) III. Musical Texture and the Listener A. Monophonic: single line of melody B. Homophonic music: focus on melody 1. traditional and popular music C. Homorhythmic: hymns D. Polyphonic: experienced listening Discussion Topics How composers use texture to build complexity and sophistication Compare musical texture with that of various fabrics How musical texture has changed in different eras Texture in popular and non-Western musics Levels of concentration necessary to hear different textures

Texture, polyphonic/simultaneous melodies I/22 Bach, J. S., Chorale Prelude for Organ, Jesu, Joy of Man’s Desiring, from Herz und Mund und Tot und Leben II/23 Rimsky-Korsakov, Capriccio espagnol, Fandango II/20 Shostakovich, Ballet Suite No. 1, Music Box Waltz II/7 Stravinsky, Pastorale Texture, homophonic I/6 Mozart, Clarinet Concerto in A major, III IV/7 Goodbye, Old Paint, American Traditional II/58 Bach, J. S., Cantata No. 140, Wachet auf, Chorale I/35 Dvo˘rák, Symphony No. 9 in E minor (New World), II I/67 Grieg, Peer Gynt Suite No. 1, Åse’s Death I/4 Mozart, Piano Concerto No. 21 in C major, II II/22 Musorgsky, Pictures at an Exhibition, Great Gate of Kiev II/20 Shostakovich, Ballet Suite No. 1, Music Box Waltz I/8 Sibelius, Finlandia, Op. 26 IV/17 Simple Gifts, American Traditional Texture, homophonic and homorhythmic Texture, combined I/24 Bizet, L’arlésienne Suite No. 2, Farandole Imitation I/25

Bach, J. S., The Art of Fugue, Contrapunctus 1

iMusic Examples Monophonic texture: Kyrie (Hildegard von Bingen) Monophonic texture: Toccata in D minor, opening (Bach)


Teaching Guide | 27 Homophonic texture: Surprise Symphony No. 94, II (Haydn) Homorhythmic texture: Alla hornpipe, from Water Music (Handel) Heterophonic texture: Los Jilicatas (Peru, panpipes) Changing texture: Simple Gifts (Shaker hymn) Polyphonic texture: Brandenburg Concerto No. 1, I (Bach) Imitation: Contrapunctus 1, from The Art of Fugue (Bach)

Chapter 6. Form I. Structure and Design in Music A. Form: work’s structure or shape 1. organizes music 2. repetition and contrast: unity and variety 3. strophic: vocal form, same melody with each stanza of text 4. variation: only some aspects of music altered 5. improvisation: pieces created spontaneously II. Two-Part and Three-Part Form A. Two-part: binary (A-B) 1. statement and departure B. Three-part: ternary (A-B-A) 1. statement, departure, and return III. The Building Blocks of Form A. Theme: main melodic idea 1. motive: smallest fragment of a theme B. Thematic development: expansion of a theme 1. varied melody, rhythm, harmony a. repetition: exact or varied b. sequence: idea restated at higher or lower pitch c. call-and-response, responsorial: soloist and group response i. early Western church music, African, Native American, and AfricanAmerican music d. ostinato: short repeated musical pattern C. Movement: complete, independent division of a large-scale work Discussion Topics Building a sense of expectation in the listener Balance and order in art Conscious formal choices of the artist Repetition and contrast in all things Developing formal ideas Universality of formal procedures in various world musics

Music Example Bank Repetition I/16 I/1 I/29 II/20 Contrast I/4 II/30 Strophic IV/23 Variation I/30 Binary form IV/6 I/11 I/30 IV/7 I/35 Sequence I/31 II/65 Motive I/32 I/23

Chopin, Prelude in E minor, Op. 28, No. 4 Gershwin, Piano Concerto in F, III Khatchaturian, Gayne Suite No. 1, Sabre Dance Shostakovich, Ballet Suite No. 1, Music Box Waltz Mozart, Piano Concerto No. 21 in C major, II Beethoven, String Quartet in F major, Op. 59, No. 1(Razumovsky), I Brahms, Wiegenlied (Lullaby) Op. 49, No. 4 Greensleeves, British Traditional Improvisation Yankee Doodle, American Traditional Brahms, Symphony No. 1 in C minor, Op. 68, IV Greensleeves, British Traditional Ternary form Goodbye, Old Paint, American Traditional Dvo˘rák, Symphony No. 9 in E minor (New World), II Handel, Concerto Grosso in G major, Op. 6, No. 1, I Bach, J. S., The Well-Tempered Clavier I, Prelude No. 1 Mozart, Symphony No. 40 in G minor, I Beethoven, String Quartet in C major, Op. 59, No. 3 (Razumovsky), IV

Motive, rhythmic I/18 Stravinsky, The Rite of Spring, Dance of the Youths and Maidens I/33 Stravinsky, The Soldier’s Tale, Soldier’s March Call and response II/37 Gregorian chant, Alleluia, emitte spiritum IV/36 Na solnechnom vskhode, Russian Traditional III/62 Porter’s song, African Traditional, Gabon (Bawanji tribe) Responsorial singing IV/50 Sara Muru, Gwa Ba Na, African Traditional, Ghana (Kasena jongo)


28 | Chapter 9 Ostinato IV/53 II/60 II/16

Carlos, I. C. (Intergalactic Communications) Couperin, Les barricades mistérieuses Prokofiev, Lieutenant Kije, Romance

iMusic Examples Variation: Pop Goes the Weasel (traditional, UK) Improvisation: Amazing Grace (traditional hymn) Strophic form: Lullaby (Brahms) Binary form: Minuet in D (Anna Magdelena Notebook) Motive and sequence: Symphony No. 5 (Beethoven) Responsorial: If I Had a Hammer (Pete Seeger)

Chapter 7. Musical Expression: Tempo and Dynamics I. The Pace of Music A. Tempo: rate of speed of the music 1. tempo markings indicated in Italian a. grave, solemn b. largo, broad c. adagio, quite slow d. andante, walking pace e. moderato, moderate f. allegro, fast g. vivace, lively h. presto, very fast 2. modifiers a. molto, very b. meno, less c. poco, a little d. non troppo, not too much 3. change of tempo a. accelerando, getting faster b. ritardando, getting slower c. a tempo, original pace II. Loudness and Softness A. Dynamics: denote volume 1. pianissimo (pp), very soft 2. piano (p), soft 3. mezzo piano (mp), moderately soft 4. mezzo forte (mf), moderately loud 5. forte (f), loud 6. fortissimo (ff), very loud B. Directions to change dynamics 1. crescendo, growing louder 2. decrescendo or diminuendo, growing softer 3. sforzando, accent

III. Tempo and Dynamic as Elements of Musical Expression A. Tempo and dynamic markings 1. shape expressive content 2. performer interprets composer’s intentions 3. indications increased during late eighteenth and nineteenthth centuries 4. early twentieth-century music precisely notated Discussion Topics Physical reaction of listeners to tempo and dynamics Emotional reaction to tempo and dynamics Increased use of expression markings in music over the ages Role of performers and conductors in expression of music Practical questions: how does a performer produce more or less sound? Expression in un-notated music (traditional, world) Music Example Bank Tempo, grave I/34 Beethoven, Piano Sonata in C minor (Pathétique), I Tempo, largo I/35 Tempo, adagio I/6 II/66 I/36 I/67

Dvo˘rák, Symphony No. 9 in E minor (New World), II Mozart, Clarinet Concerto in A major, III Bach, C. P. E., Trio Sonata in G major, I Barber, Adagio for Strings, Op. 9, I Grieg, Peer Gynt Suite No. 1, Åse’s Death

Tempo, andante IV/23 Brahms, Wiegenlied (Lullaby) Op. 49, No. 4 I/4 Mozart, Piano Concerto No. 21 in C major, II Tempo, moderato I/37 Shostakovich, Trio for Violin, Cello, and Piano, I II/13 Hindemith, Sonata for Bass Tuba and Piano, III Tempo, allegro I/38 Bach, J. S., Brandenburg Concerto No. 6, III I/61 Boccherini, Cello Concerto in B-flat major, III I/6 Mozart, Clarinet Concerto in A major, III


Teaching Guide | 29 Tempo, vivace III/26 Brahms, Concerto for Violin and Cello in A minor, III Clarke, Sonata for Viola and Piano, II I/60 I/39 Smetana, The Bartered Bride, Furiant Tempo, presto I/40 Mendelssohn, Symphony No. 4 in A major (Italian), IV Tempo, accelerando I/15 Glière, The Red Poppy, Russian Sailor’s Dance I/42 Liszt, Hungarian Rhapsody No. 2 II/23 Rimsky-Korsakov, Capriccio espagnol, Fandango Tempo, ritardando I/16 Chopin, Prelude in E minor, Op. 28, No. 4 I/53 Puccini, Gianni Schicchi, “O mio babbino caro” I/43 Smetana, The Moldau A tempo I/16 I/57

Chopin, Prelude in E minor, Op. 28, No. 4 Rossini, The Barber of Seville, “Largo al factotum”

Dynamics, pianissimo I/44 Ravel, Boléro (opening, flute) Dynamics, piano I/6 Mozart, Clarinet Concerto in A major, III I/45 Ravel, Boléro (clarinet solo) I/16 Chopin, Prelude in E minor, Op. 28, No. 4 II/20 Shostakovich, Ballet Suite No. 1, Music Box Waltz Dynamics, mezzo piano I/46 Ravel, Boléro (oboe d’amore) I/63 Fauré, Pelléas et Mélisande, Sicilienne Dynamics, mezzo forte I/47 Ravel, Boléro (French horn) Dynamics, forte I/48 Ravel, Boléro (woodwinds) Dynamics, fortissimo IV/22 Beethoven, Symphony No. 9 in D minor, IV (Ode to Joy) I/49 Ravel, Boléro (conclusion) II/22 Musorgsky, Pictures at an Exhibition, Great Gate of Kiev I/3 Strauss, Don Juan Dynamics, crescendo II/19 Beethoven, Wellington’s Victory, Op. 91, Drums and Trumpets I/24 Bizet, L’arlésienne Suite No. 2, Farandole

I/50 I/42

Holst, The Planets, “Jupiter” Liszt, Hungarian Rhapsody No. 2

Dynamics, decrescendo I/43 Smetana, The Moldau Dynamics, sforzando I/14 Borodin, Prince Igor, Polovetsian Dances (Section D) Debussy, Golliwog’s Cakewalk I/51 iMusic Examples Tempos: Adagio: Clarinet Concerto (Mozart) Andante: Lullaby (Brahms) Moderato: Fur Elise (Beethoven) Allegro: Symphony No. 5 (Beethoven) Presto: William Tell Overture (Rossini) Dynamics: Pianissimo: Moonlight Sonata (Beethoven) Piano: Clarinet Concerto (Mozart) Forte: Eine kleine Nachtmusik, III (Mozart) Fortissimo: Ode to Joy (Beethoven) Crescendo: William Tell Overture (Rossini) Changing dynamics: Toreador Song, from Carmen (Bizet)

Chapter 8. Voices and Musical Instrument Families. I. Musical Timbre A. Tone color, sound quality B. Determined by size, shape, proportions of an instrument 1. instrument: mechanism that generates musical vibrations a. register: low, middle, high II. The Voice as Instrument A. Voices range from highest to lowest 1. soprano 2. mezzo-soprano 3. alto (contralto) 4. tenor 5. baritone 6. bass B. Human voice: model for instrument builders 1. vibrato: slight and rapid variations in pitch III. The World of Musical Instruments A. Instruments classified into categories 1. aerophones: sound produced by air a. flutes, whistles, accordions, bagpipes, and horns


30 | Chapter 9 2. chordophones: sound produced from vibrating string a. violin, harp, guitar, Chinese hammered dulcimer, Indian sitar 3. idiophones: produced from the instrument itself a. percussion instruments: bells, rattles, xylophones, cymbals 4. membranophones: sounded from tightly stretched membranes a. drum-type instruments Discussion Topics The voice as the model for all instruments The role of women’s voices in music The diversity of world instruments Music Example Bank Properties of sound: pitch, timbre, volume, duration I/52 Debussy, Syrinx Vocal range, soprano IV/23 Brahms, Wiegenlied (Lullaby) Op. 49, No. 4 I/53 Puccini, Gianni Schicchi, “O mio babbino caro” II/54 Handel, Samson, “Let the bright seraphim” II/55 Purcell, Come, ye sons of art away IV/17 Simple Gifts, American Traditional (DeGaetani) III/70 Villa-Lobos, Bachianas brasileiras No. 5, I Vocal range, mezzo-soprano IV/4 Amazing Grace, Traditional hymn I/54 Bizet, Carmen, Habanera Vocal range, contralto I/55 Handel, Messiah, “O thou that tellest” Vocal range, tenor I/56 Verdi, Rigoletto, “La donna è mobile” II/59 Bach, Cantata No. 140, Wachet auf, “Er kommt, er kommt” II/52 Caccini, Amarilli mia bella Vocal range, baritone I/57 Rossini, The Barber of Seville, “Largo al factotum” Vocal range, bass I/58 Mozart, The Marriage of Figaro, Act II, “O Isis und Osiris” IV/16 Sometimes I Feel like a Motherless Child, American Traditional (Paul Robeson)

Aerophone (non-Western) IV/12 Dance (zurna and davul), Turkish Traditional IV/55 Nakai, Shaman’s Call (Native American flute) IV/50 Sara Muru, Gwa Ba Na, African Traditional, Ghana (Kasena jongo) (flute = wui) III/63 Spring on a Moonlit River, Chinese Traditional, transverse bamboo flute (titzu) III/60 Thumri, South Indian Traditional, transverse flute (bansuri) Chordophone (non-Western) IV/56 Sakura, Japanese Traditional (koto) III/61 Shankar, Bhimpalasi, long-necked lute (sitar) III/63 Spring on a Moonlit River, Chinese Traditional, short-necked lute (pipa) III/60 Thumri, South Indian Traditional, longnecked lute (vina) Idiophone (non-Western) IV/51 Atine, African Traditional, Ghana (Ashanti kete) IV/47 Congo Satiaguera, Cuban Traditional III/62 Porter’s Song, African Traditional, Gabon (Bawanji Tribe), resonating block III/64 Herding Song, African Traditional, Middle Congo (Kouyou Tribe), rattles and metallophone IV/14 Zuni Pueblo Rainbow Dance, Native American Traditional IV/58 Sevillanas, Spanish Traditional (maracas) IV/13 Taos Pueblo Round Dance Song, Native American Traditional IV/32 Taruna Jaya, Balinese Traditional (gamelan) Membranophone (non-Western) III/61 Shankar, Bhimpalasi (tabla) IV/51 Atine, African Traditional, Ghana (Ashanti kete) IV/47 Congo Satiaguera, Cuban Traditional (conga) IV/12 Dance (Mehter), Turkish Traditional (davul) IV/57 General’s Victory, Chinese Traditional IV/50 Sara Muru, Gwa Ba Na, African Traditional, Ghana (Kasena jongo) (drum = gungwe) III/63 Spring on a Moonlit River, Chinese Traditional, large barrel drum (taku) IV/13 Taos Pueblo Round Dance Song, Native American Traditional III/60 Thumri, South Indian Traditional, pair of tuned drums (tabla)


Teaching Guide | 31 iMusic Examples Soprano: Lullaby (Brahms) Mezzo-soprano: Amazing Grace (traditional hymn) Tenor: Tonight, from West Side Story (Bernstein) Baritone: Toreador Song, from Carmen (Bizet) Vocal quartet (soprano, alto, tenor, bass): Row, Row, Row Your Boat Aerophones: Los Jilicatas (panpipes, Peru); Skye Crofters (bagpipe, Scotland) Idiophones: Dougla Dance (steel drums, Trinidad); Tabuh Kenilu Sawik (gongs, Indonesia) Chordophones: Avaz of Bayate Esfahan (santur, Iran); In a Mountain Path (bowed erhu, China) Membranophones: Gota (drums, Ghana, West Africa); Bhimpalási (tabla, North India)

Chapter 9. Western Musical Instruments I. String Instruments (Chordophones) A. Bowed string family; core or “heart of the orchestra” 1. violin, viola, violoncello (cello), double bass (contrabass, bass viol) 2. played legato (smoothly, connected) and staccato (notes short, detached) 3. vibrato: slight variations in pitch by rapid wrist and finger movement 4. glissando: left hand slides along the string 5. tremolo: rapid repetition of a tone 6. trill: rapid alternation of two adjacent tones 7. double-stopping: playing two strings at once, creates harmony 8. mute: attachment over the bridge, mutes the sound 9. harmonics: high-pitch tones B. Plucked string instruments 1. harp: one of the oldest instruments a. pitches changed by pedals b. chords are broken: arpeggios 2. guitar: dates back to Middle Ages a. acoustic: wood, fretted fingerboard, nylon strings b. electric: electronically amplified 3. banjo, mandolin: related to the guitar II. Woodwind Instruments (Aerophones) A. Sound produced by air, finger holes change pitch B. Not always made of wood C. Flute family: blow across a mouth hole 1. flute (metal), piccolo D. Oboe and bassoon families: mouthpiece with a double reed 1. oboe, English horn, bassoon, contrabassoon

E. Clarinet and saxophone families: single-reed mouthpiece 1. clarinet, bass clarinet, saxophone (metal) III. Brass Instruments (Aerophones) A. Cup-shaped mouthpiece attached to metal tubing, flares at end into a bell B. Pitch changed by slide or valves, pressure of lips and breath 1. embouchure: oral mechanism of lips, lower facial muscles, and jaw C. Trumpet, French horn, trombone, tuba, cornet, bugle, fluegelhorn, euphonium, sousaphone IV. Percussion Instruments (Idiophones and Membranophones) A. Pitched instruments 1. timpani, kettledrums: large copper bowls with calfskin or plastic heads a. pitch changed by pedals 2. xylophone, marimba: tuned blocks of wood, played with mallets a. vibraphone: metal blocks with resonators producing exaggerated vibrato b. glockenspiel: set of bells, tuned steel bars c. celesta: glockenspiel operated by a keyboard 3. chimes/tubular bells: tuned metal tubes suspended from a frame, struck with a hammer B. Indefinite pitched instruments 1. snare drum (side drum): drum with two heads, strings run across bottom head (snares) 2. tenor drum: larger than snare drum, no snares 3. bass drum: large drum played with large soft mallet 4. other instruments: tom-tom, tambourine, castanets, triangle, cymbals, gong, tam-tam V. Keyboard Instruments A. Piano: strings struck with hammers B. Organ: wind instrument 1. air flow to pipes controlled by keyboards and pedal board C. Harpsichord: quills pluck metal strings Discussion Topics The development of the string instrument family Types of sound production among woodwind instruments Sound production on brass instruments The variety of percussion instruments Various issues related to specific instruments (physical size of instrument, lung capacity, etc.)


32 | Chapter 9 Music Example Bank String family I/36 II/30 I/67 III/39 I/8 Violin I/59 II/28 I/7 II/61 I/12 III/25 IV/44 IV/39 Viola I/60 I/38 III/4 Violoncello I/61 III/52 III/26 Double bass I/62 I/33 Legato I/10 I/12 Staccato I/7 II/20 Glissando I/65

Barber, Adagio for Strings, Op. 9 Beethoven, String Quartet in F major, Op. 59, No. 1 (Razumovsky), I Grieg, Peer Gynt Suite No. 1, Åse’s Death Schoenberg, Verklärte Nacht, Op. 4 Sibelius, Finlandia, Op. 26

I/29 Pizzicato I/66 I/4 I/12 II/20

Ravel, Tzigane Beethoven, Serenade in D major, Op. 8, I Brahms, Violin Concerto in D major, Op. 77, III Corelli, Violin Sonata in A major, Op. 5, No. 9, Gigue Prokofiev, Violin Concerto in G minor, II Tchaikovsky, Violin Concerto in D major, Op. 35 El Jarabe Tapatío, Mexican Traditional (mariachi) Olaska, Romany (Gypsy) Traditional Clarke, Sonata for Viola and Piano, II Bach, J. S., Brandenburg Concerto No. 6, III Mozart, Sinfonia Concertante for Violin and Viola in E-flat major, I Boccherini, Cello Concerto in B-flat major, III Baker, Sonata for Cello and Piano (1973), II Brahms, Concerto for Violin and Cello in A minor, I Britten, The Young Person’s Guide to the Orchestra Stravinsky, The Soldier’s Tale, Soldier’s March Khatchaturian, Gayne Suite No. 2, Adagio Prokofiev, Violin Concerto No. 2 in G minor, II Brahms, Violin Concerto in D major, Op. 77, III Shostakovich, Ballet Suite No. 1, Music Box Waltz Ravel, Rapsodie espagnole, Feria

III/70 Tremolo III/39 I/50 I/8 Trill III/25 I/4 I/59

Khatchaturian, Gayne Suite No. 1, Sabre Dance Delibes, Sylvia, Pizzicato Mozart, Piano Concerto No. 21 in C major, II Prokofiev, Violin Concerto No. 2 in G minor, II Shostakovich, Ballet Suite No. 1, Music Box Waltz Villa-Lobos, Bachianas brasileiras No. 5, I Schoenberg, Verklärte Nacht, Op. 4 Holst, The Planets, “Jupiter” Sibelius, Finlandia, Op. 26 Tchaikovsky, Violin Concerto in D major, I Mozart, Piano Concerto No. 21 in C major, II Ravel, Tzigane

Mute (strings) I/67 Grieg, Peer Gynt Suite No. 1, Åse’s Death Harmonics I/68 I/59 III/25 Harp I/63 II/5 I/5 Guitar IV/46 I/64 IV/43

Ravel, L’éventail de Jeanne, Fanfare Ravel, Tzigane Tchaikovsky, Violin Concerto in D major, I Fauré, Pelléas et Mélisande, Sicilienne Borodin, Prince Igor, Polovetsian Dances (main theme, B section) Tchaikovsky, The Nutcracker, Act II, Pas de deux Crossroads Blues, American Traditional (steel string; bottleneck guitar) Rodrigo, Concierto de Aranjuez, I Trevino, Doctor Time (electric guitar)

Woodwind family II/1 Bozza, Scherzo for Woodwind Quintet, Op. 48 Flute II/2 I/52 I/63

Bach, J. S., Orchestral Suite No. 2 in B minor, Badinerie Debussy, Syrinx Fauré, Pélleas et Mélisande, Sicilienne

Piccolo II/3

Vivaldi, Concerto for Piccolo in C major, I

Oboe II/4

Kodály, Háry János, Song


Teaching Guide | 33 II/53 I/2 English horn II/5 I/35 Clarinet I/2 II/6 I/6 II/23 Bass clarinet II/7 Saxophone II/7 III/51 II/16 Bassoon II/8 II/1 I/2

Bach, J. S., Concerto for Violin and Oboe in C minor, II Copland, Appalachian Spring, III Borodin, Prince Igor, Polovetsian Dances (main theme, B section) Dvo˘rák, Symphony No. 9 in E minor (New World), II Copland, Appalachian Spring, III Enescu, Romanian Rhapsody No. 1 Mozart, Clarinet Concerto in A major, III Rimsky-Korsakov, Capriccio espagnol, Fandango

Trumpet II/9 II/19 II/55 IV/44 IV/65 French horn II/10 I/47 III/11 Trombone II/11

Timpani IV/66 II/14 I/14 III/11 Xylophone II/15 I/29

Stravinsky, Pastorale Fitzgerald, Smooth Sailing Prokofiev, Lieutenant Kije, Romance Bartók, Concerto for Orchestra, II Bozza, Scherzo for Woodwind Quintet, Op. 48 Copland, Appalachian Spring, III

Vivaldi, The Four Seasons, Autumn, III Bach, J. S., The Art of Fugue, Contrapunctus 1 Haydn, Concerto for Trumpet in E-flat major, III Beethoven, Wellington’s Victory, Op. 91, Drums and Trumpets Purcell, Come, ye sons of art away El Jarabe Tapatío, Mexican Traditional (mariachi) Prelude II, Turkish Traditional (Janissary) Mendelssohn, A Midsummer Night’s Dream, Nocturne Ravel, Boléro (French horn) Saint-Saëns, Samson and Delilah, “Bacchanale” Grofé, Grand Canyon Suite, On the Trail

Hindemith, Sonata for Bass Tuba and Piano, III

Baritone horn II/12 Musorgsky, Pictures at an Exhibition, Bydlo

Stravinsky, Pastorale

Contrabassoon I/28 Mahler, Symphony No. 1 in D major, III Brass family II/50 I/25

Tuba II/13

Vibraphone III/58 Celesta II/16 I/47 II/20 Chimes II/17 II/22

O Canada, Canadian national anthem Strauss, Burleske in D minor Borodin, Prince Igor, Polovetsian Dances (Section D) Saint-Saëns, Samson and Delilah, “Bacchanale” Saint-Saëns, Le carnaval des animaux, Fossiles Khatchaturian, Gayne Suite No. 1, Sabre Dance Boulez, Le marteau sans maître, IX Prokofiev, Lieutenant Kije, Romance Ravel, Boléro Shostakovich, Ballet Suite No. 1, Music Box Waltz Kodály, Háry János, Viennese Musical Clock Musorgsky, Pictures at an Exhibition, Great Gate of Kiev

Snare drum and tenor drum II/19 Beethoven, Wellington’s Victory, Op. 91, Trumpets and Drums II/22 Musorgsky, Pictures at an Exhibition, Great Gate of Kiev II/18 Prokofiev, Cinderella, Apotheosis I/44 Ravel, Boléro (flute) Bass drum III/28 III/11 Triangle II/20 I/50 II/23 I/3

Verdi, Requiem, Dies irae Saint-Saëns, Samson and Delilah, “Bacchanale” Shostakovich, Ballet Suite No. 1, Music Box Waltz Holst, The Planets, “Jupiter” Rimsky-Korsakov, Capriccio espagnol, Fandango Strauss, Don Juan


34 | Chapter 9 Tambourine II/21 I/15 III/11 II/48 Maracas IV/58 Cymbals II/22 I/9 III/11 IV/65 Gong II/22 Piano I/16 I/34 IV/62 II/14 II/24 Organ I/22

Harpsichord I/30

Chapter 10. Musical Ensembles Respighi, La boutique fantasque, Tarantella Glière, The Red Poppy, Russian Sailor’s Dance Saint-Saëns, Samson and Delilah, “Bacchanale” Anonymous Villancico, Ríu, ríu, chíu Sevillanas, Spanish Traditional Musorgsky, Pictures at an Exhibition, Great Gate of Kiev Beethoven, The Ruins of Athens, Turkish March Saint-Saëns, Samson and Delilah, “Bacchanale” Prelude II, Turkish Traditional (Janissary) Musorgsky, Pictures at an Exhibition, Great Gate of Kiev Chopin, Prelude in E minor, Op. 28, No. 1 Beethoven, Piano Sonata in C minor, (Pathétique), I Price, Sonata in E minor, II Strauss, Burleske in D minor Tchaikovsky, Piano Concerto No. 1 in Bflat minor, III Bach, J. S., Chorale prelude for organ, Jesu, Joy of Man’s Desiring, from Herz und Mund und Tot und Leben Greensleeves (harpsichord arr.)

iMusic Examples Strings: Canon in D (Pachelbel) Woodwinds: Woodwind Quintet, Op. 88, No. 2 (Reicha) Brass: Contrapunctus I, from The Art of Fugue (Bach) Percussion (bass drum, cymbals, glockenspiel): Stars and Stripes Forever (Sousa) Cornet: Oh, Susannah! (Stephen Foster) Guitar: Greensleeves (folk song, UK) Piano: Spring Song (Mendelssohn) Organ: Toccata in D minor (Bach) Harpsichord: Minuet in D minor (Anna Magdelena Notebook)

I. Choral Groups A. Sung music 1. chorus: large body of singers 2. choir: smaller group of singers 3. a cappella: unaccompanied singers 4. madrigal choir, chamber choir: smaller, specialized ensembles II. Instrumental Chamber Ensembles A. Chamber music: two to twelve players, one player per part 1. string quartet: two violins, viola, cello 2. duo sonata: soloist with piano 3. piano trio, quartet, and quintet: piano and string instruments 4. string quintet, sextet, septet, octet 5. woodwind and brass quintets III. The Orchestra A. Performing body of diverse instruments B. Gamelan: gongs, xylophone-like instruments, and drums 1. Balinese and Javanese C. Symphony orchestra: Western ensemble of strings, woodwinds, brass, and percussion 1. size increased throughout history; from 20 to over 100 instruments 2. strings make up two-thirds IV. Concert, Jazz, and Rock Bands A. Band: wind and percussion at core 1. earliest bands: military origin a. accompanied soldiers to war 2. French Revolution and American Civil War a. John Philip Sousa (1854–1932): Civil War band leader and composer B. Concert band (wind ensemble): 40 to 80 players C. Marching band: entertain at sporting events, parades 1. military origins: drum majors (or majorettes), flags, and rifles D. Jazz bands: instrumentation varies 1. reed section: various-sized saxophones, clarinet 2. brass section: trumpets and trombones 3. rhythm section: percussion, piano, double bass, and electric guitar E. Rock bands: amplified guitars, percussion, and synthesizers


Teaching Guide | 35 V. The Role of the Conductor A. Group leader for larger ensembles 1. baton: stick used to beat standard metric patterns 2. conductor interprets music; decides tempo, dynamics a. keeps performers together b. conducting patterns: show emphasis of strong beats B. Concertmaster: first-chair violinist 1. decides uniform bowing strokes VI. The Orchestra in Action A. Benjamin Britten: Young Person’s Guide to the Orchestra 1. illustrates instrument timbres 2. subtitled Variations and Fugue on a Theme of Purcell 3. based on dance tune by Henry Purcell (1659– 1695) a. rondeau, triple meter, minor key 4. work closes with a fugue a. polyphonic form from Baroque era (1600–1750) B. Listening Guide 1: Benjamin Britten, Young Person’s Guide to the Orchestra (1946) 1. Part I: theme; slow, triple meter, minor tonality a. stated six times: 1. full orchestra, 2 to 5. instrument families, 6. full orchestra 2. Part II: 13 short variations a. illustrate different instrument timbres 3. Part III: Fugue; theme fragment played in imitation a. ends with theme heard over the fugue Discussion Topics Non-verbal communication in small ensembles Function of choir and chorus in secular and sacred performances The makeup of various choral and chamber groups Orchestras around the world The development of the Western orchestra The role of bands in American society The different demands of indoor and outdoor performances Acoustic versus amplified music and the sound difference The expectations of the audience in “classical” versus jazz, rock, or pop concerts Audience behaviors at “classical” versus jazz, rock, or pop concerts The role of the conductor in ensembles The role of the conductor as advocate for the ensemble with patrons and audiences

Music Example Bank Chamber choir Billings, Swift as an Indian Arrow Flies III/45 II/41 Josquin, El grillo II/25 Morley, Those dainty daffadillies (a cappella) II/48 Anonymous Villancico, Ríu, ríu, chíu Chorus (with orchestra) IV/41 Battle Hymn of the Republic, American Traditional IV/42 The Yellow Rose of Texas, American Traditional IV/22 Beethoven, Symphony No. 9 in D minor, IV (Ode to Joy) III/7 Haydn, The Creation, “Achieved is the glorious work” III/8 Mozart, Requiem, Dies irae, “Quantus tremor” II/42 Palestrina, Missa in Festis Apostolorum, Agnus Dei II/26 Poulenc, Gloria in G major, Laudamus te Chorus, men’s IV/37 Mirangula, Russian Traditional (a cappella) Chorus, women’s IV/36 Na solnechnom vskhode, Russian Traditional Part song II/45 II/25 Sonata, duo II/27 I/60 II/13 Trio, string II/28 Trio, piano II/29

Weelkes, Welcome sweet pleasure Morley, Those dainty daffadillies Bach, J. S., Flute Sonata No. 2 in E-flat major, Siciliano Clarke, Sonata for Viola and Piano, II Hindemith, Sonata for Bass Tuba and Piano, III Beethoven, Serenade in D major, Op. 8, I Mendelssohn, Piano Trio No. 1 in D minor, Op. 49, I

Quartet, string II/30 Beethoven, String Quartet in F major, Op. 59, No. 1(Razumovsky), I I/23 Beethoven, String Quartet in C major, Op. 59, No. 3 (Razumovsky), IV Quartet, piano II/31 Brahms, Piano Quartet in C minor, Op. 60, No. 3, III


36 | Chapter 9 Quintet, string II/32 Schubert, String Quintet in C major, III Quintet, piano II/33 Dvo˘rák, Piano Quintet in A major, Op. 81, IV Quintet, woodwind II/1 Bozza, Scherzo for Woodwind Quintet, Op. 48 III/67 Carter, Eight Etudes and a Fantasy, Fantasy Quintet, brass II/50 Vivaldi, The Four Seasons, Autumn, III Orchestra, Western I/11 Brahms, Symphony No. 1 in C minor, Op. 68, IV I/13 Mendelssohn, Symphony No. 4 in A major (Italian), I I/40 Mendelssohn, Symphony No. 4 in A major (Italian), IV I/50 Holst, The Planets, “Jupiter” Ensemble, Chinese III/63 Phases of the Moon, Spring on Moonlit River, Chinese Traditional (pipa, titzu, taku)

Brass quartet: Contrapunctus I, from The Art of Fugue (Bach) Woodwind quintet: Quintet, Op. 88, No. 2 (Reicha) Orchestra: Baroque orchestra: Alla hornpipe, from Water Music (Handel) Classical orchestra: Surprise Symphony No. 94 (Haydn) Romantic orchestra: Ride of the Valkyries (Wagner) Late Romantic orchestra: March, from The Nutcracker (Tchaikovsky) Contemporary orchestra: Interlude, from Rappaccini’s Daughter (Catán) Musical theater orchestra: Tonight, from West Side Story (Bernstein) Other Western Ensembles: Concert band: Stars and Stripes Forever (Sousa) Brass band: Battle Hymn of the Republic (Civil War song) Jazz band: When the Saints Go Marching In (traditional, America) World and Traditional Music Ensembles: Mexican mariachi: El Cihualteco Chinese ensemble: In a Mountain Place North Indian ensemble: Bhimpalási Peruvian ensemble: Los Jilicatas Indonesian gamelan: Tabuh Kenilu Sawik

Ensemble, North Indian classical III/61 Shankar, Bhimpalasi (sitars, tabla) Gamelan IV/32 Band, brass IV/40

Chapter 11. Style and Function of Music in Society Taruna Jaya, Balinese Traditional Dixie, American Traditional

Band, concert II/34 Holst, Suite No. 2 in F for Band, I Band, marching II/35 Sousa, The Stars and Stripes Forever Band, jazz III/51 III/49

Fitzgerald, Smooth Sailing Preservation Hall Jazz Band, When the Saints Go Marching In, American Traditional

iMusic Examples Choral Groups: Chamber choir: Simple Gifts (Shaker hymn) Chorus: America (patriotic song) Men’s chorus: El grillo ( Josquin) Chamber Groups: String quartet: Emperor Quartet, Op. 76, No. 3 (Haydn)

I. Music Serves Different Functions in Different Societies A. Genres: categories of repertoire 1. sacred music: religious or spiritual functions 2. secular music: outside religious context B. Form: internal structure of a work C. Medium: specific group that performs a work D. Titles: indicate genre and key 1. opus number: cataloguing system E. Aesthetic judgment varies from culture to culture F. Oral transmission: preservation of music without written notation G. Western art music, “classical,” notated II. The Concept of Style A. Style: creator’s personal manner of expression 1. individualized treatment of elements of music 2. Western music: melody-oriented with underlying harmonies 3. music of other cultures: foreign to Western ears a. octave divided differently


Teaching Guide | 37 b. complex rhythmic procedures and textures shorter: a. different musical systems III. Musical Styles in History A. Historical periods: distinct stylistic characteristics 1. styles: language of the artists 2. artists react to artistic, political, economic, religious, and philosophical forces B. Historical periods: approximate dates accepted by scholars 1. Middle Ages (400–1450) a. Early Christian (400–600) b. Gregorian chant (600–850) c. Romanesque (850–1150) d. Gothic (1150–1450) 2. Renaissance (1450–1600) 3. Baroque (1600–1750) 4. Classical (1750–1825) 5. Romantic (1820–1900) 6. Post-Romantic and Impressionist (1890– 1915) 7. twentieth century and beyond (1900–present) Discussion Topics Roles of music in various cultures Context of musical performances Aesthetic judgments of music around the world Oral versus notated transmission The phenomenon of crossover in music Music as part of work, worship, and entertainment Ancient use of music versus modern Music for battle iMusic Examples Historical Style Periods Medieval: Kyrie (Hildegard) Renaissance: El grillo (Josquin); Inviolata, integra et casta es Maria (Josquin) Baroque: Rondeau (Mouret); Minuet in D (Anna Magdelena Notebook); “Endlich, endlich wird mein Joch,” from Cantata 51 (Bach); Concerto in C major for 2 Trumpets, I (Vivaldi) Classical: Surprise Symphony No. 94 (Haydn); Eine kleine Nachtmusik, I (Mozart); Tuba mirum, from Requiem (Mozart); Pathétique Sonata, I (Beethoven) Romantic: Spring Song (Mendelssohn); Ride of the Valkyries (Wagner); Åse’s Death, from Peer Gynt Suite (Grieg); Prelude in E minor, Op. 28, No. 4 (Chopin) Early twentieth century: Jeux de vagues, from La mer (Debussy); The Rite of Spring (Stravinsky) Later twentieth century: Interlude, from Rappaccini’s Daughter (Catán); Lux aeterna (Ligeti)

Sacred (religious) music: “Hallelujah Chorus,” from Messiah (Handel); Amazing Grace (traditional hymn, UK) Secular (nonreligious) music: Moonlight Sonata (Beethoven); Toreador Song, from Carmen (Bizet) Popular music:When the Saints Go Marching In (Jazz band); If I Had a Hammer (Pete Seeger) Crossover: Tonight, from West Side Story (Bernstein) Traditional music: Swing Low, Sweet Chariot (AfricanAmerican spiritual); Greensleeves (folk song, UK); My Bonnie Lies over the Ocean (folk song); Los Jilicatas (Peru); Sleep Song (Hopi lullaby, Native American) Suggested Reading for Part 1 Baines, Anthony, ed. Musical Instruments Through the Ages. New York: Walker, 1976. Bernstein, Leonard. The Joy of Music. Pompton Plains, NJ: Amadeus Press, 2004. Bekker, Paul. The Orchestra. New York: W. W. Norton & Company, 1963. Belt, Philip R., et al. The Piano. New York: W. W. Norton & Company, 1988. Boyden, David D., et al. Violin Family. New York: W. W. Norton & Company, 1989. Campbell, Murray, et al. Musical Instruments: History, Technology and Performance of Instruments of Western Music. Oxford: Oxford University Press, 2006. Clough, John, Joyce Conley and Claire Boge. Scales, Intervals, Keys, Triads, Rhythm, and Meter. 3rd edition. New York: W. W. Norton & Company, 1999. Copland, Aaron. What to Listen for in Music. Revised edition with a forward and epilogue by Alan Rich; Introduction by William Schuman. New York: Signet Classic, 2011; first printing 1957. Kivy, Peter. Sound Sentiment: An Essay on the Musical Emotions Including the Complete Text of The Corded Shell. Philadelphia: Temple University Press, 1989. Manoff, Tom. The Music Kit. 4th ed. New York: W. W. Norton & Company, 2001. Marcuse, Sybil. Musical Instruments: A Comprehensive Dictionary. New York: W. W. Norton & Company, 1975. Meyer, Leonard B. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1961. Oliveros, Pauline. Deep Listening: A Composer’s Sound Practice. New York: iUniverse, 2005. Ratner, Leonard G. Music, The Listener’s Art. 3rd ed. New York: McGraw-Hill, 1977. Remnant, Mary. Musical Instruments of the West. New York: St. Martin’s Press, 1978. Sachs, Curt. The History of Musical Instruments. New York: W. W. Norton & Company, 1968.


38 | Chapter 9 Sacks, Oliver. Musicophilia: Tales of Music and the Brain, Revised and Expanded Edition. New York: Vintage Books, 2008. Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. London: Macmillan, 1985. Scholes, Percy A. Music Appreciation: Its History and Technics. Whitefish, MT: Kessinger Publishing, [1935] 2007. Slonimsky, Nicolas. The Listener’s Companion: The Great Composers and Their Works. New York: Schirmer Trade Books, 2002. Taylor, Deems. Music to My Ears. New York: Simon and Schuster, 1949. Tenzer, Michael and John Roeder. Analytical and CrossCultural Studies in World Music. New York: Oxford University Press, 2011. Tovey, Donald. The Forms of Music. New York: Meridian, 1956.

PART 2: MEDIEVAL AND RENAISSANCE MUSIC Prelude 2. The Culture of the Middle Ages and Renaissance Overview The chronological survey of music begins with the Middle Ages, an era that extended some one thousand years. The culture of the age was dominated by the Church; monasteries and convents were, along with the earliest universities, important centers of learning and the preservation of knowledge. The sacred forms of music, the Mass and motet, are presented, beginning with Gregorian chant in the Mass and then with the early polyphonic forms of organum and the thirteenth-century motet. Life in the medieval monastery and convent is highlighted, as is the work of the abbess Hildegard of Bingen. A survey of secular music includes the minstrel tradition (troubadour, trobairitz, trouvère) and the French Ars Nova motet, as well as early instruments and instrumental dance music. The next era, the Renaissance, is best viewed as an era of intellectual awareness of past cultures and learning. Its secular focus is highlighted in a discussion of the philosophical, intellectual, and artistic developments of the era. The cultural and musical consequences of New World explorations are examined, as well as the various roles musicians played in Western society. Sacred music is presented, with examples of the Mass and the motet. The organization of the Mass is outlined, including the structure of the movements of the Ordinary and the effects of the Council of Trent on music for the Mass. Secular music making at court, in the city, and at home is highlighted through the Renaissance chanson, the

Italian and English madrigal, and instrumental dances. The role of women as professional singers in Italy is emphasized, as is one of its most famous ensembles. The Venetian polychoral motet is discussed as a transitional style between the Renaissance and the Baroque eras. Goals for students in Part 2 Middle Ages: • To examine the spiritual function of early written music (chant) • To recognize the parallel advancements in music (polyphony) and architecture • To realize the importance of patronage to the arts throughout history • To recognize the influences of other religions on the early Christian church • To view the Middle Ages as a time of ascent of Christianity rather than as the “Dark Ages” • To understand the varied roles music played in society in earlier times • To appreciate the contributions of women to early sacred and secular music and their elevated status in society • To comprehend the broad consequences of crosscultural interactions in early times Renaissance: • To understand that the era is not entirely one of rebirth but of a new awareness • To recognize the major institutions of society that fostered music and music making • To understand the era as one with an increasingly secular focus • To consider the cultural interactions between the Old and New Worlds during the age of exploration • To recognize the significant role women played as professional performers during the era • To perceive relationships between texts and music settings • To examine the relationships between the invention of printing and literacy Discussion Topics Medieval: Cultural roots of modern artistic traditions Structure of feudal society Role of monasteries and convents in the preservation of knowledge View of women in chivalric society Renaissance: Secularisms of society


Teaching Guide | 39 The effects of printing on society The force of humanism Impressions and interactions of distant cultures Musicians in society; rise of musical literacy

Chapter 12. Sacred Music in the Middle Ages I. Liturgy: Set Structure of Christian Church Service A. Pope Gregory the Great (r. 590–604) codified church music B. Gregorian chant (plainchant, plainsong) 1. vocal monophony, nonmetric, sung in Latin, conjunct melody 2. over 3,000 melodies anonymously composed 3. text settings: syllabic, neumatic, melismatic 4. early chant: handed down through oral tradition 5. notated by neumes: square notes on four-line staff 6. modes: precede major and minor scales II. The Mass: Reenactment of the Sacrifice of Christ A. Most solemn ritual of the Catholic church 1. Proper: variable portions 2. Ordinary: fixed portions 3. offices: not part of the Mass, worship in monasteries III. A Gregorian Melody: Kyrie A. Kyrie: first in the Ordinary 1. Greek prayer in three parts 2. often sung antiphonally B. Listening Guide 2: Gregorian Chant, Kyrie (10th century) 1. conjunct, nonmetric, monophonic, a cappella 2. Three phrases, each sung three times: represents the trinity IV. Life in the Medieval Cloister A. Life devoted to the Catholic church 1. religious seclusion devoted to prayer, scholarship 2. available to men and women V. The Music of Hildegard of Bingen A. Hildegard of Bingen (1098–1179) 1. poet and prophet 2. daughter of a noble couple 3. given to the church as a tithe 4. music resembles Gregorian chant B. Listening Guide 3: Hildegard of Bingen, Alleluia, O virga mediatrix (Alleluia, O mediating branch), (late twelfth century) 1. A cappella choir and soloist

2. Mass Proper: plainchant celebrating the Virgin Mary 3. expressive leaps of a fifth: “holy womb,” “flower,” and “chastity” VI. The Rise of Polyphony A. Polyphony: combination of two or more simultaneous musical lines 1. regular meters 2. requires more exact notational system 3. composer derived from Latin componere,” to put together” B. Organum: earliest polyphony, twelfth and thirteenth centuries 1. second voice added to plainchant 2. Léonin (fl. 1150–c. 1201): composer at Cathedral of Notre Dame a. compiled Great Book of Organum (Magnus liber organi) 3. Pérotin (fl. c. 1200): Léonin’s successor a. expanded organum to three, four, or more voices C. Listening Guide 4: Notre Dame School, Gaude Maria virgo (Rejoice Mary, virgin) (early thirteenth century) 1. probably composed by Pérotin 2. prayer in praise of the Virgin Mary 3. three-part polyphony, alternates with monophonic chant 4. upper two voices melismatic, in rhythmic mode a. rhythmic mode: fixed pattern of long and short notes 5. third voice sustained below VII. The Early Medieval Motet A. Texts added to upper voices of organum 1. motet: mot is French for “word” 2. sacred and secular texts combined Discussion Topics Modal versus tonal music Role of music in the Mass Importance of the rise of polyphony Development of music notation Influence of Judaism on the early Christian church Religious life in the Middle Ages The role of women in the Christian church Music Example Bank II/36

Psalm 64, Venite, exsultemus Domino, plainsong, Gregorian chant, syllabic text setting, nonmetric, Psalm


40 | Chapter 9 II/37

II/38 IV/11 IV/67

Whitsunday Mass, Alleluia, emitte spiritum, plainsong, Gregorian chant, melismatic text setting, Mass, nonmetric, responsorial singing Organum, Tu patris sempiternus et filius Jewish cantorial music, Ribono Shel Olom Byzantine chant, Alleluia

iMusic Example Monophonic chant: Hildegard: Kyrie

Chapter 13. Secular Music in the Middle Ages I. Medieval Minstrels A. Minstrels 1. wandering actor-singers 2. versatile entertainers B. Troubadours and trouvères 1. French poet-musicians 2. court musicians 3. members of aristocracy and royalty 4. poems: chivalry, unrequited love, political and war songs, Crusades 5. Minnesingers: German counterpart *II. A Troubadour Chanson *A. Raimbaut de Vaqueiras (c. 1155–1207) *1. courtly troubadour for marquis of Montferrat *B. Listening Guide 5: Raimbaut de Vaqueiras, Kalenda Maya (The First of May) (late twelfth century) *1. estampie: troubadour dance song *2. six-stophe poem in Provençal *a. love song to Beatrice, Marquise of Montferrat *b. return of spring; courtly love *3. instrumental accompaniment: guitar, rebec, nakers *4. strophic: same melody for each stanza C. Listening Guide 6: Anonymous, Sumer is icumen in (Summer is come) (c. 1250) 1. six-voice, a cappella round 2. two voices repeat bass pattern 3. upper voices: two-voice, then four-voice round a. long-short-long-short rhythmic pattern *4. Middle English text III. The French Ars nova A. New musical style, early fourteenth-century France, then Italy 1. significant developments in rhythm, meter, harmony, counterpoint, and notation

2. more refined and complex than Ars antiqua (old art) 3. secular themes B. A Chanson by Machaut: Guillaume de Machaut (c. 1300–1377) 1. foremost composer-poet; also cleric 2. worked at French courts 3. sacred and secular compositions a. favored chanson: courtly love poems b. poetic forms: rondeau, ballade, and virelai C. Listening Guide 7: Machaut, Puis qu’en oubli (Since I am forgotten) (mid-fourteenth century) 1. three-voice, a cappella polyphonic chanson 2. low range: male voices 3. slow, syncopated rhythm 4. text: rondeau by Machaut IV. Early Instrumental Music A. Instruments supported vocal music 1. accompanied singers 2. instrumental arrangements of vocal works 3. prominent in dance music: rhythm B. Music improvised: not notated C. Some instruments originated in Middle East D. Soft (bas), indoor instruments 1. recorder, pipe, lute, harp, psaltery, hammered dulcimer, rebec, vielle E. Loud (haut), outdoor instruments 1. tournaments, processions 2. shawm, sackbut F. Other instruments 1. crumhorn, cornetto 2. percussion: tabor, nakers G. Organs 1. church organs a. performer; second person to pump bellows 2. small organs: portative and positive Discussion Topics Role of secular musicians in court Wandering minstrels and dissemination of regional news events Women in secular music Roles of secular music in society Influences of Middle Eastern culture on Western music Mixture of secular and sacred texts in motet Development of forms—strophic, isorhythmic Early instruments as precursors of modern ones The issue of using authentic instruments in recording (performance practice)


Teaching Guide | 41 Music Example Bank II/39

IV/12 IV/57

Machaut, Nesque on porroit les estoiles nombrer, haut instruments (shawm), bas instruments (vielle) Dance (Mehter ensemble), Turkish Traditional General’s Victory, Chinese Traditional (military music)

iMusic Examples Eastern influences on Western music: Avaz of Bayate Esfahan (Iranian music); In a Mountain Path (Chinese music) Canonic form: Row, Row, Row Your Boat Hildegard: Kyrie Call to prayer (Adhan): Blessings on the Prophet

Chapter 14. Renaissance Sacred Music I. Renaissance Style A. Golden age of a cappella style 1. imitative polyphony 2. harmony: fuller chords, 3rds and 6ths 3. carefully controlled dissonance 4. duple meter B. Early Renaissance (1450–1520) 1. Belgium, northern France: *Du Fay, Josquin C. Later Renaissance (1520–1600) 1. Italy: Palestrina, *Gabrieli II. The Early Renaissance Mass A. Ordinary, fixed portion, set to music 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus Dei B. Cantus firmus (fixed melody) 1. entire mass based on one melody 2. Gregorian chant or popular song *III. Du Fay and the Cantus Firmus Mass *A. Guillaume Du Fay (c. 1397–1474) *1. Franco-Flemish composer *2. career in Italy and France *3. well-defined melodies; clear-cut rhythms *B. Listening Guide 8: Du Fay, L’homme armé Mass (The Armed Man Mass), Kyrie (1460s) *1. four-part, a cappella chorus *2. cantus firmus: L’homme armé, popular tune *3. polyphonic, but not imitative

*4. three sections: slow triple meter, duple, triple meter *5. harmony: medieval, and fuller 3rds and 6ths of Renaissance *IV. The Motet in the Renaissance *A. Motet: became sacred form *1. single Latin text *2. used in the Mass *3. praise of the Virgin Mary *4. three, four, or more voices of equal importance *5. cantus firmus: chant or popular song V. Josquin des Prez and the Motet A. Josquin des Prez (c. 1450–1521) 1. northern French composer 2. Italian court positions; papal choir in Rome 3. humanism: expressive harmony, serene melodies 4. sacred and secular compositions B. Listening Guide 9: Josquin, Ave Maria . . . virgo serena (Hail Mary . . . gentle virgin) (1480s) 1. Latin motet 2. four-voice, a cappella choir 3. varied combinations of voices and textures VI. The Reformation and Counter-Reformation A. Reformation: Protestant Revolt 1. Martin Luther (1483–1546): Ninety-Five Theses, 1517 a. Augustinian monk b. excommunicated by Catholic church 2. mass in vernacular 3. hymns sung communally B. Counter-Reformation: Catholic church response 1. recapture loyalty of people: accessible music 2. Council of Trent (1545–1563) concerns a. embellishments to Gregorian chant b. objected to certain instruments in church c. use of popular songs in Masses d. secular spirit in sacred music e. irreverent attitude of church musicians f. complex polyphony obscured the text 3. Council favored pure vocal style a. simplicity, clarity b. respected integrity of sacred texts c. encourage piety VII. Palestrina and the Pope Marcellus Mass A. Giovanni Pierluigi da Palestrina (c. 1525–1594) 1. Italian composer, organist, choirmaster 2. worked at St. Peter’s in Rome and Sistine Chapel Choir 3. mostly sacred compositions; over 100 Masses


42 | Chapter 9 4. pure, a cappella, vocal polyphony B. Listening Guide 10: Palestrina, Pope Marcellus Mass, Gloria (1567) 1. six-part, a cappella male choir 2. monophonic opening 3. homorhythmic and polyphonic textures follow 4. clear declamation of the text 5. full, consonant harmony Discussion Topics

B. C.

D.

Church rituals and calendar Mass ordinary versus mass proper Reasons for dominance of a cappella singing in churches Council of Trent, the Counter-Reformation, and music Composition techniques in Renaissance: cantus firmus E. Music Example Bank II/42

Palestrina, Missa in Festis Apostolorum I, Agnus Dei, a cappella, Mass movement, Renaissance polyphony

Chapter 15. Renaissance Secular Music I. Music in Court and City Life A. Professional musicians: court and civic festivities B. Merchant class: music-making in the home C. Women in music 1. music education: well-bred women 2. women achieved fame as professional singers D. Important genres: chanson and madrigals II. The Chanson A. Favored genre at Burgundian courts throughout sixteenth century 1. three or four voices 2. courtly love 3. freer poetic structures 4. preeminent composers: *Du Fay, Josquin *B. Listening Guide 11: Josquin, Mille regretz (A thousand regrets) (1520) *1. four-voice, a cappella French chanson *2. through-composed, four-line love poem *3. homorhythmic and polyphonic textures *4. modal harmony: expresses sadness *5. syllabic, with melisma on “regretz” III. The Italian Madrigal A. Secular vocal composition for three to eight voices 1. flourished at Italian courts

2. short poems: lyric or reflective character 3. music enhanced poetry 4. word painting: music depicts emotional words a. weeping, sighing, trembling, etc. 5. instruments double or substitute voices Early madrigal (c. 1525–50) Later madrigal (1580–1620) 1. extends into Baroque era 2. rich chromatic harmony, vocal virtuosity 3. Claudio Monteverdi: transitional composer Jacques Arcadelt (c. 1507–1568) 1. Franco-Flemish composer; early madrigalist 2. worked in Italy and France 3. secular compositions: chansons, madrigals 4. sacred compositions: Masses, motets 5. simpler, lyrical style Listening Guide 12: Arcadelt, Il bianco e dolce cigno (The white and sweet swan) (1538) 1. four-voice, a cappella madrigal 2. through-composed 10-line poem 3. lyrical, conjunct melody 4. mostly homophonic, consonant, full harmony 5. emotional words: dissonance, chromaticism, melisma, repetition

IV. The English Madrigal A. Flourished during Elizabethan era (1558–1603) 1. “Englished” Italian madrigals 2. less serious, lighter texts *3. composers: Thomas Morley (1557–1603), Thomas Weelkes (c. 1575–1623), John Farmer B. John Farmer (c. 1570–1603) 1. English composer, organist 2. composed only one madrigal collection 3. light-hearted style, clever word painting C. Listening Guide 13: Farmer, Fair Phyllis (1599) 1. four-voice, a cappella English madrigal 2. dancelike, lively rhythms 3. varied textures 4. word painting: “all alone,” and “up and down” V. Instrumental Dance Music A. Sixteenth century: purely instrumental music developed 1. printing: published music readily available 2. books of dances for solo instruments or small ensembles 3. instrumentation not specified: determined by occasion 4. percussion parts not notated: improvised 5. dance types: pavane, saltarello, galliard, allemande, ronde


Teaching Guide | 43 B. Tielman Susato (c. 1515–1571) 1. Flemish composer, instrumentalist, printer 2. Danserye: popular instrumental dance collection (1551) C. Listening Guide 14: Susato, Three Dances (1551) 1. three rondes, each in binary form (A-A-B-B) 2. repeated sections: improvised embellishments 3. dances flow from one to the next 4. duple meter, homophonic texture 5. consonant harmony; Ronde 2, modal 6. performed by loud wind band a. shawm, sackbut, cornetto, tabor, tambourine D. From the Renaissance to the Baroque 1. humanistic spirit 2. sought expressive means 3. shift to single-line music *VI. Giovanni Gabrieli and Instrumental Music in Venice *A. Venice: important musical center by end of sixteenth century *1. major seaport; at crossroads of trade with the East *B. Venetian style *1. multiple choirs of voices and instruments *2. antiphonal: groups play in alternation *3. influenced composers all over Europe *C. Giovanni Gabrieli (c. 1557–1612) *1. composer and organist *2. worked at St. Mark’s in Venice *3. sacred and secular compositions *4. instrumental ensemble music; polychoral works *5. first to indicate dynamics; specify specific instruments *D. Listening Guide 15: Gabrieli, Canzona septimi toni (1597) *1. instrumental canzona: sectional work *2. two instrumental groups: antiphonal style *3. shifting meters: duple and triple *4. mostly homophonic Discussion Topics Rise of amateur music making Women as professional and amateur performers Relationship between texts and music Courtly versus popular texts Music and Ceremony Simplification of musical style: polyphonic to homophonic The Gabrieli family in Venice Byzantine influence on Venetian music

Music Example Bank Secular vocal music Josquin, El grillo, chamber choir, II/41 Renaissance instruments (recorders, lute, viola da gamba), frottola I/48 Anonymous Spanish villancico, Ríu, ríu, chíu, chamber choir with instruments (recorders, tambourine), syncopation II/44 Lassus, O vin en vigne, Renaissance chanson, a cappella singing II/40 Marenzio, La bella ninfa mia, Italian madrigal, word painting, a cappella singing II/25 Morley, Those dainty daffadillies, English madrigal, a cappella singing, refrain II/45 Weelkes, Welcome sweet pleasure, English madrigal, word painting, Renaissance instruments (recorders, viola da gamba, lute, harpsichord) Dance and instrumental music II/46 Praetorius, Terpsichore, Courante, loud instruments (shawm, cornetto, sackbut, percussion),courante II/47 Praetorius, Terpsichore, Volte, soft instruments (lute, viola da gamba, recorder, percussion),volte I/30 Traditional, Greensleeves, harpsichord, embellishment, variation, binary form II/49 Gabrieli, Hodie Christus natus est, antiphonal style, polychoral motet, cori spezzati iMusic Examples: Ceremonial music: Hassler: Laudate Dominum Josquin: El grillo (The Cricket) Suggested Reading for Part 2 Suggested Reading for Chapters 12 and 13 Apel, Willi. Gregorian Chant. Bloomington, IN: Indiana University Press, 1960. Hiley, David. Western Plainchant: A Handbook. New York: Oxford University Press, 1995. Hoppin, Richard H. Medieval Music. New York: W. W. Norton & Company, 1978. Knighton, Tess, and David Fallows, eds. Companion to Medieval and Renaissance Music. Berkeley: University of California Press, 1998. McKinnon, James, ed. Antiquity and the Middle Ages. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1991. Page, Christopher. Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France,


44 | Chapter 9 1100–1300. Berkeley: University of California Press, 1986. Reese, Gustave. Music in the Middle Ages: With an Introduction on Music of Ancient Times. New York: W. W. Norton & Company, 1968. Seay, Albert. Music in the Medieval World. 2nd ed. Englewood Cliffs: NJ: Prentice Hall, 1975. Strohm, Reinhard, and Bonnie J. Blackburn, eds. Music as Concept and Practice in the Late Middle Ages. New York: Oxford University Press, 2001. Treitler, Leo. With Voice and Pen: Coming to Know Medieval Song and How it Was Made. New York: Oxford University Press, 2007 Wilson, David F. Music of the Middle Ages: Style and Structure. New York: Schirmer, 1990. Yudkin, Jeremy. Music in Medieval Europe. Englewood Cliffs, NJ: Prentice Hall, 1989. Suggested Reading for Chapters 14 and 15 Arnold, Denis. Giovanni Gabrieli and the Music of the Venetian High Renaissance. Reprinted with corrections. New York: Oxford University Press, 1985. ———. Monteverdi Madrigals. BBC Music Guides. London: British Broadcasting Corporation, 1967. Atlas, Allan W. Renaissance Music: Music in Western Europe, 1400–1600. New York: W. W. Norton & Company, 1998. Brown, Howard M., and Louise K. Stein. Music in the Renaissance. 2nd ed. Upper Sadle River, NJ: Prentice Hall, 1999. Brown, Howard M., and Stanley Sadie, eds. Performance Practice: Music Before 1600. Vol. 1. The Norton/Grove Handbooks in Music. New York: W. W. Norton & Company, 1990. Carter, Tim. Music in Late Renaissance and Early Baroque Italy. London: B. T. Batsford, 1992. Fallows, David. Dufay. New York: Vintage, 1987. Fenlon, Iain, ed. The Renaissance, from the 1470s to the End of the 16th Century. Englewood Cliffs, NJ: Prentice Hall, 1989. Kelly, Thomas Forrest. Early Music: A Very Short Introduction. New York: Oxford University Press, 2011. Knighton, Tess, and David Fallows, eds. Companion to Medieval and Renaissance Music. Berkeley: University of California Press, 1998. Lockwood, Lewis, ed. Palestrina: Pope Marcellus Mass. Norton Critical Scores. New York: W. W. Norton & Company, 1975. Lowinsky, Edward, ed. Josquin Desprez. New York: Oxford University Press, 1976. Murray, Russell E., Jr., Susan Forscher Weiss and Cyntia J. Cyrus. Music Education in the Middle Ages and the

Renaissance. Bloomington, IN: Indiana University Press, 2010. Ongaro, Giulio Maria. Music of the Renaissance. Westport, CT: Greenwood Press, 2003. Perkins, Leeman L. Music in the Age of the Renaissance. New York: W. W. Norton & Company, 1999. Reese, Gustave. Music in the Renaissance. Revised edition. New York: W. W. Norton & Company, 1959. Reese, Gustave, et al. The New Grove High Renaissance Masters: Josquin, Palestrina, Lassus, Byrd, Victoria. New York: W. W. Norton & Company, 1984. Roche, Jerome. The Madrigal. 2nd ed. Oxford: Oxford University Press, 1990. Romanek, Trudee. Great Ideas of the Renaissance. New York: Crabtree Publishing Company, 2009. Rothenberg, David J. The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music. New York: Oxford University Press, 2011. Strohm, Reinhard. The Rise of European Music, 1380– 1500. Cambridge: Cambridge University Press, 1993. Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987.

PART 3: THE BAROQUE ERA Prelude 3. The Baroque Spirit Overview The Baroque era is introduced as a turbulent time of change, in politics, science, and the arts. The new musical style of the Baroque is discussed in detail, focusing on the origins of monody and its manifestations in the developing genre of opera and on the harmonic structures (leaning toward major and minor tonality) and rhythmic/melodic characteristics of the new style. The importance of virtuosity and improvisation, especially in realizing a figured bass, is noted, along with the expressive element manifest in the doctrine of the affections. The role of women as performers and composers is summarized, as is the increased interest by Westerners in faraway cultures. Goals for students in Part 3 • To understand the state of culture, politics, science, and learning during the Baroque era • To comprehend the goals of the Camerata in developing monody • To appreciate the significance of the origins of opera and the resulting new style of music


Teaching Guide | 45 • To perceive the beginnings of modern tonality systems, modern forms, and melodic structures • To understand the doctrine of affections as an expressive element in music, tied to the text Discussion Topics Expression of emotion in Baroque arts Music at court and at home Music as a vehicle for religious expression The changing role of women in music Importance of text versus music Foundations of modern tonality and forms Expressive devices in early Baroque music Music Example Bank I/38

I/17

II/52

I/31 II/54

II/56

II/57

Bach, J. S., Brandenburg Concerto No. 6, III, rhythm/bass line, Baroque; melody, continuous Bach, J. S., Chromatic Fantasia and Fugue in D minor, harmony, Baroque; tonic/dominant, opposition of Caccini, Amarilli mia bella, monody, stile rappresentivo; improvisation, Baroque; thorough-bass instruments Handel, Concerto Grosso in G major, Op. 6, No. 1, terraced dynamics Handel, Samson, “Let the bright seraphim,” affections, doctrine of the; word painting; melody,Baroque Monteverdi, L’incoronazione di Poppea, “Innocente,” rhythm, Baroque; opera, Baroque Monteverdi, L’incoronazione di Poppea, “Speranza,” melody, Baroque; opera, Baroque

iMusic Examples J. S., Jesu, Joy of Man’s Desiring Monteverdi: Lament of the Nymph Handel: “O thou that tellest good tidings,” from Messiah Suggested Reading for Prelude 3 Anderson, Nicholas. Baroque Music: From Monteverdi to Handel. New York: Thames and Hudson, 1994. Bianconi, Lorenzo. Music in the Seventeenth Century. Translated by David Bryant. Cambridge: Cambridge University Press, 1987. Blume, Friedrich. Renaissance and Baroque Music: A Comprehensive Survey. Translated by M. D. Herter

Norton. New York: W. W. Norton & Company, 1967. Brown, Howard, and Stanley Sadie. Performance Practice. Volume II: Music after 1600. The Norton/Grove Handbooks on Music. New York: W. W. Norton & Company, 1990. Buelow, George, ed. The Late Baroque Era: From the 1680s to 1740. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993. Bukofzer, Manfred F. Music in the Baroque Era: From Monteverdi to Bach. New York: W. W. Norton & Company, 1947. Donington, Robert. Baroque Music: Style and Performance. New York: W. W. Norton & Company, 1982. Hill, John Walter. Baroque Music: Music in Western Europe, 1580–1750. New York: W. W. Norton & Company, 2005. Palisca, Claude V. Baroque Music. 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 1991. Strunk, Oliver, ed. Source Readings in Music History: The Baroque Era. Rev.ed. New York: W. W. Norton & Company, 1998. Price, Curtis, ed. The Early Baroque Era: From the Late 16th Century to the 1660s. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993. Sadie, Julie Anne, ed. Companion to Baroque Music. New York: Schirmer, 1990. Schulenberg, David. Music of the Baroque. 2nd ed. New York: Oxford University Press, 2008. Stauffer, George B., ed. The World of Baroque Music: New Perspectives. Bloomington: Indiana University Press, 2006. Wood, Caroline and Graham Sadler. French Baroque Opera: A Reader. Brookfield, VT: Ashgate, 2000.

Chapter 16. Baroque Opera and Its Components I. The Components of Opera A. Opera: large-scale sung drama combining vocal and instrumental music, poetry and drama, acting and pantomime, scenery and costumes 1. recitative moves plot and action of opera forward a. declamatory vocal style that imitates natural inflections of speech b. recitative secco: accompanied by basso continuo c. recitative accompagnato: accompanied by the orchestra 2. arias: highly emotional and lyrical songs a. da capo arias are in ternary form (A-B-A) 3. duets, trios, quartets, and sung commentary by chorus may also be included


46 | Chapter 9 4. orchestra performs overture (introductory number), and sinfonias (interludes) 5. libretto: text or scripts of the opera a. written by the librettist 6. early opera based on Greek mythology II. Monteverdi and Early Baroque Opera A. Claudio Monteverdi (1567–1643) *1. born in Cremona, Italy *2. “transitional” composer: Renaissance-style madrigals, Baroque operas *3. new emotional intensity B. The Coronation of Poppea *1. original music lost; this version by Pietro Francesco Cavalli (1602–1676) *2. Roman history: Nero plots to depose his wife, Ottavia, with his courtesan mistress, Poppea *3. public performance in Venice, no longer limited to palaces *C. Listening Guide 16: Monteverdi, The Coronation of Poppea (L’incoronazione di Poppea), Act III, Scene 7 (1642) *1. Poppea is led to the throne: fanfare-like, imitative polyphony *2. sinfonia interlude *3. love duet between Nero and Poppea, (A-B-B-A) structure *a. duet sung over ground bass *b. dissonant phrases: “più non peno” (no more grieving), “più non moro” (no more sorrow) III. The Spread of Opera A. Opera in England 1. masques: vocal and instrumental music with poetry and dance a. presented in homes of the rich and influential 2. Puritans forbade stage plays B. Henry Purcell (1659–1695) 1. English composer, organist, and singer 2. wrote masques and operas for several venues 3. assimilated Italian and French styles C. Dido and Aeneas 1. considered first great English opera 2. presented as a play set to music for a girl’s school in Chelsea 3. based on Virgil’s Aeneid a. Aeneas is shipwrecked at Carthage, falls in love with the queen, Dido b. Aeneas leaves Dido to continue his journey to found Rome D. Listening Guide 17: Purcell, Dido and Aeneas, Act III, excerpts (1689) 1. Act III, opening: style of a hornpipe

2. recitative: Dido decides her fate is death 3. Dido’s Lament: sung over ground bass ostinato a. descending bass line: symbolic of grief in Baroque music IV. Barbara Strozzi and the Baroque Aria A. Barbara Strozzi (1619–c. 1677) 1. professional composer, singer from Venice 2. prolific composer of secular and sacred music 3. successful in an age of a male-dominated society B. Listening Guide 18: Amor dormiglione (Sleepyhead, Cupid!) (1651) 1. monody, solo soprano with harpsichord 2. light-hearted da capo aria (A-B-A) 3. sensitivity to the text 4. use of word painting Overview This chapter presents the three major vocal forms of the Baroque: opera, cantata, and oratorio. Because of the genre focus, the entire era is covered in this chapter, from early Baroque opera, represented by Monteverdi and Purcell, through Handelian opera and oratorio. Bach is discussed as representative of the Lutheran tradition and its service music, the cantata. The biographies and works of Monteverdi, Purcell, Bach, and Handel are included in this chapter. Chapter goals for students • To perceive the origins and early development of opera as a manifestation of a desire to unite text and music • To understand the chorale as the basis for the cantata and its movements • To view the Baroque oratorio as an outgrowth of religious dramas and opera • To appreciate the opposition of solo song and choral polyphony Discussion Topics Opera plots: mythology and history Development of operatic style and forms (da capo aria) Women composers in the Baroque era Music Example Bank II/59 II/60

Bach, J. S., Wachet auf, “Er kommt, er kommt,” recitative secco, Baroque Couperin, Les barricades mistérieuses, ostinato; ground bass; affections, doctrine of the


Teaching Guide | 47 I/55 II/56 II/57

Handel, Messiah, “O thou that tellest,” aria, Baroque Monteverdi, L’incoronazione di Poppea, “Innocente,” opera, Baroque; stile concitato Monteverdi, L’incoronazione di Poppea, “Speranza,” opera, Baroque; ritornello

iMusic Examples Monteverdi: Lament of the Nymph Handel: “O thou that tellest good tidings,” from Messiah

Chapter 17. The Baroque Cantata and Oratorio I. Bach and the Church Cantata A. Cantata: multimovement work for soloists, chorus, and orchestra 1. part of the Lutheran church service 2. based on Lutheran chorale (hymn tune) a. chorales written by Martin Luther i. adapted from Gregorian chant, secular art music, popular tunes b. sung in unison by congregation, later in four-part harmony B. J. S. Bach (1685–1750) 1. German composer, organist 2. devout Lutheran: music must serve “the glory of God” 3. court and church positions: Weimar, Leipzig 4. prolific composer: suites, concertos, sonatas, keyboard music, Passions, cantatas a. around two hundred cantatas survive 5. 19 children: four sons, leading composers C. Listening Guide 19: Bach, Cantata No. 140, Wachet auf (Sleepers, Awake), excerpts (1731) 1. based on Gospel of Matthew: parable of the Wise and Foolish Virgins 2. chorale prelude in bar form (A-A-B) 3. seven movements: near palindrome form a. chorale tune featured in three choral movements b. 1st mvt.: grand chorale fantasia, majestic, marchlike: arrival of Christ i. recurring instrumental sections (ritornellos) *c. 2nd mvt.: sparse recitative with basso continuo *d. 3rd mvt.: da capo form (A-B-A) love duet between the Soul (soprano) and Christ (bass)

e. 4th mvt.: central movement; chorale tune sung in unison by tenors *f. 7th mvt.: hymnlike setting with orchestra II. Handel and the Oratorio A. Oratorio: large scale work for soloists, chorus, and orchestra 1. performed in concert setting without scenery or costumes 2. based on a biblical story B. George Frideric Handel (1685–1759) 1. German composer 2. worked in Italy, Germany, England 3. held positions as conductor, director, producer 4. composed opera seria (serious Italian opera), English oratorios, orchestral suites, keyboard and chamber music C. Messiah 1. composed in 24 days, premiered in Dublin 2. biblical verses set in three parts a. Christmas section, prophecy of Christ b. Easter section c. redemption of the world through faith D. Listening Guide 20: Handel, Messiah, Nos. 1, 14–18, 44 (1742) *1. Part I, Overture: French style, slow dotted rhythms followed by fugue *2. Nos. 14–16: contrasting recitative secco and recitative acompagnato *3. No. 17: four-part chorus with orchestra 4. No. 18: da capo soprano aria with instrumental ritornellos, (A-B-A') 5. Part II, No. 44: “Hallelujah chorus” closes Easter section a. four-part chorus and orchestra b. homorhythmic and imitative polyphonic textures Discussion Topics Music in the Lutheran service Bach’s positions and the music he wrote in each Varied musical settings of chorale tunes The cantata as a sacred genre Oratorio as sacred operas Opera seria versus ballad opera in London Continued popularity of Messiah Music Example Bank II/58

Bach, J. S., Cantata No. 140, Wachet auf, Chorale, chorale; cantata, Lutheran


48 | Chapter 9 II/59

I/55 II/54

Bach, J. S., Cantata No. 140, Wachet auf, “Er kommt, er kommt,” cantata, Baroque; recitative secco Handel, Messiah, No. 9, “O thou that tellest,” aria, Baroque; oratorio, Baroque Handel, Samson, “Let the bright seraphim,” affections, doctrine of the; oratorio, Baroque; word painting

Chapter 18. Baroque Instruments and the Suite Overview The Baroque saw the rise of instrumental music and independent instrumental forms. This chapter covers instrumental ensemble forms, focusing on the suite. I. The Rise of Instrumental Music A. Equal importance to vocal music 1. new instruments developed, improvements made to old ones 2. rise of virtuoso a. Bach and Handel: organists *b. Corelli and Vivaldi: violinists *c. Scarlatti and Couperin: harpsichordists 3. music written specific to the instruments B. Baroque Instruments 1. close to modern counterparts 2. string instruments: gut strings (made from animal intestines) a. Cremona violin makers: Stradivari, Guarneri, Amati 3. recorder, flute, oboe, bassoon: all made of wood 4. additions to the orchestra: unvalved trumpet, French horn, timpani 5. organ and harpsichord: important keyboard instruments C. The Baroque Suite 1. instrumental genre 2. group of short dances: all in same key 3. international influence: German, French, Spanish, English a. overture, allemande, courante, sarabande, hornpipe, minuet, gigue 4. dances in binary (A-A-B-B) or ternary (A-B-A) form 5. suites written for solo instrument, chamber ensembles, and orchestra II. Handel and the Orchestral Suite A. Water Music, and Music for the Royal Fireworks 1. Water Music performed on royal barge on Thames River a. outdoor performance: no basso continuo

b. 22 movements B. Listening Guide 21: Handel, Water Music, Suite in D major, excerpts (1717) *1. mvt. 1: ternary form (A-B-A') *a. fanfare-like trumpets, descending violin scales 2. mvt. 2: alla hornpipe, ternary form (A-B-A) a. disjunct theme with decorative trills in strings and woodwinds b. B section: reflective, minor key III. Music at the French Royal Court A. Louis XIV and Louis XV ruled at palace of Versailles 1. Jean-Baptiste Lully (1632–1687): court composer of Louis XIV a. French stage works: comedy-ballets, tragic operas 2. Jean-Joseph Mouret (1682–1738): court composer of Duke of Maine (son of Louis XIV) B. Listening Guide 22: Mouret, Rondeau, from Suite de symphonies (1729) 1. rondeau form (A-B-A-C-A) 2. main theme: majestic fanfare 3. predominant high trumpet: frequent trills Chapter goals for students • To become aware of original versus modern instruments • To view instrumental music as comparable to vocal in importance • To understand formal structures as means of unification Discussion Topics Character of dance movements and national origin Music Example Bank II/27 II/2 II/61

Bach, J. S., Flute Sonata No. 2 in E-flat major, Siciliano, chamber sonata, Baroque Bach, J. S., Orchestral Suite No. 2 in B minor, Badinerie, dance types, Baroque Corelli, Violin Sonata in A major, Op. 5, No. 9, Gigue, dance types, Baroque

iMusic Examples Bach: Sarabande from Cello Suite No. 2 Bach: Minuet in D minor (Anna Magdalena Notebook) Handel: Alla hornpipe, from Water Music


Teaching Guide | 49 Chapter 19. The Baroque Concerto

*2. ritornello form *3. seamless polyphonic texture *4. constant rhythmic drive

Overview The two types of concerto popular in the Baroque era are discussed, with an emphasis on J.S. Bach and Vivaldi. I. Three Movement (fast-slow-fast) Instrumental Form A. Solo concerto: solo instrument with accompanying instrumental group B. Concerto grosso: two instrumental groups 1. solo group: concertino 2. accompanying group: tutti, or ripieno II. Antonio Vivaldi and the Solo Concerto A. Antonio Vivaldi (1678–1741), 1. Venetian composer, violin virtuoso 2. ordained priest 3. music master at Conservatorio dell’Ospedale della Pietà 4. traveled widely 5. composed over 500 concertos: 230 for solo violin, “father of the concerto” B. The Four Seasons 1. four solo violin concertos accompanied by orchestra and basso continuo 2. program music: Italian sonnet 3. sounds musically pictoralized C. Listening Guide 23: Vivaldi, Spring, from The Four Seasons (La primavera from Le quattro stagioni), Op. 8, No. 1 (1725) 1. mvt. 1: Allegro in E major a. orchestral ritornello alternates with solo violin episodes b. birds: trills and high running scales c. storm: agitated repeated notes in low strings *2. mvt. 2: Largo in C-sharp minor *a. melancholy melody *b. upper strings only *3. mvt. 3: Allegro in E major, “Rustic Dance” *a. ritornello form *b. dotted rhythms, dancelike *c. drone represents bagpipes *III. Bach and the Late Baroque Concerto *A. Six Brandenburg Concertos *1. composed at Cöthen (1717–23) *2. named after Margrave Christian of Brandenburg *B. Listening Guide 24: Bach, Brandenburg Concerto No. 2 in F major, First Movement (1717–18) *1. concerto grosso: four solo instruments *a. violin, oboe, recorder, trumpet

Discussion Topics Concerto form: focus on contrast Programmatic instrumental music Ritornello as unification procedure Music Example Bank I/38 I/31 I/21

II/10 III/10

Bach, J. S., Brandenburg Concerto No. 6, III, concerto grosso Handel, Concerto Grosso in G, Op. 6, No. 1, I, concerto grosso, concertino, ripieno Handel, Concerto Grosso in D minor, Op. 11, No. 3, I, concerto grosso, concertino, ripieno Vivaldi, Concerto for Piccolo in C major, I, concerto, solo Vivaldi, The Four Seasons, Autumn, III, concerto, solo

iMusic Example Bach, J. S., Brandenburg Concerto No. 1, I

Chapter 20. Other Baroque Instrumental Forms Overview Keyboard instruments, especially organ and harpsichord, are discussed, along with a variety of keyboard forms; the emphasis is on the prelude and fugue and the sonata. I. Baroque Keyboard Instruments A. Organ, harpsichord, and clavichord 1. organ: church and home 2. harpsichord: strings are plucked, tone not sustained 3. clavichord: favorite home instrument, soft, gentle tone B. Chamber and solo instruments II. Sonata Types A. Sonata da camera, chamber sonata 1. group of stylized dances B. Sonata da chiesa, church sonata 1. serious in tone 2. four movements: slow-fast-slow-fast C. Trio sonata 1. favored ensemble 2. two violins and basso continuo (four players)


50 | Chapter 9 *D. Arcangelo Corelli (1653–1713) *1. Italian composer and violinst *2. emphasized lyricism over virtuosity *3. published four volumes of trio sonatas *E. Listening Guide 25: Corelli, Trio Sonata, Op. 3, No. 2 in D major, excerpts (1689) *1. mvt. 3: Adagio in B minor *a. imitative duet in violins *2. mvt. 4: Allegro in D major *a. binary form (A-A-B-B) *b. dancelike *c. imitation in three instruments *III. Domenico Scarlatti and the Solo Sonata *A. Domenico Scarlatti (1685–1757) *1. Italian: court composer in Portugal and Madrid *2. harpsichord virtuoso *3. wrote over 550 solo harpsichord sonatas *B. Listening Guide 26: Scarlatti, Sonata in C major, K. 159, (The Hunt) (1750s) *1. binary form (A-A-B-B) *2. dancelike, in Spanish style *3. highly ornamented: grace notes and trills *4. clarity of texture: looks forward to Classicism IV. Other Keyboard Forms A. Forms based on harmony 1. passacaglia: repeating bass line 2. chaconne: repeating harmonic progression B. Forms based on improvisation 1. prelude: short study, mostly homophonic 2. toccata: free, highly virtuosic form 3. chorale prelude, chorale variations: organ virtuosity introduced chorale to congregation V. The Fugue and Its Devices A. Fugue: contrapuntal composition with single theme 1. fugue theme: subject 2. subject imitated in other voices: answer 3. three sections: exposition, episodes, restatements 4. contrapuntal devices: augmentation, diminution, retrograde, inversion, stretto VI. Bach’s Keyboard Fugues A. Well-Tempered Clavier 1. two volumes: 24 preludes and fugues in each 2. prelude and fugue in all 12 major and minor keys B. The Art of Fugue 1. 14 fugues, four canons 2. keyboard music 3. highly technical

4. contrapuntal mastery C. Listening Guide 27: Bach, Contrapunctus 1, from The Art of Fugue (1749) 1. four-voice fugue 2. fugue subject outlines D minor triad 3. last fugue statement over pedal point 4. ends with major chord VII. Looking Ahead to the Age of Enlightenment A. The Rococo and the Age of Sensibility 1. rococo, from French rocaille “shell” 2. simpler artistic expression a. shift from polyphony to homophony 3. French keyboard composers: François Couperin (1688–1733), Jean Philippe Rameau (1683–1764) Discussion Topics Contrast in the prelude and fugue Role of the chorale prelude in church service Pairing of free and strict forms (prelude and fugue) Music Example Bank II/62 II/66 I/25

I/22

I/17

II/65

II/55 II/64

Handel, Keyboard Suite in E major (Harmonious Blacksmith), harpsichord Bach, C. P. E., Trio Sonata in G major, I, trio sonata Bach, J. S., The Art of Fugue, Contrapunctus 1, subject, answer, countersubject, fugue Bach, J. S., Chorale Prelude, Jesu, Joy of Man’s Desiring, from Herz und Mund und Tot und Leben, organ, chorale prelude Bach, J. S., Chromatic Fantasy and Fugue in D minor, fugue, subject, answer, countersubject, fugue Bach, J. S., The Well-Tempered Clavier I, Prelude No. 1, prelude, Baroque; harpsichord Purcell, Come, ye sons of art away, Chaconne Scarlatti, Sonata in E major, K. 20, sonata, solo

iMusic Example J. S. Bach: Toccata in d minor Suggested Reading for Part 3 Arnold, Denis, and Nigel Fortune, eds. The New Monteverdi Companion. London: Faber and Faber, 1985.


Teaching Guide | 51 Boyd, Malcolm. Bach. 3rd ed. New York: Oxford University Press, 2000. David, Hans T., and Arthur Mendel, eds. The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. Revised and enlarged by Christoph Wolff. New York: W. W. Norton & Company, 1999. Dean, Winton. Handel’s Dramatic Oratorios and Masques. New York: Oxford University Press, 1983. Dean, Winton, and Anthony Hicks. The New Grove Handel. New York: W. W. Norton & Company, 1983. Felix, Werner. Johann Sebastian Bach. New York: W. W. Norton & Company, 1985. Fenlon, Iain, and Peter N. Miller. The Song of the Soul: Understanding Poppea. London: Royal Musical Association, 1992. Fabri, Paolo. Monteverdi. Translated by T. Carter. Cambridge: Cambridge University Press, 1994. Geiringer, Karl. Johann Sebastian Bach: The Culmination of an Era. New York: Oxford University Press, 1966. Hurley, David Ross. Handel’s Muse: Patterns of Creation in His Oratorios and Musical Dramas, 1743–1751. New York: Oxford University Press, 2001. Hogwood, Christopher. Handel. Rev. ed. London: Thames and Hudson, 2007. Hutchings, Arthur. Purcell. BBC Music Guides. Seattle: University of Washington Press, 1982. Landon, H. C. Robbins, Handel and His World. Boston: Little, Brown, 1984. Lang, Paul Henry. George Frideric Handel. Mineola, NY: Dover, 1996. Moroney, Davitt. Bach: An Extraordinary Life. London: Associated Board of the Royal Schools of Music, 2000. Price, Curtis, ed. The Early Baroque Era: From the Late 16th Century to the 1660s. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993. ———. Purcell: Dido and Aeneas: An Opera. Norton Critical Scores. New York: W. W. Norton & Company, 1986. Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley: University of California Press, 1991. Smither, Howard E. A History of the Oratorio. Vol. 2, The Oratorio in the Baroque Era: Protestant Germany and England. Chapel Hill: University of North Carolina Press, 1977. Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987. Westrup, J. A. Bach Cantatas. BBC Music Guides. Seattle: University of Washington Press, 1966. Williams, Peter F. J. S. Bach: A Life in Music. Cambridge: Cambridge University Press, 2007.

Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. New York: W. W. Norton & Company, Inc., 2000. Wolff, Christoph, et al. The New Grove Bach Family. New York: W. W. Norton & Company, 1983.

PART 4: EIGHTEENTH-CENTURY CLASSICISM Prelude 4. Classicism in the Arts Overview The ideals of Romanticism and Classicism are compared, both as general styles and as specific periods. The eighteenth century is presented as a time of enlightened despotism, refinement, and order, against which the middle classes arose. The Viennese School of Haydn, Mozart, and Beethoven is presented, and the Classical style is characterized by lyrical melodies, diatonic harmonies, and regular rhythms, often with hints of folk music. Music and musicians thrived at court, sponsored by the system of aristocratic patronage. Women found increasing acceptance in the music world, notably as performers and teachers. Goals for students in Part 4 • To contrast the ideals of Classicism and Romanticism • To understand the dualism of the time: the refined aristocracy versus the rising middle classes • To perceive the importance of the patronage system to the arts • To recognize the role of women in music in the eighteenth century Discussion Topics Pre-Classical styles: Rococo, gallant, and Empfindsamkeit The sons of J. S. Bach The changes in opera: opera seria versus opera buffa Aristocracy versus the rising middle classes Industrial Revolution and cultural change Elements of Classical style The musician under the patronage system Music Example Bank II/66 II/60 I/58

Bach, C. P. E., Trio Sonata in G major, I, Empfindsamkeit Couperin, Les barricades mystérieuses, Rococo Mozart, The Magic Flute, “O Isis und Osiris,” crossover (traditional/opera)


52 | Chapter 9 III/1 I/4 I/6 III/2 IV/20

Quantz, Trio Sonata in C major, I, gallant style Mozart, Piano Concerto No. 21 in C major, II, melody, Classical; harmony, Classical Mozart, Clarinet Concerto in A major, III, rhythm, Classical Haydn, Symphony No. 94 in G major (Surprise), III, folk elements, Classical Mozart, Adagio and Rondo in C minor for Glass Armonica, Rondo

iMusic Example Mozart, Ah! vou dirai-je, maman (Twinkle, Twinkle, Little Star) Suggested Reading for Prelude 4 Blume, Friedrich. Classic and Romantic Music: A Comprehensive Survey. Translated by M. D. Herter Norton New York: W. W. Norton & Company, 1970. Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York: W. W. Norton & Company, 1992. Einstein, Alfred. Gluck. Translated by Eric Blom. New York: McGraw-Hill, 1972. Grout, Donald J., and Hermine Weigel. A Short History of Opera. 4th ed. New York: Columbia Unversity Press, 2003. Heartz, Daniel. Haydn, Mozart, and the Viennese School: 1740–1780. New York: W. W. Norton & Company, 1995. Hutchings, Arthur. The Baroque Concerto. 3rd Revised edition. London: Faber and Faber, 1973. Newman, William S. A History of the Sonata Idea. 3 vols., rev. ed. New York: W. W. Norton & Company, Inc., 1983. Pauly, Reinhard G. Music in the Classic Period. 4th ed. Upper Saddle River, NJ: Prentice Hall, 2000. Ratner, Leonard G. Classic Music: Expression, Form, and Style. New York: Schirmer Books, 1980. Roeder, Michael T. A History of the Concerto. Portland, OR: Amadeus Press, 1994. Rosen, Charles. The Classical Style: Haydn, Mozart, and Beethoven. Expanded ed. New York: W. W. Norton & Company, 1997. Schulenberg, David. The Keyboard Music of J. S. Bach. 2nd ed. New York: Routledge, 2006. Talbot, Michael. Venetian Music in the Age of Vivaldi. Brookfield, VT: Ashgate, 1999. Treitler, Leo, ed. Source Readings in Music History. Vol. 5: The Late Eighteenth Century. New York: W. W. Norton & Company, 1998.

Veinus, Abraham. The Concerto. New York: Dover, 1964. Williams, Peter F. Bach Organ Music. BBC Music Guide 20. Seattle: University of Washington Press, 1972. Zaslaw, Neal, ed. The Classical Era: from the 1740s to the End of the 18th Century. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1989.

Chapter 21. The Development of Classical Forms Building forms through thematic development. I. Expanding Musical Ideas A. Theme: musical idea, building block B. Thematic development: expansion of a theme 1. motive: melodic fragment derived from themes 2. sequence: repetition at a higher or lower pitch level 3. ostinato: short repeated pattern II. Classical Forms A. Absolute music: no text or story B. Multimovement cycle 1. 1750 through Romantic era 2. three or four separate movements in one piece 3. prescribed forms and tempos III. The First Movement A. Allegro (fast tempo) B. Long, dramatic, tonic key C. Sonata-allegro (sonata) form 1. drama between two contrasting key areas 2. each key associated with a theme 3. exposition: presents two opposing keys and themes a. theme 1: establishes home key, tonic b. bridge: transitional passage c. theme 2: contrasting key d. closing section, often a closing theme e. exposition repeats: establishes themes 4. development: conflict and action a. foreign keys, frequent modulations b. activity and restlessness c. building of tension d. themes varied, expanded, contracted 5. recapitulation: restatement of themes a. theme 1: return, provides unity b. theme 2: returns in tonic key 6. coda: final cadence in home key IV. The Second Movement A. Andante or adagio (slow tempo)


Teaching Guide | 53 B. Lyrical, songful melodies, related key C. Form: A-B-A, sonata-allegro, or theme and variations 1. theme and variations: theme clearly stated; structured variations a. melodic variation: decorative flourishes to melody b. harmonic variation: chords replaced; shift from major to minor c. rhythmic variation: note lengths, meter, or tempo varied V. The Third Movement A. Stately triple meter, tonic key B. Minuet and trio form 1. Baroque era origins: court dance 2. two dances presented as a group, (A-B-A) a. B section: originally three instruments— trio b. Da capo, “from the beginning” first dance repeated c. internal structure: binary (a-a-b-b), or rounded binary (a-a-ba-ba) C. Scherzo and trio form 1. early nineteenth century 2. scherzo, Italian “jest” 3. quick-paced triple meter 4. (A-B-A) structure VI. The Fourth Movement A. Allegro, vivace (fast tempo) B. Lively, spirited, tonic key C. Rondo, or sonata-allegro form D. Rondo form: recurrence of musical idea (A) 1. A-B-A-C-A; extension of three-part form 2. longer arched form, A-B-A-C-A-B-A VII. The Multimovement Cycle as a Whole A. Extended instrumental works, abstract nature B. Symphonies, sonatas, string quartets, concertos Discussion Topics Repetition and contrast in form Use of sonata cycle Music Example Bank IV/64 II/28

Fuki, Japanese koto piece, opening Beethoven, Serenade in D major, Op. 8, I

absolute music, Classical III/2 Haydn, Symphony No. 94 in G major (Surprise), III minuet and trio, Classical

iMusic Examples Beethoven: Symphony No. 5 Avaz of Bayate Esfahan Haydn: Symphony No. 94 (Surprise), II Pachelbel: Canon in d Suggested Reading for Chapter 21 Cone, Edward T. Musical Form and Musical Performance. New York: W. W. Norton & Company, 1968. Dahlhaus, Carl. Ludwig van Beethoven: Approaches to His Music. Trans. by Mary Whittall. New York: Oxford University Press, 1991. Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York: W. W. Norton & Company, 1992. Heartz, Daniel. Haydn, Mozart, and the Viennese School, 1740–1780. New York: W. W. Norton & Company, 1995. LaRue, Jan. Guidelines for Style Analysis.Warren, MI: Harmonie Park Press, 1992. Newman, William S. A History of the Sonata Idea. 3 vols., rev. ed. New York: W. W. Norton & Company, Inc., 1983. Ratner, Leonard. Classic Music: Expression, Form, and Style. New York: Schrimer Books, 1980. Rosen, Charles. Sonata Forms. 2nd ed. New York: W. W. Norton & Company, 1988. Will, Richard. The Characteristic Symphony in the Age of Haydn and Beethoven. New York: Cambridge University Press, 2002. Chapter 22. Classical Chamber Music Overview An introductory chapter discusses the chamber music style so popular in the eighteenth century, and then characterizes the individual movements of the most prominent chamber form—the string quartet. Examples by Haydn and Mozart are presented, and Mozart’s biography appears in this chapter. I. Chamber Music A. Music for a small ensemble B. Two to twelve players: one per part C. Players function as a team D. Haydn, Mozart, Beethoven, and Schubert 1. established chamber music style E. Favored instrument combinations: 1. string quartet: first and second violins, viola, and cello 2. duo sonata: violin and piano, or cello and piano


54 | Chapter 9 3. piano trio: violin, cello, and piano 4. quintet: combination of string or wind instruments 5. string quartet with solo piano or clarinet II. The String Quartet A. Multimovement cyle; four movements B. Salon music; private, profound expressions C. Joseph Haydn (1732–1809) 1. prolific Austrian composer 2. choirboy at St. Stephen’s Cathedral in Vienna 3. Esterházys: patron for nearly thirty years a. directed orchestra, opera company, marionette theater 4. two visits to England (1791–92, 1794–95) a. London symphonies, Nos. 93–104 5. expanded size of orchestra a. emphasis on brass, clarinets, and percussion 6. composed over 100 symphonies, 68 string quartets, concertos, 14 operas, keyboard music D. Haydn’s Emperor Quartet 1. based on his own hymn tune a. Gott erhalte Franz den Kaiser (God Keep Franz the Emperor) b. became Austrian national anthem c. today, same melody is Germany’s national song 2. lyrical tune, favorite of Hadyn’s 3. Op. 76, set of six quartets E. Listening Guide 28: Haydn, String Quartet, Op.76, No. 3, (Emperor), II (1797) 1. poco adagio 2. theme and variations 3. theme: first violin, homophonic texture 4. variation 3: some chromaticism 5. variation 4: polyphonic 6. coda: ends softly III. Mozart and Chamber Music A. Wolfgang Amadeus Mozart (1756–1791) 1. Austrian composer, pianist 2. son of Leopold Mozart, court composerviolinst 3. child prodigy: toured Europe with sister, Nannerl 4. worked briefly in patronage system 5. age twenty-five, struggled as freelance musician in Vienna 6. prolific composer of all genres: chamber music, keyboard works, symphony, concertos, opera 7. music: elegant, songful, contrasts of mood, colorful orchestration 8. Ludwig Köchel: catalogued Mozart’s music chronologically

B. Eiene kleine Nachtmusik (A Little Night Music) 1. serenade for strings: string quartet and double bass, or string orchestra 2. outdoor performance, public entertainment 3. four movements: follows multimovement cycle 4. beautifully proportioned, elegant C. Listening Guide 29: Mozart, Eine kleine Nachtmusik (A Little Night Music), K. 525 (1787) 1. mvt. 1: allegro; sonata-allegro form a. theme 1: disjunct, ascending “rocket” theme b. theme 2: elegant, descending contour c. short development d. vigorous coda *2. mvt. 2: romanza, andante; sectional rondo form (A-B-A-C-A) *a. contrasting key area *b. serene lyricism *c. short coda 3. mvt. 3: allegretto; minuet and trio form a. strong, triple meter b. regular four-bar phrases, rounded binary c. minuet: bright, decisive d. trio: lyrical contrast *4. mvt. 4: allegro; sonata-rondo form *a. bright, jovial, refined *b. combines rondo and sonata-allegro forms *c. theme 1: graceful rocket theme *d. theme 2: descending, new character Chapter goals for students • To understand the Classical era as the Golden Age of chamber music • To appreciate the central position of the string quartet • To grasp the special challenge that chamber music presents to the listener Discussion Topics String quartet as a challenge to the listener Haydn’s role in the development of the string quartet Mozart as child prodigy Mozart’s rebellion against the patronage system Music Example Bank II/28 II/30 I/23

Beethoven, Serenade in D major, Op. 8, I, chamber music, Classical Beethoven, String Quartet in F major, Op. 59, No. 1 (Razumovsky), I, quartet, string Beethoven, String Quartet in C major, Op. 59, No. 3 (Razumovsky), IV, quartet, string


Teaching Guide | 55 iMusic Examples Mozart: Eine kleine Nachtmusik, I, III Mozart: Variations on Ah! vous dirai-je, maman Suggested Reading for Chapter 22 Anderson, Emily, ed. The Letters of Mozart and His Family. New York: W. W. Norton & Company, 1985. Blom, Eric. Mozart. New York: Macmillan, 1966. Deutsch, Otto E. Mozart: A Documentary Biography. 2nd ed. Trans. by Eric Blom, et al. Stanford, CA: Stanford University Press, 1965. Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York: W. W. Norton & Company, 1992. Eisen, Cliff, and Stanley Sadie, eds. The New Grove Mozart. London: Macmillan, 1982. Griffith, Paul. The String Quartet: A History. New York: Thames and Hudson, 1985. Heartz, Daniel. Haydn, Mozart, and the Viennese School, 1740–1780. New York: W. W. Norton & Company, 1995. Hughes, Rosemary. Haydn String Quartets. BBC Music Guides. Seattle: University of Washington Press, 1966. Kerman, Joseph. The Beethoven Quartets. Reprint ed. New York: W. W. Norton & Company, 1979. King, A. Hyatt. Mozart Chamber Music. BBC Music Guides. Seattle: University of Washington Press, 1968. Lam, Basil. Beethoven String Quartets. BBC Music Guides. Seattle: University of Washington Press, 1975. Landon, H. C. Robbins. 1791: Mozart’s Last Year. New York: Thames and Hudson, 1999. Lang, Paul Henry, ed. The Creative World of Mozart. New York: W. W. Norton & Company, 1963. Sadie, Stanley. The New Grove Mozart. New York: W. W. Norton & Company, 1982. Smith, Erik. Mozart Serenades, Divertimenti, and Dances. BBC Music Guides. Seattle: University of Washington Press, 1982. Ulrich, Homer. Chamber Music. 2nd ed. New York: Columbia University Press, 1966.

Chapter 23. The Classical Symphony Overview This chapter covers the symphonies of the three great Classical masters: Mozart, Haydn, and Beethoven. The origins of the form in the Italian opera overture are mentioned, as are the contributions of the Mannheim School of composers. The Classical orchestra is described, and the individual character of each symphony movement is outlined. Mozart’s Symphony No. 40, Haydn’s Symphony No. 94, and Beethoven’s Symphony No. 5 are discussed as examples of the genre. The

life and works of Haydn and Beethoven are included in this chapter as well. I. Historical Background A. Outgrowth of Italian opera overture 1. fast-slow-fast sections became separate movements B. German symphonists: added effects, expanded genre 1. rocket theme a. quick, aggressive, rhythmic b. rises from low to high register 2. steam-roller effect: drawn-out crescendos 3. addition of the minuet and trio II. The Classical Orchestra A. Four instrument families 1. strings: heart of the orchestra 2. woodwinds: often double the strings 3. brass: sustained harmonies 4. percussion: timpani, rhythmic life and vitality B. Eighteenth-century orchestra: 30 to 40 players *C. Musical effects borrowed from opera *1. abrupt alternation of p and f *2. sudden accents *3. dramatic pauses *4. use of tremolo and pizzicato III. The Movements of the Symphony A. First movement: allegro; sonata-allegro form 1. sometimes slow introduction (Haydn) 2. two contrasting themes 3. monothematic: second theme is theme 1 in contrasting key B. Second movement: largo, adagio, or andante 1. contrasting key area 2. lyrical; less development of themes 3. forms: a. ternary (A-B-A) b. theme and variations c. modified sonata-allegro: no development section C. Third movement: moderate tempo; minuet and trio form 1. gentler mood 2. Beethoven replaced minuet and trio with scherzo and trio a. fast-paced triple meter D. Fourth movement (finale): allegro molto, presto 1. rondo or sonata-allegro form 2. lighter, spirited *IV. Mozart’s Symphony No. 40 *A. Known in Vienna as the Romantic symphony *B. Listening Guide 30: Mozart, Symphony No. 40 in G minor, First Movement (1788) *1. sonata-allegro form


56 | Chapter 9 *2. *3. *4. *5. *6.

minor key: dramatic and dark pervading rhythmic motive (short-short-long) theme 1: three-note motive with upward leap theme 2: lyrical, descending short development *a. focus on three-note motive *b. polyphonic texture

V. Haydn and the Symphony A. Composed over 100 symphonies 1. “Father of the Symphony” 2. London symphonies: Nos. 93–104 a. syncopation, sudden crescendos and accents, dramatic contrasts, daring modulations B. Haydn Symphony No. 100 1. Military symphony a. use of percussion instruments b. trumpet fanfare c. Turkish Janissary bands performed in Vienna 2. multimovement cycle a. second movement combines variations with ternary form C. Listening Guide 31: Haydn, Symphony No. 100 in G major (Military), Second Movement (1794) 1. allegretto, marchlike duple meter, C major 2. three-part form (A-B-A') 3. A section: elegant arched theme 4. B section: shift to minor mode, “military” sound a. added percussion b. sudden dynamic contrasts 5. coda: solo trumpet fanfare a. drum roll leads to ff chord b. full orchestra closing VI. Beethoven and the Symphony in Transition A. Ludwig van Beethoven (1770–1827) 1. German composer 2. father and grandfather: court musicians 3. unhappy home life, supported family at age eleven 4. age twenty-two, moved to Vienna 5. worked under modified patronage system a. taught aristocrats, worked for commissions, concertized, published works 6. hearing loss, 1802–14; Heiligenstadt Testament, 1802 7. middle period of composition: more Romantic a. strong dynamic contrasts, explosive accents

b. longer movements, structural large-scale forms 8. final years: more chromatic harmonies, link to the Romantic era 9. nine symphonies: large-scale; demanded concert hall a. Third Symphony: Eroica (Heroic), originally dedicated to Napoleon b. Ninth Symphony: the choral symphony; vocal soloists and chorus i. text: Schiller’s Ode to Joy, expression of universal brotherhood B. The Fifth Symphony 1. cyclical form: musical ideas recur in later movements 2. opening four notes: fate motive C. Listening Guide 32: Beethoven, Symphony No. 5 in C minor, Op. 67, (1807–8) 1. mvt. 1: allegro con brio; sonata-allegro form, C minor a. theme 1: based on rhythmic motive (short-short-short-long) b. horn call introduces theme 2 c. theme 2 heard against four-note motive d. development: begins with horn call e. recapitulation: oboe cadenza introduces theme 2 i. theme 2 in C major f. extended coda; movement ends in C minor 2. mvt. 2: Andante con moto; theme and variations, A-flat major a. two contrasting themes b. flowing triple meter c. theme 1: heard first in low strings d. theme 2: built on four-note motive 3. mvt. 3: Allegro; scherzo and trio form, C minor a. scherzo: rocket theme in low strings b. four-note rhythmic motive in horns c. trio theme: C major d. fugal passage in double basses e. return of scherzo: varied orchestration f. transition to fourth movement: timpani rhythm, four-note motive 4. mvt. 4: allegro; sonata-allegro form, C major a. added instruments; piccolo, contrabassoon, trombones b. forceful dynamics: fp effects c. theme 1: triumphant, C-major triad d. theme 2: energetic, G major e. development: brief recurrence of scherzo f. extended coda; long final cadence


Teaching Guide | 57 Chapter goals for students • To understand the structure of the symphony within the sonata cycle • To appreciate the contributions of Haydn and Mozart to the genre of the symphony • To note the cross-cultural influences between Turkey and Austria in the eighteenth century • To view Beethoven’s symphonies as masterworks of the genre • To understand the political climate in which Beethoven worked Discussion Topics Origins and development of the symphony Narrative structure of symphony Haydn’s success under the patronage system Haydn’s importance in the development of the symphony Recognizing Beethoven’s musical genius Classical and Romantic elements in Beethoven Art created in response to political climate Beethoven’s democratic ideals expressed in music The continued success of Beethoven’s music Music Example Bank III/4

III/3 I/9 III/5 III/2 IV/2 IV/65 II/51 IV/21 IV/22

Mozart, Sinfonia Concertante for Violin and Viola in E-flat major, I, Mannheim crescendo Mozart, Symphony No. 40 in G minor, IV, rocket theme Beethoven, The Ruins of Athens, Turkish March Haydn, Symphony No. 45 in F-sharp minor (Farewell), I Haydn, Symphony No. 94 in G major (Surprise), III Dance (zurna and davul), Turkish Traditional Prelude II, Turkish Traditional (Janissary) Beethoven, Symphony No. 7 in A major, II Beethoven Medley (disco arr.) Beethoven, Symphony No. 9 in D minor, IV (Ode to Joy)

iMusic Examples America (God Save the King) Beethoven, Für Elise Beethoven, Moonlight Sonata, Adagio

Suggested Reading for Chapter 23 Anderson, Emily, ed. The Letters of Beethoven. New York: W. W. Norton & Company, 1985. Brandenburg, Sieghard, ed. Haydn, Mozart & Beethoven: Studies in the Music of the Classical Period: Essays in Honor of Alan Tyson. New York: Clarendon Press, 1998. Broder, Nathan. Mozart: Symphony in G minor, K. 550. Norton Critical Scores. New York: W. W. Norton & Company, 1967. Brown, A. Peter. The Symphonic Repertoire. Bloomington: Indiana University Press, 2002. Clive, H. P. Beethoven and His World: A Biographical Dictionary. New York: Oxford University Press, 2001. Cooper, Barry. Beethoven. New York: Oxford University Press, 2000. Cuyler, Louise. The Symphony. New York: Harcourt Brace Jovanovich, 1973. Dahlhaus, Carl. Ludwig van Beethoven: Approaches to His Music. Trans. by Mary Whittall. New York: Oxford Universty Press, 1991. Davies, Peter J. Beethoven in Person: His Deafness, Illnesses, and Death. Westport, CT: Greenwood Press, 2001. ———. The Character of a Genius: Beethoven in Perspective.Westport, CT: Greenwood Press, 2002. Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York: W. W. Norton & Company, 1992. Forbes, Elliot. Beethoven: Symphony No. 5 in C minor. Norton Critical Scores. New York: W. W. Norton & Company, 1971. Forbes, Elliot, ed. Thayer’s Life of Beethoven. Rev. ed. Princeton, NJ: Princeton University Press, 1967. Geiringer, Karl. Haydn: A Creative Life in Music. 2nd ed. Berkeley: University of California Press, 1982. Heartz, Daniel. Haydn, Mozart, and the Viennese School: 1740–1780. New York: W. W. Norton & Company, 1995. Hopkins, Anthony. The Nine Symphonies of Beethoven. BBC Music Guides. Seattle: University of Washington Press, 1981. Landon, H. C. Robbins, Haydn Symphonies. BBC Music Guides Seattle: University of Washington Press, 1966. Landon, H. C. Robbins, and David Wyn Jones. Haydn: His Life and Music. Bloomington: Indiana University Press, 1988. Larsen, Jens Peter. The New Grove Haydn. New York: W. W. Norton & Company, 1983. Martin, Russell. Beethoven’s Hair. New York: Broadway Books, 2000. Melograni, Piero. Wolfgang Amadeus Mozart: A Biography. Trans. by Lyda G. Cochrane. Chicago: University of Chicago Press, 2007.


58 | Chapter 9 Simpson, Robert, ed. The Symphony. 2 vols. New York: Drake Publishers, 1972. Solomon, Maynard. Beethoven. 2nd ed. New York: Schirmer Books, 1998. Stanley, Glenn, ed. The Cambridge Companion to Beethoven. New York: Cambridge University Press, 2000. Tyson, Alan, and Joseph Kerman. The New Grove Beethoven. New York: W. W. Norton & Company, 1983. Wyn Jones, David. The Symphony in Beethoven’s Vienna. New York: Cambridge University Press, 2006.

Chapter 24. The Eighteenth-Century Concerto Overview The three movements of the Classical concerto and their traditional features are presented. The form is illustrated through works by Mozart and Beethoven. Famous women virtuosos (violinists and pianists) are discussed in conjunction with the concerto. I. The Movements of the Concerto A. Solo concerto: three movements, fast-slow-fast 1. piano: favored solo instrument 2. cadenza: improvisatory solo passage, virtuosic B. First movement: allegro; first-movement concerto form 1. sonata-allegro form with double exposition 2. orchestral exposition, tonic key 3. second exposition, key change a. solo instrument and orchestra b. elaborated versions of themes 4. development: solo virtuosic display 5. cadenza: near end of the movement 6. coda: affirmation of home key C. Second movement: andante, adagio, or largo 1. slow and lyrical 2. closely related key D. Third movement: allegro molto or presto 1. rondo or sonata-allegro form 2. shorter than first movement 3. may have cadenza E. A piano concerto by Mozart 1. twenty-seven piano concertos by Mozart 2. public performances: Mozart at the piano 3. 1784, wrote five piano concertos 4. K. 453 composed for student, Barbara von Ployer

F. Listening Guide 33: Mozart, Piano Concerto in G major, K. 453 (1784) 1. mvt. 1: Allegro; first-movement concerto form a. theme 1 in violins: lilting, quiet b. theme 2: quiet and lyrical, violins answered by woodwinds c. solo exposition: new “piano theme” between themes 1 and 2 d. development: virtuosic piano part, various modulations e. cadenza by Mozart: after theme 2 in recapitulation *2. mvt. 2: Andante; first-movement concerto form *a. contrasting key, C major *b. highly expressive, variety of woodwind color *c. theme 1: lyrical dialogue between strings and woodwinds *d. theme 2: alternates forte (strings) and piano (woodwinds) *e. cadenza in recapitulation, before coda *f. coda: begins with theme 1, ends softly *3. mvt. 3: Allegretto, Presto; theme and five variations *a. theme: clear-cut binary form *b. theme played by orchestra *c. variation 1: solo piano with melodic ornamentation *d. other variations: dialogue of piano and woodwinds with full orchestra *e. no cadenza *f. coda: Presto, new theme, highly virtuosic *G. Haydn’s Trumpet Concerto *1. thirty-five concertos by Haydn *2. trumpet concerto: composed for experimental instrument, keyed trumpet *a. highly lyrical melodies and virtuosic passages *b. 1800 first performance; manuscript lost until 1929 *c. Haydn’s last orchestral work *H. Listening Guide 34: Haydn, Trumpet Concerto in E-flat major, Third Movement (1796) *1. sonata-rondo form, A-B-A-B-A-C-A-BA-Coda *2. unexpected harmonies, sudden dynamic contrasts *3. A section: energetic, opens with rising 4th *4. B section: light-hearted theme turns downward


Teaching Guide | 59 *5. C section: developmental, short motivic calls in trumpet *6. contrapuntal coda; ends ff II. Famous Women Virtuosos of the Eighteenth Century A. Proper eighteenth-century women studied music 1. highly skilled amateurs 2. music teachers 3. professional performers: fame atypical *B. Students at Venice’s Ospedale della Pietà *1. Anna Maria della Pietà *2. Maddalena Lombardini C. Keyboard players associated with Mozart 1. Maria Anna Mozart (Nannerl) (1751–1829) a. Mozart’s sister b. toured extensively with Mozart 2. Maria Theresia von Paradis (1759–1824) a. friend of Mozart b. blind pianist and organist c. toured Europe d. composer, works have been lost 3. Barbara von Ployer (1765–1811) a. student of Mozart b. two Mozart concertos composed for her Chapter goals for students • To understand Classical concerto form • To realize Mozart’s and Beethoven’s contributions to the Classical concerto • To recognize the important role women virtuoso performers played in the era Discussion Topics Virtuosity and the concerto Women as virtuoso performers Music Example Bank I/61 II/9 I/6 III/6

Boccherini, Cello Concerto in B-flat major, III Haydn, Concerto for Trumpet in E-flat major, III Mozart, Clarinet Concerto in A major, III Mozart, Piano Concerto No. 21 in C major, I, cadenza, virtuosity

iMusic Examples Mozart: Horn Concerto, K. 447, III Mozart: Piano Concerto, K. 467, II Mozart: Clarinet Concerto, K. 662, II

Chapter 25. The Sonata in the Classical Era Overview The Classical sonata became an important genre for amateurs; the solo sonata for piano was favored, as was the duo sonata for violin and piano. Sonatas by Mozart and Beethoven illustrate this genre. I. The Movements of the Sonata A. Sonata: instrumental work for one or two instruments 1. three or four contrasting movements a. follows multimovement cycle *2. duo sonatas: piano leading role, string instrument acts as accompaniment *3. Mozart and Beethoven piano sonatas, most significant B. Classical era sonata 1. important genre for amateurs 2. concert works for composers *C. A Mozart piano sonata: Sonata in A major, K. 331 *1. three movements; seems to lack first movement *2. mvt. 1: theme and variations form *a. theme: Czech folk song *3. mvt. 2: minuet and trio *a. highly lyrical, broken chord accompaniment *b. chromatic harmonies: looks forward to Romantic era *4. mvt. 3: rondo “alla turca” (in the Turkish style) *a. percussive sound of Turkish military band *b. full range of dynamics *c. exaggerated beats and dynamics: suggest jangling of bell trees, cymbals, triangles *D. Listening Guide 35: Mozart, Piano Sonata in A major, K. 331, Third Movement (1783) *1. Allegretto, Alla turca; rondo form (A-B-C-BA-B), A minor *2. forte/piano dynamic contrasts *3. A section: swirling figuration in A minor *4. B section: marchlike theme, A major *a. arpeggiated (rolled) chords *5. C section: F-sharp minor, variation of A theme *6. Coda: long extension of A major *a. arpeggiated chords: jingling quality E. Beethoven’s Moonlight Sonata 1. thirty-two piano sonatas by Beethoven


60 | Chapter 9 2. Moonlight composed in 1801, first style period 3. title by poet, Ludwig Rellstab, 1832 4. sonata quasi una fantasia, fantasy sonata *5. three movements *a. mvt. 1: modified strophic form, looks ahead to Romantic era *b. mvt. 2: scherzo and trio, frequent syncopations *c. mvt. 3: sonata-allegro form, Presto agitato, restless motion F. Listening Guide 36: Beethoven, Piano Sonata in C-sharp minor, Op. 27, No. 2 (Moonlight) (1801) 1. mvt. 1: Adagio sostenuto; modified song form a. delicate theme, expressive minor key b. continuous triplet pattern in accompaniment c. ethereal mood d. two strophes separated by development section *2. mvt. 2: Allegretto; scherzo and trio form *a. lilting triple meter, major key *b. scherzo theme in short phrases *c. trio: emphasis on third beat, accented downbeat bass chord *i. asymmetrical feel *ii. gentle and dancelike *3. mvt. 3: Presto agitato; sonata-allegro form *a. fast duple meter, unrelenting motion *b. dramatic dynamics, sudden accents *c. theme 1: rocket theme, active accompaniment *d. theme 2: more lyrical *e. coda: free cadenza-like passagework Chapter goals for students • To acknowledge the solo and duo sonata as important amateur genres • To appreciate the drama and intensity of Beethoven’s piano sonatas Discussion Topics Romantic qualities in Beethoven Virtuosity in the Classical era Promoting women as performers The influence of Eastern culture on Western composition

IV/65 I/9 IV/68

Prelude II, Turkish Traditional (Janissary Band) Beethoven, The Ruins of Athens, Turkish March Mozart, The Abduction from the Seraglio, Overture

Suggested Reading for Chapters 24–25 Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York: W. W. Norton & Company, 1992. Fiske, Roger. Beethoven Concertos and Overtures. BBC Music Guides. Seattle: University of Washington Press, 1971. Girdlestone, Cuthbert M. Mozart and His Piano Concertos. New York: Dover Publications, 1964. Head, Matthew William. Orientalism, Masquerade and Mozart’s Turkish Music. London: Royal Music Association, 2000. Heartz, Daniel. Haydn, Mozart, and the Viennese School, 1740–1780. New York: W. W. Norton & Company, 1995. Matthews, Denis. Beethoven Piano Sonatas. BBC Music Guides. Seattle: University of Washington Press, 1967. Newman, William S. A History of the Sonata Idea. 3 vols., rev. ed. New York: W. W. Norton & Company, Inc., 1983. Plantinga, Leon. Beethoven’s Concertos: History, Style, Performance. New York: W. W. Norton & Company, 1999. Roeder, Michael T. A History of the Concerto. Portland, OR: Amadeus Press, 1994. Rosen, Charles. Sonata Forms. 2nd ed. New York: W. W. Norton & Company, 1988. ———. Beethoven’s Piano Sonatas: A Short Companion. New Haven, CT: Yale University Press, 2002. Tovey, Donald Francis. A Companion to Beethoven’s Pianoforte Sonatas. London: Royal School of Music, 1935. ———. “Beethoven: Pianoforte Concerto No. 5 in E-flat major, Op. 73.” Concertos and Choral Works. Essays in Musical Analysis. Oxford and New York: Oxford University Press, 1989 (originally published 1935–39), 67–69. Veinus, Abraham. The Concerto. New York: Dover, 1964.

Chapter 26. Classical Choral Music and Opera Overview

Music Example Bank IV/12

Dance (Mehter ensemble), Turkish Traditional

This chapter presents the three major choral forms of the era: the Mass, the Requiem, and the oratorio; a discussion follows of a Haydn oratorio. Classical opera, both seria and buffa


Teaching Guide | 61 forms, are examined. The transition from classicism to romanticism is explored. *I. Sacred Vocal Genres of the Classical Era A. Mass, Requiem, oratorio *1. Catholic and Protestant churches: patrons of choral music *2. nineteenth century, performed in concert setting *B. Mozart’s Requiem: Mass for the Dead *1. Mozart’s last composition, left incomplete *2. four soloists, four-part chorus, and orchestra *3. Dies irae (Day of Wrath): *a. thirteenth-century Latin text by Thomas of Celano *b. last portion completed by Mozart *C. Listening Guide 37: Mozart, Dies irae, from Requiem, K. 626 (1791) *1. dramatic opening: full chorus and orchestra *a. homophonic setting *2. “Tuba mirum” (wondrous sound): trombone solo and bass singer *3. other soloists enter one by one *4. solo quartet follows *5. dramatic full chorus ending: dotted rhythms, syncopated chords *6. last line: sung softly *D. Haydn’s oratorio The Creation *1. composed in London *2. Haydn: inspired by Handel’s Messiah *3. libretto: Genesis, and Milton’s Paradise Lost *4. scored for chorus, orchestra, and soloists *a. soloists: Adam, Eve, and three archangels: Raphael, Uriel, Gabriel *5. Overture: “Representation of Chaos” *a. ambiguous tonality, dissonance, chromatic harmonies *6. Part I: first four days of Creation *a. begins in C minor, “Let there be light” shift to C major *E. Listening Guide 38: Haydn, The Creation (Die Schöpfung), Part I, closing (1798) *1. creation of the sun, moon, and stars *a. free rhythmic style *2. No. 12: recitative secco, Uriel *3. No. 13: recitative accompagnato, Uriel *a. dramatic changes of dynamics, tempo *4. No. 14: “The Heavens Are Telling” *a. choral passages and solo trio of angels *b. triumphant mood, forte dynamics *c. C major; reference to “night” in C minor *5. crescendo and accelerando to end *a. final phrase: massive chords, majestic cadence II. Classical Opera A. Opera reached the widest public

B. Opera seria: serious Italian opera 1. recitatives and arias: display virtuosity 2. librettos by Pietro Metastasio (1698–1782) a. stories from classical antiquity C. Christoph Gluck (1714–1787), opera reform 1. simplicity, naturalness 2. highly expressive music drama D. Comic opera: lighter genre, popular 1. ballad or dialogues (England), Singspiel (Germany), opèra comique (France ), opera buffa (Italy) 2. sung in the vernacular 3. satirized aristocracy 4. farcical situations, humorous dialogue, popular tunes 5. ensemble singing 6. buffo: comic character, bass voice, asides to the audience 7. opera buffa: culminated in works of Mozart E. Mozart’s Opera Don Giovanni (Don Juan) 1. combines style of opera buffa and opera seria 2. libretto by Lorenzo da Ponte 3. main characters: a. Don Giovanni: aristocrat, amoral womanizer b. Leporello: the buffo, Giovanni’s servant c. Donna Anna: noblewoman d. Commendatore: Donna Anna’s father 4. plot summary: a. Don Giovanni tries to seduce Donna Anna b. Don Giovanni kills the Commendatore in a duel c. famous love duet “Là ci darem la mano” between Zerlina, a bride, and Don Giovanni d. graveyard statue of Commendatore kills Don Giovanni F. Listening Guide 39: Mozart, Don Giovanni, Act I, Scene 2 (1787) 1. Aria: Donna Elvira with Don Giovanni and Leporello a. Donna Elvira: spurned by Giovanni b. sings of revenge: disjunct melody, sudden dynamic changes, quick tempo 2. Recitative: Donna Elvira, Don Giovanni, Leporello a. accompanied by continuo instrument only 3. Catalog Aria: Leporello a. opening: Allegro, patter (syllabic text setting), duple meter b. second section: triple-meter Andante, more lyrical c. sings of Giovanni’s conquests


62 | Chapter 9 III. From Classicism to Romanticism A. Classical era: culminated in Vienna, Viennese School 1. Haydn, Mozart, Beethoven B. nineteenth-century Vienna 1. Franz Schubert, Johannes Brahms, Gustav Mahler Chapter goals for students • To appreciate the great choral forms of the Classical era and the tradition from which they grew • To view eighteenth-century opera as an important social force of the time • To understand the new desire for simplicity and naturalness that led to reforms in opera • To appreciate the new forms of popular comic opera that arose in the Classical era Discussion Topics Opera as a social force Mozart’s gift for character representation in music The Mass in church and in the concert hall Classical versus Romantic characteristics Emphasizing structural order versus emotional expression Music Example Bank III/9 III/10 I/58 III/7

III/8

Mozart, Don Giovanni, Act I, “Chi è la?” opera; recitative secco Mozart, Don Giovanni, Act I, “Ah! del padre in periglio,” opera; recitative, accompagnato Mozart, The Magic Flute, Act II, “O Isis und Osiris,” aria, Classical; Singspiel Haydn, The Creation, “Achieved is the Glorious Work,” oratorio, Classical; choral music, Classical; canon Mozart, Requiem, Dies irae, “Quantus tremor,” Requiem Mass, Classical; choral music, Classical Schubert, Gretchen am Spinnrade Schubert, String Quintet in C major, III

Brown-Montesano, Kristi. Understanding the Women of Mozart’s Operas. Berkeley: University of California Press, 2007. Gibbs, Christopher Howard. The Life of Schubert. New York: Cambridge University Press, 2000. Gossett, Philip, et al. The New Grove Masters of Italian Opera: Rossini, Donizetti, Bellini, Verdi, Puccini. New York: W. W. Norton & Company, 1983. Grout, Donald J.with Hermine Weigel Williams. A Short History of Opera. 4th ed. New York: Columbia Univeristy Press, 2003. Heartz, Daniel. Mozart’s Operas. Thomas Bauman, ed. Berkeley: University of California Press, 1990. Kerman, Joseph. Opera as Drama. 3rd ed. Berkeley: University of California Press, 2005. Lang, Paul Henry. The Experience of Opera. New York: W. W. Norton & Company, 1973. MacIntyre, Bruce. The Viennese Concerted Mass of the Early Classic Period. Ann Arbor: University of Michigan Press, 1985. Mann, William S. The Operas of Mozart. New York: Oxford University Press, 1977. Rushton, Julain. The New Grove Guide to Mozart and His Operas. New York: Oxford University Press, 2007. Sadie, Stanley, ed. History of Opera. New York: W. W. Norton & Company, 1990. ———, ed. Mozart and His Operas. New York: St. Martin’s Press, 2000.

PART 5: THE NINETEENTH CENTURY Prelude 5. The Spirit of Romanticism Overview

iMusic Example

In Part 5 the material is focused on the social and political forces that shaped nineteenth-century history and the arts. The effects of the Industrial Revolution and the democratization of society on music are explored, as is the impact of nationalism and of exoticism. The principal musical traits of Romantic style are outlined and the role of the musician, including women, in nineteenth-century society is examined.

Schubert: The Trout

Goals for students in Part 5

III/13 II/32

Suggested Reading for Chapter 26 Boyden, Matthew. The Rough Guide to Opera. 3rd ed. London: Rough Guides, 2002. Brown, Maurice J. E., with Eric Sams. The New Grove Schubert. New York: W. W. Norton & Company, Inc., 1983.

• To understand the social and political forces that shaped nineteenth-century views on the arts • To perceive the artistic qualities of Romanticism • To appreciate the rising force of nationalism in the arts • To grasp the effect of new democratic societies on the lives of composers and performers, including women


Teaching Guide | 63 Discussion Topics Social and political forces of nineteenth century Values of nineteenth-century artists The role of the fantastic in nineteenth-century art and literature “Eccentric” behavior of artistic genius Effects of Industrial Revolution in music and instruments Rise of middle class and its effect on music Interest in nationalism and exoticism Romantic style and expressionism in music Role of musician—male and female—in nineteenthcentury society Music Example Bank III/23 I/14 I/42 II/23 III/11 III/13 I/39

Berlioz, Symphonie fantastique, V, orchestra, Romantic Borodin, Prince Igor, Polovetsian Dances, exoticism; melody, Romantic Liszt, Hungarian Rhapsody No. 2, folk music, influence of Rimsky-Korsakov, Capriccio espagnol, Fandango, exoticism; rhythm, Romantic Saint-Saëns, Samson and Delilah, “Bacchanale,” exoticism Schubert, Gretchen am Spinnrade, rhythm, Romantic; harmony, Romantic Smetana, The Bartered Bride, “Furiant,” folk music, influence of

iMusic Example Mendelssohn, Spring Song, Op. 62, No. 6 Suggested Reading for Part 5 Blume, Friedrich. Classic and Romantic Music: A Comprehensive Survey. Trans. by M. D. Herter Norton. New York: W. W. Norton & Company, 1970. Brown, David, et al. The New Grove Russian Masters 1: Glinka, Borodin, Blakirev, Musorgsky, Tchaikovsky. New York: W. W. Norton & Company, 1986. Cooke, Deryck, et al. The New Grove Late Romantic Masters: Bruckner, Brahms, Dvo˘rák, Wolf. New York: W. W. Norton & Company, 1985. Dahlhaus, Carl. Nineteenth-Century Music. Trans. J. B. Robinson. Berkeley: University of California Press, 1989. Einstein, Alfred. Music in the Romantic Era. New York: W. W. Norton & Company, 1947. Longyear, Rey M. Nineteenth-Century Romanticism in Music. 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 1988.

Plantinga, Leon. Romantic Music: A History of Style in Nineteenth-Century Europe. New York: W. W. Norton & Company, 1984. Praz, Mario. The Romantic Agony. Trans. by Angus Davidson. London: Oxford University Press, 1970. Ringer, Alexander, ed. The Early Romantic Era: Between Revolutions, 1789 and 1848. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1991. Samson, Jim, ed. The Late Romantic Era: From the MidNineteenth Century to World War I. Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1991. Strunk, Oliver, ed. Source Readings in Music History: The Romantic Era. New York: W. W. Norton & Company, 1965. Temperley, Nicholas, Gerald Abraham, and Humphrey Searle. The New Grove Early Romantic Masters 1: Chopin, Schumann, Liszt. New York: W. W. Norton & Company, 1985. Warrack, John, Hugh MacDonald, and Karl-Heinz Köhler. The New Grove Early Romantic Masters 2: Weber, Berlioz, Mendelssohn. New York: W. W. Norton & Company, 1985.

Chapter 27. Song in the Romantic Era Overview This chapter presents the art song, specifically the German Lied, as a manifestation of Romantic lyricism. Standard and hybrid song structures are discussed, as well as the poetry and poets of the Lied. Texts by Goethe and Heine are featured in Lieder by Franz Schubert and Robert Schumann. I. Types of Song Structure A. Strophic form: same melody with every stanza 1. hymns, carols, folk and popular songs B. Through-composed: whole sections without repetitions 1. music follows story line C. Modified strophic form: combines strophic and through-composed forms II. The Lied A. Romantic art song: German text, solo vocal, piano accompaniment B. Composers: Franz Schubert, Robert Schumann, Johannes Brahms C. Women composers: Fanny Mendelssohn Hensel, Clara Schumann D. Song cycle: Lieder (plural) grouped together E. Poets: Johann Wolfgang von Goethe (1749– 1832), Heinrich Heine (1797–1856) 1. favored short lyric poems 2. texts: tender sentiment


64 | Chapter 9 F. Emergence of the piano 1. amateurs and professionals, home and concert hall III. Schubert and the Lied A. Franz Schubert (1797–1828) 1. Vienna-born composer 2. member of Vienna Choir Boys 3. rejected career as a schoolteacher 4. Schubertiads: salon gatherings of writers, artists, musicians 5. composed over 600 Lieder, three song cycles 6. music: confluence of Classical and Romantic styles a. Lieder and piano music: more Romantic, lyric b. symphonies, chamber music: more Classical B. Elfking 1. written at age eighteen: instant public recognition 2. Elfking: king of the elves a. whoever is touched by him must die 3. Romantic trends: a. use of folklore b. intense emotional expression c. passionate and fanciful subjects 4. text: poem by Goethe 5. four characters (one singer): Narrator, Father, Son, Elfking C. Listening Guide 40: Schubert, Elfking (Erlkönig) (1815) 1. through-composed 2. constant triplets in piano: horse’s hooves 3. fast, dramatic 4. Elfking lures child from father: shift from minor to major 5. child’s terror: dissonance, high vocal range 6. Father reassures, calms fears: rounded vocal line, low register IV. Robert Schumann and the Song Cycle A. Robert Schumann (1810–1856) 1. German composer, critic 2. studied law, then piano with Friedrich Wieck 3. turned to composition and music criticism a. established Neue Zeitschrift für Musik (The New Journal of Music) 4. 1840: married Wieck’s daughter, Clara 5. gradual mental collapse, entered asylum 1854 6. music: true Romantic style a. impassioned melodies b. novel harmonic changes

c. driving rhythms 7. composed over 100 Lieder, several song cycles, four symphonies, piano music B. Schumann’s Song Cycle: A Poet’s Love 1. A Poet’s Love (Dichterliebe): composed 1840, “year of song” 2. 16 poems from Lyriches Intermezzo, by Heinrich Heine a. Heine: ironic, cynical, disillusioned hopes b. “In the lovely month of May” depicts fragility of new love 3. cycle follows psychological progression a. freshness of love to complete despair C. Listening Guide 41: Robert Schumann, “In the lovely month of May,” from A Poet’s Love (Dichterliebe), No. 1 (1840) 1. melancholic mood: unrequited love 2. strophic with piano prelude, interlude, postlude 3. harmonic meandering between two keys 4. piano postlude: lack of resolution Chapter goals for students • To become acquainted with standard song forms • To understand the union of poetry and music in the Lied • To realize the significant role of the piano in the Lied • To appreciate the relationship between folk song and art song Discussion Topics Union of poetry and music in the Lied Folksong influences on the Lied Schubert as Romantic The supernatural in Elfking Schumann and the song cycle Schumann and the piano cycle Music Example Bank IV/23 IV/24 III/12 III/12

Brahms, Wiegenlied (Lullaby) Op. 49, No. 4 O Tannenbaum, German Traditional Schubert, Gretchen am Spinnrade, Lied, through-composed, role of piano Robert Schumann, Die Soldatenbraut

iMusic Example Schumann, “In the lovely month of May”


Teaching Guide | 65 Suggested Reading for Chapter 27 Abraham, Gerald. “Robert Schumann.” In The New Grove Early Romantic Masters I. New York: W. W. Norton & Company, 1985. Brody, Elaine, and R. A. Fowkes. The German Lied and its Poetry. New York: New York University Press, 1971. Brown, Maurice J. E. Schubert Songs. BBC Music Guides. Seattle: University of Washington Press, 1967. Brown, Maurice J. E., with Eric Sams. The New Grove Schubert. New York: W. W. Norton & Company, 1983. Deutsch, Otto Erich. Schubert: Memoirs by His Friends. Trans. by Rosamond Ley and John Nowell. New York: Humanities, 1958. Dickinson, A. E. F. “Fine Points in ‘The Erl King,’” Monthly Musical Record 88 (1958): 141ff. Fischer-Dieskau, Dietrich. Schubert’s Songs: A Biographical Study. Translated by K. S. Whitton. New York: Limelight Editions, 1984. Gál, Hans. Franz Schubert and the Essence of Melody. New York: Crescendo, 1977. Gibbs, Christopher Howard. The Life of Schubert. New York: Cambridge University Press, 2000. Hensel, Sebastian, ed. The Mendelssohn Family (1729– 1847). 2nd revised ed. Trans. by Carl Klingemann. New York: Greenwood Press, 1968. Hilmar, Ernst. Franz Schubert in His Time. Portland, OR: Amadeus Press, 1988. Ivey, Donald. Song: Anatomy, Imagery, and Style. New York: Free Press, 1970. Jensen, Eric Frederick. Schumann. New York: Oxford University Press, 2001. Komar, Arthur, ed. Schumann “Dichterliebe”: An Authoritative Score. New York: W. W. Norton & Company, 1971. Meister, Barbara. An Introduction to the Art Song. New York: Taplinger Pub. Co., 1980. Perrey, Beate, ed. The Cambridge Companion to Schumann. Cambridge: Cambridge University Press, 2007. Sirota, Victoria Ressmeyer. “The Life and Works of Fanny Mendelssohn Hensel.” DMA dissertation, Boston University, 1981. Stevens, Denis. A History of Song. London: Hutchinson, 1960. Tillard, Françoise. Fanny Mendelssohn. Trans. by Camille Naish. Portland, OR: Amadeus Press, 1996. Walker, Alan, ed. Robert Schumann: The Man and His Music. 2nd ed. London: Barrie and Jenkins, 1976. Youens, Susan. Schubert’s Late Lieder: Beyond the SongCycles. New York: Cambridge University Press, 2002.

Chapter 28. Romantic Piano Music Overview The rise in popularity of the piano is emphasized, along with technical improvements in the instrument. The short lyric piano piece is presented as the instrumental form that parallels the art song. Representative of this genre are works by Chopin, Liszt, and Fanny Mendelssohn Hensel. Fanny Mendelssoh Hensel is featured as one of the most distinguished women musicians of the Romantic era. I. Popularity of the Piano A. Amateurs: four-hand piano music 1. two performers at one piano 2. works composed or arranged B. Virtuoso pianist: new class of virtuoso performer 1. developing concert industry 2. performers no longer composers C. Technical improvements to the instrument 1. metal frame, increased string tension 2. extended range of notes 3. factory production: reduced cost II. The Short Lyric Piano Piece A. Compact form: melodious and dramatic works 1. instrumental equivalent to song B. Fanciful titles: Prelude, Intermezzo, Impromptu, Nocturne C. Dance inspired: Polish mazurka, polonaise; Viennese waltz, scherzo D. Descriptive titles: Wild Hunt, Little Bell, Forest Murmurs E. Composers: Schubert, Chopin, Liszt, Felix Mendelssohn, Fanny Mendelssohn Hensel, Robert and Clara Schumann, and Brahms III. Chopin and Piano Music A. Frédéric François Chopin (1810–1849) 1. born in Warsaw, Poland; composer, pianist 2. French father, Polish mother 3. age twenty-one: moved to Paris, artistic center in 1830s 4. affair with Aurore Dudevant (George Sand) 5. composed for Parisian salon, gathering of musicians, artists, and intellectuals 6. output revolved around the piano a. works central to piano repertoire b. originated modern piano style c. ornamented melodies: trills, grace notes, runs d. widely spaced chords in bass line


66 | Chapter 9 e. ballads, sonatas, concertos, preludes, études, mazurkas, polonaises, scherzos, waltzes, impromptus, nocturnes, chamber music, and songs B. A mazurka by Chopin 1. mazurka: Polish peasant dance 2. lively, triple meter 3. accents on 2nd or 3rd beat of measure 4. Chopin: transformed mazurka to art form 5. rubato (robbed time): liberties taken with rhythm C. Listening Guide 42: Chopin, Mazurka in B-flat minor, Op. 24, No. 4 (1833) 1. moderate triple meter 2. A-B-A-C-D-A, long coda 3. dotted and double-dotted rhythms 4. subtle harmonic shifts: major, minor, modal 5. rich in chromaticism 6. accents on 3rd beat, later on 2nd beat 7. melody: chromatic lines, wide-ranging and disjunct *IV. Liszt and the Rise of the Performer/Composer *A. Franz Liszt (1811–1886) *1. born in Hungary, studied in Paris *2. composer, conductor, noted teacher *3. legendary pianist *a. greatest pianist, showman of his day *b. turned piano sideways *c. creator of modern piano technique *d. composed highly virtuosic, difficult works *4. affair with novelist, Countess Marie d’Agoult, three children *5. Weimar period (1848–61), court conductor *a. composed orchestral works *b. advocated “music of the future” *c. conducted premiere performances of Wagner, Berlioz, and others *6. later years, entered church: Abbé Liszt *a. composed religious works *7. created new genre: symphonic poem *a. one movement programmatic orchestral work *b. thematic transformation: transformed character of themes *B. The Little Bell *1. Liszt: fascinated with technical possibilities of the piano *2. drawn to the étude (study pieces) *3. influenced by violin virtuoso, Niccolò Paganini *4. Transcendental Etudes after Paganini *a. set of six technical pieces

*b. based on Paganini’s Caprices for solo violin *c. The Little Bell (La campanella), third etude *C. Listening Guide 43: Franz Liszt, The Little Bell (La campanella) (1851) *1. fast and light Allegretto; grows faster *2. sectional variations, A-B-A'-B'-A"-B"-A" *3. highly virtuosic, many embellishments *4. bell sound: high register, high-pitch pedal point *5. dramatic closing, forte octaves V. Fanny Mendelssohn Hensel and the Piano Miniature A. Fanny Mendelssohn Hensel (1805–1847) 1. raised in Berlin, sister of composer Felix Mendelssohn 2. composer, pianist 3. female in nineteenth century: discouraged from career in music 4. married court artist, Wilhelm Hensel 5. active as composer and pianist: salon concerts 6. composed chamber music, Lieder, piano music 7. compositions intended for family salon gatherings B. A piano cycle: The Year 1. The Year (Das Jahr), set of twelve pieces/miniatures a. suggest passage of time, seasons of one’s life 2. lost manuscript found in 1989 3. each piece on different colored paper, poetic epigram, and painting by Wilhelm Hensel 4. cycle unified: a. recurring motives b. tonal schemes c. references to other composers 5. September a. drawing of barefooted woman b. lines from Goethe, “Flow, flow, dear river, Never will I be happy.” C. Listening Guide 44: Fanny Mendelssohn Hensel, September: At the River, from The Year (Das Jahr) (1841) 1. A-B-A' with introduction and coda 2. melancholic, haunting, meandering melody 3. slow-paced melody against fast-moving lines and chords 4. daring, distant key areas, very chromatic 5. swelling and decrescendo dynamics: evokes flow of water


Teaching Guide | 67 Chapter goals for students • To understand the importance of the piano in the musical life of the Romantic era • To appreciate the short, lyric piano piece as the instrumental form equivalent to the Lied • To recognize the originality and virtuosity of Chopin’s and Liszt’s artistry • To perceive the nationalistic Polish traits in Chopin’s music • To comprehend the difficulties that women faced as composers in the nineteenth century Discussion Topics Influence of piano on developing musical tastes Piano as the instrument of amateurs and of virtuosos Nationalism in Chopin Chopin and the development of modern piano style Popularity of the polka in nineteenth and twentieth centuries The role of the salon in the nineteenth century Chopin’s position in the Parisian salon Popularity of piano in the home Consumption of printed piano music in the United States and Europe The popularity of Chopin’s music in the Americas Liszt: Reputation as an “exotic” performer Establishment of the symphonic poem Promotion of the “music of the future” Contributions to piano literature Women composers and nineteenth-century society

Gottschalk, Louis Moreua. Notes of a Pianist. Ed. by Jeanne Behrend and Frederick S. Starr. Princeton, NJ: Princeton University Press, 2006. Lederer, Victor. Chopin: A Listener’s Guide to the Master of the Piano. Pompton Plains, NJ: Amadeus Press, 2006. Lindeman, Stephan D. Structural Novelty and Tradition in the Early Romantic Piano Concerto. Stuyvesant, NY: Pendragon Press, 1999. Litzmann, Berthold, ed. Letters of Clara Schumann and Johannes Brahms, 1853–1896. New York: Longmans, Green, 1927. Reprint. 1974. Newman, William S. The Sonata Since Beethoven. 3rd ed. New York: W. W. Norton & Company, 1983. Perényi, Eleanor. Liszt: The Artist as Romantic Hero. New York: Little, Brown, 1974. Reich, Nancy B. Clara Schumann: The Artist and the Woman. Rev. ed. Ithaca, NY: Cornell University Press, 2001. Reich, Susanna. Clara Schumann: Piano Virtuoso. New York: Clarion Books, 1999. ———. The Music of Liszt. 2nd ed. London: Williams and Norgate, 1966. Starr, S. Frederick. Louis Moreau Gottschalk. Urbana: University of Illinois Press, 2000. Steegmann, Monica. Clara Schumann. London: Haus Publishing, 2004. Walker, Alan. The Chopin Companion: Profiles of the Man and the Musician. New York: W. W. Norton & Company, 1973. ———. Franz Liszt: The Virtuoso Years, 1811–47. Ithaca, NY: Cornell University Press, 1987. ———. Franz Liszt: The Weimar Years, 1848–61. New York: Knopf, 1989.

Music Example Bank III/3

Chopin, Fantasie-Impromptu in C-sharp minor, Op. 66, rubato IV/25 Chopin, Mazurka, Op. 53 IV/26 Beer Barrel Polka, Polish Traditional polka band III/16–18 Liszt, Les Préludes, thematic transformation

Suggested Reading for Chapter 28 Atwood, William G., The Parisian Worlds of Frédéric Chopin. New Haven, CT: Yale University Press, 1999. Chissell, Joan. Clara Schumann: A Dedicated Spirit. New York: Taplinger, 1983. Gibbs, Christopher, and Dana Gooley, eds. Franz Liszt and His World. Princeton, NJ: Princeton University Press, 2006.

Chapter 29. Music in Nineteenth-Century America Overview The musical community in the nineteenth-century United States culture is explored. I. Concert Music Imported from Europe A. Protestant settlers, devotional psalms 1. early American publications: devotional a. first American psalm book, printed in 1640 b. shape-note notation II. Stephen Foster and American Popular Music A. Stephen Foster (1826–1864) 1. composer, born outside Pittsburgh


68 | Chapter 9 2. worked as bookkeeper 3. composed for Christy Minstrels, black-faced minstrel show 4. Hit songs: Oh, Susanna!, Camptown Races, Old Folks at Home, My Old Kentucky Home 5. died a penniless alcoholic B. A song by Stephen Foster 1. Jeanie with the Light Brown Hair (1853–54) 2. love song, written for his wife, Jane Denny McDowell 3. two-verse poem by Foster 4. not popular during his lifetime 5. alternate title, I Dream of Jeannie C. Listening Guide 45: Foster, Jeanie with the Light Brown Hair (1854) 1. strophic with brief cadenzas in each strophe 2. syllabic setting of text, descending melody 3. moderate tempo in quadruple meter 4. major key, simple block- and broken-chord accompaniment *III. Louis Gottschalk and Piano Music in America *A. Louis Moreau Gottschalk (1829–1869) *1. New Orleans native; composer, pianist *2. English-born Jewish father, French-Creole mother *3. first American to achieve international fame as classical composer *4. heard ethnically diverse music *a. Afro-Caribbean folk music, West Indian and African-American dances and songs *5. child prodigy, piano debut at age eleven *6. studied in Paris: charmed Chopin and Berlioz *7. toured Europe, United States, Cuba, Puerto Rico *8. promoted education, classical and popular music *9. remembered for solo piano music *a. highly syncopated: anticipated Ragtime *b. assimilated traditional music with virtuosos piano compositions *c. exploited dance forms *d. accessible music: quoted Stephen Foster tunes *B. The Banjo *1. banjo: popular African-American instrument *2. subtitled Grotesque Fantasy: An American Sketch *C. Listening Guide 46: Gottschalk, The Banjo (Le banjo: Fantasie grotesque) (1854–55) *1. solo piano, imitates banjo strumming and picking *2. two varied sections *a. first: rhythmic, low range *b. second: banjo-style tune, high range

*3. highly syncopated *4. coda: quotes Camptown Races *5. accelerando to end, ff chord Discussion Topics Shape-note notation in popular culture Parlor music of Stephen Foster Creole versus Cajun musical culture The variety of influences on Gottschalk African musical characteristics in Gottschalk’s music Nationalism in Gottschalk iMusic Example Amazing Grace

Chapter 30. Romantic Program Music Overview Program music is emphasized as a nineteenth-century phenomenon; four types are discussed: concert overture, incidental music, program symphony, and symphonic poem. Musical nationalism is tied to program music, presented with an overview of ways it is expressed in music and with a brief discussion of various national schools and their output. I. Program Music A. Instrumental music with literary or pictorial associations 1. program supplied by composer 2. suggests story, or mood 3. composers relate music to moral and political issues B. Absolute music: no literary or pictorial associations II. Varieties of Program Music A. Concert overture: originated in opera house 1. single-movement concert piece for orchestra 2. based on literary ideas B. Incidental music: overture and pieces between acts of a play 1. arranged into suites 2. important today: film, television C. Program symphony: multimovement orchestral work 1. Berlioz: Symphonie fantastique; Liszt: Faust and Dante Symphonies D. Symphonic poem (tone poem): one-movement orchestral work 1. freer structure than concert overture 2. most widely used


Teaching Guide | 69 III. Berlioz and the Program Symphony A. Hector Berlioz (1803–1869) 1. French composer, conductor 2. first proponent of musical Romanticism in France 3. left medical school to study music 4. influenced by Beethoven and Shakespeare 5. infatuated with Shakespearean actress, Harriet Smithson 6. 1830, won Prix de Rome 7. orchestral works: overtures, program symphonies a. daring originality, bold innovator b. huge orchestral forces, master of orchestration B. Symphonie fantastique 1. five-movement program symphony 2. program by Berlioz: autobiographical a. infatuation with Harriet Smithson b. meeting the beloved; ultimate demise of the artist c. Romantic era: fascinated with grotesque and supernatural 3. recurring theme: idée fixe (fixed idea) a. symbolizes the beloved b. unifying musical thread c. thematic transformation 4. March to the Scaffold, mvt. 4 a. opium-induced dream b. artist dreams he has killed the beloved c. witnesses his own execution *5. Dream of a Witches’ Sabbath, mvt. 5 *a. witches’ sabbath, spirits gathered for his funeral *b. beloved comes to infernal orgy C. Listening Guide 47: Berlioz, Symphonie fantastique, Fourth and Fifth Movements (1830) 1. mvt. 4: March to the Scaffold; Allegretto non troppo a. sonata-like form, minor mode b. theme 1: downward minor scale c. theme 2: diabolical march tune, brass and woodwinds d. idée fixe at end, clarinet: “last thought of love” e. ff chord: guillotine blade falls *2. mvt. 5: Dream of a Witches’ Sabbath; Larghetto, Allegro assai *a. slow and eerie opening: muted strings, chromatic scales *b. Allegro: idée fixe in high clarinet *i. “a vulgar tune”; trills, grace notes *c. dissonant, chromatic harmonies *d. Dies irae quoted, first slow, then twice as fast

*e. “Dance of Witches”: builds to fugal setting *f. dance and Dies irae combined, builds to final cadence IV. Musical Nationalism A. Political unrest in Europe: stimulated nationalism B. Music based on folk songs and dances *1. Chopin: mazurkas, polonaises *2. Liszt: Hungarian Rhapsodies *3. Dvo˘rák: Slavonic Dances C. Programs: folklore or peasant life, national hero, historic event, scenic beauty D. Love of homeland: powerful symbolism V. A Czech Nationalist: Bed ich Smetana A. Bed ich Smetana (1824–1884) 1. first prominent Bohemian composer 2. joined 1848 revolutionary uprising 3. revolution failed: accepted conducting position in Sweden 4. returned to Prague: composed operas in native tongue 5. best known for My Country (Má vlast) a. cycle of six symphonic poems B. The Moldau 1. second from My Country 2. Moldau: Bohemian river 3. poetic symbol of homeland 4. program: scenes along shore of the river a. varied instrumentation for each scene C. Listening Guide 48: Smetana, The Moldau (1874–79) 1. begins with flute: source of the river 2. river theme: stepwise melody in violins, minor mode 3. hunting scene: fanfare in French horns and trumpets 4. peasant dance: folk tune, staccato strings, shift to duple meter 5. nymphs in moonlight: double reeds, muted strings 6. ancient castle: brass 7. ending, flows out to sea: two forceful closing chords VI. A Scandinavian Nationalist: Edvard Grieg A. Edvard Grieg (1843–1907) 1. Norwegian composer, pianist 2. studied in Leipzig: influenced by Mendelssohn and Schumann 3. promoted Scandinavian music 4. composed smaller-scale works, many piano works a. A minor Piano Concerto, arrangements of Norwegian folk tunes


70 | Chapter 9 5. style: lyricism, nationalistic use of folk music and dances B. Peer Gynt suite 1. Peer Gynt: play by Henrik Ibsen 2. based on Norwegian folk tale 3. Grieg’s Peer Gynt: originally incidental music for the play 4. final version: eight movements in two orchestral suites C. Listening Guide 49: Grieg, Peer Gynt, Suite No. 1, Op. 46, excerpts (1874–75) 1. Morning Mood a. dreamy, flowing melody: flute and oboe b. A-B-A' form c. grows to loud climax, then dies away d. pastoral instruments (flute, oboe, horn) 2. In the Hall of the Mountain King a. march for the wild daughters of the Mountain King b. minor mode theme repeated six times, coda c. duple-meter march, staccato notes, offbeat accents d. huge crescendo and accelerando, dramatic ending e. conceived as “grotesque” ballet music VII. Other Nationalists A. England 1. Edward Elgar 2. Ralph Vaughan Williams B. Scandinavia 1. Edvard Grieg 2. Jean Sibelius C. Spain 1. Isaac Albéniz 2. Manuel de Falla D. Czech Republic 1. Bed ich Smetana 2. Antonín Dvor˘ák E. Russia 1. Alexander Borodin 2. Modest Musorgsky 3. Nikolai Rimsky-Korsakov 4. Peter Ilyich Tchaikovsky Chapter goals for students • To understand the special importance of program music in the Romantic era • To grasp the difference between programmatic and absolute forms • To relate political conditions of the nineteenth century to the rise of musical nationalism

• To comprehend how cultural values are at the heart of folklore Discussion Topics Form in program music Expression of nationalism in music Symphonie fantastique as epitome of Romanticism Unification of multimovement works Use of Requiem chant in the work Contemporaneous reception of the work Popularity in the twentieth-century symphonic repertoire Nationalism and music: subjects and manner of expression Political use of nationalist music Artists who suffered politically for promoting nationalist themes Music Example Bank I/67

Grieg, Peer Gynt Suite No. 1, Åse’s Death, incidental music II/12 Musorgsky, Pictures at an Exhibition, Bydlo, program music II/15 Saint-Saëns, Le carnaval des animaux, Fossiles, program music III/19–23 Berlioz, Symphonie fantastique, idée fixe II/12 Mussorgsky, Pictures at an Exhibition, Bydlo program music IV/28 Copland, John Henry I/67 Grieg, Peer Gynt Suite No. 1, Åse’s Death II/4 Kodály, Háry János, Song II/18 Prokofiev, Cinderella, Apotheosis, nationalism, Romantic III/24 Gottschalk, Cakewalk, Grand Walkaround I/42 Liszt, Hungarian Rhapsody No. 2 Suggested Reading for Chapter 30 Bloom, Peter, ed. The Cambridge Companion to Berlioz. New York: Cambridge University Press, 2000. Casler, Lawrence. Symphonic Program Music and its Literary Sources. Lewiston, NY: Edwin Mellen Press, 2001. Clapham, John. “Antonin Dvor˘ák.” In The New Grove Late Romantic Masters. New York: W. W. Norton & Company, 1985. Cone, Edward T., ed. Berlioz: Fantastic Symphony. Norton Critical Scores. New York: W. W. Norton & Company, 1971. Gasparov, Boris. Five Operas and a Symphony: Word and Music in Russian Culture. New Haven, CT: Yale University Press, 2005.


Teaching Guide | 71 Holoman, D. Kern. Berlioz. Cambridge, MA: Harvard University Press, 1989. Macdonald, Hugh. Berlioz. New York: Oxford University Press, 2000. Orrey, Leslie. Programme Music: A Brief Survey from the Sixteenth Century to the Present Day. London: DavisPoynter, 1975. Primmer, Brian. The Berlioz Style. New York: Oxford University Press, 1973. Rushton, Julian. The Music of Berlioz. New York: Oxford University Press, 2001. Temperley, Nicholas. “The Symphonie Fantastique and Its Program.” Musical Quarterly 57/4 (1971): 593–608. Tovey, Donald Francis. “Berlioz: Symphonie Fantastique, Op. 14.” In Symphonies and Other Orchestral Works. Essays in Musical Analysis. New York: Oxford University Press, 1989 (originally printed in 1935–39), 164–70. Whiting, Jim. The Life and Times of Hector Berlioz. Hockessin, DE: Lane Publishers, 2005.

Chapter 31. Absolute Music in the Nineteenth Century Overview This chapter surveys the symphony and the concerto in the Romantic era. Beginning with the model established by Classical masters, the nineteenth-century symphony is explored as is the nature of the nineteenth-century concerto and sonata. I. Absolute Music: no literary or pictorial associations A. Multimovement genres: concerto, symphony, chamber music 1. form: organizing element 2. Romantic era composers took freedoms with the structures *II. Clara Schumann: Pianist and Composer *A. Clara Schumann (1819–1896) *1. German pianist, composer *2. daughter of Friedrich Wieck *3. appeared publicly at age nine, toured extensively *4. married to composer Robert Schumann *5. lifelong friendship with Johannes Brahms *6. limited by restrictions to women *7. music: miniatures, piano concerto, piano trio *8. style: technically difficult, serious and introspective *B. Piano Trio in G minor *1. written after birth of fourth child *2. four movements: inverted pattern of middle movements

*C. Listening Guide 50: Clara Schumann, Piano Trio in G minor, III (1847) *1. A-B-A' with coda *2. lilting Z meter, major key *3. melody introduced by piano: lyrical, decorative turns *4. texture: melody predominates, some counterpoint *5. middle section: minor mode, moves quicker *6. wide dynamic range, delicate closing III. The Romantic Concerto A. Favored genre of the nineteenth century *B. Eighteenth-century forms maintained C. Increased size of orchestra, virtuosic performers D. Composers wrote for particular artist *1. Mendelssohn Violin Concerto: Ferdinand David *2. Brahms Violin Concerto: Joseph Joachim *IV. Mendelssohn and the Romantic Concerto *A. Felix Mendelssohn (1809–1847) *1. German pianist, conductor, educator, composer *2. spurred revival of J. S. Bach’s music *3. founded Conservatory of Leipzig *4. traveled extensively throughout his career *5. composed with speed and facility *6. preferred Classical era forms *7. 1847, sister Fanny died suddenly, he died six months later *8. large- and small-scale works B. Violin Concerto in E minor *1. Mendelssohn’s last orchestral work *2. clarity of form, subtlety of orchestration, sentimental expression 3. three movements played without pause 4. cyclical: reference of first movement in second movement *C. Listening Guide 51: Mendelssohn, Violin Concerto in E minor, First Movement (1844) *1. Allegro molto appassionato: first-movement concerto form *2. brilliant violin writing: double and triple stops *3. theme 1: introduced by solo violin *a. wide range, lyrical, balanced phrases *4. theme 2: introduced by woodwinds over violin pedal point *5. cadenza: not improvised, end of development *6. shorter recapitulation; faster tempo to end of movement V. The Romantic Symphony A. Music moved from palace to concert halls 1. much larger orchestra


72 | Chapter 9 B. Longer, more expansive structure 1. composers: less prolific C. The nineteenth-century symphony form 1. multimovement scheme not always followed 2. mvt. 1: sonata-allegro form a. optional slow introduction b. long, expressive development 3. mvt. 2: typically ternary form a. greater range of mood 4. mvt. 3: scherzo form a. lively pace b. sometimes as second movement c. variety of moods 5. mvt. 4: sonata-allegro form, rondo a. fast tempo VI. Brahms and the Late Romantic Symphony A. Johannes Brahms (1833–1897) 1. German composer, conductor 2. son of musician and seamstress 3. recognized by Schumann as a great composer 4. moved to Vienna 5. traditionalist: absolute music, Classical forms 6. affection for folk music 7. age forty, began composing symphonic works 8. output: four symphonies, major contributions to chamber music, piano, and song repertoire B. Symphony No. 3 in F Major 1. 1883, Brahms age fifty 2. shortest of his four symphonies 3. most Romantic in tone 4. Classical era forms 5. three-note motive a. (F–A-flat–F) “Frei aber froh” (Free but happy) b. permeates entire symphony 6. mvt. 3: melancholy waltz replaces scherzo C. Listening Guide 52: Brahms, Symphony No. 3 in F major, Third Movement (1883) 1. A-B-A' form, C minor 2. moderate triple meter 3. opens with yearning cello melody 4. rhythmically complex; syncopations 5. alternates major and minor keys 6. chromatic middle section 7. last chord: pizzicato strings *VII. Dvo˘rák as a Symphonist *A. Antonín Dvo˘rák (1841–1904) *1. Bohemian composer, born near Prague *2. violist in Czech National Theater: Smetana conducting *3. composition professor: Conservatory of Prague

*4. three years in United States *a. interested in spirituals, Creole songs and dances *b. encouraged American originality *5. gift for melody, love of native folk tunes *6. large output: all genres of music; operas based on Czech tunes *B. The New World Symphony *1. Symphony No. 9: composed in United States, premiered in New York *2. middle movements influenced by Longfellow’s Song of Hiawatha *3. modal flavorings, richly colored orchestrations *C.Listening Guide 53: Dvo˘rák, Symphony No. 9 in E minor, From the New World, First Movement (1893) *1. sonata-allegro form, three themes *2. somber introduction *3. folklike, lyrical melodies *4. sudden dynamic contrasts, sweeping crescendos *5. theme 3: suggestive of Swing Low, Sweet Chariot *6. recapitulation: themes in unexpected keys *7. fff full orchestra turbulent closing Chapter goals for students • To appreciate the new proportions and freedom that appear in the Romantic symphony • To recognize the important impact the Bohemian composer Dvor˘ák had on the rise of African-American art music • To understand the nineteenth-century treatment of concerto form, with its increased virtuosity and freedom • To recognize the rise of classical composition in America • To recognize the achievements of women composers Discussion Topics Comparison of Classical and Romantic symphony The nineteenth-century symphony orchestra (size, members) Form in nineteenth-century absolute music Lyrical expression in Brahms New World Symphony as absolute versus program music Looking toward indigenous and African-American music for inspiration Other types of distinctly American music in the United States


Teaching Guide | 73 Comparison of Classical and Romantic concerto Freedom in Romantic concerto form Nationalism in the United States Cultural diversity in the United States Music Example Bank I/40

I/35 IV/62 IV/29 IV/30 III/26 I/7 II/24 III/24 II/35

Mendelssohn, Symphony No. 4 in A major (Italian), IV, form in nineteenth-century absolute music Dvo˘rák, Symphony No. 9 (New World), II Price, Sonata in E minor, II Still, Afro-American Symphony, I Deep River, American Traditional Brahms, Concerto for Violin and Cello in A minor, Op. 102, Brahms, Violin Concerto in D major, Op. 77, III Tchaikovsky, Piano Concerto No. 1 in Bflat minor, III Gottschalk, Cakewalk, Grand Walkaround Sousa, The Stars and Stripes Forever

Suggested Reading for Chapter 31 Becker, Heinz. “Johannes Brahms.” In The New Grove Late Romantic Masters. New York: W. W. Norton & Company, 1985. Beckerman, Michael, ed. Dvořák and His World. Princeton, NJ: Princeton University Press, 1993. ———. “Dvo˘rák’s ‘New World’ Largo and The Song of Hiawatha.” 19th Century Music 16 (1992): 35–48. Block, Adrienne. Amy Beach, Passionate Victorian: The Life and Works of the American Composer, 1867–1944. New York: Oxford University Press, 1998. Botstein, Leon, ed. The Compleat Brahms: A Guide to the Musical Works of Johannes Brahms. New York: W. W. Norton & Company, 1999. Brown, Jeanell Wise. Amy Beach and Her Chamber Music: Biography, Documents, Style. Metuchen, NJ: Scarecrow Press, 1994. Crawford, Richard. America’s Musical Life: A History. New York: W. W. Norton & Company, 2005. Frisch, Walter, and Kevin C. Karnes, eds. Brahms and His World. Rev. ed. Princeton, NJ: Princeton University Press, 2009. Gál, Hans. Johannes Brahms: His Work and Personality. Trans. by Joseph Stein. Westport, CT: Greenwood Press, 1977. Geiringer, Karl. Brahms: His Life and Works. 3rd ed. New York: Da Capo, 1981. Reprint of 1948 edition. Horton, John. Brahms Orchestral Music. Seattle: University of Washington Press, 1969.

Jacopsen, Bernard. The Music of Johannes Brahms. London: Tantivy, 1977. Köhler, Karl-Heinz. “Felix Mendelssohn” In The New Grove Early Romantic Masters 2. New York: W. W. Norton & Company, 1985. Roeder, Michael T. A History of the Concerto. Portland, OR: Amadeus Press, 1994. Tovey, Donald Francis. “Brahms: Symphony No. 3 in F major, Op. 90.” In Essays in Musical Analysis: Symphonies and Other Orchestral Works, 211–19. New York: Oxford University Press, 1989 (originally printed in 1935–39).

Chapter 32. National Schools of Romantic Opera Overview The various national styles of Romantic opera are reviewed, with emphasis on the Italian style of Verdi, the German music dramas of Wagner, and the new realism of French lyric opera, notably in Bizet, and of late Romantic Italian opera by Puccini. I. Women in Opera A. Allowed women visibility B. Prominent perfomers 1. Jenny Lind, “Swedish nightingale” (1820– 1887) 2. Maria Malibran (1808–1836) 3. Pauline Viardot (1821–1920) II. Verdi and Italian Opera A. Opera seria and opera buffa: continued into nineteenth century 1. bel canto style (beautiful singing) a. florid melodic lines, great agility, purity of tone *b. composers: Rossini, Donizetti, Bellini (only Rossini mentioned in short ed.) B. Giuseppi Verdi (1813–1901) 1. Italian opera composer 2. 1839, tragic loss of wife and children in short time span 3. 1842, Nabucco: chorus became Italian patriotic song a. Verdi became national hero 4. wrote 28 operas 5. literary sources: Shakespeare, contemporary plays and novels 6. music: profound emotion, prized melody above all else C. Verdi’s Rigoletto 1. based on Victor Hugo’s The King Is Amused 2. Renaissance-era ducal court at Mantua


74 | Chapter 9 3. main characters: a. Duke, womanizer b. Rigoletto, hunchbacked jester c. Gilda, Rigoletto’s daughter d. Sparafucile, assassin e. Maddalena, Sparafucile’s sister 4. plot summary: a. curse put on Rigoletto for making light of the Duke’s seductions b. Gilda becomes the Duke’s next conquest c. Rigoletto plots to murder the Duke d. Gilda sacrifices herself for the Duke e. Gilda dies in her father’s arms: fulfillment of the curse D. Listening Guide 54: Verdi, Rigoletto, Act III, excerpts (1851) 1. “La donna è mobile” (Woman Is Fickle) a. sung by the Duke b. triple meter c. strophic aria with refrain d. guitarlike orchestral strumming 2. “Un dì,” quartet a. quartet sung by Duke, Maddalena, Gilda, Rigoletto b. dialogue between characters c. Duke: bel canto style d. Maddalena: laughing, short notes e. Gilda: heartbroken, laments f. Rigoletto: swears vengeance for his daughter g. second part: characters sing together h. “Bella figlia” opening melody sung by Duke i. Allegro, agitated movement III. Wagner and the Music Drama in Germany A. Richard Wagner (1813–1883) 1. German composer 2. began serious composition at age twentythree 3. wrote his own librettos: exercised total control 4. age thirty, Rienzi, huge success 5. active in 1849 failed Dresden uprising: fled to Switzerland 6. Zurich: theories of music drama a. integrated theater and music completely 7. Ring of the Nibelung: cycle of four music dramas a. Das Rheingold b. Die Walküre c. Siegfried d. Götterdämerung 8. Festival Theater at Bayreuth: built for performance of Wagner’s works 9. married Franz Liszt’s daughter, Cosima

10. Wagner’s music: a. idealized folk legend b. subjects: medieval German epics c. profound feeling for nature d. supernatural as element of drama e. glorified German land and people B. Die Walküre 1. second in Ring of the Nibelung 2. cycle follows the possession of the ring a. Norse mythology and medieval German epic sagas b. cursed powerful ring: death and misfortune to those who possess it c. ring returned to Rhine Maidens in Götterdämerung 3. Die Walküre a. Siegmund and Sieglinde: twin brother and sister, incestuous and adulterous relationship b. Valkyries: nine daughters of Wotan, carry fallen heroes from battlefield to Valhalla c. Siegmund is wounded in battle d. Brünhilde, a Valkyrie, carries Siegmund to Valhalla e. end of music drama, Brünhilde, punished by Wotan, becomes a mortal 4. opera as total artwork: Gesamtkunstwerk a. endless melody by singers; no arias b. orchestra as focal point, unifying element c. leitmotifs “leading motives”: concise themes, recur throughout a work d. chromatic harmonies, dissonance C. Listening Guide 55: Wagner, Die Walküre (The Valkyrie), Act III, opening and Finale (1856) 1. Opening: Ride of the Valkyries, Brünhilde carries Siegmund to Valhalla a. swirling strings and woodwinds b. “Ride” leitmotif ascends, repeats c. battle cries from soloists: “Hojoho! Heiaha!” d. polyphonic/lively dotted rhythm ( meter e. huge dynamic contrasts f. huge orchestra, huge and varied brass section g. dense orchestral texture *2. Closing of Scene 3: Wotan and Brünhilde *a. three recurring themes *b. endless melody *c. rich, chromatic harmony *d. forceful trombone passage; Wotan invokes Loge (god of fire) *e. “magic fire,” full orchestra *f. “magic sleep,” descending chromatic woodwinds


Teaching Guide | 75 *g. “slumber” motive: woodwinds *h. Wotan sings to “Siegfried” motive (next in the cycle) *i. brass, ff announcement of “Siegfried” motive *j. long orchestral closing *IV. Georges Bizet and Exoticism in French Opera *A. Nineteenth-century French opera *1. Paris, opera center *2. grand opera, new genre *a. serious historical themes *b. suited bourgeoisies’ taste *c. huge choruses, crowd scenes, ornate costumes and scenery, elaborate dance episodes *3. opéra comique *a. smaller performing forces *b. simpler compositional style *c. spoken dialogue instead of recitative *d. not always comic B. Exoticism 1. Romantics: yearn for far-off lands 2. Verdi: Aida, Egypt under the pharaohs 3. Puccini: Turandot, ancient China; Madame Butterfly, late nineteenth-century Japan 4. Bizet: Carmen, Spain *C. Georges Bizet (1838–1875) *1. composer, born and raised in Paris *2. student at Paris Conservatory *3. won Prix de Rome *4. composed operas with exotic atmosphere *5. died shortly after poor reception of Carmen *D. Bizet’s Carmen *1. opéra comique based on Gypsy life in Spain *2. portrayed realities of lower classes and their suffering *3. naturalism: new literary theme *4. characters: smugglers, bandits *5. lyric drama: strong emotions, love hate, desire, disintegration of a personality *6. plot summary: *a. Carmen, Gypsy girl, works in cigarette factory in Seville *b. Don José, simple soldier, becomes obsessed with Carmen *c. Carmen seduces Don José *d. in fit of jealousy, Don José attacks his superior officer *e. Don José joins a band of smugglers *f. final act, Carmen refuses to go with Don José *g. Don José stabs Carmen: Toreador Song

*E. Listening Guide 56: Bizet, Carmen, Act I, Scenes 4 and 5 (1875) *1. Scene 4: young men wait for cigarette girls to exit the factory *a. orchestra crescendo: excitement builds *b. large orchestra (with harp and bells) *c. men’s and women’s choruses *d. gentle mood until Carmen arrives *2. Scene 5: Habanera *a. Carmen and chorus *b. seductive verse/chorus structure *c. dotted Spanish dance rhythm, ostinato in bass *d. descending chromatic melody Chapter goals for students • To appreciate Italian opera and the contributions of Verdi to that genre • To understand the music drama as conceived by Wagner • To appreciate the nineteenth-century exoticism in opera • To comprehend the realism of late Romantic opera Discussion Topics Development of national styles Rise of popular and lighter opera styles Role of women in opera Spectacle in nineteenth-century opera Realism in nineteenth-century opera Verdi the nationalist Verdi’s early retirement from composition Integration of music and drama in Wagner Expressive harmony and endless melody in Wagner Music Example Bank I/57 III/20 III/30 III/31 III/32 III/33 I/54 IV/57 IV/58

Rossini, The Barber of Seville, “Largo al factotum” Wagner, Tristan und Isolde, Prelude Wagner, Die Walküre, Act I (Leitmotif: object) Wagner, Die Walküre, Act I (Leitmotif: person) Wagner, Die Walküre, Act I (Leitmotif: landscape) Wagner, Die Walküre, Act I (Leitmotif: idea) Bizet, Carmen, Act I, Habanera La Cumparsita, Argentinian Traditional (tango) Sevillanas, Spanish Traditional (flamenco)


76 | Chapter 9 IV/31 I/53

Tres Lindas Cubanas, II, Cuban Traditional (habanera) Puccini, Gianni Schicchi, “O mio babbino caro”

iMusic Examples Rossini, William Tell Overture Wagner, Ride of the Valkyries Bizet, Toreador Song from Carmen

Chapter 33. Late Romantic and Post-Romantic Music Overview This chapter is a survey of the nineteenth-century expansion of the musical public that included the rise of amateur choral societies, especially in France and England. The nineteenthcentury Requiem Mass is viewed through the Catholic tradition of Verdi. An historical overview of ballet is presented, with attention to its role in opera. Tchaikovsky is introduced as representative of the Russian school of ballet, with particular focus on The Nutcracker. I. Romantic Choral Music A. Expansion of audience: amateur musicians 1. choral music: artistic outlet for amateurs 2. composers: Schubert, Berlioz, Felix and Fanny Mendelssohn, Robert and Clara Schumann, Liszt, Verdi, Brahms, and Dvor˘ák B. Secular choral pieces: part songs *1. lyric poems, variety of mood and styles *2. three or four voice parts *3. short, melodious works C. Sacred choral forms: Mass, the Requiem Mass, and oratorios 1. concert setting 2. monumental works D. Verdi’s Requiem 1. began as tribute to Gioachino Rossini 2. completed after death of Alessandro Manzoni (revered poet and humanist) 3. Libera me (Deliver me, O Lord): prayer recited over coffin a. uses Dies irae (Day of Wrath) b. uses Requiem aeternam (Grant them eternal rest) E. Listening Guide 57: Verdi, Requiem, Libera me, excerpt (1874) 1. Libera me: Dies irae a. soprano solo, chorus, large orchestra, strong percussion and brass

b. choral declamation of themes, pounding chords in minor key c. agitated allegro: accented chords, timpani offbeats d. loud, forceful mood; shifts to soft and mysterious e. dramatic mood 2. Libera me: Requiem aeternam a. soprano solo with a cappella chorus b. slow-paced duple meter, peaceful mood c. soprano; angelic, expressive, soaring line d. ends with soprano’s octave leap toward the heavens, pppp e. minor, shifts to major, very chromatic f. marked dolcissimo (very sweetly) II. Tchaikovsky and the Ballet A. Ballet: important to European culture for centuries *1. historical antecedents *a. Italy, intermedio *b. England, masque *c. France, ballet de cour and divertissements 2. eighteenth century, ballet as independent art form 3. early nineteenth century, France and Russia preeminent a. Marius Petipa: structure for pas de deux (dance for two) b. Serge Diaghilev (1872–1929), Russian impresario i. Ballets Russes: Russian ballet company, performed in Paris c. Peter Ilyich Tchaikovsky: Russian composer of ballet music B. Peter Ilyich Tchaikovsky (1840–1893) 1. Russian composer 2. son of government official 3. at age twenty-three, entered Conservatory of St. Petersburg 4. taught twelve years at Moscow Conservatory 5. extremely sensitive nature, prone to depression 6. social pressures, homosexual, married a student 7. Nadezhda von Meck: wealthy widow, became his patron 8. fame in Europe and United States a. 1891: conducted opening of Carnegie Hall 9. output includes: seven symphonies, four concertos, three ballets: Swan Lake, The Sleeping Beauty, and The Nutcracker


Teaching Guide | 77 C. The Nutcracker 1. based on E. T. A. Hoffman story a. Christmas party b. Clara receives Nutcracker from her godfather c. Clara dreams Nutcracker becomes her Prince d. they travel through magical realm: exoticism 2. choreographed by Petipa D. Listening Guide 58: Tchaikovsky, The Nutcracker, Three Dances (1892) *1. March: guests arrive to party *a. A-B-A, sprightly march *b. A section: trumpet announces march theme *c. B section: staccato runs by woodwinds and strings 2. Dance of the Sugar Plum Fairy a. A-B-A, bouncy duple meter (andante tempo) b. introduction: pizzicato strings c. A section: celesta, bell-like timbre d. closes with loud pizzicato chord 3. Trepak (Russian Dance) a. A-B-A, molto vivace b. A section: full orchestra, lively dance tune c. lively peasant dance, heavy accents d. descending melody with sfz staccato note e. accelerando to end, trumpet fanfare, syncopations III. The Post-Romantic Era A. Post-Romanticism: influenced by Wagner’s chromatic language B. Composers: Giacomo Puccini, Gustav Mahler IV. Puccini and Verismo Opera A. Verismo movement: realism, subjects from everyday life B. Giacomo Puccini (1858–1924) 1. Italian composer 2. father was a church organist 3. attracted to theater and opera 4. early success followed by misfortune 5. major works: La bohème, Tosca, Madame Butterfly, Turandot 6. music: soaring melodies, rich orchestral timbres, recurring melodies C. Madame Butterfly 1. based on Pierre Loti’s tale, Madame Chrysanthème 2. exoticism: takes place in Japan

3. plot summary: a. American naval officer, Pinkerton, marries geisha, Cio-Cio-San (Madame Butterfly) b. Pinkerton returns to United States, Butterfly awaits his return c. Pinkerton returns with his American wife d. Butterfly takes her life 4. exoticism in the music: a. traditional Japanese melodies b. whole-tone and pentatonic scales c. sounds evoking Japanese gagaku orchestra: harp, flute, piccolo, bells d. quotes American National Anthem 5. disastrous premiere D. Listening Guide 59: Puccini, “Un bel dì,” from Madame Butterfly, Act II (1904) 1. “One lovely day we’ll see”: Butterfly sings of Pinkerton’s return 2. opening: ethereal voice accompanied by solo violin 3. rich accompaniment, orchestra in unison with voice 4. rising dynamics, emotional level builds, “l’aspetto” (I will wait for him), orchestra plays fff *V. The Post-Romantic Voice of Gustav Mahler *A. Gustav Mahler (1860–1911) *1. Bohemian composer, conductor *2. worked in Budapest, Hamburg, Vienna *3. three years in New York *a. Metropolitan Opera *b. New York Philharmonic Society Orchestra *4. grief-stricken by death of his daughter *5. suffered serious heart condition *6. compositions: nine symphonies, song cycles with orchestra *7. music: long flowing melodies, rich expressive harmonies, innovative orchestration *B. The Song of the Earth *1. song cycle, six songs, with orchestra *2. written during Mahler’s spiritual rebirth *3. work reflects beauty of earthly things and resignation of death *4. text: German translation of Chinese Tang dynasty poetry by Li T’ai-Po *a. eloquent images of joy and despair *C. Listening Guide 60: Mahler, The Song of the Earth (Das Lied von der Erde), Third Movement (1908–9) *1. Of Youth (Von der Jugend) *2. tenor and orchestra, no brass


78 | Chapter 9 *3. A-B-A', mirrors text *4. text strophes separated by orchestral interlude *5. pentatonic theme VI. Looking Ahead to Modernist Trends A. Nineteenth-century composers fully exploited tonal system B. Twentieth-century composers 1. suppressed Romanticism 2. influenced by popular music trends 3. developed new pitch organization Chapter goals for students • To appreciate the role of choral music in nineteenthcentury society • To recognize the great choral heritage of the Romantic era • To become familiar with the different national styles of opera that developed during the nineteenth century • To recognize the great ballet heritage of the Romantic era • To appreciate post-Romantic musical characteristics Discussion Topics Social conditions and amateur singing groups Compositional requirements of writing for large singing groups The new realism in Romantic opera Verismo and naturalism in the arts The different types of Japanese music Japanese simplicity in art Russian influence on the development of ballet Mahler as a post-Romantic composer Mahler and the traditions of the Viennese symphonists The paths of post-Romanticism Music Example Bank III/28 I/66 I/5 I/28 III/63 II/14 I/3

Verdi, Requiem, Dies irae Delibes, Sylvia, Pizzicato Tchaikovsky, The Nutcracker, Act II, Pas de deux Mahler, Symphony No. 1 in D major, III Phases of the Moon, Spring on Moonlit River, Chinese Traditional Strauss, Burleske in D minor Strauss, Don Juan

iMusic Example Tchaikovsky Waltz of the Flowers

Suggested Reading for Chapter 33 Abraham, Gerald, ed. The Music of Tchaikovsky. New York: W. W. Norton & Company, 1974. Armstrong, Thomas. Strauss’s Tone Poems. New York: Oxford University Press, 1931. Ashbrook, William. The Operas of Puccini. Ithaca, NY: Cornell University Press, 1985. Banks, Paul, and Donald Mitchell. “Gustav Mahler.” In The New Grove Turn-of-the-Century Masters. New York: W. W. Norton & Company, 1985. Barzun, Jacques. Darwin, Marx, Wagner: Critique of a Heritage. Garden City, New York: Doubleday, 1958. Blaukopf, Kurt, ed. Mahler: A Documentary Study. Trans. by Paul Baker. New York: Oxford University Press, 1976. Brown, A. Peter. The Second Golden Age of the Viennese Symphony: Brahms, Bruckner, Dvořák, Mahler, and Selected Contemporaries. Bloomington: Indiana University Press, 2003. Budden, Julian. The Operas of Verdi. Rev. ed. 3 vols. New York: Clarendon Press, 1992. Cooke, Deryck. Gustav Mahler: An Introduction to His Music. New York: Cambrdige University Press, 1980. Curtiss, Mina. Bizet and His World.Westport, CT: Greenwood Press, 1977. Deathridge, John, and Carl Dahlhaus. The New Grove Wagner. New York: W. W. Norton & Company, Inc., 1983. Dent, Edward J. The Rise of Romantic Opera. Edited by W. Dean. Cambridge: Cambridge University Press, 1976. Garden, Edward. Tchaikovsky. New York: Oxford University Press, 2000. Gossett, Philip, et al. The New Grove Masters of Italian Opera: Rossini, Donizetti, Bellini, Verdi, Puccini. New York: W. W. Norton & Company, 1983. Grout, Donald J., and Hermine Weigel Williams. A Short History of Opera. 4th ed. New York: Columbia University Press, 2003. Gutman, Robert W. Richard Wagner: The Man, His Mind, and His Music. New York: Harcourt Brace Jovanovich, 1974. Hutchison, Ernest. A Musical Guide to the Richard Wagner Ring of the Nibelung. New York: Simon and Schuster, 1940. Reprint 1972. Kerman, Joseph. Opera as Drama. 3rd ed. Berkeley: University of California Press, 2005. Kimball, David R. B. Verdi in the Age of Italian Romanticism. Cambridge: Cambridge University Press, 1981. Lebrecht, Norman, ed. Mahler Remembered. New York: London: Faber and Faber, 1987.


Teaching Guide | 79 Mahler, Alma Schindler. Gustav Mahler: Memories and Letters. Ed. Donald Mitchell, Trans. by Basil Creighton. Rev. ed. Seattle: University of Washington Press, 1971. Mawer, Deborah, ed. The Cambridge Companion to Ravel. New York: Cambridge University Press, 2000. Millington, Barry. Wagner. Rev. ed. Princeton, NJ: Princeton Universty Press, 1992. Mitchell, Donald, and Andrew Nicholson, eds. The Mahler Companion. New York: Oxford University Press, 1999. Newman, Ernest. The Life of Richard Wagner. 4 vols. New York: Cambridge University Press, 1976. Poznansky, Alexander. The Tchaikovsky Handbook: A Guide to the Man and His Music. Compiled by Alexander Poznansky and Brett Langston. Bloomington: Indiana University Press, 2002. Robertson, Alec. Requiem: Music of Mourning and Consolation. London: Praeger, 1967. Sadie, Stanley. Wagner and His Operas. New York: St. Martin’s Press, 2000. Sadie, Stanley, and Roger Parker, eds. Verdi and His Operas. New York: St. Martin’s Press, 2000. Tovey, Donald Francis. “Brahms: Requiem, Op. 45.” In Essays in Musical Analysis: Concertos and Choral Works, 294–307. Oxford: Oxford University Press, 1989 (originally printed in 1935–39). Walker, Frank. The Man Verdi. Pheonix ed. Chicago: University of Chicago Press, 1982. Wagner, Richard. Wagner on Music and Drama: A Compendium of Richard Wagner’s Prose Works. Ed. A. Goldman and E. Sprinchorn. Trans. by H. Ashton Ellis. New York: Dutton, 1964. Weaver, William, and Martin Chusid. The Verdi Companion. New York: W. W. Norton & Company, 1988. Wiley, R. J. Tchaikovsky’s Ballets: Swan Lake, Sleeping Beauty, Nutcracker. Oxford: Oxford University Press, 1985. Youmans, Charles. Richard Strauss’s Orchestral Music and the German Intellectual Tradition: The Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press, 2005.

PART 6: IMPRESSSIONISM AND THE EARLY TWENTIETH CENTURY Prelude 6. Modernism in the Arts Overview This chapter surveys some of the late-nineteenth-century trends in the arts. The Impressionist style is presented first in

painting, followed by a discussion of the Symbolist literary movement. The traits of musical Impressionism are presented (parallel chords, ninth chords, unresolved dissonances), including those resulting from non-Western influences (new scales, rhythms, instrumental colors). Debussy is introduced as the most important French Impressionist composer, and Ravel is presented as a post-Impressionist whose art embraced the ideals of Neoclassicism as well as Impressionism. Goals for students in Part 6 • To appreciate the goals of Impressionist painters and the influence they had on music • To perceive the new sonorities of Impressionism • To understand the relationship between Symbolist poetry and musical Impressionism • To view Debussy as the epitome of musical Impressionism and Ravel as both an Impressionist and Neoclassicist • To recognize world exhibitions as a major venue for cultural and musical exchanges • To appreciate the far-reaching musical and cultural interests of Ravel as viewed through his music

Chapter 34. Impressionism and Post-Impressionism I. Impressionism A. French movement in painting: Claude Monet’s Impression: Sun Rising 1. painters captured first impressions on canvas 2. fascinated with changing appearance of light and color 3. artists: Camille Pissarro, Edouard Manet, Edgar Degas, August Renoir B. Composers emulate use of color and iridescence 1. emphasized primary intervals: octaves, 4ths, 5ths 2. parallel movement of chords 3. non-Western influences: Moorish Spain, Javanese and Chinese orchestras 4. new use of dissonance: freed from need to resolve 5. use of chromatic and whole-tone scales 6. unusual instrument registers; use of harp, celesta 7. rhythm: non-Western influences, obscured pulse C. Continuation of Romantic tendencies *1. love of beautiful sound 2. emphasis on program music, tone painting, nature worship


80 | Chapter 9

D.

E.

F.

G.

3. highly lyrical 4. attempt to unite music, painting, and poetry 5. emphasis on mood and atmosphere Composers turned away from larger forms 1. short lyric forms: preludes, nocturnes, arabesques 2. intimate themes of nature a. Debussy: Clair de lune (Moonlight), Nuages (Clouds) Claude Debussy (1862–1918) 1. most important early twentieth-century French composer 2. at age eleven, attended Paris Conservatory a. shocked professors: bizarre harmonies, defied rules 3. at age twenty-two, won Prix de Rome 4. Pelléas and Mélisande (1902), opera: international success 5. conducted his works throughout Europe 6. turned against late Romantic style 7. subtlety of expression, light airy textures, short flexible forms 8. small output: orchestral compositions, dramatic works, chamber music, piano music, songs Prelude to “The Afternoon of a Faun” 1. symphonic poem, Symbolist poem by Stéphane Mallarmé a. landscape of antiquity b. faun (mythical creature: half man, half goat) dreams of three nymphs 2. relaxed rhythm, weakened accents, dreamlike fluidity 3. later choreographed for Ballets Russes Listening Guide 61: Prelude to “The Afternoon of a Faun” (Prélude à L’après-midi d’un faune) (1894) 1. loose A-B-A' structure 2. A section: opens with lyrical, chromatic flute melody a. free-flowing rhythms, lacks pulse b. harp glissandos follow 3. B section: clarinet introduces animated idea a. new theme carries emotional climax 4. A’ section: antique cymbals, “blue” chords 5. piece dissolves into silence

*II. Ravel as Post-Impressionist *A. Maurice Ravel (1875–1937) *1. composer, conductor; from French Basque region *2. attended Paris Conservatory for 16 years *3. music initially rejected by audiences and critics, gradual recognition

*4. after World War I, sought-after conductor *5. toured United States in 1928 *6. need for order and clarity of organization *a. music falls between Impressionism and Neoclassicism *7. influences: Spanish dance rhythms, old French harpsichordists, medieval and foreign scales, American jazz *8. works: three song cycles with orchestra, orchestral works, French art song, piano music, chamber music *B. Ravel’s Don Quixote to Dulcinea *1. song cycle for baritone and orchestra *2. Ravel’s last work *3. originally composed as film score *4. Paul Morand text: drawn from Don Quixote (1605–15), by Miguel Cervantes *5. Ravel set three texts from the script *6. each song based on Spanish dance rhythm *7. incisive rhythms, dissonant harmonies, broad melodies *8. Romanesque Song: *a. chivalrous knight, Don Quixote, would do anything for his lady, Dulcinea *b. if she doubted his dedication, he would die in shame *9. Drinking Song: Spanish jota, typically castanets and guitars *C. Listening Guide 62: Ravel, Two Songs from Don Quixote to Dulcinea (1932–33) *1. Romanesque Song *a. four stanzas, through-composed *b. guijira rhythm: alternates between Z and T *c. sweetly dissonant orchestral interludes *2. Drinking Song *a. strophic, two verses with refrain, A-B-A-B *b. Spanish jota, vigorous triple-meter dance *c. highly syncopated *d. melismatic melodic line: suggests flamenco singing Discussion Topics Impressionism in painting and music Debussy and the Symbolist poets Forums for sharing musical ideas, then and now What Debussy and Ravel heard at the World’s Fair in 1889 Adapting music from another culture into Western traditions Post-Impressionism versus Neoclassicism in Ravel Influence of Spanish culture on Ravel Ravel and exoticism


Teaching Guide | 81 Music Example Bank III/34 I/51 IV/33 III/36 I/52 III/35 IV/32

Debussy, La cathédrale engloutie, melody, Impressionist; parallel chords Debussy, Golliwog’s Cakewalk, ragtime Debussy, Pagodes, pentatonic scale,gamelan (influence) Debussy, Pelléas et Mélisande, Act I, Scene 3, harmony, Impressionist, ninth chords Debussy, Syrinx. exoticism, Impressionist; rhythm, Impressionist Debussy, Voiles, whole-tone scale Taruna Jaya, Balinese Traditional (gamelan)

iMusic Example Tabuh Kenilu Sawik (gamelan from Sumatra) Suggested Reading for Chapter 34 Austin, William, ed. Debussy, Prelude to “The Afternoon of a Faun”: An Authoritative Score. New York: W. W. Norton & Company, 1970 Brody, Elaine. Paris: The Musical Kaleidoscope, 1870– 1925. New York: G. Braziller, 1987. Fulcher, Jane F., ed. Debussy and His World. Princeton, NJ: Princeton University Press, 2001. Lesure, François, ed. Debussy on Music. Ithaca, NY: Cornell University Press, 1988. Lockspeiser, Edward. Debussy. Revised 5th ed. London: Dent, 1980. Nichols, Roger. “Claude Debussy.” In The New Grove Twentieth-Century Masters. New York: W. W. Norton & Company, 1986. ———, ed. Ravel Remembered. New York: W. W. Norton & Company, 1988. ———, ed. Debussy Remembered. Portland, OR: Amadeus Press, 1992. Orenstein, Arbie. Ravel: Man and Musician. New York: Columbia University Press, 1975. Vallas, Leon. Debussy: His Life and Works. New York: Dover, 1973. Watkins, Glenn. Soundings: Music in the Twentieth Century. New York: Schirmer, 1988.

Chapter 35. Early Modern Musical Style I. The New Rhythmic Complexity A. Reactions against Romanticism B. Twentieth-century music: explored nonsymmetrical patterns C. Changing meter: metrical flow shifted

D. Polyrhythm: simultaneous use of several rhythmic patterns E. Popular styles as sources: ragtime, jazz II. The New Melody A. Symmetrical structure abandoned B. Melody not conceived in relation to the voice 1. instrumental melody: not meant to “sing” 2. wide leaps, dissonant intervals III. The New Harmony A. Chord combinations grow from three or four notes, to six and seven 1. highly dissonant 2. increased tension in music B. Polyharmony: two or more harmonies combined C. New conceptions of tonality 1. expanded tonality a. free use of all twelve tones around a center b. retained principle of traditional tonality 2. polytonality: two keys present simultaneously 3. atonality: abandoned tonality completely, no tonic D. The twelve-tone method 1. method of composing by Arnold Schoenberg 2. also known as serialism, or dodecaphonic 3. tone row: particular assignment of 12 equal chromatic tones 4. alternative forms of the row: transposition, inversion, retrograde, retrograde inversion E. The emancipation of dissonance 1. dissonance can serve as a final cadence 2. dissonance is relative 3. not required to resolve to consonance 4. tension became the norm IV. Orchestration A. Early twentieth century: smaller orchestra 1. attention on woodwinds 2. darker instruments favored: viola, bassoon, trombone 3. emphasis on rhythm, percussion 4. piano joined the orchestra V. New Conceptions of Form A. Neoclassicism: Classical virtues 1. absolute music, formalism: valued form above expression 2. older forms revived: toccata, fugue, concerto grosso, suite 3. traditional forms retained: symphony, sonata, concerto 4. purity of line and proportion: sparse linear counterpoint 5. succinctness, balance, objectivity


82 | Chapter 9 Overview The early twentieth century is characterized by a reaction against Romanticism and an interest in non-Western music, especially in new rhythms. Other artistic trends that influenced music were Expressionism (the German answer to Impressionism) and the New Classicism. New elements of early-twentieth-century musical style are outlined; these include more complex rhythms, a non-vocal melody, a highly expanded harmonic language that eventually abandoned tonality, the emancipation of dissonance, a new textural conception of linear dissonance, a new orchestral sound, and an increased interest in form. The development of the serial system and its devices is reviewed as well. The first generation of early-twentieth-century composers is represented by Stravinsky and Schoenberg. Schoenberg’s pupils, Alban Berg and Anton Webern, both of the Second Viennese School, are presented with representative works. Chapter goals for students • To view the currents of the early twentieth century as a reaction against Romanticism • To appreciate the non-Western influences exerted on early-twentieth-century arts • To recognize the influence of the trends of Expressionism and New Classicism on musical style • To grasp the new elements of twentieth-century musical style, especially the innovative harmonic systems • To see Expressionist features in the works of Schoenberg and Webern and an interest in primitivism in the early works of Stravinsky • To understand the nationalistic and folk elements present in Stravinsky’s ballets Discussion Topics Non-Western influences on early-twentieth-century music Expressionism and music New freedoms and new constraints in twentieth-century music Abandonment of tonality Increased interest in form Music Example Bank Rhythm, twentieth century I/65 Ravel, Rapsodie espagnole, Feria, meter, shifting III/65 Poulenc, Gloria in G, Laudamus te, rhythm, complex III/66 Messiaen, Turangalîla Symphony, Joie du sang des étoiles

III/38

Stravinsky, The Rite of Spring, Sacrificial Dance of the Chosen One, polyrhythm

Melody, twentieth century III/38 Stravinsky, The Rite of Spring, Sacrificial Dance of the Chosen One Schoenberg, Verklärte Nacht, Op. 4, III/39 instrumental melody I/52 Debussy, Syrinx, instrumental melody Harmony, twentieth century III/40 Schoenberg, Suite for Piano, Op. 25, I Atonality, twelve tone III/53 Stockhausen, Zeitmasse for Five Woodwinds, No. 5, atonality III/46 Ives, 67th Psalm, polychords, polytonality Dissonant counterpoint II/8 Bartók, Concerto for Orchestra, II I/37 Shostakovich, Trio for Violin, Cello, and Piano, I Orchestra, twentieth century III/43 Webern, Symphony Op. 21 New Classicism III/41 Prokofiev, Classical Symphony, III I/12 Prokofiev, Violin Concerto in G minor, II Popular music influence I/51 Debussy, Golliwog’s Cakewalk, ragtime I/1 Gershwin, Concerto in F, III, jazz IV/25 Ravel, Sonata for Violin and Piano, II, blues

Chapter 36. Music of the Early Modernists I. Stravinsky and the Revitalization of Rhythm A. Igor Stravinsky (1882–1971) 1. Russian composer, pianist, conductor 2. studied at University of St. Petersburg with Rimsky-Korsakov 3. early success composing for Ballets Russes: The Firebird, Petrushka, The Rite of Spring 4. World War I: took refuge in Switzerland, then settled in France 5. concertized throughout Europe; pianist and conductor performing his own music 6. during World War II settled in California, became United States citizen 7. musical style evolved: post-Impressionism, primitivism, controlled Classicism, serialism 8. great orchestrator: polished brightness, clear texture 9. output: orchestral music, ballets, operas, choral music, chamber music, piano music, songs


Teaching Guide | 83 B. The Rite of Spring 1. independent concert piece, originally composed for Ballets Russes 2. subtitled: Scenes of Pagan Russia a. solemn pagan rite b. young girl sacrificed to propitiate the God of Spring c. young girl dances herself to death 3. musical style: a. polyrhythms, ostinatos, pedal points, melodic repetition b. full force of brass and barbaric percussion c. whole-tone and octatonic scales d. dense harmony, polytonality, harsh dissonance, tonality retained e. authentic Russian folk tunes quoted f. huge orchestra: expanded brass, woodwinds, percussion 4. opening night in Paris: frenzied riot C. Listening Guide 63: Stravinsky, The Rite of Spring (Le sacre du printemps), Part I, excerpts (1913) 1. Introduction a. slow tempo, (lento) b. opens with bassoon melody in uppermost range: awakening of Earth in Spring c. opening based on Lithuanian folk tune d. pizzicato ostinato in violins e. free, shifting meter f. four-note pizzicato rhythmic motive in violins 2. Dance of the Youths and Maidens a. opens with polytonal, percussive chords by strings b. constant eighth-note motion, unpredictable accents c. three folklike melodies d. dense texture, complex polyphony e. loud dynamics build to climax 3. Game of Abduction a. fast tempo, no established pulse b. folk theme played by woodwinds, piccolo trumpet c. modal harmonies, primitive atmosphere d. dense texture, constantly changing timbres II. Schoenberg and the Second Viennese School A. Arnold Schoenberg (1874–1951) 1. Viennese composer, conductor, educator 2. Second Viennese School: Schoenberg, Alban Berg, Anton Webern 3. little formal training

4. World War I, military service 5. World War II emigrated to United States, became citizen 6. faculty of USC, and UCLA 7. works banned in Germany during World War II 8. works: atonal-Expressionism, twelve-tone 9. output: orchestral music, choral, chamber, piano music B. Expressionism 1. German movement initiated in poetry and painting 2. reaction against French Impressionism 3. painters: Wassily Kandinsky, Paul Klee, Oskar Kokoschka, Edvard Munch 4. literature: Franz Kafka 5. hyperexpressive distortion and exaggeration for emotional effect C. Pierrot lunaire (Moonstruck Pierrot) 1. song cycle for female reader and chamber ensemble 2. drew on commedia dell’arte (improvised comedy) a. Pierrot: poet-rascal-clown, parodied character 3. Albert Giraud’s poetry: elements of macabre, bizarre *a. 21 texts, three groups of seven, each text is a rondeau 4. Sprechstimme: spoken, not sung, on exact pitches and strict rhythm 5. Klangfarbenmelodie: tone-color melody a. each note of melody played by different instrument D. Listening Guide 64: Schoenberg, Pierrot lunaire, Nos. 18 and 21 (1912) 1. No. 18: The Moonfleck (Der Mondfleck) a. voice with five instruments (piccolo, clarinet, violin, cello, piano) b. Pierrot is disturbed by white fleck on his black jacket c. three-voice fugue in piano d. pointillistic, flickering instrumental effects e. disjunct line, harshly dissonant *2. No. 21: O Scent of Fabled Yesteryear (O alter Duft aus Märchenzeit)) *a. voice with all eight instruments (flute/piccolo, clarinet/bass clarinet, violin/viola, cello, piano) *b. Pierrot remembers earlier, innocent times *c. more consonant harmony *d. melancholic mood *e. Sprechstimme dies away, pianissimo


84 | Chapter 9 III. Berg and Early-Twentieth-Century Opera A. Alban Berg (1885–1935) 1. Vienna-born composer 2. student of Arnold Schoenberg 3. World War I, military service 4. Wozzeck, opera, brought international fame 5. active as teacher and author 6. works banned in Germany during World War II 7. style rooted in German Romanticism 8. master of twelve-tone music with lyric imagination 9. small output includes: two operas, orchestral music, violin concerto, piano music, songs B. Berg’s Wozzeck 1. opera based on Expressionist play by Georg Büchner (1813–1837) 2. atonal-Expressionist, looks back to Wagnerian tonal tradition a. some tonality, use of leitmotifs b. moments of passionate lyricism c. anticipates twelve-tone procedure 3. plot summary: a. Wozzeck, main characater, a common soldier b. Wozzeck and Marie have illegitimate son c. sadistic Captain and scientific Doctor use Wozzeck for experiments d. Wozzeck given to hallucinations e. Marie is unfaithful to Wozzeck f. Wozzeck kills Marie, drowns himself g. final scene, playing children find Marie’s body h. Marie’s son, not understanding, rides off stage C. Listening Guide 65: Berg, Wozzeck, Act III, Scene 4, Interlude, and Scene 5 (1922) 1. Act III, Scene 4: By the Pond a. Sprechstimme, disjunct melody b. tonal and atonal harmony: dissonant and chromatic c. surging dynamics d. unusual instrument combinations *2. Orchestral interlude *a. very slow tempo *b. lush, Romantic chromatic chords *c. forceful climax: brass, woodwinds, timpani *3. Act III, Scene 5: Children playing in front of Marie’s house *a. children’s voices and orchestra *b. begins with distorted children’s song *c. disjunt melody followed by speechlike lines

*d. lilting V meter, pulse grows obscure *e. ends with pianissimo accompaniment *IV. Webern and Serial Technique *A. Anton Webern (1883–1945) *1. Viennese composer, conductor *2. student of Arnold Schoenberg *3. studied Renaissance music *4. Nazis forbade his music, burned his writings *5. sought refuge near Salzburg *6. accidentally shot to death by American sentry *7. works are brief, subtle, fleeting: concentration of thought, spareness of writing, unusual instrument combinations, modern dissonant counterpoint *8. orchestral works, chamber music, piano music, choral works, songs *B. Symphony, Opus 21 *1. total serialism: included pitch, rhythms, timbres, dynamics *2. written for chamber orchestra *3. first modern Viennese symphony *4. two movements, brief: ten minutes long *5. Klangfarbenmelodie: two to four notes per instrument *6. complex contrapuntal procedures *C. Listening Guide 66: Webern, Symphony, Opus 21, Second Movement (1928) *1. theme and seven variations, coda *2. symmetrical organization *3. theme statement: clarinets, muted horns and harp *4. disjunct, pointillistic melody *5. varied moods: quiet and peaceful to loud and frenzied Discussion Topics Stravinsky and nationalism Development of Stravinsky’s style Schoenberg and the abandonment of tonality Symbolist and Expressionist poetry set by Schoenberg Berg and the world of German Romanticism Berg’s use of twelve-tone writing Serialism as a form of expression Dehumanizing of music through serialism? Music Example Bank III/40 III/39 IV/36

Schoenberg, Suite for Piano, Op. 25, I, atonality, twelve tone Schoenberg, Verklärte Nacht, Op. 4, instrumental melody Na solnechnom vskhode, Russian Traditional (wedding song)


Teaching Guide | 85 IV/37 II/7 I/18 III/38 I/33 III/42 III/40 III/39 III/43 III/42 III/43

Mirangula, Russian Traditional (men’s chorus) Stravinsky, Pastorale Stravinsky, The Rite of Spring, Dance of the Youths and Maidens Stravinsky, The Rite of Spring, Sacrificial Dance of the Chosen One Stravinsky, The Soldier’s Tale, Soldier’s March Berg, Wozzeck, Act III, Scene 1, Sprechstimme Schoenberg, Suite for Piano, Op. 25, I Schoenberg, Verklärte Nacht, Op. 4 Webern, Symphony Op. 21, Klangfarbenmelodie Berg, Wozzeck, Act III, scene 1, Sprechstimme Webern, Symphony Op. 21, Klangfarbenmelodie

iMusic Example Berg, Wozzeck, Act I, Scene 1 Webern, Variations for Orchestra, Op. 30 Suggested Reading for Chapter 36 Brody, Elaine. Paris: The Musical Kaleidoscope, 1870– 1925. New York: G. Braziller, 1987. Craft, Robert. Stravinsky: Chronicle of a Friendship, 1948– 1971. New York: Vintage, 1972. ———. “Anton Webern.” In The New Grove Second Viennese School: Schoenberg, Webern, Berg. New York: W. W. Norton & Company, 1997. Cross, Jonathan, ed. The Cambridge Companion to Stravinsky. New York: Cambridge University Press, 2003. Duckworth, William. 20/20: 20 New Sounds of the 20th Century. New York: Schirmer Books, 1999. Frisch, Walter, ed. Schoenberg and His World. Princeton, NJ: Princeton University Press, 1999. Jarman, Douglas. The Music of Alban Berg. Berkeley: University of California Press, 1979. Haimo, Ethan. Schoenberg’s Transformation of Musical Language. New York: Cambridge University Press, 2006. Hill, Peter. Stravinsky: The Rite of Spring. New York: Cambridge University Press, 2000. Johnson, Julian. Webern and the Transformation of Nature. New York: Cambridge University Press, 1999. Kolneder, Walter. Anton Webern: An Introduction to His Works. Trans. by Humphrey Searle. Berkeley: University of California, 1968.

Machlis, Joseph. Introduction to Contemporary Music. 2nd ed. New York: W. W. Norton & Company, Inc., 1979. Morgan, Robert. Twentieth-Century Music. New York: W. W. Norton & Company, 1991. Neighbour, Oliver. “Arnold Schoenberg.” In The New Grove Second Viennese School. New York: W. W. Norton & Company, 1997. Perle, George. “Alban Berg.” In The New Grove Second Viennese School. New York: W. W. Norton & Company, 1997. ———. The Operas of Alban Berg. Berkeley: University of California Press, 1985. Reich, Willi. The Life and Works of Alban Berg. Trans. by Cornelius Cardew. New York: Da Capo, 1982. Rosen, Charles. Arnold Schoenberg. Chicago: University of Chicago Press, 1996. Ross, Alex. The Rest is Noise. New York: Picador, 2008. Sadie, Stanley, and John Tyrrell, eds. The New Grove Stravinsky. New York: Palgrave, 2002. Salzman, Eric. Twentieth-Century Music: An Introduction. 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 1988. Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein. Trans. by Leo Black. Berkeley: University of California Press, 1984. Simms, Bryan R. Music of the Twentieth Century: Style and Structure. 2nd ed. New York: Schirmer, 1996. ———, ed. Schoenberg, Berg, and Webern: A Companion to the Second Viennese School. Westport, CT: Greenwood Press, 1999. Slonimsky, Nicholas. Music Since 1900. 4th ed. New York: Scribner, 1971. Supplement 1986. Watkins, Glenn. Soundings: Music in the Twentieth Century. New York: Schirmer, 1988. ———. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Post-Modernists. Cambridge, MA: Belknap Press of Harvard University Press, 1994. White, Eric Walter. Stravinsky, the Composer and His Works. 2nd ed. Berkeley: University of California Press, 1979. ———. “Igor Stravinsky.” In The New Grove Modern Masters. New York: W. W. Norton & Company, Inc., 1984.

Chapter 37. European National Schools Overview This chapter surveys twentieth-century nationalism in Europe and in the United States, contrasting its resulting product with that of the nineteenth century. The various European national


86 | Chapter 9 schools are reviewed, and representative composers for each suggested. The Russian school is represented by Prokofiev, the Eastern European school by Bartók, and the German school by Orff. All of these works feature the use of folk idioms. I. National Schoools A. France: Les Six (The Six) *1. inspired by Erik Satie (1866–1925) 2. Darius Milhaud (1892–1974) *3. Arthur Honegger (1892–1955) *4. Germaine Tailleferre (1892–1983) 5. Francis Poulenc (1899–1963) B. Russian School *1. Sergei Rachmaninoff (1873–1943) *2. Alexander Scriabin (1872–1915) 3. Sergei Prokofiev (1891–1953) 4. Dmitri Shostakovich (1906–1975) C. England *1. Ralph Vaughan-Williams (1872–1958) 2. Benjamin Britten (1913–1976) D. Germany 1. Paul Hindemith (1895–1963) *2. Carl Orff (1895–1982) *E. Other national schools *1. Béla Bartók (1881–1945 ), Hungary *2. Zoltán Kodály (1882–1967), Hungary *3. Jean Sibelius (1865–1957), Finland *4. Ernest Bloch (1880–1959), Jewish influence II. Béla Bartók and the Eastern European Tradition A. Béla Bartók (1881–1945) 1. Hungarian composer, ethnomusicologist, virtuoso pianist 2. toured remote villages with Kodály, collected over 2,000 folk songs and dances 3. during World War II, emigrated to United States 4. influences: ancient modes, unfamiliar scales, nonsymmetrical rhythms 5. rhythmic innovator: syncopation, changing meters, ostinatos, pounding rhythms 6. complex, modern dissonant counterpoint, polytonality 7. adherence to Classical forms 8. works: orchestral, five concertos, string quartets, piano music, vocal music B. Concerto for Orchestra 1. commissioned by Boston Symphony Orchestra conductor, Serge Koussevitsky 2. composed when he was terminally ill 3. entire orchestra is the virtuoso 4. five movements; mvt. 4 Interrupted Intermezzo

C. Listening Guide 67: Bartók, Interrupted Intermezzo, from Concerto for Orchestra (1943) 1. Allegretto; rondolike form (A-B-A'-C-B'-A") 2. polytonal and atonal harmonies 3. asymmetrical rhythms, shifting meters 4. A section: flute and oboe, folklike pentatonic melody 5. B section: broad and lyrical string melody, shifting meter 6. C section, interruption: harsh descending clarinet line a. quotes Shostakovich Symphony No. 7 b. musical portrayal of 1942 Nazi invasion of Russia *III. Sergei Prokofiev and the Russian School *A. Sergei Prokofiev (1891–1953) *1. Russian composer, pianist *2. following 1917 Russian Revolution, emigrated to Paris *3. voluntarily rejoined the Soviets *4. works briefly banned by Communist Party *5. style: Neoclassical, primitive rhythms, use of dissonance rooted in a key, lyric expression, brilliant orchestration *6. works: ballets, symphonies, eight concertos, choral music, piano music, film scores *B. Lieutenant Kijé Suite *1. orchestral suite, extracted from film score *2. large orchestra: expanded brass, tenor saxophone, piano or celesta, harp, percussion *3. tenor saxophone featured; bassoon and trombone solos *4. pungent dissonance, main melody set in regular phrases *C. Listening Guide 68: Prokofiev, Troika, from Lieutenant Kijé Suite (1934) *1. rondolike form, slower opening and closing *2. majestic introduction *3. A theme: tavern song, tenor saxophone with sleigh bells *4. transition: pizzicato strings with sleigh bells *5. B theme: disjunct and accented trombone *6. C theme: rhythmic, dancelike IV. The German Composer Carl Orff A. Carl Orff (1895–1982) 1. German composer, educator 2. continued music activity in Nazi Germany *3. composition professor in Munich *4. received several honorary doctorates 5. interest in early music, medieval Latin lyrics, German folk song


Teaching Guide | 87 6. pedagogical Schulwerk program for children: linked music and gesture 7. vigorous rhythmic style, complex harmonies and textures, folklike nature, dissonant but tonal 8. output: stage works, trilogy of cantatas, Lieder, orchestral music B. Orff’s Carmina burana 1. secular cantata, 25 movements in five scenes 2. chorus, soloists, and large orchestra 3. racy medieval lyrics 4. moralizing and satirical themes 5. based on turning wheels of fortune 6. opening chorus: cliché for action scenes in movie trailers C. Listening Guide 69: Orff, O fortuna, from Carmina burana (1936) 1. three large strophes, highly repetitive 2. evokes Fortuna, goddess of luck 3. dramatic choral opening: slow, fortissimo 4. tonal, evoking archaic music 5. persistent, asymmetrical offset accents; unceasing pedal point 6. strong, primeval rhythmic drive throughout Chapter goals for students • To appreciate the goals of twentieth-century nationalism and how they differ from earlier eras • To recognize political events as important impetuses for writing nationalistic works • To observe the differences in the music of the various European national schools, recognizing the influence of traditional musics Discussion Topics Approaching traditional music with a scientific spirit Recording in the field for authenticity Nineteenth- versus twentieth-century nationalism Use of folk song and dance in the twentieth century Kodály and Bartók’s recording project Cultural studies of music (ethnomusicology) Incorporating folk styles into Western compositions Urban adaptation of rural styles—Roma bands Music Example Bank French school, twentieth century II/26 Poulenc, Gloria in G, Laudamus te Russian school, twentieth century III/41 Prokofiev, Classical Symphony, III II/16 Prokofiev, Lieutenant Kije, Romance

I/12 II/20 III/44

Prokofiev, Violin Concerto in G minor, II Shostakovich, Ballet Suite No. 1, Music Box Waltz Shostakovich, Symphony No. 5 in D minor, IV

English school, twentieth century I/62 Britten, The Young Person’s Guide to the Orchestra I/50 Holst, The Planets, “Jupiter” German school, twentieth century II/13 Hindemith, Sonata for Bass Tuba and Piano, III East European school, twentieth century II/8 Bartók, Concerto for Orchestra, II II/6 Enescu, Romanian Rhapsody No. 1 II/4 Kodály, Háry János, Song Spanish school, twentieth century I/64 Rodrigo, Concierto de Aranjuez Scandinavian school, twentieth century I/8 Sibelius, Finlandia, Op. 26 Traditional music IV/38 Aki dudas akar lenni, Hungarian Traditional (Bartók collection) IV/39 Olaska, Romany Traditional

Chapter 38. American Modernism in Music The beginnings of American nationalism are explored. I. Bands in America A. Outgrowth of British military band B. Wind bands: first as Revolutionary War regimental bands C. U.S. Marine Band, founded in 1798 D. Civil War regiments marched to brass bands E. John Philip Sousa (1854–1932) 1. conducted U.S. Marine Band (1880–92) 2. known as “The March King” 3. toured United States and Europe with his own band 4. wrote over 130 marches 5. created national music for America F. Post-war bands reorganized as concert and dance ensembles II. The Modernist Charles Ives and New England Culture A. Charles Ives (1874–1954) 1. Connecticut-born composer, businessman 2. son of a Civil War band leader


88 | Chapter 9 3. studied composition at Yale 4. entered insurance business, composed in spare time 5. music not well-received; rarely heard his works performed *6. privately printed and distributed select works 7. delayed recognition, Pulitzer Prize in 1947 8. innovative use of familiar tunes, polytonality, polyharmony, polyrhythm; ideas derived from clashing marching bands 9. orchestral music, over 100 songs, chamber and piano music B. Ives’s Country Band March 1. work for large wind ensemble 2. forceful march, well-known tunes occur 3. realism of amateur band: out-of-tune, bad entrances, wrong notes 4. nostalgic American tunes quoted a. London Bridge, Yankee Doodle, Arkansas Traveler b. Foster: Massa’s in de Cold Cold Ground, My Old Kentucky Home c. Sousa: Semper Fidelis, Washington Post C. Listening Guide 70: Ives, Country Band March, (c. 1903) 1. Sectional form (A-B-A-B'-A'), short introduction 2. main march theme: forceful duple meter 3. main theme occurs throughout 4. complex mesh of tunes: tunes collide and overlap 5. harshly dissonant polytonality and polyrhythms *III. Ruth Crawford and Modernist Piano Music *A. Ruth Crawford (1901–1953) *1. Ohio-born composer *2. studied at MacDowell Colony artists’ retreat; American Conservatory in Chicago *3. first woman to receive Guggenheim Fellowship *4. married musicologist-folklorist Charles Seeger *5. musical style in two periods *a. abandoned tonality, strong dissonances, irregular metric treatment *b. experimental, serial techniques, dissonant contrapuntal procedures *6. important works: string quartet, piano music, chamber works, vocal music, choral music, folk song arrangements *B. Crawford’s piano preludes *1. represent her early period

*2. influenced by Scriabin: dissonant style, personal mysticism *3. published in New Music Quarterly *C. Listening Guide 71: Crawford, Piano Prelude No. 6 (published 1928–29) *1. A-A', with closing *2. Andante mystico: spiritual, mystical mood *3. subtle dynamics *4. A section: high range, dissonant chords *a. ppp, Impressionist-style parallel motion *b. shifting meters *5. arpeggiated bass chords, grows louder *6. closing section: arpeggios and parallelisms trade registers *7. fades to dissonant whisper Chapter goals for students • To view American music as highly eclectic, drawing from many European and African sources • To realize the genius and originality of Charles Ives • To appreciate the influence of American and European traditional music on art music Discussion Topics American wind bands and John Philip Sousa Charles Ives’s “New England” style Music Example Bank III/45 I/1 III/24 I/41 II/11 IV/61 II/35 IV/4 IV/8 IV/41 IV/54 IV/40 IV/7 IV/27 IV/66 IV/17 IV/3 IV/6

Billings, Swift as an Indian Arrow Flies, fuging tune, part song Gershwin, Piano Concerto in F, III Gottschalk, Cakewalk, Grand Walkaround Gould, arr. American Salute, When Johnny Comes Marching Home Grofé, Grand Canyon Suite, On the Trail Hopkinson, President’s March Sousa, The Stars and Stripes Forever Amazing Grace, nineteenth-century hymn America Battle Hymn of the Republic, Civil War song Columbia, the Gem of the Ocean Dixie, Civil War song Goodbye, Old Paint, cowboy song John Henry, work song O Canada, Canadian national anthem Simple Gifts, nineteenth-century hymn The Star-Spangled Banner Yankee Doodle, Revolutionary War song


Teaching Guide | 89 iMusic Examples Sousa, Stars and Stripes Forever Foster, Camptown Races Foster, Oh! Susannah! Suggested Reading for Chapter 38 Austin, William W. “Aaron Copland.” In The New Grove Twentieth-Century American Masters. New York: W. W. Norton & Company, 1988. Chase, Gilbert. America’s Music, from the Pilgrims to the Present. 3rd rev. ed. Urbana: University of Illinois Press, 1987. Cowell, Henry, ed. American Composers on American Music: A Symposium. New York: F. Ungar, 1962. Crawford, Richard. America’s Musical Life: A History. New York: W. W. Norton & Company, 2005. Crist, Elizabeth. Music for the Common Man: Aaron Copland During the Depression and War. New York: Oxford University Press, 2005. Feder, Stuart. The Life of Charles Ives. New York: Cambridge University Press, 1999. Felsenfeld, Daniel. Ives and Copland: A Listener’s Guide. Pompton Plains, NJ: Amadeus Press, 2004. Hamm, Charles. Yesterdays: Popular Song in America. New York: W. W. Norton & Company, 1979. Ives, Charles E. Memos. Ed. by John Kirkpatrick. New York: W. W. Norton & Company, 1971. Kingman, Daniel. American Music: A Panorama. 2nd ed. New York: Schirmer, 1990. Kirkpatrick, John. “Charles Ives.” In The New Grove Twentieth-Century American Masters. New York: W. W. Norton & Company, 1988. Lampert, Vera, and Lászlo Somfai. “Béla Bartók.” In The New Grove Modern Masters. New York: W. W. Norton & Company,1984. McAllister, Rita. “Sergey Prokofiev.” In The New Grove Russian Masters 2. New York: W. W. Norton & Company, 1986. Perlis, Vivian. Charles Ives Remembered: An Oral History. New York: W. W. Norton & Company, 1976. Robinson, Harlow. Sergei Prokofiev: A Biography. Boston: Northeastern University Press, 2002. Rockwell, John. All American Music: Composition in the Late Twentieth Century. New York: Knopf, 1983. Rossiter, Frank R. Charles Ives and His America. New York: Liveright, 1975. Schneider, David E. Bartók, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality. Berkeley: University of California Press, 2006. Thomson, Virgil. American Music Since 1910. New York: Holt, Rinehart and Winston, 1971.

Tischler, Barbara. An American Music: The Search for an American Musical Identity. New York: Oxford University Press, 1986.

Chapter 39. Nationalism in the Americas Overview The multicultural heritage of the United States is Explored through the music of William Grant Still, Aaron Copland, and Silvestre Revueltas. I. William Grant Still: African-American Composer A. William Grant Still (1895–1978) 1. Mississippi-born composer, violinist 2. studied composition with Edgard Varèse 3. most important musical voice of Harlem Renaissance a. 1920s and ’30s movement celebrating African-American culture and arts 4. broke racial barriers: goal “to elevate Negro musical idioms . . . to dignity” a. Afro-American Symphony (1931): first symphony by African-American composer performed by major American orchestra b. Troubled Island (1949): first AfricanAmerican composer performed in major opera house 5. Guggenheim Fellowship; honorary degrees 6. music infused with elements of spirituals, blues, and jazz 7. 150 compositions span most genres B. Stills’s Suite for Violin and Piano 1. three movements, each inspired by AfricanAmerican sculptures a. African Dancer by Richmond Barthe b. Mother and Child by Sargent Johnson c. Gamin by Augusta Savage 2. bluesy, modal harmonies 3. flashy syncopated violin line 4. Harlem stride piano: evolved from ragtime, resembles jazz a. bass pattern: regular four-beat pattern, offbeat chords on 2nd and 4th beats C. Listening Guide 72: Still, Suite for Violin and Piano, Third movement (1943) 1. sectional form, opening returns frequently 2. “rhythmically and humorously” 3. quick duple meter, highly syncopated offbeat chords 4. bluesy, short, syncopated ideas 5. ideas exchanged between violin and piano 6. violin effects: glissandos, trills, double stops


90 | Chapter 9 II. Aaron Copland: American Nationalist A. Aaron Copland (1900–1990) 1. Brooklyn-born composer 2. studied in Paris with Nadia Boulanger 3. victim of McCarthyism in 1950s 4. simplified music: appeal to large public 5. style: jazz idiom, Neoclassicist, twelve-tone technique in 1960s 6. works: ballets, film scores (Academy Award winner), three symphonies, piano concerto, opera, piano music, chamber music, choral music, songs B. Copland’s Appalachian Spring 1. composed for ballet, performed as a suite 2. Martha Graham: choreographer, lead dancer 3. takes place in early nineteenth century, rural Pennsylvania a. pioneer celebration in spring b. bride- and husband-to be enact emotions of their partnership 4. quotes Shaker melody, Simple Gifts C. Listening Guide 73: Copland, Appalachian Spring, excerpts (1945) 1. Section 1: a. introduces characters b. very slow, tranquil c. solo clarinet, then flute plays ascending motive: daybreak over vast horizon d. solos in various woodwinds and trumpet e. clarinet with closing triad over sustained harmony 2. Section 7 a. theme (Simple Gifts) and five variations b. theme presented by solo clarinet c. calm and flowing duple meter d. variations: individual instruments featured e. variation 5: full orchestra, builds to dissonant fortissimo, dies out III. Art Music Traditions in Mexico A. Mexican culture: 1. Mexico colonized by Spain, 1519 *2. Catholic church influenced musical life 3. 1910 Mexican Revolution stirred patriotism 4. post-revolutionary, “Aztec Renaissance” a. composers suggest native music *b. Manuel Ponce (1887–1948), native folk and dance music *c. Carlos Chávez (1899–1978), Amerindian flavor; founded Orquesta Sinfónica de Mexico; director of National Conservatory 5. mestizos: people of Spanish and Amerindian ancestry

IV. Silvestre Revueltas: Mexican Nationalist A. Silvestre Revueltas (1899–1940) 1. Mexican composer, conductor, violin prodigy 2. studied composition in Mexico City and Austin, Texas 3. Assistant Conductor of the Orquesta Sinfónica de Mexico 4. representative of “mestizo realism” 5. late 1930s, Spanish Civil War, went to Spain, worked for Loyalist government 6. composed anti-Fascist works 7. music: Mexican folk elements, dancelike rhythms, polyrhythms, ostinatos, lyrical 8. works: orchestral music, film scores, string quartets, ballets, songs B. Homage to Federico García Lorca 1. three-movement suite for chamber orchestra, includes piano 2. Federico García Lorca: poet executed during 1936 Spanish Civil War 3. 1937 premiere during Fascist bombing in Madrid 4. erases boundaries between popular and classical 5. Son: traditional Mexican dance, shifting meters T to Z C. Listening Guide 74: Revueltas, Homage to Federico García Lorca, Third movement, Son (1937) 1. sectional, rondolike form 2. evokes mariachi ensemble timbre 4. A section: seven-note melodic turns, highly syncopated, incorporates sesquialtera 5. B section: piano and string ostinato, chromatic trumpet solo 6. C section: Mexican dance theme (son), muted trumpets in parallel thirds 7. Coda: cluster chord in piano; fast, loud, frenetic V. Music from the Mariachi Tradition A. Originated mid-nineteenth century, western Mexico 1. string orchestra with bowed and plucked instruments a. guitarrón: large, acoustic bass guitar b. vihuela: rounded-back folk guitar 2. 1930s, addition of trumpets and violins *3. gained popularity through radio and film 4. performers wear costume of charros, Mexican cowboys 5. repertoire: traditional dances, triple meter, shifting accents, syncopation (sesquialtera) a. melody: trumpets and violins b. rhythm section: vihuelas, guitar, guitarrón, sometimes harp


Teaching Guide | 91 6. son: mixture of indigenous, Spanish, and African traditions a. son jalisciense: from the Jalisco region B. Listening Guide 75: Son jalisciense: El Cihualteco (The Man from Cihuatlàn) *1. strophic form, verse/chorus structure *2. witty and sexual lyrics *3. instrumental introduction *4. trumpets, violins, voice over guitarrón *5. shifting accents in T meter *6. melodic lines: consonant sound, parallel thirds Chapter Goals for Students

Copland, Aaron. Copland on Music. New York: W. W. Norton & Company, 1963. Copland, Aaron, and Vivian Perlis. Copland: 1900 through 1942. New York: St. Martin’s, 1999. Garland, Peter. In Search of Silvestre Revueltas: Essays 1978–1990. Sante Fe, NM: Soundings Press, 1991. Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States. New York: Oxford University Press, 1999. Slonimsky, Nicolas. Music of Latin America. New York: Da Capo Press, 1972. Southern, Eileen. The Music of Black Americans. 3rd ed. New York: W. W. Norton & Company, 1997. ———, ed. Readings in Black American Music. 2nd ed. New York: W. W. Norton & Company, 1983.

• To view American music as highly eclectic, drawing from many European and African sources Discussion Topics William Grant Still and breaking racial barriers in art music The influence of Nadia Boulanger on composition in the United States Exploration of the music of Latin America The music of the “Wild West” The influence of the Catholic Church in Latin America The mixture of traditional European and indigenous Amerindian cultures in Latin America The variety of sones in Mexico The popularity of mariachi and the son jalisciense Music Example Bank IV/42

The Yellow Rose of Texas, MexicanAmerican War song

Mexican music IV/18 Copland, Appalachian Spring, last section IV/28 Copland, John Henry IV/45 Chávez, Los Cuatro Soles IV/44 El Jarabe Tapatío, Mexican dance music (mariachi) iMusic Examples Catán, Rappaccini’s Daughter (contemporary opera) El Cihualteco (Mexican son) Suggested Reading for Chapter 39 Austin, William W. “Aaron Copland.” In The New Grove Twentieth-Century American Masters. New York: Norton, 1988. Béhague, Gerard. Music in Latin America: An Introduction. Englewood Cliffs, N.J.: Prentice-Hall, 1979.

PART 7: MUSIC BEYOND THE CONCERT HALL Prelude 7. The Rise of American Popular Styles Overview Jazz and blues are introduced as truly American forms of music, created principally by African Americans. Ragtime is discussed in relation to Scott Joplin, while the textual and musical forms of blues are presented, along with an example by Louis Armstrong. A great female blues singers—Billie Holiday—is highlighted. Duke Ellington represents the big band era, and bebop jazz style is illustrated by the Charlie Parker septet. The American musical theater is surveyed, choosing Richard Rodgers and Lorenz Hart and Leonard Bernstein as exemplary of the best of theater music. Bernstein’s West Side Story provides the basis for a discussion of Latin American musical styles and their influence. A survey of film music and rock music follows. Chapter goals for students • To understand ragtime, jazz, and blues as American styles created mainly by African Americans • To acknowledge the contributions of female AfricanAmerican singers to the blues • To appreciate the various jazz styles as represented by Louis Armstrong, Duke Ellington, and Charlie Parker • To recognize American musical theater as a unique contribution to world theater • To grasp the sociological and musical impact of rock and its performers • To broaden musical perspectives through an increased appreciation of the internationalization of popular music


92 | Chapter 9 Chapter 40. Ragtime, Blues and Jazz I. Scott Joplin and Ragtime A. Scott Joplin (1868–1917), “King of Ragtime” 1. Texas-born composer, pianist 2. son of a former slave 3. at age fourteen, traveled Mississippi Valley: honky-tonks and piano bars 4. 1893 World Exposition in Chicago: gained recognition 5. studied composition at George R. Smith College 6. Maple Leaf Rag, 1899: sold one million copies 7. teacher, composer, performer in New York 8. merged styles, elevated ragtime to serious art 9. awarded Pulitzer Prize posthumously 10. stage works, ballet, two operas, piano rags, piano music, songs B. Ragtime 1. precursor of jazz 2. African-American piano style 3. syncopated rhythm in right hand, steady accompaniment in left hand 4. Scott Joplin recordings: punched paper rolls, 1910 Steinway player piano C. Listening Guide 76: Joplin, Maple Leaf Rag, (published 1899) 1. sectional form, four strains 2. moderate duple meter 3. syncopated, disjunct melody; chordal accompaniment 4. A section: ascending melody, upbeat in bass 5. B section: higher register, descends 6. C section: new key area, new rhythmic pattern II. Blues and New Orleans Jazz A. Blues: derived from work songs of Southern blacks 1. harmonic progression: 12 measures long 2. “blue” note: drop in pitch on 3rd, 5th, or 7th scale tone 3. three-line stanza, first two identical B. New Orleans jazz 1. fusion of African-American elements: blues, ragtime, spirituals, work songs, shouts 2. improvisatory 3. multiple players, polyphonic texture a. melody: trumpet and cornet b. countermelody above: clarinet c. countermelody below: trombone d. rhythm section: string bass or tuba, guitar and banjo, or piano and drums

4. 1920s New Orleans musicians traveled throughout the country 5. Louis Armstrong developed early jazz styles a. scat singing: improvised syllables without meanings (vocables) III. The Jazz Singer Billie Holiday A. Billie Holiday (1915–1959) 1. leading female singer in jazz history 2. little education, abandoned and mistreated as a child 3. 1933 recorded with Benny Goodman 4. featured in Count Basie’s band 5. 1938 sang in public with a white orchestra 6. alcohol and drug abuse *7. untrained voice, small range 8. memorable recordings: best known for romantic ballads B. Listening Guide 77: Holiday, Billie’s Blues (recorded 1936) 1. 12-bar blues, short introduction, six choruses 2. laid-back slow tempo, steady accompaniment 3. vocal choruses 2, 3, 6 a. masterful rhythmic flexibility b. jazz embellishments: scoops, dips 4. chorus 4: clarinet improvisation 5. chorus 5: “gut bucket” trumpet (raspy tone quality) IV. The Swing Era and Beyond A. Big Band or Swing era: 1930s and ’40s 1. Great Depression: opportunities for black musicians 2. Duke Ellington’s big band style a. black and white audience b. dance clubs, hotel ballrooms B. Edward Kennedy “Duke” Ellington (1899–1974) 1. born in Washington, DC 2. jazz pianist, composer, arranger, band leader 3. major artistic figure of the Harlem Renaissance 4. 1920s, The Washingtonians played in New York jazz clubs *5. 1927–31, Cotton Club in Harlem 6. 1930s began touring, 14-piece band **a. need for arranged, composed music 7. collaborated with Billy Strayhorn, composer, arranger *8. concerts at Carnegie Hall, 13 Grammy awards, Pulitzer prize nomination C. Listening Guide 78: Strayhorn, Take the A Train, by the Duke Ellington Orchestra (recorded 1941) 1. 32-bar song form (A-A-B-A), three choruses 2. piano introduction, syncopated chromatic motive


Teaching Guide | 93 3. Chorus 1: saxophones present melody a. call-and-response: saxophones; muted trumpet and trombones 4. Chorus 2: muted trumpet, masterful improvisation, bent notes (shakes), glissandos 5. Chorus 3: unmuted trumpet solo 6. Coda: two repetitions of A, softer closing with saxophone ostinato V. Bebop and Later Jazz Styles A. Rebellion against big band jazz 1. late 1940s bebop (or bop): word mimics typical two-note phrase a. Dizzy Gillespie, trumpet b. Charlie Parker, saxophone *c. Bud Powell, Thelonius Monk; piano (Bud Powell not mentioned in short ed.) 2. substyles of bebop: cool jazz, West Coast jazz, hard bop, soul jazz 3. cool jazz a. laid-back lush harmonies b. lower volume levels, c. new lyricism d. Miles Davis 4. 1950s West Coast jazz a. small group, cool-jazz style b. mixed timbres, without piano c. contrapuntal improvisations d. Dave Brubeck Quartet, Gerry Mulligan Quartet B. Latin Influence 1. 1930s and ’40s Latin dance music, mainstream 2. dance rhythms, percussion instruments (conga drum, bongos, cowbells) *3. “Spanish-tinge”: Latin-influenced rhythm 4. integral to bebop style *C. Listening Guide 79: Gillespie/Parker, A Night in Tunisia (recorded 1946) *1. 32-bar song form (A-A-B-A), three choruses *2. Latin-tinged bebop style *3. quick duple meter, fast rhythmic activity *4. introduction: syncopated ostinato *5. Chorus 1: presents tune *6. highly virtuosic improvisational choruses follow D. Other jazz styles 1. third stream music: combination of classical and jazz traditions a. Modern Jazz Quartet, Wynton Marsalis 2. 1960s avant-garde jazz: free style a. John Coltrane

3. fusion-hybrid: jazz improvisation with amplified instruments, rhythmic pulse of rock a. Miles Davis, Jerry Garcia, Gary Burton 4. 1980s Neoclassical style: modern bebop a. Wynton Marsalis 5. free jazz of 1960s developed into new-age jazz a. Ornette Coleman, Paul Winter Discussion Topics Influence of African-American music on American popular styles Jazz as art music Influence of jazz on contemporary composers How social context influenced the creation of ragtime, blues and early jazz The evolution of jazz, bebop, and swing The popularity of Latin jazz Modern spiritual singing Jazz, a truly American art form African musical traditions and their appearance in the music of the United States New Orleans and Congo Square Music of the Mississippi Delta Blue notes in music The role of women in jazz music Music Example Bank IV/46 III/51 III/50 IV/27 IV/30 IV/16 III/49

III/48 III/52 I/1 IV/56 IV/29

Crossroads Blues, rural blues (Robert Johnson) Fitzgerald, Smooth Sailing, scat singing Holiday, Fine and Mellow, blue note John Henry, traditional work song Deep River, spiritual (Mahalia Jackson) Sometimes I Feel like a Motherless Child, spiritual (Paul Robeson) Preservation Hall Jazz Band, When the Saints Go Marching In (New Orleans style) Yelvington, Piffle Rag, ragtime Baker, Sonata for Cello and Piano, II Gershwin, Piano Concerto in F, III Price, Piano Sonata in e, II Still, Afro-American Symphony, I

iMusic Example Joplin, Pine Apple Rag When the Saints Go Marching In Swing Low Sweet Chariot


94 | Chapter 9 Chapter 41. Musical Theater I. The Development of American Musical Theater A. Early musicals: outgrowth of operetta (comic opera) 1. romantic plots, comedy, appealing melodies, choruses, dances B. Emphasis turned to sophisticated literary sources 1. Show Boat, Kiss Me Kate 2. George Gershwin, Porgy and Bess (1935), African-American folk idioms 3. composer/lyricist teams a. Rodgers and Hart, Rodgers and Hammerstein: Oklahoma!, The Sound of Music b. Lerner and Loewe: My Fair Lady C. 1970s and ’80s: Stephen Sondheim 1. new level of sophistication 2. more serious, dramatic expression 3. complex musical language, affinity for classical masters: Ravel and Copland D. Andrew Lloyd Webber: song and dance combined, dazzling scenic effects *1. The Phantom of the Opera, Les Misérables 2. revivals on Broadway: Chicago, South Pacific *E. film-based musicals, animated films: Beauty and the Beast *F. shows based on film: The Producers, The Full Monty, Spamalot G. Recent musicals 1. Rent, based on Puccini’s La bohème 2. Aida, Disney Production, based on Verdi’s Aida 3. dance-inspired musical: choreography takes precedence over story a. Billy Elliot, Stomp 4. “jukebox” musicals: feature popular songs of artist or group *a. Mamma Mia II. George Gershwin and the Merger of Classical and Jazz Styles A. George Gershwin (1898–1937) 1. composer, pianist, grew up in Manhattan 2. worked as song plugger on Tin Pan Alley 3. 1920s wrote first big hit, Swanee 4. 1920s: launched career as composer of concert music 5. 1924: international acclaim, Rhapsody in Blue 6. hit musicals, collaborated with brother, Ira

7. works: film scores, folk opera, songs, concert music 8. union of styles: popular and classical, vernacular and art 9. style: appealing rhythmic vitality, syncopation, blue notes, jazz-style accompaniment, sudden shifts in tonality, declamatory to highly lyrical melodies B. Gershwin’s Porgy and Bess 1. falls between opera and musical theater 2. continuous music, recurring themes, united jazz and classical music 3. takes place in Catfish Row, black tenement in Charleston, South Carolina 4. Summertime, Clara sings lullaby to her baby, opening scene a. Gershwin’s inspiration: Ukranian lullaby b. reprised throughout the opera C. Listening Guide 80: Gershwin, Summertime, from Porgy and Bess (1935) 1. melancholy strophic aria, two verses 2. minor key, anticipates tragedy 3. languid melody, swaying intervals 4. vocal inflections: dips, slides, blue notes 5. rhythmic subtleties, gentle syncopations III. Leonard Bernstein and the Broadway Musical A. Leonard Bernstein (1918–1990) 1. Massachusetts-born composer, conductor, educator, pianist, television personality 2. studied composition at Harvard and Curtis Institute 3. at age twenty-five, assistant conductor of New York Philharmonic a. last-minute nationally broadcast performance: overnight fame 4. at age forty, youngest, and first Americanborn conductor of New York Philharmonic 5. compositions rooted in tonality, soaring melodies, jazzy rhythms 6. symphonies, choral works, operas, musicals, film score, chamber and instrumental music, solo vocal music B. Bernstein’s West Side Story 1. updated Romeo and Juliet story 2. Arthur Laurents, playwright; Stephen Sondheim, lyricist 3. dramatic content, stirring melodies, colorful orchestration, vivacious dance scenes 4. New York City warring street gangs, Sharks and Jets 5. Mambo: Tony meets Maria


Teaching Guide | 95 6. Tonight: later same day, love duet a. Shakespeare’s balcony scene, takes place on fire escape C. Listening Guide 81: Bernstein, West Side Story, excerpts (1957) 1. Act I: the Dance at the Gym, Mambo a. fast-paced Afro-Cuban dance b. highly syncopated Latin beat; bongos, cowbells c. jazzy riffs: woodwinds and brass d. gang music sung alternately in English and Spanish e. excited voices and hand clapping 2. Act I: Tonight Ensemble a. 32-bar song form (A-A'-B-A") b. ominous three-note ostinato, brass and percussion c. fast, accented, rhythmic dialogue d. duple-meter love song e. ensemble finale i. Maria in high range ii. simultaneous dialogue iii. syncopated Latin rhythm in accompaniment iv. dramatic climax Discussion Topics Roots of musical theater in European operetta George Gershwin’s successful fusion of classical and jazz styles Dance in musical theater Film adaptations of musical theater Recent trends in musicals: Disney, dance oriented, “jukebox” Long history of popularity of Latin American dance music Afro-Cuban styles of dance (mambo, cha-cha-chá, salsa, etc.) Other Caribbean musics are popular as well (soca, calypso, reggae) Music Example Bank IV/57 IV/47 IV/49 IV/48

La Cumparsita, Argentinian Traditional, tango Congo Santiaguera, Cuban Traditional, conga Marley, One Love, ska, reggae Santa Rosa, Que manera de quererte. salsa

Chapter 42. Music for Films I. The Role of Music in Film A. Set a mood: reflect emotions of a scene 1. single mood can dominate for an entire film: Schindler’s List 2. “running counter to the action”: music contradicts the scene a. Godfather baptism scene: Bach’s organ music b. Pulp Fiction: light-hearted rock music B. Establishing character 1. Titanic: delineated social levels a. elegant chamber music: upper-deck aristocrats b. Irish dance music: lower levels C. Place and time: instruments suggest a time period *1. Gregorian chant, Middle Ages; trumpet fanfares, ancient Romans; harpsichord, eighteenth century 2. Gandhi: sitar, Braveheart: bagpipes D. Underscoring and source music 1. underscoring: unseen source 2. source music: functions as part of the drama a. Rear Window, only source music E. Musical unity 1. leitmotifs, Jaws two-note motive 2. characters have own themes, Star Wars *II. Music in the Silent Film Era *A. 1895, birth of cinema *B. Music established mood *1. piano, organs accompanied silent films *2. organ sound effects: gunshots, animal noises, traffic sounds *C. Major movie palaces: full symphony, 50 musicians *1. classical music *2. arrangements of popular, patriotic, religious tunes *3. newly composed music *D. 1908, first film score by Camille Saint-Saëns *E. 1915, first great American film score, The Birth of a Nation, Joseph Carl Breil *III. The Sound Era *A. 1926, Warner Bros. Vitaphone system, synchronized music with reel film *1. Jazz Singer (1927) *a. several songs by Al Jolson, brief passages of spoken words


96 | Chapter 9 *B. Golden Age of film music: lush symphonic scores *1. Max Steiner, 1930s, over 300 film scores *a. King Kong (1933), Gone with the Wind (1939), Casablanca (1942) *2. Erich Korngold, handful of scores *a. The Adventures of Robin Hood (1938) *C. Europe after World War I *1. Germany: brief artistic flourish *a. The Cabinet of Dr. Caligari (1920): distorted visions, modern music *2. France: art music composers also composed for film *a. Satie, Ibert, Taillefere, Milhaud, Honegger *3. Soviet Union under Lenin (1917–24): contributions by art composers *a. Shostakovich (16 film scores), Prokofiev (eight film scores) * IV. The Postwar Years *A. Post–World War II financial constraints: Golden Age symphonic sound declined *1. Bernard Herrmann: Citizen Kane (1941), Vertigo (1958) Psycho (1960), Taxi Driver (1976) *2. Miklós Rózsa: Ben Hur (1959), Spellbound (1945) *a. first to use electronic music in film *b. theremin: first fully electronic instrument *B. American art music composers *1. Aaron Copland: five Hollywood feature films, four Oscar nominations, one Oscar *2. Leonard Bernstein: one film score, West Side Story, Oscar *C. 1940s through 1960s moved from source music to underscoring *1. popular movie themes in demand *2. Henry Mancini: greatest composer of movie themes, Pink Panther (1964) *D. Rock music in 1950s *1. The Blackboard Jungle (1955), “Rock Around the Clock” *2. Elvis Presley, three movies a year *3. Rock albums: The Graduate (1967), Easy Rider (1969), Shaft (1971), Saturday Night Fever (1977) *E. Versatile composers write in all styles, modern and popular *1. Elmer Bernstein: divergent scores *a. introduced jazz as underscoring: The Man with the Golden Arm (1955) *b. To Kill a Mockingbird (1962), Ghostbusters (1984), Wild Wild West (1999)

*2. Jerry Goldsmith: lengthy and versatile career *a. Planet of the Apes (1968), Chinatown (1974), Hoosiers (1986) *b. Rambo action movies, many of the Star Trek series V. Star Wars and Beyond A. Revival of grand symphonic film score 1. John Williams: Star Wars (1977) a. unforgettable themes, accessible, neo-Romantic idiom *2. James Horner: use of synthesizer *a. Star Trek II (1982), Star Trek III (1984), Titantic (1997), Field of Dreams (1989), Apollo 13 (1995), Braveheart (1995), Avatar (2009) *B. Chariots of Fire (1981): full synthesizer score C. John Williams (b. 1932) 1. native of Long Island 2. studied at UCLA, the Julliard School 3. television compositions in 1950s, Gilligan’s Island 4. 1970s and ’80s, nine blockbuster hits *5. classical works, fanfares for the Olympics, conducted Boston Pops 1980–93, holds record for most Oscar nominations 6. film scores: Wagnerian ideas, extended chromatic harmony, use of leitmotifs, highly lyrical, memorable tunes 7. films include: Jaws, Star Wars, Close Encounters of the Third Kind, Superman, E.T., Jurassic Park, Schindler’s List, Harry Potter films D. John Williams’s Raiders March 1. leitmotifs define characters 2. Raiders March: entirety during closing credits E. Listening Guide 82: John Williams, Raiders March, from Raiders of the Lost Ark (1981) 1. A-B-A' form (March-Trio-March) 2. regular duple meter 3. brass and percussion featured 4. March: disjunct tune, trumpet a. melody heard four times, growing in intensity 5. Trio: lyrical melody in low strings (Marion’s love theme) *F. New breed of film composers *1. popular music background *a. Danny Elfman, Tim Burton films, Alice in Wonderland *b. Hans Zimmer, Academy Awards: Rain Man (1988), Driving Miss Daisy (1989)


Teaching Guide | 97 *2. women composers *a. Rachel Portman: first woman to win Academy Award for Best Music, Original Score, Emma (1996) *b. Diane Warren: Oscar nominations for song contributions, Legally Blonde II (2003), Princess Diaries II (2004) *G. 1990s art music composers *1. John Corigliano: new Romanticism *a. Oscar for Red Violin (1999) *2. Tan Dun, Chinese-American *a. Oscar for Crouching Tiger, Hidden Dragon (2000) *3. Philip Glass, minimalist composer *a. The Matrix (1999), The Truman Show (1998) *4. Alfred Newman, minimalist composer *a. Shawshank Redemption (1994), Finding Nemo (2003) *H. International composers *1. Gustavo Santaolalla: Argentinean, Oscarwinning scores *a. Brokeback Mountain (2005), Babel (2006) *2. A. R. Rahman, Indian and American pop music combined *a. Slumdog Millionaire (2008) Discussion Topics The future of film music The use of leitmotifs in film scores Popular music in film scores Leading and misleading the audience with music Underscoring and source music Music Example Bank III/7

Bernstein, On the Waterfront

Chapter 43. Rock and the Global Scene I. Rise of Rock and Roll A. Multibillion-dollar industry 1. impacts fashion, language, politics, religion 2. influenced classical, jazz, country, western contemporary global pop musics B. Emerged in 1950s 1. African-American rhythm and blues with country western 2. rhythm and blues: dance music genre from1940s, roots in swing jazz

a. performed by African Americans b. vocal genre: featured solo singer accompanied by small group c. 12-bar blues, 32-bar pop song form d. Y meter, emphasis on beat 2 and 4 (backbeats) 3. rock and roll: rhythm and blues that crossed racial lines a. white singers: Bill Haley, Elvis Presley, Jerry Lee Lewis b. rockabilly: combined “hillbilly” country with rhythm and blues 4. African Americans gain white audience a. Chuck Berry, Fats Domino, Little Richard b. new sounds, outrageous look and behavior *5. late 1950s, new teen idols *a. gentler, more lyrical style *b. Bobby Darin, Paul Anka 6. soul: blend of gospel, pop, rhythm and blues a. Ray Charles, “father” of soul b. Sam Cooke, James Brown, Aretha Franklin 7. Motown: first and most successful blackowned record label a. represented soul music b. Diana Ross and the Supremes, Martha Reeves and the Vandellas, Smokey Robinson and the Miracles C. Mid-1960s new groups revitalized rock and roll 1. The Beatles a. strong backbeat, distinctive vocal sound, high range b. 1964 appeared on Ed Sullivan Show c. creative experiments, combined pop songwriting with string quartet, Indian sitar d. poetic lyrics, complex harmonies, sophisticated recording techniques e. 1967, concept album: unified thematically 2. The Rolling Stones a. inspired by American rhythm and blues b. “bad boys” of rock: lyrics about sex, drugs, violence *c. Ed Sullivan Show, 1967 3. California bands: Beach Boys, the Byrds 4. acid rock (or psychedelic rock) a. focus on drugs, instrumental improvisations, new sound technologies b. political and socially radical lyrics c. Jefferson Airplane, Grateful Dead, Woodstock 1969


98 | Chapter 9 *D. Listening Guide 83: Dylan, Mr. Tambourine Man (1965) *1. four verse/chorus folk song *2. raspy voice, acoustic guitar, harmonica *3. duple meter, no accented backbeat *4. text refers to loneliness or escape from life *5. accompanied by simple chords II. The Eclecticism of the 1970s A. Art rock (or progressive rock): largely British style 1. large forms, complex harmonies, occasional classical music quotes 2. The Who: first rock opera Tommy *3. Emerson, Lake, and Palmer; Frank Zappa B. Jazz influenced rock 1. Santana a. fused Latin jazz with electric blues rock b. Latin rock, new style c. use of Latin and African percussion instruments C. 1970s and 1980s: fragmentation into musical subgenres 1. West coast rock: relaxed California sound a. Eagles, Doobie Brothers 2. British heavy metal (influenced by Mahler and Wagner) a. Led Zeppelin, Black Sabbath 3. glam (glitter rock): showy, theatrical style a. David Bowie, Lou Reed, KISS, Elton John 4. punk rock: rebellious, simple, repetitive, loud, offensive lyrics, shocking behavior a. The Ramones, Sex Pistols, *Clash D. Reactions to punk and heavy metals *1. 1970s disco dance music a. repetitive lyrics, sung in high range, thumping mechanical beat b. Bee Gees 2. Reggae; Jamaican style, offbeat rhythms, chanted vocals a. Bob Marley and the Wailers, *Black Uhuru 3. New wave: offshoot of punk rock with synthesizers, alienation, and social consciousness a. Elvis Costello, Police, *Blondie, the Talking Heads III. The 1980s and Beyond A. Development of music videos in 1980s 1. MTV premiered 1981 2. principal way to present music to the public 3. image and fashion conscious aesthetic soon dominated

B. Superstars of the 1980s 1. Michael Jackson, Bruce Springsteen, Prince, Madonna C. 1980s groups contributed to social causes 1. U2 (Irish group): Live Aide and Amnesty International, debt relief, AIDs, global causes D. Rap emerged from hip hop, 1970s 1. pre-recorded sounds and beats, MC rhythmically rhymed patter over DJs musical backdrop a. Run DMC, Public Enemy, Queen Latifah 2. gangsta rap of 1990s: graphic descriptions of inner-city realisms a. N.W.A., Ice Cube, Snoop Doggy Dogg, Ice-T E. Soul and R&B artists: heavily melismatic singing style 1. Whitney Houston, Mariah Carey F. Grunge rock: hybrid of punk and metal 1. Soundgarden, Nirvana, Pearl Jam G. “Alternative” rock, late 1990s: breadth of styles 1. Beck: combines hip hop, soul, country 2. Björk: Icelandic style 3. English: Radiohead *IV. Country-Western Music *A. Origins in mountains of Appalachia *B. Country music songs tell a story, not often happy *C. Labeled “hillbilly” music in 1920s *1. Early groups popularized “blue yodel” and steel guitar *a. Carter Family, Jimmie Rodgers *2. Hollywood and singing cowboys *a. Gene Autry (Tumblin’ Tumbleweeds, 1936) *3. Nashville radio: The Grand Ol’ Opry *4. bluegrass debuted on The Grand Ol’ Opry *a. traditional folk melodies, quick tempos, high vocal harmonies *b. acoustic string band: violin, mandolin, guitar, five-string banjo, double bass *c. Monroe brothers, Lester Flatt, Earl Scruggs *5. Nashville Sound: highly polished singers *a. Patsy Cline (Walkin’ after Midnight, 1957) *D. 1950s: electrified sound, honkytonk *1. Hank Williams, Johnny Cash *E. 1960s and ’70s *1. classic country music: Loretta Lynn, Merle Haggard *2. mainstream country: John Denver, Glen Campbell *3. country rock: Allman Brothers


Teaching Guide | 99 *F. 1980s audience increased *1. country sound combined with pop songwriting *a. Dolly Parton, Willie Nelson *G. 1990s country music boom *1. Garth Brooks, Shania Twain Discussion Topics Sociological impact of rock The far-reaching influence of the Beatles The diversity of world beat or ethno-pop Music Example Bank IV/46 IV/49 IV/43 IV/59

Crossroads Blues, rural blues (Robert Johnson) Marley, One Love, ska, reggae Trevino, Doctor Time, country/western Youssou N’Dour, Live Television, world beat

iMusic Example

Leinberger, Charles. Ennio Morricone’s The Good, the Bad and the Ugly: a Film Score Guide. Lanham, MD: Scarecrow Press, 2004. Megill, Donald D., and Richard S. Demory. Introduction to Jazz History. 5th ed. Upper Saddle River, NJ: Prentice Hall, 2001. Oliver, Paul, et al. The New Grove Gospel, Blues, and Jazz: With Spirituals and Ragtime. New York: W. W. Norton & Company, 1986. Schuller, Gunther. Early Jazz. New York: Oxford University Press, 1968. ———. The Swing Era: The Development of Jazz, 1930– 1945. New York: Oxford University Press, 1989. Stempel, Larry. Showtime: A History of the Broadway Musical Theater. New York: W. W. Norton & Company, 2010. Stuessy, Joe, and Scott Lipscomb. Rock and Roll: Its History and Stylistic Development. 6th ed. Upper Saddle River, NJ: Prentice Hall, 2008. Szatmary, David P. Rockin’ in Time: A Social History of Rock-and-Roll. 6th ed. Upper Saddle River, NJ: Prentice Hall, 2007. Tirro, Frank. Jazz: A History. 2nd ed. New York: W. W. Norton & Company, 1993.

Dougla Dance (steel drum band) Suggested Reading for Part 7 Candelaria, Lorenzo, and Daniel Kingman. American Music: A Panorama. 4th ed. New York: Schirmer, 2011. Campbell, Michael, and James Brody. Rock and Roll: An Introduction. New York: Schirmer, 1999. Cateforis, Theo, ed. The Rock History Reader. New York: Routledge, 2007. Charlton, Katherine. Rock Music Styles: A History. 3rd ed. Boston, Mass.: McGraw Hill, 1998. Covatch, John. What’s that Sound?: An Introduction to Rock and Its History. 2nd ed. New York: W. W. Norton & Company, 2009. DeCurtis, Anthony, and James Henke, eds. The Rolling Stone Illustrated History of Rock and Roll: The Definitive History of the Most Important Artists and Their Music. 3rd ed. New York: Random House, 1992. DeVeaux, Scott, and Gary Giddins. Jazz: Essential Listening. New York: W. W. Norton & Company, 2010. Fernandez, Raul A. From Afro-Cuban Rhythms to Latin Jazz. Berkeley: University of California Press, 2006. Gridley, Mark C. Concise Guide to Jazz. 6th ed. Upper Saddle River, NJ: Prentice Hall, 2010. Hamm, Charles. Yesterdays: Popular Song in America. New York: W. W. Norton & Company, 1983. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music. New York: W. W. Norton & Company, 2006.

PART 8: WORLD WAR II AND BEYOND Prelude 8. New Directions in the Arts Overview This chapter introduces modern trends in the arts, including Abstract Expressionism, post-Modernism, Pop Art, feminist and ethnic art, and performance art, and discusses the impact of each on music. A move toward greater organization in music through the extension of serial principles is covered, as are movements away from organization, including aleatory or indeterminate music. Various significant international composers are mentioned. The use of unusual techniques and highly virtuosic demands on traditional instruments is presented, with particular attention to the music of Ligeti and Boulez. The effect of non-Western music on contemporary composers is surveyed, with particular emphasis on the music of John Cage, George Crumb, Arvo Pärt, and Bright Sheng. An introduction to African drumming (from Uganda) is presented, and Chinese traditional music is also included along with a well known selection from this repertoire. The development of electronic music is surveyed, from the musique concrète of the 1940s to the computer-generated music of today. Tod Machover is presented as a representative of the electronic/computer medium; his work combines the cello and computer-generated sounds in a unique manner. Two


100 | Chapter 9 additional recent trends are covered, each with representative examples: the New Romanticism, represented by Jennifer Higdon; and post-minimalism, illustrated by John Adams. Goals for students in Part 8 • To recognize recent trends in the arts and their impact on musical composition • To appreciate the recent movements toward both greater and lesser organization in music • To view the contemporary musical scene as an international one • To realize the prominent role played in contemporary music by women, both as performers and composers • To understand the universal roles that music plays in all societies • To appreciate the cross-cultural exchanges that have occurred in music and in other arts • To recognize the virtuosity and extreme technical demands required of modern performers • To grasp how traditional instruments and the voice have been used in nontraditional ways • To understand the importance of the development of electronic music, synthesizers, and computer-generated music • To view the New Romanticism as an attempt to close the gap between composer and audience • To view minimalism and new age music as a return to simplicity Discussion Topics Contemporary trends in the arts Freedom of form in new music Role of women in contemporary music Music Example Bank Trends in the organization of music III/46 Cage, Variations II, aleatoric music III/53 Stockhausen, Zeitmasse for Five Woodwinds, No. 5, total serialism III/55 Foss, Time Cycle, “Improvised Interlude No. 2,” indeterminacy/improvisation III/57 Partch, And on the Seventh Day, Petals Fell in Petaluma (1964), microtones Rhythm, new concepts, twentieth century III/55 Boulez, Le marteau sans maître, IX III/13 Hindemith, Sonata for Bass Tuba and Piano, III Voice as instrument, twentieth century III/75 Glass, The Photographer, A Gentleman’s Honor

Women composers, twentieth century III/59 Crawford, String Quartet (1931), IV I/60 Clarke, Sonata for Viola and Piano, II Zaimont, Serenade: To Music III/56 III/58 Boulez, Le marteau sans maître, IX

Chapter 44. The New Virtuosity of the Modern Age *I. Olivier Messiaen and World War II *A. Olivier Messiaen (1908–1992) *1. French composer, organist, educator *2. at age thirty-one, World War II drafted into French army, German POW *3. teaching: Paris Conservatory, Tanglewood, Darmstadt, contemporary music centers in North and South America *4. Catholic faith at center of his art *5. music: love of nature, bird songs, Gregorian chant, medieval church modes, nonsymmetrical rhythms of India, bell sounds of Javanese gamelan *6. works: orchestral music, chamber, choral, vocal, opera, keyboard, theatrical works *B. Quartet for the End of Time *1. composed in Stalag VIIA *2. 8 movements; scored for violin, clarinet, cello, piano *3. inspired by passage in Book of Revelations *4. symbolic of seven days of creation, followed by eternity *5. use of bird song, first and third movements *C. Listening Guide 84: Messiaen, Quartet for the End of Time (Quatuor pour la fin du temps) (1941) *1. Vocalise, for the Angel who announces the End of Time *2. sectional, three parts *3. opening and closing sections: two fast-paced tempos alternate *a. strongly rhythmic *b. ff chords on the piano: Angel’s might *4. middle section: angelic song (wordless vocalise) *a. very lyrical, muted violin and cello *b. slow and distant, cascading chords in piano *c. grows ever softer, pppp *5. closing: fast tempo returns, loud dissonant chords


Teaching Guide | 101 *II. Pierre Boulez and the French Avant-Garde *A. Pierre Boulez (b. 1925) *1. French composer, conductor *2. most important composer of the French avant-garde *3. studied composition with Olivier Messiaen *4. five years as music director of New York Philharmonic *5. cofounded IRCAM, French Center of Computer Music Research *6. influences: Debussy, Stravinsky, Webern *7. style: total serialism, gentle lyricism to furious Expressionism *8. works: orchestral, chamber music, piano music, works for combined media *B. Boulez’s Notations *1. composed for piano, 12 miniatures (1945) *2. revised for orchestra (1978), massive ensemble *3. Notations IV *a. three hexachords (melodic sequences) unified by rhythmic ostinato *b. final note of ostinato statement changes in duration *c. musical ideas enlarged frequency multiplication *d. chords formed by multiplying intervals, stacked, highly dissonant *C. Listening Guide 85: Boulez, Notations IV (1945, revised 1978) *1. repeated five-note ostinato, alternates with dissonant chords *2. huge orchestra, many winds and percussion *3. changing meters, highly dissonant, dense contrapuntal texture *4. dissonance level and range grows *5. closes ff in full orchestra III. George Crumb and Avant-Garde Virtuosity A. George Crumb (b. 1929) 1. American composer 2. studied at Mason College, University of Illinois, University of Michigan 3. teaching: University of Colorado, State University of New York at Buffalo, University of Pennsylvania 4. Pulitzer Prize 1968, Echoes of Time and the River 5. music: focus on sonorities and timbres, charged with emotion, dramatic, extramusical content, theatrical concepts 6. works: orchestral music, vocal music, four books of madrigals, chamber music, music for amplified piano

B. Crumb’s Caballito negro 1. song, from Madrigals, Book II 2. scored for soprano, piccolo, and metallic percussion instruments 3. text: Frederico García Lorca poem 4. Crumb alternated two refrains; image of death 5. ominous words, downward melodic line: meurto (dead), negro (black), frio (cold), cuchillo (white) C. Listening Guide 86: Crumb, Caballito negro (Little Black Horse) (1965) 1. A-B-A form 2. regular pulsations, no sense of meter 3. opening: pounding rhythm, piccolo and percussion 4. disjunt vocal line 5. extended technique: flutter tonguing, glissandos, whispering 6. return of A section: vocalist neighs like a horse Discussion Topics Unusual instruments in contemporary music New virtuosic demands Music Example Bank III/66 III/69

Messiaen, Turangalîla Symphony, Joie du sang des étoiles Lutos¬awski, Symphony No. 3, aleatoric counterpoint

Chapter 45. Contemporary Composers Look to World Music I. Important Experimenters A. Henry Cowell (1897–1967) 1. foreign scales with Western chords 2. innovations: tone clusters, plucking of piano strings B. Experiments with tuning 1. Charles Ives (1874–1954) a. pianos tuned quarter tone apart 2. Harry Partch (1901–1974) a. microtonal tuning: scale of 43 microtones b. original idiophones: adapted Indian and African instruments


102 | Chapter 9 II. The Music of John Cage A. John Cage (1912–1992) 1. Los Angeles-born composer 2. student of Henry Cowell, Arnold Schoenberg *3. interest in East Asian philosophy 4. interests: rhythm, opposition between music and noise, the role of silence 5. explored new sounds, invented the “prepared piano” 6. indeterminate works (chance music); **use of I Ching (Book of Changes) 7. works: orchestral music, works for percussion, prepared piano, electronic music B. Cage’s Sonatas and Interludes 1. four groups of four Sonatas, separated by Interludes 2. prepared piano: various materials inserted between the strings a. nails, bolts, nuts, screws b. varied effect: nonpitched thump, pitch and timbre altered c. piano produces percussive effects 3. rhythmic groupings of sound 4. approximates sounds of Javanese gamelan 5. meditative character of East Asian thought C. Listening Guide 87: Cage, Sonata V, from Sonatas and Interludes (1946) 1. (A-A-B-B) binary structure 2. two-voice texture 3. irregular phrases 4. A section: regular rhythmic movement 5. B section: quicker tempo, more disjunct and accented 6. ending: sustained dissonance III. The Javanese Gamelan A. Tradition of Indonesian islands of Java, Bali, and Sunda 1. gamelan orchestra: metallic percussion instruments 2. music passed down through oral tradition 3. cyclic rhythmic structure, colotomic 4. melodic movement interacts with cyclical rhythmic structure (colotomic structure) 5. ritual ceremonies, and Wayang (shadowpuppet theater) 6. Wayang instruments: a. metallaphones (tuned metal bars, struck with mallet) b. gongs, xylophones, drums, voice 7. Wayang: five-note melodic patterns, sléndro tuning (pentatonic) 8. Wayang performances continue for many hours

B. Listening Guide 88: Javanese Gamelan Music: Patalon, excerpt *1. Patalon: five-section overture to shadowpuppet drama *2. Ayak-Ayakan: highest sounding metallaphones *a. voice enters, elaborates main melody *3. Strepegan: increase in tempo *a. gong plays melodic framework *4. Palaran Pucung: soft, quiet instruments *a. vocal melody accentuated *b. dynamics grow leading to next section IV. Multicultural Influences in Contemporary Society A. Impulse toward a world music sound 1. composers draw on Asian heritage a. Toru Takemitsu (1930–1996), Tan Dun (b. 1957), Bright Sheng (b. 1955) *2. advances of twentieth century: musicians exposed to more cultural influences *V. The Music of György Ligeti *A. György Ligeti (1923–2006) *1. Hungarian composer *2. settled in Vienna, then Hamburg *3. worked closely with Stockhausen and Boulez *4. use of tone clusters, amalgams of sound *5. “micro-polyphony”: subtle changes in timbre, dynamics, density, and texture *6. works: orchestral, chamber music, opera, piano music, electronic works *7. works featured in 2001: A Space Odyssey *B. Ligeti’s Etudes for Piano *1. highly virtuosic solo piano music *2. manipulation of rhythm: illusionary rhythm *3. African concepts of additive meter and polyrhythms *4. inspired by player-piano works of Conlon Nancarrow (1912–1997) *5. Disorder, from Book I; two musical processes *a. additive metric pattern *b. triplet pattern in right hand, duple in left hand *C. Listening Guide 89: Ligeti Disorder (Désordre), from Etudes for Piano, Book I (1985) *1. very fast, frenetic, wide-ranging *2. no sense of melodic line *3. alternating sense of order and disorder *a. hands synchronized (patterns of 3 + 5 or 5 + 3) *b. right hand gradually drops notes, gets ahead *c. dissonance increases *d. returns to synchronized pattern


Teaching Guide | 103 *4. builds to fff climax in upper register then vanishes *VI. Music from East Africa *A. Uganda *1. outside influences: Arab world, Indonesia, colonized by British *2. court musicians of former king of Buganda: entenga *3. entenga ensemble: six musicians, 15 drums *a. pitched: tuned conical drums (drum chimes), tuned to pentatonic scale *b. unpitched bass drums *B. Ensiriba ya munange Katego *1. ceremonial court music: well-known folk legend *2. transmitted through oral tradition *3. 12 tuned drums, three bass drums *4. melody drums strike sides, staggered entrances *a. three interlocking patterns, polyrhythms *b. complex process, sounds chaotic *C. Listening Guide 90: Ensiriba ya munange Katego *1. frenetic pace *2. “clicking” sound patterns established *3. complexity and intensity increases *4. gradual timbral shift to drum heads, volume increases *5. drummers drop out one by one VII. Bright Sheng and the Meeting of Musical Cultures A. Bright Sheng (b. 1955) 1. born and raised in Shanghai 2. grew up during 1966 Cultural Revolution 3. studied composition: Shanghai Conservatory; Queens College and Columbia University in United States 4. many awards and commissions, Pulitzer Prize nomination 5. collaborations with cellist Yo-Yo Ma, preserves traditional musical cultures 6. style: integrates Western and Eastern elements a. Western: emphasis on harmony and counterpoint b. Eastern: linear sounds 7. music evokes Chinese folk tunes; Chinese instruments 8. works: orchestral music, concertos for Western and Asian instruments, chamber music, operas, other stage works B. Sheng’s China Dreams 1. four-movement symphonic suite a. Prelude

b. Fanfare c. The Stream Flows d. Last Three Gorges of the Long River 2. orchestra with piano, celesta, diverse percussion 3. nostalgia for China: evokes Chinese folk music 4. Western orchestra C. Listening Guide 91: Sheng, China Dreams: Prelude (1995) 1. three-part structure 2. opening: haunting pentatonic melody, oboe and English horn a. dissonant figure in brass and low strings 3. texture becomes polyphonic, builds to ff climax 4. decreases to pp, returns to English horn melody 5. soft dissonance fades out VIII. An Introduction to Chinese Traditional Music *A. Abing (1883–1950) *1. Chinese composer *2. apprentice to Daoist monk *3. expelled from Daoist group, became wandering street musician *4. blind, made living singing and playing a. erhu (two-stringed fiddle), and pipa (lute) *5. traditional music: orally disseminated, created through improvisation *6. music highly revered B. Listening Guide 92: Abing, The Moon Reflected on the Second Springs (Er quan ying yue), excerpt (recorded 1950) 1. Chinese traditional music 2. performed on erhu and yangqin (hammered dulcimer) *3. four phrases, repeated and elaborated *a. trills, slides, grace notes, tremolos, bent pitch *4. haunting melody, begins slow in low range: lyrical, pentatonic *5. rhythmically free opening, regular pulse follows Discussion Topics Influence of Eastern philosophy on music Non-Western techniques and instruments Composers born outside of the Western world composing in a Western style Functional music in Indonesia Rhythmic cycles in Indonesia and Africa


104 | Chapter 9 Music Example Bank Bhimpalasi (India: sitar, tambura, tabla) Avaz of Bayate Esfahan (Iran: santur)

Chapter 46. Technology and Music I. The Technological Revolution A. Emergence of electronic music 1. musique concrète, France a. sounds by natural source recorded and manipulated *b. composers: Milhaud, Varèse, Messiaen, Boulez 2. tape music: artificially generated sounds 3. Electronische Musik, Germany a. oscillator: generated waveforms, different timbres; precursor of the synthesizer b. important composer: Karlheinz Stockhausen, integrated human voice 4. RCA music synthesizer, 1955 a. 1959 version: Columbia-Princeton’s Electronic Music Center b. tedious, time consuming, large, prohibitive cost B. Commercially available synthesizers 1. 1960s, Robert Moog—Moog synthesizer, analog synthesis a. Switched-On Bach, 1968 by Walter Carlos: brought fame to electronic music 2. John Chowning’s digital frequency modulation synthesis a. sold rights to Yamaha 3. 1983 Musical Instrument Digital Interface (MIDI) a. standardized communications protocol 4. mid-1980s: digital sampling synthesizers more affordable a. create realistic sounding instruments II. Important Figures in Electronic Music A. Edgard Varèse (1883–1965) 1. Poème electronique a. composed for 1958 Brussels World Fair b. music accompanied projected images B. Mario Davidovsky (b. 1934) 1. Synchronisms (1963–88) a. solo instrument and prerecorded tape C. Milton Babbit (b. 1916) 1. composer at Columbia-Princeton Electronic Music Center *2. music for solo soprano and tape: Philomel (1964) and Phonemena (1974) *3. highly influential teacher at Princeton University

D. Pauline Oliveros (b. 1932) 1. helped found San Francisco Tape Center, 1966 became director 2. mixed media, multichannel tape with live performance 3. experiments: sound generated and manipulated during performance *III. Tod Machover and Musical Interactivity A. Tod Machover (b. 1953) *1. New York composer, cellist 2. leader in contemporary music scene 3. five years as Director of Musical Research in Paris, IRCAM 4. professor of music and media at MIT 5. hyperinstruments: computer-enhanced and interactive acoustic instrument *6. influences: John Cage, Charles Ives, rock music *7. works: operas, orchestral music, chamber music, interactive works B. Begin Again, Again . . . 1. multimovement chamber work with computer interaction 2. written for virtuoso cellist, Yo-Yo Ma *3. movement from trilogy based on Dante’s Divine Comedy *4. hypercello part inspired by Bach’s solo Cello Suite No. 2 *5. two large parts: theme and four variations in each C. Listening Guide 93: Machover, Hyperstring Trilogy: Begin Again Again . . . ,excerpts (1991, revised 2004) *1. Introduction (theme, part 1) *a. slow, expressive theme, outlines Bach’s Sarabande *b. faster, highly rhythmic, accompanied by computer sounds *2. Variation 3: Emphatic—Warm and Singing *a. loud dissonant chord *b. low-range variation of theme: dark, low register *c. tremolos, double stops, stringlike electronic sounds *d. builds to next variation *3. Variation 4: Very Rapid and Precise *a. high-pitched and accented rhythmic repeated notes *b. glissandos and quick staccatos follow *c. repeated ff pitch, rhythmic character continues *d. feverish pace, virtuosic *e. long glissando to highest possible note *f. songful soliloquy “beginning again again” with electronic accompaniment


Teaching Guide | 105 Discussion Topics The future of electronic music Combining live and electronic music The popular music scene and electronic music Expansion of the composer’s role to performer Technology allows the performer to be more involved Technology allows the non-expert to create music Remote performers can create live ensemble music with technology Music Example Bank III/72 III/73 III/71

Babbitt, Composition for Synthesizer Davidovsky, Synchronism No. 5 Luening, Gargoyles, musique concrète

Chapter 47. Some Current Trends I. Neoromanticism: Postmodern Approach A. Eclecticism: styles from past mixed with contemporary ones *B. Quotation music: recognizable work is cited C. Accessible musical vocabulary of post-Romantic masters II. Jennifer Higdon and the Return to Romantic Ideals A. Jennifer Higdon (b. 1962) 1. Brooklyn-born composer, flutist 2. student of George Crumb 3. prestigious awards: *Guggenheim Foundation, *National Endowment of the Arts, *Grammy-winning recordings, Pulitzer Prize winner 4. teaches at Curtis Institute of Music 5. “American” sound, rooted in tonality *6. influences: Aaron Copland, Samuel Barber 7. extensive output spans most genres B. Higdon’s blue cathedral 1. orchestral tone poem 2. commemorates Curtis Institute anniversary 3. title refers to her brother, Andrew Blue Higdon a. reflects journey of life b. subtext of personal grief *4. large orchestra, many percussion instruments C. Listening Guide 94: Higdon, blue cathedral, excerpt (2000) 1. sectional, rondolike structure 2. languorous, ascending lyrical lines 3. sense of continual expansion, several climaxes

4. A section: bell-like timbres over muted strings a. solo flute, rising line, muted string chords, no sense of pulse b. solo clarinet answers, harp and string accompaniment 5. pitched glasses and “chiming” near end III. John Corigliano and the Contemporary Song Cycle A. John Corigliano (b. 1938) 1. New York-born composer 2. studied at Columbia University, Manhattan School of Music 3. produced Leonard Bernstein’s Young People’s Concert Series, CBS 4. positions at the Juilliard School, Lehman College 5. distinguished awards: *Grawemeyer Award, *Pulitzer Prize, Academy Award, Grammy Award *6. influences: Aaron Copland, Samuel Barber 7. diverse style: atonality, serialism, microtonality, aleatoric music *8. known for his orchestral music, viewed as father of Neoromanticism 9. works: orchestral works, eclectic rock opera, stage works, choral, vocal, chamber music, film music B. Corigliano’s Mr. Tambourine Man 1. song cycle for voice and orchestra 2. text: Bob Dylan poetry 3. follows emotional journey: innocence, awareness, political fury, apocalypse, victory of ideas 4. unified by recurring motives 5. orchestra includes piano, harp, saxophones, tambourine C. Listening Guide 95: Corigliano, Prelude from Mr. Tambourine Man: Seven Poems of Bob Dylan excerpts (2003) 1. modified verse-chorus structure, introduction and coda 2. instrumental introduction 3. verse 1: dreamy, slow, sung freely 4. chorus: fast, syncopated, disjunct, tambourine prominent 5. verse 2: louder, wide vocal leaps, prominent brass and percussion 6. verse 3: dramatic, shrieking vocal, tambourine rolls 7. verse 4 (partial): loud and dramatic, wide vocal leaps 8. instrumental interlude: vocal line, mysterious mood returns


106 | Chapter 9 IV. Minimalism and Post-Minimalism A. Minimalism: repetition of melodic, rhythmic, and harmonic patterns 1. little variation, hypnotic effect 2. reaction against highly intellectual, complex music 3. influences: music of India, African cultures, jazz, pop, rock B. Steve Reich (b. 1936) and Philip Glass (b. 1937) 1. repeated rhythmic cells, non-Western music influences C. Spiritual, or holy, minimalism 1. nonpulsed music: religious inspiration 2. slow-moving tonal music 3. composers: Henryk Górecki (b. 1933), John Tavener (b. 1944) V. Arvo Pärt and Spiritual Minimalism A. Arvo Pärt (b. 1935) 1. Estonian composer 2. early compositions: Neoclassical and serial techniques 3. studied works of J. S. Bach; medieval and Renaissance music 4. notable periods of compositional silence 5. created new style: “tintinnabulation,” ringing of bells 6. musical focus: Latin and Orthodox choral music *7. religious convictions made life in Soviet Union difficult, settled in West Berlin 8. works: orchestral, sacred choral music, concertos B. Pärt’s Cantate Domino 1. scored for SATB chorus and organ 2. Latin text, Psalm 96: Cantate Domino canticum novum (O sing to the Lord a new song) *3. inspired by medieval chant 4. abandons traditional notation, similar to Gregorian chant *5. use of word painting C. Listening Guide 96: Pärt, Cantate Domino canticum novum (O sing to the Lord a new song) (1977, revised 1996) 1. three sections, each beginning monophonically a. fluid, nonmetric: evokes Gregorian chant 2. expands to four-part choir, homorhythmic movement 3. tintinnabular style: evokes ringing of bells with voices

VI. John Adams and Post-Minimalism A. John Adams (b. 1947) 1. American composer 2. studied at Harvard University 3. professor at San Francisco Conservatory; established New and Unusual Music Series 4. influences: Steve Reich, rock 5. style: elements of Neoromanticism, minimalism 6. important works: Nixon in China (1987) opera, The Death of Klinghoffer (1991), Pulitzer Prize, On the Transmigration of Souls (2002), stage works, chamber music, vocal works, tape and electronic works B. The Opera Doctor Atomic 1. subject: creation of atomic bomb and head physicist, J. Robert Oppenheimer 2. libretto by Peter Sellars a. sources: memoirs of scientists, declassified government documents, poetry of John Donne and Baudelaire, sacred Hindu scripture Bhagavad Gita 3. opera takes place last days and hours before the first test *a. hopes and fears about the invention *b. morality concerns *c. psychological stresses *d. apprehension and terror *4. “Batter my heart” *a. Oppenheimer struggles with his conscience *b. sonnet by John Donne (1572–1631) *c. Oppenheimer seeks Godly intervention 5. “At the sight of this” a. test will go on despite bad weather b. text: Bhagavad Gita c. countdown begins d. Krishna reveals himself as the Supreme God C. Listening Guide 97: Adams, Doctor Atomic, excerpts (2005) *1. Act I, Scene 3, aria: “Batter my heart” *a. A-A-B structure, orchestral ritornellos, (Baroque aria structure) *b. Baroque sighing motive: two-note descending motive “break,” “blow,” “burn” *c. solo sections: lyrical, solemn; dark strings accompany, shifting meters *d. orchestral ritornellos: animated and jittery *e. final dramatic orchestral statement


Teaching Guide | 107 2. Act II, Scene 3, chorus: “At the sight of this” a. verse/refrain structure b. text declaimed on repeated notes in short phrases c. offbeat brass and percussion accents d. “O Master” recurs with dissonant tones e. “When I see you, Vishnu” sustained chords f. closing: buildup of tension, distorted electronic sounds Discussion Topics New Romanticism versus minimalism: the wave of the future How to educate future concert patrons How to encourage the support of future patrons Music Example Bank I/36 III/75

Barber, Adagio for Strings, Op. 9, New Romanticism Glass, The Photographer, A Gentleman’s Honor. minimalism

Suggested Reading for Part 8 Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Carter, Elliott Cook. The Writings of Elliott Carter: An American Composer Looks at Modern Music. Edited by Else Stone and Kurt Stone. Bloomington: Indiana University Press, 1977. Cope, David. New Directions in Music. 7th ed. Prospect Heights, IL: Waveland Press, 2001.

Gann, Kyle. American Music in the Twentieth Century. New York: Wadsworth Publishing Co., 2005. Griffiths, Paul. A Guide to Electronic Music. London: Thames and Hudson, 1979. ———. Modern Music and After. 3rd ed. New York: Oxford University Press, 2010. Hamm, Charles. “John Cage.” In The New Grove Twentieth-Century American Masters. New York: Norton, 1988. Hamm, Charles, Bruno Nettl, and Ronald Byrnside. Contemporary Music and Music Cultures. Englewood Cliffs, NJ: Prentice Hall, 1975. Jameux, Dominique. Pierre Boulez. Translated by Susan Bradshaw. Cambridge, MA: Harvard University Press, 1991. Manning, Peter. Electronic and Computer Music. Rev. ed. Oxford: Oxford University Press, 2004. Morgan, Robert. Twentieth-Century Music. New York: W. W. Norton & Company, 1991. Nyman, Michael. Experimental Music: Cage and Beyond. 2nd ed. New York: Cambridge University Press, 1999. Schrader, Barry. Introduction to Electro-Acoustic Music. Englewood Cliffs, NJ: Prentice Hall, 1982. Schwartz, Elliott, and Daniel Godfrey. Music Since 1945: Issues, Materials, and Literature. New York: Schirmer, 1993. Vinton, John, ed. Dictionary of Contemporary Music. New York: E. P. Dutton, 1974. Watkins, Glenn. Soundings: Music in the Twentieth Century. New York: Schirmer, 1988. Whittall, Arnold. Exploring Twentieth-Century Music: Tradition and Innovation. New York: Cambridge University Press, 2003.


CHAPTER 10

General Resource Guide

This chapter provides resource materials for further study on many of the topics covered in the text.

Women Composers Included in the Music Example Bank I/60

WOMEN AND MUSIC This portion of the resource guide is designed to enhance a discussion of women in music. The sources include women not only as composers but also as performers and patrons as well. Works by women composers included on The Norton Recordings and the Music Example Bank are noted, as are selected performances by women musicians. A general bibliography of sources and anthologies is listed at the end of this section.

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IV/56

Women Composers Included in The Norton Recordings

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The following women composers are among primary composers discussed in The Enjoyment of Music. Listening Guides are provided for the works listed below:

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Hildegard of Bingen, Alleluia: O virga mediatrix (LG 2) Strozzi, Barbara, Amor dormiglione (LG 18 Complete, 12 Shorter) Mendelssohn Hensel, Fanny, September: At the River (LG 44 Complete,29 Shorter) Holiday, Billie, Billie’s Blues (LG 77 Complete, 51 Shorter) Jennifer Higdon, blue cathedral (LG 94 Complete,59 Shorter)

Women performers included in the Music Example Bank IV/12 IV/17 III/51 III/50 IV/4

108

Clarke, Sonata for Viola and Piano, I, English composer and professional viola player, wrote Piano Trio and Cello Rhapsody Crawford, String Quartet (1931), IV, American composer and folk music specialist, first woman composer awarded Guggenheim Fellowship Price Sonata in E minor, II, AfricanAmerican composer; wrote symphonic, piano, and vocal works; Symphony in E minor won Wanamaker competition; incorporated African-American dance rhythms Yelvington, Piffle Rag, Indiana-born, white composer, pianist, and organist; one published work (Piffle Rag) Zaimont, Serenade: To Music, American composer and author, vocal and choral works, university teacher (University of Minnesota)

Brahms, Wiegenlied, Op. 49, No. 4, Ameling, Elly, voice (soprano) Simple Gifts, DeGaetani, Jan, voice (soprano) Smooth Sailing, Fitzgerald, Ella, voice Fine and Mellow, Holiday, Billie, voice Amazing Grace, IV/30 Deep River, Jackson, Mahalia, voice


General Resource Guide | 109 Suggested Bibliography General (Nonmusic) Anderson, Bonnie S., and Judith P. Zinsser. A History of Their Own: Women in Europe from Prehistory to the Present. 2 vols. Rev. ed. New York: Oxford University Press, 2000. A new approach to social history as seen from the perspective of women and organized by societal roles. Volume 1 spans the centuries from prehistory to the seventeenth century and is divided into five parts: Traditions Inherited, Women of the Fields, Women of the Churches, Women of the Castles and Manors, and Women of the Walled Towns. Volume 2 extends from the Renaissance era through the present and is divided into four parts: Women of the Courts, Women of the Salons, Women of the Cities, and Traditions Rejected. Some discussion of women musicians is included. Labarge, Margaret Wade. A Small Sound of the Trumpet: Women in Medieval Life. Boston: Beacon Press, 1986. A well-researched and readable study of women in medieval society. Includes chapters on noble ladies, nuns and beguines, recluses, and mystics and closes with a summary chapter on women’s contributions to medieval culture. Discusses women as court performers; also covers musical composition, manuscript preparation, and singing in convents. Mention of Eleanor of Aquitaine and Hildegard von Bingen, among many others. O’Faolain, Julia, and Lauro Martines, eds. Not in God’s Image: Women in History from the Greeks to the Victorians. New York: Harper and Row, 1973. Contains extracts from writings about women and by women, from Ancient Greece to the mid-nineteenth century, with editorial comment intended to put the readings into historical context. Passing references to women and music. Women and Music (Note: In addition to these sources, all of which have broad coverage, there are many books focused on individual women performers, composers, teachers, and patrons of music.) Auster, Linda Phyllis, and Inna Naroditskaya. Music of the Sirens. Bloomington: Indiana University Press, 2006. Barkin, Elaine, and Lydia Hamessley, eds. Audible Traces: Gender, Identity, and Music. Los Angeles: Carciofoli, 1999. Bowers, Jane, and Judith Tick, eds. Women Making Music: The Western Art Tradition, 1150–1950. Urbana: University of Illinois Press, 1986. Citron, Marcia J. Gender and the Musical Canon..Urbana: University of Illinois Press, [1993] 2000.

Cohen, Aaron I. International Encyclopedia of Women Composers. 2nd ed., 2 vols. New York: Books and Music, 1990. Cook, Susan C., and Judy S. Tsou, eds. Cecilia Reclaimed: Feminist Perspectives on Gender and Music. Urbana: University of Illinois Press, 1994. Dees, Pamela Youngdahl. A Guide to Piano Music by Women Composers. Westport, CT: Greenwood Press, 2002. Drinker, Sophie. Music and Women. New York: Feminist Press at City University of New York, 1995. Fuller, Sophie. The Pandora Guide to Women Composers: Britain and the United States, 1629–Present. San Francisco: Pandora, 1994. Hayes, Eileen M., and Linda F. Williams. Black Women and Music: More than the Blues. African American Music in Culture. Urbana: University of Illinois Press, 2007. Hixon, Donald L., and Donald L. Hennessee, eds. Women in Music: An Encyclopedic Bibliography. 2nd ed. Metuchen, NJ: Scarecrow Press, 1993. Hyde, Derek. New-Found Voices: Women in NineteenthCentury English Music. 3rd ed. Brookfield, VT: Ashgate, 1998. Jackson, Barbara Garvey. Say You Can Deny Me: A Guide to Surviving Music by Women through the 16th to the 18th Centuries. Fayetteville: University of Arkansas Press, 1994. Jezic, Diana Peacock. Women Composers: The Lost Tradition Found. 2nd ed. New York: Feminist Press at City University of New York, 1994. Klinck, Anne L., and Ann Marie Rasmussen, eds. Medieval Woman’s Song: Cross-Cultural Approaches. Philadelphia: University of Pennsylvania Press, 2002. Koskoff, Ellen, ed. Women and Music in Cross-Cultural Perspective. Contributions in Women’s Studies 79. New York: Greenwood Press, 1987. LaMay, Thomasin, ed. Music Voices of Early Modern Women: Many-Headed Melodies. Burlington, VT: Ashgate, 2005. Macleod, Beth Abelson. Women Performing Music: The Emergence of American Women as Classical Instrumentalists and Conductors. Jefferson, NC: McFarland, 2001. Marcic, Dorothy. Respect: Women and Popular Music. New York: Texere, 2002. Marshall, Kimberly, ed. Rediscovering the Muses: Women’s Musical Traditions. Boston: Northeastern University Press, 1993. McVicker, Mary Frech. Women Composers of Classical Music: 369 Biographies from 1550 into the 20th Century. Jefferson, N.C.: McFarland & Company, Inc., 2011. Moisala, Pirkko, and Beverley Diamond, eds. Music and Gender. Urbana: University of Illinois Press, 2000.


110 | Chapter 10 Neuls-Bates, Carol, ed. Women in Music: An Anthology of Source Readings from the Middle Ages to the Present. Rev. ed. Boston: Northeastern University Press, 1996. Pendle, Karen, ed. Women & Music: A History. 2nd ed. Bloomington: Indiana University Press, 2001. __________. Women in Music: A Research and Information Guide. Routledge Music Bibliographies. New York: Routledge, 2005. Sadie, Stanley, and John Tyrell. The New Grove Dictionary of Music and Musicians. 29 vols. New York: Grove Music, 2001. (Online resource at www.grovemusic.com; updated quarterly) Zaimont, Judith, and Karen Famera, eds. Contemporary Concert Music by Women: A Directory of the Composers and Their Works. Westport, CT: Greenwood Press, 1981.

American Women Composers and Musicians Ammer, Christine. Unsung: A History of Women in American Music. 2nd ed. Portland, OR: Amadeus Press, 2001. Block, Adrienne Fried, and Carol Neuls-Bates. Women in American Music: A Bibliography of Music and Literature. Westport, CT: Greenwood Press, 1979. Bourgeois, Anna Stong. Blueswomen: Profiles of 37 Early Performers, With an Anthology of Lyrics, 1920–1945. Jefferson, NC: McFarland, 1996. Burns, Kristine H., ed. Women and Music in America since 1900: An Encyclopedia. Westport, CT: Greenwood Press, 2002. Enstice, Wayne, and Janis Stockhouse, eds. Jazzwomen: Conversations with Twenty-one Musicians. Bloomington: Indiana University Press, 2004. Green, Mildred Denby. Black Women Composers: A Genesis. Boston: Twayne Publishers, 1983. Hinkle-Turner, Elizabeth. Women Composers and Music Technology in the United States: Crossing the Line. Burlington, VT: Ashgate, 2006. Hitchcock, H. Wiley, and Stanley Sadie, eds. The New Grove Dictionary of American Music. 4 vols. London: Macmillan, 1986. Skowronski, JoAnn. Women in American Music: A Bibliography. Metuchen, NJ: Scarecrow Press, 1978. Slayton, Michael K., ed. Women of Influence in Contemporary Music: Nine American Composers. Lanham, MD.: Scarecrow Press, 2011. Tick, Judith. American Women Composers before 1879. Ann Arbor: University of Michigan Research Press, 1983.

Music Anthologies Briscoe, James R., ed. Contemporary Anthology of Music by Women. Bloomington: Indiana University Press, 1997. ———, ed. New Historical Anthology of Music by Women. Bloomington: Indiana University Press, 2004. Cuellar, Carol, project manager. Women of Modern Music. Miami, FL: Warner Bros. Publications, 1999. Drucker, Ruth, and Helen Strine, eds. A Collection of Art Songs by Women Composers. Fulton, MD: HERS Publishing, 1988. Raney, Carolyn, ed. Nine Centuries of Music by Women. New York: Broude Brothers, 1977. Rieder, Eva, and Kaete Walter, eds. Female Composers: 22 Piano Pieces from the 18th–20th Century. New York: Schott, 1985. Schleiger, Marth Furman, and Sylvia Glickman, eds. Women Composers: Music Through the Ages. New York: G. K. Hall, 1996.

MULTICULTURAL MUSIC GUIDE This section of the Instructor’s Resource Manual is designed as a resource for those teachers interested in emphasizing world and traditional musics along with Western art music. Since the information on other music cultures is integrated throughout the text rather than isolated in a single chapter, this section provides a comprehensive view of the text references, illustrations, music examples, Study Guide assignments, and recordings provided in the teaching package for a number of music cultures. (The recordings include the 8-CD and 4-CD sets as well as the iMusic collection and four discs of the Music Example Bank.) The guide includes the non-Western cultures of Japan, China, Indonesia, India, Iran, and Sub-Saharan Africa and the traditional music of various European cultures (Russia, Hungary/Bulgaria, and Spain), as well as Jewish and Romany music. Four music cultures of the Americas are also included (African American, British American, Latin American, and Native American). Additional resources (recordings, videos, readings) are also listed for many cultures. The suggested readings are intended primarily for instructors who wish to increase their familiarity with a particular music culture in order to make an enhanced presentation beyond the scope of the book or simply to feel more knowledgeable in discussing the points covered in the text. The readings are, for the most part, intended for non-specialists and are readily accessible in most libraries. In addition to these sources, ethnomusicological


General Resource Guide | 111 articles (by country/culture) in Stanley Sadie and John Tyrell, The New Grove Dictionary of Music and Musicians (29 vols; New York: Grove Music, 2001; online resource at www. grovemusic.com, updated quarterly); and Bruno Nettl and Ruth M. Stone, The Garland Encyclopedia of World Music (10 vols; New York: Garland, 1997) as well as two reference volumes, Ethnomusicology, An Introduction, ed. Helen Meyers (New York: Norton, 1992) and Ethnomusicology: Historical and Regional Studies, ed. Helen Myers (New York: Norton, 1993), are recommended. East Asia/Japan Eastern Asian/Japanese Music Included in the Music Example Bank IV/50

I/20

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Sakura, Japanese koto music, well-known children’s song (Cherry Blossom, English), pentatonic scale Miyazaki, Shimabara No Komoriutta, koto and flute (Western), Japanese-inspired Western music Boulez, The Hammer Without a Master, I and VII

Supplemental Recordings Azuma Kabuki Musicians. Columbia ML 4925. Japanese Music (UNESCO). Musicaphon BM 30 L 2011– 16. Noh. Caedmon TC 2019. Music of the Bunraku Theatre. VICG-5356-2 JVC. Rough Guide to the Music of Japan. World Music Network RGNET 1031CD. Traditional Japanese Music and Musical Instruments. Kodansha International 4770023952. Traditional Music of Japan. Japan Victor JL-52–54. Suggested Videos Consulate General of Japan videos Bunraku, Japanese Doll Drama (20 minutes) Gagaku—Court Music (21 minutes) Kabuki—Classic Theater of Japan (21 minutes) Noh Drama (29 minutes) Japanese Music Series (32 minutes; $24.95 each) Gagaku: The Court Music of Japan (1989) Music of Bunraku (Japanese puppet theater; 1991) Shinto Festival Music (1994) Music of Noh Drama (1997) Nagauta: The Heart of Kabuki Music (1994)

Produced and directed by Eugene Enrico and David Smeal; hosted by William Malm. Series available from the Center for Music Television, Eugene Enrico, director; School of Music, University of Oklahoma, Norman, OK 73019 (405/325-325-3978). Additional Readings Adraansz, Willem. The Kumiuta and Danmono Tradition of Japanese Koto Music. Los Angeles: University of California Press, 1973. Brandon, James, William Malm, and Donald Shively. Studies in Kabuki: Its Acting, Music, and Historical Context. Honolulu: University Press of Hawaii, 1978. Condry, Ian. Hip-hop Japan: Rap and the Paths of Cultural Globalization. Durham, NC: Duke University Press, 2006. Fujie, Linda. “East Asia/Japan,” In, Worlds of Music: An Introduction to the Music of the World’s Peoples, 331– 384. 4th ed. Edited by Jeff Todd Titon. Belmont, CA: Schirmer/Thomson Learning, 2002. Harich-Schneider, Eta. A History of Japanese Music. New York: Oxford University Press, 1972. Malm, William P. “General Principles of Japanese Music.” In Six Hidden Views of Japanese Music, 36–51. Berkeley: University of California Press, 1986. ———. “Practical Approaches to Japanese Music.” In Readings in Ethnomusicology, 353–70. Edited by David McAllester. New York: Johnson Reprint Corp., 1971. ———. “Some of Japan’s Musics and Musical Principles.” In Musics of Many Cultures: An Introduction, 48–62. Edited by Elizabeth May. Berkeley: University of California Press, 1980. ———. Traditional Japanese Music and Musical Instruments. New ed. New York: Kodansha International, 2000. Nakamura, Yasuo. Noh: The Classical Theater. Trans. by Don Kenny. Tokyo: Weatherhill, 1971. Provine, Robert C., Yosihiko Tokumaru, and J. Lawrence Witzleben, eds. Garland Encyclopedia of World Music. Vol. 7, East Asia: China, Japan and Korea. New York and London: Garland Press, 2002. Tokita, Alison McQueen, and David W. Hughes The Ashgate Research Companion to Japanese Music. Burlington, VT: Ashgate, 2008. Varian, Heidi. The Way of Taiko. Berkeley, CA: Stone Bridge Press, 2005. Wong, Isabel K. F. “The Music of Japan.” In Excursions in World Music. Bruno Nettle, et al., eds. 6th ed. Upper Saddle River, NJ: Prentice Hall, 2012.


112 | Chapter 10 East Asia/China

Additional Readings

Eastern Asian/Chinese Music Included in The Norton Recordings

Ellingham, Mark, James McConnachie, and Simon Broughton, eds. The Rough Guide to World Music, Vol. 2, Latin & North America, Caribbean, India, Asia and Pacific. New York: Rough Guides, 2000. Halson, Elizabeth. Peking Opera: A Short Guide. New York: Oxford University Press, 1966. Jin, Jie. Chinese Music. Trans. by Wang Li and Li Rong New York: Cambridge University Press, 2011. Kuo-huang, Han. “The Modern Chinese Orchestra,” Asian Music 9 (1979): 1–40. Kuo-huang, Han, and Lindy Li Mark, “Evolution and Revolution in Chinese Music.” In, Musics of Many Cultures: An Introduction, 10–31. Edited by Elizabeth May. Berkeley: University of California Press, 1983. Picken, Lawrence. “Chinese Music.” In Readings in Ethnomusicology, 336–52. Edited by David P. McAllister. New York: Johnson Reprint Corp., 1971. Provine, Robert C., Yosihiko Tokumaru, and J. Lawrence Witzleben, eds. Garland Encyclopedia of World Music. Vol. 7, East Asia: China, Japan and Korea. New York and London: Garland Press, 2002. Rees, Helen. Lives in Chinese Music. Urbana: University of Illinois Press, 2009. Sullivan, Michael. The Arts of China. 5th ed. Berkeley: University of California Press, 2008. Wong, Isabel K. F. “The Music of China.” In Excursions in World Music, 6th ed. Upper Saddle River, NJ: Prentice Hall, 2012.

Abing, The Moon Reflected on the Second Spring (LG 92 Complete) Sheng, Bright, China Dreams: Prelude (LG 91 Complete, 58 Shorter) Crumb, Ancient Voices of Children, I (LG 88 Complete, 51 Shorter) Mahler, Song of the Earth, III (LG 64 Complete) Eastern Asian/Chinese Music Included in the Music Example Bank and iMusic IV/57 III/63 iMusic IV/33

General’s Victory, Chinese military music, trumpets and drums Spring on a Moonlit River, from Phases of the Moon, Pipa (string orchestra) In a Mountain Path (erhu), Chineseinspired music Debussy, Pagodes

Study Guide Assignments 101. Listen. World Music: Chinese Traditional Music Supplemental Recordings Beating the Dragon Robe. Folkways FW 8883. The Cheng: Two Masters Play the Chinese Zither. Lyrichord LLST 7262. China: Shantung Folk Music and Traditional Instrumental Pieces. Nonesuch H 72051. Chinese Classical Masterpieces for P’ip’a and Ch’in. Lyrichord LLST 7182. The Chinese Opera. Lyrichord LLST 7212. The Rough Guide to the Music of China. World Music Network RGNET 1122CD. The Year of China. M2-36080 Milan Music. Exotic Music of Ancient China. Lyrichord 7122.

South Asia/India South Asian/Indian Music Included in the Music Example Bank IV/9

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Bhimpalasi (Shankar), opening, introduction of raga and tala, announced by Shankar, sitar and tabla Bhimpalasi (Shankar), excerpt, sitar, tabla Thumri (North Indian), flute—aerophone, drum—membranophone, veena (vina)— plucked string, drone instrument

Suggested Videos

Supplemental Recordings

The Education of a Singer at the Beijing Opera (54 minutes), from Films for the Humanities (P.O. Box 2053, Princeton, NJ 08543-2053; $149; rental $75). JVC Video Anthology of World Music and Dance, produced in collaboration with the National Museum of Ethnology (Osaka) and Smithsonian/Folkways Records; translation by Mantle Hood; vols. 3–5: China.

Anthology of Indian Music, narrated by Ravi Shankar. World Pacific WDS-26200. Classical Indian Music, narrated by Y. Menuhin. London CM 9282. East Greets East (Ravi Shankar). Deutsche Grammophon 2531-381. Folk Music of India (Orissa). Lyrichord LLST 7183.


General Resource Guide | 113 Folk Music of India (Uttar Pradesh). Lyrichord LLST 7271. Folk Songs and Dances of Northern India. Olympic 6108. Raga. Folkways FE 3530. Sarangi: The Voice of a Hundred Colors. Nonesuch H72030. Suggested Videos Indian Classical Music (85 minutes) JVC Video Anthology of World Music and Dance, produced in collaboration with the National Museum of Ethnology (Osaka) and Smithsonian/Folkways Records; translation by Mantle Hood; vols. 11–13: India. Raga, with Ravi Shankar, Yehudi Menuhin, and George Harrison. Video (95 min., $29.95) Ravi Shankar in Concert (60 minutes) Ravi Shankar: The Man and His Music (60 minutes). Available from Films for the Humanities and Sciences (P.O. Box 2053, Princeton, NJ 08543-2053) ($149 each; rental $75) A Study of Tabla: A Comprehensive Study with History, Theory, and Compositions. Accompanied by an Instructional DVD by Samir Chatterjee. Nutley, NJ: Chhandayan, 2006.

Southeast Asia/Indonesia Southeast Asian/Indonesian Music Included in The Norton Recordings Javanese gamelan music Patalon (LG 88 Complete) Indonesian-inspired music Cage: Sonatas and Interludes, Sonata V (LG 87 Complete, 57 Shorter) Southeast Asian/Indonesian music Included in the Music Example Bank and iMusic IV/32 iMusic

Debussy, Pagodes, gamelan-inspired piano work Tabuh Kenilu Sawik (Sumatra gamelan)

Study Guide Assignment 75. Explore. The Paris World Exhibition of 1889: A Cultural Awakening Music Listening—based on recording of Javanese or Balinese gamelan 100. Listen.World Music: The Sounds of Java and Eastern Africa Supplemental Recordings

Additional Readings Arnold, Alison, ed. The Garland Encyclopedia of World Music. Vol. 5, South Asia: The Indian Subcontinent. New York and London: Garland Press, 1999. Brown, Robert E. “India’s Music.” In Readings in Ethnomusicology, 293–329. Edited by David McAllester. New York: Johnson Reprint Corp., 1971. Capwell, Charles. “The Music of India.” In Excursions in World Music, 6th ed. Upper Saddle River, NJ: PrenticeHall, 2012. Reck, David B. “India/South India.” In Worlds of Music: An Introduction to the Music of the World’s Peoples. 5th ed. Edited by Jeff Todd Titon. Belmont, CA: Schirmer/Thomson Learning, 2009. Shankar, Ravi. My Music, My Life. New ed. San Rafael, CA: Mandala, 2007. Wade, Bonnie C. Music in India: The Classical Traditions. Rev. ed. New Dehli: Manohar, 2001. ———. “Some Principles of Indian Classical Music.” In Musics of Many Cultures: An Introduction, 83–110. Edited by Elizabeth May. Berkeley: University of California Press, 1980. Annotated Website www.medieval.org/music/world/carnatic/cblsup.html

Gamelan Music in Bali. World Music Library KICC 5126. Gamelan Music of Bali. Lyrichord LLCT 7179. The Javanese Gamelan. World Music Library CD-5129. Javanese Court Gamelan. Elektra/Nonesuch 72044-2. Music from the Morning of the World. Elektra/Nonesuch 79196-2 (CD). The Music of Southeast Asia. Smithsonian/Folkways 04423 (CD). The Sultan’s Pleasure: Javanese Gamelan and Vocal Music. Music of the World T 116. Suggested Videos BAJRA: Balinese Music Collection (9 videodiscs). Bajra & TVRI, 2004. JVC Video Anthology of World Music and Dance, produced in collaboration with the National Museum of Ethnology (Osaka) and Smithsonian/Folkways Records; translation by Mantle Hood; vols. 9–10: Indonesia. Additional Readings Becker, Judith O. Traditional Music in Modern Java: Gamelan in a Changing Society. Honolulu: University Press of Hawaii, 1980.


114 | Chapter 10 Capwell, Charles. “The Music of Indonesia.” In Excursions in World Music. 6th ed. Upper Saddle River, NJ: Prentice Hall, 2012. Herbst, Edward. Voices in Bali: Energies and Perceptions in Vocal Music and Dance Theater. Hanover, NH: University Press of New England, 1997. Kartomi, Margaret J. “Musical Strata in Sumatra, Java, and Bali.” In Musics of Many Cultures: An Introduction, 111–33. Edited by Elizabeth May. Berkeley: University of California Press, 1980. McPhee, Colin. Music in Bali: A Study in Form and Instrumental Organization in Balinese Orchestral Music. New Haven, CT: Yale University Press, 1966. Miller, Terry E., and Sean Williams, eds. Garland Encyclopedia of World Music. Vol. 1, Southeast Asia. New York and London: Garland Press, 1998. Pickvance, Richard. A Gamelan Manual: A Player’s Guide to the Central Javanese Gamelan. London: Jaman Mas Books, 2005. Spiller, Henry. Gamelan: The Traditional Sounds of Indonesia. Santa Barbara, CA: ABC-CLIO, 2004. Sukerna, Nyoman. Gamelan Jegog Bali. Semarang: Intra Pustaka Utama, 2003. Sutton, R. Anderson. “Asia/Indonesia.” In Worlds of Music: An Introduction to the Music of the World’s Peoples. 5th ed. Edited by Jeff T. Titon. Belmont, CA: Schirmer/Cengage Learning, 2009. Weintraub, Andrew N. Dandut Stories: A Social and Musical History of Indonesia’s Most Popular Music. New York: Oxford University Press, 2010. Middle East/Turkey Middle Eastern/Turkish/Iranian Music Included in the Music Example Bank and iMusic Turkish music IV/12 Dance, Zurna and Davul, Turkish Traditional Turkish-influenced music I/9 Beethoven, The Ruins of Athens, Turkish March IV/59 Mozart, The Abduction from the Seraglio, Overture Iranian music iMusic Avaz of Bayate Esfahan (santur)

Supplemental Recordings Ceremony of the Kadiri Dervishes. Gallo CD-587. Military Band of the Old Turkish Army. World Music Library CD 5101. Music of the Whirling Dervishes. Atlantic 82493-2. Tezner, Michael, ed. CD to accompany Analytical Studies in World Music. New York: Oxford University Press, 2006. The Rough Guide to the Music of Iran. World Music Network RGNET 1165CD. Turkish Folk Music. Lyrichord LLCT 7289. Suggested Video JVC Video Anthology of World Music and Dance, produced in collaboration with the National Museum of Ethnology (Osaka) and Smithsonian/Folkways Records; translation by Mantle Hood; vol. 17: Turkey, Iran, Iraq, Lebanon, Qatar. Additional Readings Bartók, Béla. Turkish Folk Music from Asia Minor. Rev. ed. Homosassa: Bartok Records, 2002. Cooper, David, and Kevin Dawe, eds. The Mediterranean in Music: Critical Perspectives Common Concerts, Cultural Differences. Lanham, MD: Scarecrow Press, 2005. Daniel, Elton L., and Ali Akbar Mahdi. Culture and Customs of Iran. Westport, CT: Greenwood Press, 2006. Danielson, Virginia, Scott Marcus, and Dwight Reynolds, eds., Garland Encyclopedia of World Music. Vol. 6, The Middle East. New York and London: Garland Press, 2002. Lichtenwanger, William. “The Military Music of the Ottoman Turks.” Bulletin of the American Musicological Society 11–13 (1948): 55–56. Nettl, Bruno. “Music of the Middle East.” In Excursions in World Music. 6th ed. Upper Saddle River, NJ: Prentice Hall, 2012. Picken, Laurence. Folk Music Instruments of Turkey. London: Oxford University Press, 1975. Signell, Karl L. Makam: Modal Practice in Turkish Art Music. Seattle: Asian Music Publications, 1977. Tezner, Michael, ed. Analytical Studies in World Music. New York: Oxford University Press, 2006.

Study Guide Assignment 45. Explore. East Meets West: Turkish Influences on the Viennese Classics Music Listening—based on recording of Turkish music

Africa/Sub-Saharan Africa African/Sub-Saharan African Music Included in The Norton Recordings Ensiriba y a munange Katego (LG 90 Complete)


General Resource Guide | 115 African/Sub-Saharan African Music Included in The Norton Recordings Ensiriba ya munange Katego, Ugandan entenga ensemble (LG 92 Complete) Homeless, Ladysmith Black Mambazo (LG 85 Complete) African/Sub-Saharan African Music Included in the Music Example Bank and iMusic African music III/62 Porter’s Song, Gabon (Bawanji Tribe), call and response III/64 Herding Song, Middle Congo (Kouyou Tribe) iMusic Gota (Ghana, West Africa) African-Inspired Music in The Norton Recordings and the Music Example Bank Ligeti, Disorder, from Etudes for Piano (LG 91 Complete) IV/47 Reich, Music for Pieces of Wood IV/53 Live Television, Youssou N’Dour Study Guide Assignment 100. Listen.World Music: The Sounds of Java and Eastern Africa Supplemental Recordings Africa South of the Sahara. Folkways FE 4503. Ancient Ceremonies, Dance Music and Songs. Elektra/Nonesuch 72082-2. Drums of the Yoruba of Nigeria. Folkways P-441. Drums of West Africa: Ritual Music of Ghana. Lyrichord LLST 7303. Folk Music of the Western Congo. Folkways P-427. Music of Equatorial Africa. Folkways P-402. Music of the Northern Tribes. Lyrichord LYRCD 7321. The Rough Guide to the Music of South Africa. World Music Network RGNET 1178CD. Songs of the Watusi. Folkways P-428. Talking Drums. Shanachie C 64012. Suggested Videos Born Musicians/On the Battlefield (West African traditional music) The Drums of Dagbon/Caribbean Crucible (northern Ghana, Jamaica, Dominican Republic, origins of reggae) Legends of Rhythm and Blues/The Max Roach Story (gospel quartets, rhythm and blues, bebop)

Portrait of Africa, with music by Vangelis, Ladysmith Black Mambazo, and Miriam Makeba (56 min., $29.95) Repercussions: A Celebration of African-American Music. 4 videos (1984, $39.95 each) The Seven Ages of Music: The Magic of African Music. (2003) Princeton, NJ: Films for the Humanities and Science. FFH 4007 Films for the Humanities and Sciences. West African Popular Music (modern pop music) Additional Readings Agawu, V. Kofi. “The Rhythmic Structure of West African Music.” Journal of Musicology 5/3 (1987): 400–18. Chernoff, John M. African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms. Chicago: University of Chicago Press, 1979. Ladzekpo, Alfred Kwashie, and Kobla Ladzekpo. “Anlo Ewe Music in Anyako, Volta Region, Ghana.” In Musics of Many Cultures: An Introduction, 216–31. Edited by Elizabeth May. Berkeley: University of California Press, 1980. Locke, David. “Africa/Ewe, Mande, Dagbamba, Shona, BaAka.” In Worlds of Music: An Introduction to the Music of the World’s Peoples. 5th ed. Edited by Jeff Todd Titon. Belmont, CA: Schirmer/Cengage Learning, 2009. Mensah, Atta Annan. “Music South of the Sahara.” In Musics of Many Cultures: An Introduction, 172–94. Edited by Elizabeth May. Berkeley: University of California Press, 1980. Nketia, J. H. “Modern Trends in Ghana Music.” In Readings in Ethnomusicology, 330–35. Edited by David McAllester. New York: Johnson. Reprint Corp., 1971. Stone, Ruth M., ed. Garland Encyclopedia of World Music. Vol. 4, Africa. New York and London: Garland Press, 1998. ———, ed. The Garland Handbook of African Music. 2nd ed. New York: Routledge, 2008. Eastern Europe/Russia Eastern European Music Included in The Norton Recordings and the Music Example Bank Russian folk-inspired music Stravinsky: L’histoire du soldat, Marche royale (LG 68 Complete) Stravinsky: The Rite of Spring, Part I, excerpts (LG 67 Complete, 40 Shorter) Prokofiev, Alexander Nevsky, VII (LG 95 Complete) I/15 Glière, The Red Poppy, Russian Sailor’s Dance


116 | Chapter 10 I/29 II/16

Khatchaturian, Gayne Suite No. 1, Sabre Dance Prokofiev, Lieutenant Kije, Romance

Study Guide Assignment 77. Listen. The Music of Stravinsky Supplemental Recordings Folk Music of the U.S.S.R.: Europe. Folkways 4535. Music of the Soviet Union. Folkways SFCD-40002. Old Russian Wedding. Apon 2657. The Rough Guide to the Music of Russia. World Music Network RGNET 1107CD. Russian Folk Music. Apon 2642. Rustavi Choir: Georgian Voices. Elektra/Nonesuch 79224-2. Additional Readings Abraham, Gerald. Essays on Russian and East European Music. New York: Oxford University Press, 1985. Beliaev, Viktor M. Central Asian Music: Essays in the History of the Music of the Peoples of the U.S.S.R. Edited and translated by Mark Slobin and Greta Slobin. Middletown, CT: Wesleyan University Press, 1975. Campbell, James Stuart. Russians on Russian Music, 18801917: An Anthology. New York: Cambridge University Press, 2003. Rice, Timothy, James Porter, and Chris Goertzen, eds. Garland Encyclopedia of World Music. Vol. 8, Europe. New York and London: Garland Press, 2000. Taruskin, Richard. “Russian Folk Melodies in The Rite of Spring.” Journal of the American Musicological Society 33 (Fall 1980): 501–43. Wachtel, Andrew Baruch, ed. Intersections and Transpositions: Russian Music, Literature, and Society. Evanston, IL: Northwestern University Press, 1998.

Supplemental Recordings Blues for Transylvania. Hannibal HNCD 1350. Csendül a nóta: Hungarian Folk Music. Hungaraton HCD 10239. Echoes from an Endangered World. Smithsonian Folkways CD SF 40407. Marta Sebestyen: Star of World Music. Hungaraton 37979. Additional Readings Abraham, Gerald. Essays on Russian and East European Music. New York: Oxford University Press, 1985. Bartók, Béla. Hungarian Folk Music. Trans. by M. D. Calvovoressi. Westport, CT: Hyperion Press, 1979. ———. “Hungarian Peasant Music.” Musical Quarterly 19 (1933): 267–89. Reprinted in Béla Bartók Essays, 80– 102. Edited by Benjamin Suchoff. New York: St. Martin’s Press, 1976. Bohlman, Philip V. “The Musical Culture of Europe.” In Excursions in World Music, 191–222. 6th ed. Upper Saddle River, NJ: Prentice Hall, 2012. Rice, Timothy, James Porter, and Chris Goertzen, eds. Garland Encyclopedia of World Music. Vol. 8, Europe. New York and London: Garland Press, 2000. Slobin, Mark, ed. Retuning Culture: Musical Changes in Central and Eastern Europe. Durham, NC: Duke University Press, 1996. Eastern Europe/Jewish Culture Eastern European/Jewish Music Included in the Music Example Bank IV/5 IV/11

Havah nagilah Ribono Shel Olom (Jewish cantor music), cantor, responsorial singing

Study Guide Assignments 13. Explore. Chant as Music for Worship Music Listening—Jewish chant

Eastern Europe/Hungary/Romania/Bulgaria Eastern European Music Included in the Music Example Bank and iMusic Hungarian Traditional IV/35 Aki Dudas Akar Lenni, folk song collected by Bartók, art music inspired by traditional styles II/6 Enescu, Romanian Rhapsody No. 1 II/4 Kodály, Háry János, Song I/42 Liszt, Hungarian Rhapsody No. 2 I/59 Ravel, Tzigane (Gypsy)

Supplemental Recordings The Art of the Cantor, with Jan Peerce. Vanguard VCD 72017. Traditional Jewish Music from Eastern Europe. Buda 92567. Additional Readings Jaffe, Kenneth. Solo Vocal Works on Jewish Themes: A Bibliography of Jewish Composers. Lanham, MD: Scarecrow Press, 2011.


General Resource Guide | 117 Loeffler, James Benjamin. The Most Musical Nation: Jews and Culture in the Late Russian Empire. New Haven: Yale University Press, 2010.

The Rough Guide to Flamenco Nuevo. World Music Network RGNET 1070CD. The Rough Guide to the Music of Spain. World Music Network RGNET 1082CD.

Eastern Europe/Roma Culture Eastern European/Roma Music Included in the Music Example Bank Roma (Eastern European) Traditional IV/36 Olaska (violin, zither) Art music inspired by Roma style I/42 Liszt, Hungarian Rhapsody No. 2 I/59 Ravel, Tzigane

Americas/African American African-American Music Included in The Norton Recordings Still: Suite for Violin and Piano, III (LG 72 Complete, 47 Shorter) Joplin: Maple Leaf Rag (LG 76 Complete, 50 Shorter) Holiday: Billie’s Blues (LG 77 Complete, 51 Shorter) Ellington/Strayhorn: Take the A Train (LG 78 Complete, 52 Shorter)

Study Guide Assignment 80. Explore: Bartók—A Folk-Song Collector Music Listening—Roma music (Eastern European) Supplemental Recordings Gypsy Folk Songs. Supraphon CIP–CD 111817. Gypsy Folksongs from Hungary. Hungaroton HCD 18028–9. Gypsy Folksongs from Hungary and Transylvania. Quintana QUI–903028. The Rough Guide to the Music of the Gypsies. World Music Network RGNET 1034CD. Western Europe/Spain Western European/Spanish Music Included in The Norton Recordings and the Music Example Bank Spanish Traditional IV/52 Sevillanas, flamenco, guitar Art music inspired by traditional elements I/54 Bizet, Carmen, excerpts (Spanish influence) Ravel, Two Songs from Don Quixote to Dulcinea (LG 66 Complete) IV/33 Ravel, Don Quichotte, III, Spanish jota II/23 Rimsky-Korsakov, Capriccio espagnol, Fandango Supplemental Recordings Andalusian Flamenco Song and Dance. Lyrichord LYRCD 7388. Cante Flamenco. Nimbus NI-5251. Gypsy Flamenco. Nimbus NI-5168. The Rough Guide to Flamenco. World Music Network RGNET 1015CD.

African-American Music Included in the Music Example Bank and iMusic African-American traditional/popular music IV/43 Crossroads Blues (Robert Johnson), rural blues IV/30 Deep River (Mahalia Jackson), spiritual III/50 Fine and Mellow (Billie Holiday) IV/27 John Henry (Paul Robeson), work song III/51 Smooth Sailing (Ella Fitzgerald) IV/16 Sometimes I Feel Like a Motherless Child (Paul Robeson), spiritual III/49 When the Saints Go Marchin’ In (Preservation Hall Jazz Band) iMusic Joplin, Pine Apple Rag iMusic When the Saints Go Marching In African-American art music III/52 Baker, Sonata for Cello and Piano, II IV/56 Price, Sonata in E minor (piano) IV/29 Still, Afro-American Symphony, I African-American–inspired music III/52 Baker, Sonata for Cello and Piano, II, jazz influence I/1 Gershwin, Piano Concerto in F IV/34 Ravel, Sonata for Violin and Piano, II, blues influence Study Guide Assignments 63. Explore: Dvor˘ák ’s Influence on African-American Art Music Music Listening—music of William Grant Still 87. Explore: The Roots of Jazz Music Listening—spiritual, blues, or ragtime


118 | Chapter 10 Suggested Videos American Patchwork (PBS, 60 minutes each, $24.95 each) Cajun Country: Don’t Drop the Potato (includes French and black Creole, Native American, and Cajun song and dance) Dreams and Songs of the Noble Old World (Alan Lomax introduces historical singers and Preservation Hall Band) Jazz Parade: Feet Don’t Fail Me Now (Alan Lomax interviews jazz legends) The Land Where Blues Began (Origins of blues from Mississippi Delta through Leadbelly) Repercussions: A Celebration of African-American Music. 4 videos (1984, $39.95 each) Born Musicians/On the Battlefield (West African traditional music) The Drums of Dagbon/Caribbean Crucible (northern Ghana, Jamaica, Dominican Republic, origins of reggae Legends of Rhythm and Blues/The Max Roach Story (gospel quartets, rhythm and blues, bebop) West African Popular Music (modern pop music) Additional Readings Baraka, Imamu Amiri. Black Music: Essays. New ed. New York: Akashic, 2010. Bohlman, Philip V. “Ethnic North America.” In Excursions in World Music. 5th ed. Upper Saddle River, NJ: Prentice Hall, 2007. Evans, David. Big Road Blues: Tradition and Creativity in the Folk Blues. Berkeley: University of California Press, 1982. Evans, Freddi Williams. Congo Square: African Roots in New Orleans. Lafayetter, LA: University of Louisiana at Lafayetter Press, 2011. Floyd, Samuel A., Jr., and Marsha J. Reisser. Black Music in the United States: An Annotated Bibliography of Selected Reference and Research Materials. Millwood, NY: Kraus International Publications, 1983. Hamm, Charles. Music in the New World. New York: W. W. Norton & Company, 1983. ———. Yesterdays: Popular Song in America. New York: W. W. Norton & Company, 1983. Hayes, Eileen M. and Linda F. Williams, eds. Black Women and Music: More than the Blues. Urbana: University of Illinois Press, 2007. Koskoff, Ellen, ed. The Garland Encyclopedia of World Music. Vol. 3, The United States and Canada. New York and London: Garland Press, 2001. Jones, LeRoi (Amiri Baraka). Blues People: Negro Music in White America. New ed. New York: Perennial, 2002.

Oliver, Paul. The Story of the Blues. Updated ed. Boston, MA: Northeastern University Press, 1998. Russell, Tony. Blacks, Whites and Blues. New York: Stein and Day, 1970. Skowronski, JoAnn. Black Music in America: A Bibliography. Metuchen, NJ: Scarecrow Press, 1981. Southern, Eileen. The Music of Black Americans: A History. 3rd ed. New York: W. W. Norton & Company, 1997. Southern, Eileen, ed. Readings in Black American Music. 2nd ed. New York: W. W. Norton & Company, 1983. Tibbetts, John C., ed. Dvořák in America, 1892–1895. Portland, OR: Amadeus Press, 1993. Tirro, Frank. Jazz: A History. 2nd ed. New York: W. W. Norton & Company, 1993. Titon, Jeff Todd. “North America/Black America.” In Worlds of Music: An Introduction to the Music of the World’s Peoples. 151–209. 5th ed. Edited by Jeff Todd Titon. Belmont, CA: Schirmer/Cengage Learning, 2009. Americas/British-American Traditional Music American/British-American Traditional Music Included in The Norton Recordings, the Music Example Bank, and iMusic British-American Traditional IV/4 Amazing Grace, American hymn, nineteenth century IV/8 America, American Traditional IV/38 Battle Hymn of the Republic, American Civil War song IV/48 Columbia, the Gem of the Ocean IV/37 Dixie, American Civil War song IV/7 Goodbye, Old Paint (Tex Ritter), American cowboy song I/41 Gould, arr. When Johnny Comes Marching Home I/30 Greensleeves (harpsichord), English folk song IV/27 John Henry, work song III/51 Smooth Sailing (Ella Fitzgerald) IV/2 Joy to the World, Christmas carol IV/1 Shall We Gather at the River (Willie Nelson), American hymn, nineteenth century IV/17 Simple Gifts, American hymn, nineteenth century IV/3 The Star-Spangled Banner, American national anthem IV/6 Yankee Doodle, American Revolutionary War song


General Resource Guide | 119 IV/39 iMusic iMusic iMusic iMusic iMusic iMusic

The Yellow Rose of Texas, MexicanAmerican War Amazing Grace America Battle Hymn of the Republic Foster: Camptown Races If I had a Hammer (Pete Seeger) Pop Goes the Weasel

Art music inspired by British-American Traditional IV/15 Billings, Chester IV/18 Copland, Appalachian Spring, uses American tune “Simple Gifts” IV/28 Copland, John Henry, uses traditional American song John Henry II/11 Grofé, Grand Canyon Suite, On the Trail

IV/44 IV/44 IV/45 IV/51 iMusic iMusic

El Jarabe Tapatío, Mexican mariachi, traditional dance form Conga Santiagueral, Afro-Cuban dance Santa Rosa, Que manera de quererte, Latin American salsa La Cumparsita, Argentinian tango Los Jilicatas (Peruvian panpipes) Osain (Cuban Santería)

Art music inspired by traditional Latin American styles Bernstein, West Side Story, Mambo (LG 81 Complete, 54 Shorter) I/54 Bizet, Carmen, Habanera Revueltas, Homenaje a Federico García Lorca, III: Son (LG 74 Complete, 49 Shorter) IV/44 Chávez, Los Cuatro Soles III/70 Villa-Lobos, Bachianas brasileiras No. 5, I

Additional Readings Axelrod, Alan, and Dan Fox. Songs of the Wild West. New York: Simon and Schuster, 1991. Bronson, B. H., ed. The Traditional Tunes of the Child Ballads; with Their Texts, According to the Extant Records of Great Britian and America. Princeton, NJ: Princeton University Press, 1959–72. Chase, Gilbert. America’s Music, from the Pilgrims to the Present. Rev. 3rd ed. Urbana: University of Illinois Press, 1987. Hamm, Charles. Music in the New World. New York: W. W. Norton & Company, 1983. Herbert, Trevor, ed. The British Brass Band: A Musical and Social History. New York: Oxford University Press, 2000. Lomax, Alan. The Folk Songs of North America, In the English Language. Garden City, NY: Doubleday, 1960. Nettl, Bruno. Folk Music in the United States: An Introduction. 3rd ed. Detroit, MI: Wayne State University Press, 1976. Americas/Latin America Latin American Music Included in The Norton Recordings Revueltas, Silvestre. Homenaje a Federico García Lorca, III: Son (LG 74 Complete, 49 Shorter) El Cihualteco (Mexican son) (LG 75 Complete) Latin American Music Included in The Norton Recordings and the Music Example Bank Traditional and popular music IV/31 Tres Lindas Cubanas, II, Cuban habanera

Study Guide Assignments 85. Explore. Preserving the Musical Traditions of Mexico Music Listening—Mexican music (mariachi, jarabe) 93. Explore. Latin American Dance Music

Supplemental Recordings Afro-Hispanic Music from Western Colombia and Ecuador. Folkways FE 4376. An Island Carnival: Music of the West Indies. Nonesuch 72091. Cult Music of Cuba. Folkways FE 4410. The Inca Harp: Laments and Dances of Tawantinsuyu, the Inca Empire [Peru]. Lyrichord LLST 7359. Huayno Music of Peru, vol. 1. Arhoolie CD 320. Llegaron Los Camperos!: Concert Favorites of Nati Cano’s Mariachi Los Camperos. Smithsonian Folkways Recordings SFW CD 40517. Marimba Music of Tehuantepec. University of Washington Press UWP 1002. Mariachi Vargas de Tecalitlán: Their First Recordings 1937–1947, vol. 3.Arhoolie Folklyric CD 7015. Mountain Music of Peru, vol. 2. Smithsonian Folkways CD 40406. Música andina de Bolivia. Lauro Records LPLI/S-062. Música folklórica de Venezuela. Ocora OCR 78. Music of Mexico: Sones Jarochos. Arhoolie 3008. Music of Mexico, vol. 2, Sones Huastecos. Arhoolie 3009. The Rough Guide to Afro-Cuba. World Music Network RGNET 1070CD. Texas-Mexican Border Music, vol. 24, The Texas-Mexican Conjunto. Folklyric 9049.


120 | Chapter 10 Additional Readings Baker, Geoffrey and Tess Knighton, eds. Music and Urban Society in Colonial Latin America. New York: Cambridge University Press, 2011. Béhague, Gerard. Music in Latin America: An Introduction. Englewood Cliffs, NJ: Prentice Hall, 1979. Chase, Gilbert. A Guide to Latin American Music. 2nd ed. Washington, DC: Pan American Union, 1962. Hinds, Harold E., Jr., and Charles M. Tatum, eds. Handbook of Latin American Popular Culture. Westport, CT: Greenwood Press, 1985. Koskoff, Ellen, ed. The Garland Encyclopedia of World Music. Vol. 3, The United States and Canada. New York and London: Garland Press, 2001. Olsen, Dale A. “Folk Music of South America: A Musical Mosaic.” In Musics of Many Cultures: An Introduction, 386–425. Edited by Elizabeth May. Berkeley: University of California Press, 1980. Olsen, Dale A., and Daniel E. Sheehy, eds. The Garland Encyclopedia of World Music. Vol. 2, South America, Mexico, Central America, and the Caribbean. New York: Garland Pub., 1998. ———, eds. The Garland Handbook of Latin American Music. New York: Garland Pub., 2000. Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States. 2nd ed. New York: Oxford University Press, 1999. Schechter, John M. “Latin America/Ecuador.” In Worlds of Music: An Introduction to the Music of the World’s Peoples. 5th ed. Edited by Jeff Todd Titon. Belmont, CA: Schirmer/Thomson Learning, 2009. Schechter, John M., ed. Music in Latin American Culture: Regional Traditions. New York: Schirmer, 1999. Sheehy, Daniel. Mariachi Music in America: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2006. Turino, Thomas. “Music in Latin America.” In Excursions in World Music, 223–250. 4th ed. Upper Saddle River, NJ: Prentice Hall, 2004. Americas/Native American Native American Music Included in the Music Example Bank IV/13 IV/14 IV/49

Taos Pueblo Round Dance Song Zuni Pueblo Rainbow Dance Nakai, Shaman’s Call

Supplemental Recordings Music of the American Indians of the Southwest. Folkways 4420.

Music of the Sioux and the Navajo. Folkways 4401. Pow Wow Songs: Music of the Plains Indians. New World 80343-2. Pueblo Indian Songs. Canyon 6065. Songs and Dances of Great Lakes Indians. Folkways 4003. Songs and Dances of the Eastern Indians from Medicine Spring and Allegheny. New World 8-337-2. Songs of Earth, Water, Fire and Sky: Music of the American Indian. New World 80246-2. Additional Readings Chase, Gilbert. America’s Music, from the Pilgrims to the Present. Rev. 3rd ed. Urbana: University of Illinois Press, 1987. Hamm, Charles. Music in the New World. New York: W. W. Norton & Company, 1983. Koskoff, Ellen, ed. The Garland Encyclopedia of World Music. Vol. 3, The United States and Canada. New York and London: Garland Press, 2001. McAllester, David P. “North America/Native America.” In Worlds of Music: An Introduction to the Music of the World’s Peoples. 5th ed. Edited by Jeff Todd Titon. Belmont, CA: Schirmer/Cengage Learning, 2009. Nettl, Bruno. “Native American Music.” In Excursions in World Music, 251–68. 4th ed. Upper Saddle River, NJ: Prentice Hall, 2004.

WIND BAND MUSIC IN AMERICA This resource guide provides suggestions for incorporating wind music into the content of your music appreciation course. A brief overview of bands in America is provided, followed by some specific sources for teaching early band music and the music of selected composers. There is also a selected list of other contemporary band works by wellknown composers and a general bibliography. Overview The concert band of today descended from the historical “haut,” or loud instrumental ensemble of the Middle Ages and Renaissance. The seventeenth-century American colonists adopted some earlier European customs, such as the use of fife-and-drum ensembles for military purposes. The French military band, which had its roots in the army of Louis XIV, was also influential to the growth of the American band. The Revolutionary period and early nineteenth century saw the rise of American military ensembles with increasingly diversified instrumentation. Interest in Turkish Janissary music brought about a much enlarged and varied percussion section. The American Federal period saw further development of the band’s instrumen-


General Resource Guide | 121 tation through the addition of more instruments, notably the piccolo, bass clarinets, trombones, and the serpent. A tradition of civilian bands sprang up across the country alongside military ensembles; both were essentially brass groups. Recent research has unearthed from manuscript sources much of the repertory of nineteenth-century bands, including those of the Moravian settlements. Patrick S. Gilmore has been viewed as the “father of the modern symphonic band,” while John Philip Sousa, director of the U.S. Marine Band, is the single most significant figure in the history of American band music. Professional as well as civic bands continued to thrive across America through World War I. At that time the movement was taken over by the academic world, where it has been nurtured in public schools, colleges, and universities ever since. Among the well-known composers who have contributed to the repertory of the concert band are Gustav Holst, Percy Grainger, Ralph Vaughan Williams, Igor Stravinsky, Arnold Schoenberg, Paul Hindemith, Darius Milhaud, Vincent Persichetti, Karel Husa, Joseph Schwantner, and Michael Daugherty. Revolutionary and Civil War Bands Bands were active during the Revolutionary War and after for military, civic, or festive display. Woodwind instruments were replaced by brass instruments in the nineteenth century. U.S. Army bands were small, numbering from 10 to 16 players. During the Civil War, the Union Army had some 500 bands totaling 9,000 players. Confederate bands thrived as well. Selected Readings Camus, Raoul F. Military Music of the American Revolution. Chapel Hill: The University of North Carolina Press, 1976. Newsom, Jon. “The American Brass Band Movement.” Quarterly Journal of the Library of Congress 15 (1979): 114ff. Olson, Kenneth E. Music and Musket: Bands and Bandsmen of the American Civil War. Westport, CT: Greenwood Press, 1981. Suggested Listening Battle Cry of Freedom: Military Music of Union Army Bands. Heritage Americana, 1982. The Civil War: Its Music and Sounds. Eastman Wind Ensemble, F. Fennell, conductor. Mercury CD 432 591-2. The Music of the Civil War. Americus Brass Band. Summit CDC 126. The Yankee Brass Band: Music from Mid-NineteenthCentury America. New World NW-312.

French Military Bands French military bands were revolutionary groups popular at public ceremonies of the new republic. They were influential in the rise of brass and military bands in the United States. The most important composer was François-Joseph Gossec (1734–1829), a noted symphonist who, during the Revolution, directed the band of the Garde Nationale and wrote many pieces for large wind and vocal forces. His works include Marche lugubre (1773) and Classic Overture (1794–95). Selected Readings Whitwell, David. Band Music of the French Revolution. Tutzing, GER.: Hans Schneider, 1979. Suggested Listening Goldman Band, Richard Franko Goldman, conductor. Decca DL 78633. University of Southern Mississippi Band; A. Drake, conductor. Crest CBD-69-4A. The American Band of Providence; F. Marciniak, conductor. Redwood ES-30. Gossec, Marche lugubre. Musique des gardiens de la paix; Dondeyne, conductor. Les èditions constellates. John Philip Sousa American bandmaster, known as the March King, formed the Sousa band, popular from 1892 until 1931. He composed marches, including The Washington Post (1889) and The Stars and Stripes Forever (1897). A fine showman and musician, he helped shape American tastes in music. Selected Readings Berger, Kenneth Walter. The March King and His Band: The Story of John Philip Sousa. New York: Exposition Press, 1957. Bierley, Paul E. John Philip Sousa: American Phenomenon. New York: Appleton- Century-Crofts, 1973. Mitziga, Walter. The Sound of Sousa: John Philip Sousa Compositions Recorded. Chicago: South Shore Printers, 1986. Smart, James R. The Sousa Band: A Discography. Washington, DC: Library of Congress, 1970. Suggested Listening The Pride of America: The Golden Age of the American March. Goldman Band. New World NW-266. Sousa Marches. Eastman Wind Ensemble; F. Fennell, director. 2-Mercury SRI-77010.


122 | Chapter 10 Sousa on Review. Eastman Wind Ensemble; F. Fennell, director. Mercury 420970-4 EH. The Sousa and Pryor Bands. Original recordings, 1901–26. New World NW-282. The United States Marine Band Presents the Heritage of John Philip Sousa. U.S. Marine Band; Jack Kine, director. 18 LPs. 1975–78. Paul Hindemith A German composer, Hindemith wrote much chamber music in his early years as a performer. He wrote in nearly every genre, including sonatas for most standard instruments. He composed music for new instruments and for student players as well as wrote a theoretical treatise ranking intervals and harmonies from most consonant to most dissonant (Craft of Musical Composition, 1937–39). Hindemith’s works for band include Konzertmusik, Op. 41 (1926), written originally for a small German band with saxhorns, and the Symphony in B-flat (1951, composed for the U.S. Army Band), which quickly established itself in the central repertory for winds as a masterwork of counterpoint and orchestration. Suggested Listening Symphony in B-flat Eastman Wind Ensemble; F. Fennell, conductor. Mercury MG 50143/SR90143; reissued as Mercury SRI 75057. University of Michigan Symphony Band; W. Revelli, conductor. Golden Crest CRS 4214. University of Northern Colorado Wind Ensemble; E. Corporon, conductor. Soundmark R 990 BSCR. Cornell Wind Ensemble; M. Stith, conductor. Cornell U. 12.

Chester Overture (University of Michigan Symphony Band; W. Revelli) Vanguard VSD 2124. When Jesus Wept (University of Michigan Symphony Band; W. Revelli) Golden Crest CRS-42028. Karel Husa American composer Karel Husa is of Czech origin and studied in Prague and Paris. He teaches at Cornell University. He was the first to employ aleatoric procedures in works for band, including Music for Prague 1968—symbolic of the struggles of the Czech people through the use of an ancient Hussite song, “Ye Warriors of God and His Law”—and Apotheosis of This Earth (1970), which musically depicts the destruction of the earth through war, famine, and environmental abuse. Suggested Listening Music for Prague 1968 (University of Michigan Band; K. Husa). Golden Crest CRS 4134. Apotheosis of the Earth (University of Northern Colorado Wind Ensemble; E. Corporon). Soundmark R972 BSCR. Michael Daugherty Daugherty, an American composer, was born in Iowa, studied at North Texas State University, the Manhattan School of Music, and Yale University. He is known for incorporating polyrhythmic counterpoint and popular music elements. He makes references to popular culture, such as the I Love Lucy television show and the Superman comic book. Suggested Listening

William Schuman Schuman was an American composer who was president of the Juilliard School of Music and later at Lincoln Center, in New York. He wrote a nationalistic work entitled New England Triptych: Three Pieces for Orchestra after William Billings. Each piece was based on a hymn by the early American composer Billings; two movements were later arranged by the composer for the band: Chester (1957), based on the most popular song of the American Revolution, and When Jesus Wept (1958), based on a Billings round of the same name. He also wrote George Washington Bridge (1951) as a tribute to the famous New York bridge. Recordings George Washington Bridge (Eastman Symphonic Wind Ensemble; F. Fennell) Mercury MG50079; reissued as Mercury SRI 75086.

UFO—Music of Michael Daugherty (North Texas Wind Symphony). Klavier K 11121. Sojourns (North Texas Wind Symphony). Klavier K 11099. Rendevous (North Texas Wind Symphony). Klavier K 11109. Selected Wind Works by Other Composers Barber: Commando March (1943) Bremer, Carolyn. Early Light. (1996), Concerto for Trumpet and Wind Band (2010) Copland: Fanfare for the Common Man (1942); Emblems (1964); Inaugural Fanfare (1969) Dahl: Sinfonietta (1969) Druckman: In Memoriam Vincent Persichetti (1987) Dvor˘ák: Serenade, Op. 55 (1879) Grainger: Hill Song No. 2 (1922; rev. 1949); Lincolnshire Posy; Irish Tune from County Derry


General Resource Guide | 123 Hanson: Chorale and Alleluia (1955); Laude (1976) Holst: Suite No. 1 and No. 2 (1909, 1911) Ives: At the Beach (1949); A Solemn Music (1949) Kraft: Dialogues and Entertainment (1980) Krenek: Dream Sequence, Op. 224 (1977) Maslanka: A Child’s Garden of Dreams (1983) Mennin: Canzona (1951) Messiaen: Couleurs de la cité céleste (1963); Et exspecto resurrectionem mortuorum (1964) Milhaud: Suite française (1947) Nelson: Passacaglia (1993) Persichetti: Divertimento for Band (1950); Pageant (1954); Symphony for Band (1956); Parable (1972) Piston: Tunbridge Fair (1950); Ceremonial Fanfare (1969) Respighi: Huntingtower Ballad (1932) Schoenberg: Theme and Variations, Op. 43a (1943) Schuller: Symphony (1949) Schwantner: And the Mountains Rising Nowhere (1977); From a Dark Millennium (1981) Strauss, R.: Serenade, Op. 7, in E-flat (1881) Stravinsky: Symphonies for Wind Instruments (1920), Wind Octet (1922–23), Circus Polka (1942) Ticheli: Postcard (1993) Tower: Fanfare for the Uncommon Woman (3 versions, 1987–91) Ung: Grand Spiral: Desert Flowers Bloom (1990) Varèse: Octandre (1923); Déserts (1954) Vaughan Williams: English Folk Song Suite (1923) Wagner: Trauermusik (1844) Whitacre, Eric. Equus (2000), Ghost Train (1995), Godzilla Eats Las Vegas (1996), October (2000) Wilson: Peace of Mind (1988) Suggested Listening Bremer, Corigliano, Kraft, Mailman, Stamp, Toch, Dialogues And Entertainments. North Texas University Wind Ensemble; Eugene Corporon. Klavier K 11083. Dvor˘ák: Serenade, Op. 44; Czech Suite. National Chamber Players; Lowell Graham. Klavier K 11126. Grainger: Lincolnshire Posy and Hill Song No. 2. Eastman Wind Ensemble; F. Fennell. Mercury CD 432 754-2. Holst: Suites Nos. 1 and 2 for Band. Cleveland Winds; F. Fennell, director. Telarc DG-10038; CD-80038. Holst: Suites. RAF Central Band; Banks. Angel 4AE34477. Mozart: Serenade “Grand Partita,” and Divertimentos. National Chamber Players; Lowell Graham. Klavier KCD 11104. The Regimental Band of the Coldstream Guards. Walter O’Donnell. Bandleader BNA 5002. Strauss/Brahms/Reger. National Chamber Players, Lowell Graham. Klavier K11114.

Stravinsky: Symphonies of Wind Instruments. Eastman Wind Ensemble; F. Fennell. Mercury MG 50143/SR90143; reissued as Mercury SRI 75057. Stravinsky: Concerto for Piano and Winds. Royal Philharmonic; Papadopoulos. Hyperion A66167. Stravinsky: Circus Polka. University of Illinois Concert Band; M. Hindsley. ERRL BP-127. Selected Bibliography, Wind Music Berger, Kenneth, ed. The Band Encyclopedia. Evansville, IN: Band Associates, 1960. ———. The Band in the United States. Evansville, IN: Band Associates, 1961. ———, ed. Band Music Guide: Alphabetical Listing of Titles and Composers of All Band Music. 10th ed. Evanston, IL: Instrumentalist, 1986. Bryant, Carolyn. And the Band Played On, 1776–1976. Washington, DC: Smithsonian Institution Press, 1975. Camus, Raoul F., ed. American Wind and Percussion Music. Boston: G. K. Hall, 1992. ———. “Bands.” In The New Grove Dictionary of American Music. Edited by H. Wiley Hitchcock and Stanley Sadie. Vol 1, 127–37. London: Macmillan, 1986. Cipolla, Frank, and Donald Hunsberger, eds. The Wind Ensemble and Its Repertoire: Essays on the Fortieth Anniversary of the Eastman Wind Ensemble. New York: University of Rochester Press, 1994. Goldman, Richard Franko. The Concert Band. New York: Rinehart, 1946. ———. The Wind Band: Its Literature and Technique. Boston: Allyn and Bacon, 1961. Hansen, Richard K. The American Wind Band: A Cultural History. Chicago, IL: GIA Publications, 2005. Helm, Sanford M. Catalog of Chamber Music for Wind Instruments. Rev. ed. NewYork: Da Capo, 1969. The Instrumentalist, 1946– The Journal of Band Research, 1964– Rehig, William H. The Heritage Encyclopedia of Band Music: Composers and Their Music. 2 vols. Westerville, OH: Integrity Press, 1991. Salzman, Timothy, ed. A Composer’s Insight: Thoughts, Analysis, and Commentary on Contemporary Masterpieces for Wind Band. Galesville, MD: Meredith Music, 2003–. Schwartz, Harry W. Bands of America. Garden City, NY: Doubleday, 1957. Whitwell, David. A New History of Wind Music. Evanston, IL: Instrumentalist, 1972. ———. The History and Literature of the Wind Band and Wind Ensemble. 9 vols. Northridge, CA: Winds, 1982– 84.


124 | Chapter 10 Vol. 1, The Wind Band and Wind Ensemble before 1500. Vol. 2, The Renaissance Wind Band and Wind Ensemble. Vol. 3, The Baroque Wind Band and Wind Ensemble. Vol. 4, The Wind Band and Wind Ensemble of the Classic Period, 1750–1800. Vol. 5, The Nineteenth-Century Wind Band and Wind Ensemble in WesternEurope. Vol. 6, A Catalog of Multi-part Instrumental Music for Winds or for Undesignated Instrumentation before 1600. Vol. 7, A Catalog of Baroque Multi-part Instrumental Music for Wind Instruments or for Undesignated Instrumentation. Vol. 8, Wind Band and Ensemble Literature of the Classic Period. Vol. 9, Wind Band and Ensemble Literature of the Nineteenth Century. ———. A Concise History of the Wind Band. Northridge, CA: Winds, 1985. Whitwell, David, and Acton Ostling, eds. The College and University Band: An Anthology of Papers from the Conference of the College Band Directors National

Association, 1941–1975. Reston, VA: MENC, 1977. Wallace, David, and Eugene Corporon. Wind Ensemble/Band Repertoire. Greeley, CO: University of Northern Colorado School of Music, 1984. Wright, A. G., and Stanley Newcomb. Bands of the World. Evanston, IL: Instrumentalist, 1970. Selected Discographies, Wind Band Band Record Guide: Alphabetical Listing of Band Records: Alphabetical Listing of Band Records by Title of Composition, Composer, Performing Group, and Record Title. Evanston, IL: Instrumentalist, 1969. Berger, Kenneth W., ed. Band Discography. 4th ed. Evansville, IN: Band Associates,1956. Rasmussen, Richard M. Recorded Concert Band Music, 1950–1987: A Selected, Annotated Listing. Jefferson, NC: McFarland, 1988. Stoffel, Lawrence F. A Discography of Concert Band Recordings on Compact Disc: Promoting the Artistry of Band Composition. Lewiston, NY: Edwin Mellon Press, 2006.


CHAPTER 11

Answers to Study Guide Questions

All questions are answered here except those that ask for the student’s opinion, an entirely subjective response, or for special projects to be determined by the student and instructor. Alternate acceptable answers are indicated in parentheses. A semicolon separates answers to parts of the same question. Square brackets are used for text already given in the Study Guide, as in the case of an example.

1. REVIEW (CHAPS. 1–2) Elements of Music: Melody and Rhythm 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

interval melody contour; range conjunct; disjunct cadence frequency countermelody beat accented (strong); unaccented (weak) meter simple (duple) compound (sextuple) sextuple (Z); upbeat duple syncopation polyrhythm; jazz, rock, and African musics additive nonmetric narrow wavelike simple second (unaccented beat)

2. REVIEW (CHAPS. 3, 5) Elements of Music: Harmony and Texture 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

chord harmony [do] re mi fa sol la ti do do sol [do] mi sol; [1] 3 5 tonic dissonant; harsh (unpleasant, discordant) consonant; agreeable (pleasant, concordant) drone major; minor diatonic; chromatic minor texture monophonic; homophonic heterophony; jazz and non-Western music polyphonic homorhythmic imitation; polyphonic canon; round consonant major homophonic monophonic dissonant homorhythmic

125


126 | Chapter 11 3. REVIEW (CHAP. 4) The Organization of Musical Sounds 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

octave; twelve two whole step twelve sharp (#) tonality major scale: [W]WHWWWH minor scale: WHWWHWW diatonic chromatic pentatonic; Far East, Africa, Native Americans tritonic; Africa interval smaller than a half step They sound out of tune (off-key). a microtonal dip in pitch triad; tonic (I chord); subdominant (IV chord); dominant (V chord) transposition modulation major scale; diatonic minor four phrases; only the last has a sense of finality or rest; the second sounds especially incomplete or active.

5. REVIEW (CHAP. 7) Elements of Music: Tempo and Dynamics 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

allegro non troppo molto allegro (vivace, presto) andante ritardando; accelerando a tempo little by little slower very fast (very lively) piano; forte crescendo; decrescendo sforzando (sf) true false false false true adagio allegro accelerando moderato piano fortissimo allegro crescendo fortissimo ritardando

4. REVIEW (CHAP. 6) Elements of Music: Form 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

form repetition; contrast; variation strophic A-B; contrast A-B-A; contrast and repetition theme; motives; sequence call and response (responsorial); non-Western (African) improvisation; jazz, traditional music, non-Western musics ostinato movements strophic improvisation repetition contrast sequence motive ostinato A-A-B-B; binary

6. REVIEW (CHAPS. 8–11) Voices, Instrument Families, Ensembles, and Their Context 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

c a a b d c aerophone idiophone membranophone chordophone; bowing, plucking (striking) guitar, timpani (tambourine, cymbals) true true true true true true


Answers to Study Guide Questions | 127 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32.

false true false true true true false true false true false SATB chordophone, membranophone idiophone, membranophone aerophone, chordophone

7. REVIEW (CHAP. 9) Western Musical Instruments 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

[Example: l, o, s, x] e, m, v, w d, p, u, w h, n, t, z j, m, v, w f, p, q, w c, o, s, x b, p, r, w k, m, v, w i, m, v, w a, p, q, w g, p, r, w guitar (strings) organ (keyboard; aerophone) brass, percussion piano (keyboard) cello (strings) piccolo (woodwinds) harpsichord (keyboard) trumpet (brass)

8. REVIEW (CHAPS. 8–10) Musical Instruments and Ensembles 1. 2. 3. 4. 5.

pitch, duration, volume, timbre timbre (tone color) soprano, mezzo-soprano, alto tenor, baritone, bass bowed; plucked bowed: violin (viola, cello, double bass); plucked: harp (guitar)

6. pitched; unpitched pitched: timpani (kettledrum), glockenspiel, celesta, xylophone, marimba, vibraphone, chimes, tubular bells; unpitched: snare drum (side drum), tenor drum, bass drum, tom-tom, tambourine, castanets, triangle, gong, tam-tam 7. embouchure 8. a cappella 9. piano 10. organ 11. chamber music 12. string quartet 13. woodwind quintet 14. piano trio (piano quartet, piano quintet) 15. c 16. a 17. g 18. b 19. f 20. d 21. e 22. choir (a capella) 23. jazz ensemble 24, men’s chorus 25. concert band 26. orchestra 27. women’s chorus 28. bassoon, clarinet, oboe, flute, French horn

9. EXPLORE (CHAPS. 8–11) Meet the Performers 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

d g b i c k l m j young Venezuelan conductor appointed director of the Los Angeles Philharmonic at the age of 28; tours with famous Latin American youth orchestra

10. LISTEN (LG 1) Britten: The Young Person’s Guide to the Orchestra 1. dance tune from Henry Purcell’s incidental music to the play Abdelazar (The Moor’s Revenge)


128 | Chapter 11 2. 3. 4. 6. 12.

13.

14. 15.

strings (Baroque strings) stately (moderate-tempo dance) repetition small changes to the melody, rhythm, harmony, texture, dynamics, tempo, or instrumentation definite pitch: timpani unpitched: bass drum, cymbals. tambourine, triangle, snare drum, wood block, castanets, gong, whip woodwinds: 4, 1, 3, 2; strings: 2, 3, 1, 4 brass: 2, 4, 1, 3 quick overlapping statement, in a fugue closing, with return of Purcell’s theme in augmentation

12. EXPLORE (HTTN 1) The Role of Music in Society 1. working in the field or other manual labor, worship, military, childcare (lullaby) 2. field hollers 3. “I’ve been working on the railroad,” “John Henry” 4. African-American song, sung at revival meetings 5. Swing Low, Sweet Chariot 6. Simple Gifts (“’Tis the gift to be simple”) 7. bagpipes (Scottish, Irish troops); fife and drums (Revolutionary War troops) 8. brass, percussion, woodwinds 9. John Philip Sousa; Stars and Stripes Forever

13. REVIEW (PRELUDE 2)

11. REVIEW (CHAP. 11) Style and Function of Music in Society 1. category (type) literary genre: [short story] novel (biography, epic poem) musical genre: symphony (concerto, sonata, madrigal, chanson, string quartet) 2. sacred music: for religious or spiritual functions secular music: nonreligious; for and about everyday people 3. difference in the treatment of the elements; creator’s personal manner of expression 4. treatment of melody, rhythm, harmony, texture, form, expression, and instruments/voices 5. differing musical systems for scales, rhythm/meters, and textures; relative unimportance of harmony; different division of the octave; different aesthetic of expression 7. 3 Baroque, 1600–1750 1 Middle Ages, 350–1450 5 Romantic, 1820–1900 6 Twentieth century, 1900–2000 4 Classical, 1750–1825 2 Renaissance, 1450–1600 9. Ludwig van Beethoven 10. piano 11. sonata 12. C minor 13. 13 (Op. 13) 14. Pathétique

The Culture of the Middle Ages and Renaissance 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

true false true false true true true false true false c b b a a b a, b, e a Michelangelo: c Machiavelli: b Galileo: a Luther: e Shakespeare: d 20. Leonardo da Vinci, Mona Lisa Michelangelo, David

14. REVIEW (CHAPS. 12–13) The Music of the Middle Ages 1. true 2. false 3. true


Answers to Study Guide Questions | 129 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29.

true false true true true false false Mass; daily Offices Gregorian chant (plainsong, plainchant) modes antiphonal Latin b d a c b d c e a d b d idealization of the fearless warrior who commits deeds of daring and self-sacrifice; idealization of romantic, unrequited love of women; elevation of women to status parallel to worship of the Virgin Mary

15. LISTEN (LG 2, 3; SH LG 2)

16. 17. 18. 19.

b b rising interval of fifth (soaring line) viscera (flesh), flore (flower), venter (womb) = high range orto (purity), Alleluia = melismatic 20. three 21. arched, flowing melody with opening leap 22. wide ranging, with expressive leaps

16. LISTEN (LG 4; SH LG 3) Early Polyphony 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 13. 14. 15. 16. 17. 18.

Hildegard of Bingen and Chant 1. Texture: monophonic Rhythm/meter: nonmetric Type of movement: conjunct Range: narrow 2. Mass (Ordinary of Mass) 3. neumes 4. b 5. c 6. a *7. Ordinary *8. Greek *9. three; three *10. antiphonal *11. conjunct; large; wider 12. feasts of the Virgin Mary 13. Virgin Mary 14. responsorial 15. a

organum harmony chant (Gregorian chant) Léonin; Pérotin; Notre Dame, Paris; twelfth and thirteenth centuries Léonin Pérotin Virgin Mary; feasts of the Virgin Mary melismatic, neumatic; two tenor (chant) polyphonic; monophonic rhythmic mode; long-short false true false true true true

17. LISTEN (LG 5–7; SH LG 4–5) Medieval Secular Music *1. *2. *3. *4. *5. *6. *7. *8. *9. 10. 11. 12. 13. 14. 15. 16.

troubadour courtly love estampie three strophic nakers a courtly lady triple an early violin middle English ostinato six syllabic full triads the coming of summer secular


130 | Chapter 11 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

Ars nova polyphonic a fixed form unrequited love refrain rondeau three low voices two (a, b) triple a courtier and cleric elaborate repetition scheme alternating irregularly between the two musical sections, sometimes with new text, other times with refrain text 28. refrain (recurring text and music) 29. pain of unrequited love; bitterness; overwhelming love

18. EXPLORE (HTTN 2) Opening Doors to the East 1. military expeditions by European Christians to conquer the Holy Land of Palestine; eleventh– thirteenth centuries 2. modern-day Israel 3. expert military skills; new weapons; protective armor that could not be pierced by arrows; use of trumpets and drums in military campaigns 4. medical and scientific knowledge; Arabic numbering system; theoretical knowledge of music and modes 5. new instruments, including bowed and plucked strings and percussion (rebec from rabab; shawm from zurna); use of trumpets and drums in military campaigns; theoretical systems of modes 6. The Liberation of Ruggiero (La liberazione di Ruggiero); Francesca Caccini 7. Handel; Gluck 8. Holy Grail 9. rabab; shawm

19. REVIEW (CHAPS. 14–15) Music in the Renaissance Era 1. 2. 3. 4. 5. 6. 7.

a b a c b b true

8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

false true false true false false false false true true false true true true true c d b a first collection of Italian madrigals published in England (1588); translated into English; English composers followed these models to compose their own English-language works 28. preference for lighter, humorous, pastoral texts, often with refrain syllables

20. LISTEN (LG 8–10; SH LG 6–7) Renaissance Sacred Music *1. *2. *3. *4. *5. *6. *7. *8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

four Ordinary secular song L’homme armé (The Armed Man) A-B-A (ternary; three part) polyphony without imitation (nonimitative polyphony) triple; duple; triple both hollow (with open fifths and octaves) and full sounding (with thirds and sixths) it had a secular tune as its basis four Virgin Mary rhymed poem: couplet, five quatrains, couplet Latin imitative polyphony (imitation, paired imitation) and homorhythm (homophony) based on a chant at opening, then freely composed mixed voices; all male a cappella music (words set polyphonically; hard to hear) (text; some parts set in homorhythm, where text is clear)


Answers to Study Guide Questions | 131 18. Ordinary 19. six 20. varies how many voices and which ranges sing at different times 21. male voices 22. a cappella 23. consonant 24. homophonic (homorhythmic) 25. duple 26. text set syllabically; nearly homorhythmic; aligns in all voices 27. imitative 28. women; men; men; men and instruments 29. Josquin, Ave maria; both are motets dedicated to the Virgin; both are built on imitation with overlapping lines and text

21. LISTEN (LG 11–13; SH LG 8–9) Sixteenth-Century Chanson and Madrigal *1. *2. *3. *4. 5. 6.

7. 8. 9. 10.

11. 12. 13.

14. 15. 16.

French pain and suffering of love (unrequited love) Phrygian mode (harmony) Four Italy melisma on “happy” (beata); many repetitions of “a thousand deaths” (di mille morte); chromaticism, suspensions and dissonance: E-flat on “weeping” (piangendo); tritone representing death (morire) draws on the belief that swans sing only when they die; death here a metaphor for sexual climax largely homorhythmic; mostly syllabic; simple rhythms; not highly chromatic four (SATB) one voice begins on text “all alone”; musical laughter on “joke and laugh”; chromaticism on “new ardors”; voices sing together homophonically on “be joyous everyone” text about shepherd and shepherdess in the fields at triple meter, text is clear and all voices sing together both are SATB; Fair Phyllis is lighter in text and has varied textures, changing meter, and repeated sections; the Arcadelt work is more contemplative and features subtle chromaticism and dissonances. The English strongly preferred the rustic, lighter style of madrigal homorhythmic all men syllabic

17. Farmer, because of the light subject matter, repeated sections, and lack of dissonance (Arcadelt for the simpler four-voice texture)

22. LISTEN (LG 14–15; SH LG 10) Renaissance Instrumental Music 1. haut; haut refers to the loud instrument group; bas to the soft instruments 2. a lively circle or line dance 3. binary (A-A-B-B) 4. shawm; a raucous early oboe 5. cornetto; a cross between a woodwind and brass instrument (brass mouthpiece and woodwind finger holes) 6. tabor (drum) and tambourine *7. Venice; St. Mark’s (San Marco) *8. cori spezzati *9. strings, trombones, cornetto *10. antiphonal *11. false *12. true *13. false *14. false 15. a 16. c 17. a 18. b 19. d

23. EXPLORE (*HTTN 3) *Music and Ceremony 1. 2. 3. 4. 5. 6. 7.

8. 9. 10. 11.

The armed man Order of the Golden Fleece Du Fay, Josquin, Palestrina St. Mark’s Doge Gentile Bellini political marriages, funerals of nobility, civic processions, royal balls and tournaments, military victories homorhythmic short ideas two groups; one all male a cappella, one all male with instruments (strings, brass, organ) antiphonally, exchanging short ideas back and forth, then sounding together


132 | Chapter 11 12. textures and use of cori spezzati similar; combination of voices and instruments in Hassler 13. church service, religious procession, funeral

24. REVIEW (CHAPS. 14–15) From Renaissance to Baroque 1. madrigal; new techniques of combining music and poetry gave way to opera; focus on words 2. Dance music placed a focus on purely instrumental music rather than having them accompany voices; small forms eventually gave way to larger forms 3. Humanism focused on the text and sought new ways to convey it. 4. b 5. b 6. a 7. b 8. a 9. b 10. b 11. a 12. a 13. Josquin des Prez, Palestrina, Arcadelt, Farmer, Susato (Du Fay, Gabrieli) 14. Monteverdi, Purcell, Strozzi, Bach, Mouret, Handel, Vivaldi (Scarlatti) 15. d 16. b 17. both are in Latin and polyphonic sacred music; the Mass has a specific text of prayers in a specific order; is sung every day in the church; motets can be on many different texts (biblical or prayers); can be sung during Mass or Offices or for devotional services 18. at court, at home, for civic festivities; could be performed by professionals or amateurs; young girls studied music

25. REVIEW (PRELUDE 3) The Baroque Spirit 1. astronomy/physics: findings of Kepler, Galileo, Copernicus; Sir Isaac Newton (theory of gravity); mathematics: findings of Descartes; medicine: William Harvey (circulation of the blood) 2. era of absolute monarchy (“I am the State”); Louis XIV of France 3. wars of religion: Protestants vs. Catholics; Protestant: England, Scandinavia, northern Germany;

4.

5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

15.

16.

17.

Catholic: France (Bourbon dynasty), Spain, and Austria (Hapsburg empire) dramatic, turbulent style; much color and movement; energy; voluptuous nudes; Titian (Tintoretto, Veronese, Rembrandt, Rubens) Paradise Lost abnormal (exaggerated, bizarre, deformed) Camerata (Florentine Camerata) monody basso continuo; figured bass doctrine of the affections castrato equal temperament dissonance, dynamics, word painting key became important to the development of large forms; able to play in all keys; increased harmonic possibilities for composers; established system to be used until twentieth century significant role: singers added ornaments to arias; keyboardists improvised an accompaniment from figured bass rise in standards of instrumental playing, improvements in instruments, rise of castrato singer, improvisation practices operas set in faraway lands, such as Persia, India, Turkey, the Near East, Peru, and the Americas music (dances) that evokes these locales

26. EXPLORE (HTTN 4; SH 3) The Rise of the Professional Female Singer 1. Ensemble of the Ladies; vocal ensemble at a small court in Italy in late sixteenth century 2. highly praised for brilliant, florid singing, moderating their voices (loud and soft, heavy and light); sang in close, high-range harmony; did exquisite passagework 3. Monteverdi (Luzzaschi, Marenzio) 4. Francesca Caccini; she sang roles in several of the earliest operas; was daughter of Giulio Caccini; deeply immersed in musical culture of her time 5. Barbara Strozzi; both sacred and secular monody 6. Faustina Bordoni; Francesca Cuzzoni 7. penetrating, brilliant and very agile voice (Bordoni); clarity, sweetness, and emotion-packed ornamentation (Cuzzoni) 8. men’s choir and basso continuo (harpsichord) 9. sounds like she is crying; there are dissonances and chromaticism; half-step movement; not lyrical 10. ostinato


Answers to Study Guide Questions | 133 27. REVIEW (CHAPS. 16–17) Baroque Vocal Forms 1. 2. 3. 4. 5. 6. 7.

8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

libretto; librettist overture aria; recitative sparse accompaniment (“dry”); accompanied by various instruments; recitative da capo aria Monteverdi; Orfeo Barbara Strozzi; she was trained in singing, playing the lute, and poetry as well as in entertaining men (rather like a Japanese geisha) Handel; Messiah; Julius Caesar, Rinaldo true false true true false false true true true false false false use of sets, costumes, staged acting, and subject matter (nonreligious) a chorale tune, arranged in various ways in choruses and arias

28. LISTEN (LG 16–18; SH LG 11–12) Baroque Opera and Its Components *1. Roman history; story of Emperor Nero *2. emotions through recitatives, arias, and choruses; love duet established in opera; vivid characterizations of personages; close relationship between words and music *3. recitative-like, in imitation (two-part writing); fanfare-like (stile concitato); later dancelike and joyous *4. A-B-B-A *5. ground bass (repeated four-note phrase) *6. love (tenderness) *7. dissonances on key words “peno” (grieving) and “moro” (dying) *8. last period (Venetian period); his last opera 9. Orfeo 10. Greek mythology (legend of Orpheus and Eurydice) 11. girl’s boarding school in England (Mr. Josias Priest’s boarding school, in Chelsea) 12. Virgil’s Aeneid

13. 14. 15. 16. 17. 18. 19. 20.

21. 22. 23.

strophic form hornpipe secco, or sparsely accompanied; very short ground bass; a five-measure repeated bass line in triple meter chromatic bass line symbolic of grief and death “Remember me” A-B-A (da capo) rising line at opening to get Cupid up and out of bed; quick descending lines to signify firing of arrows; static melodic line to show Cupid’s laziness aria; moving in time and more lyrical than recitative built on ground bass; slow tempo to signify lament; accompanied by continuo expressive chromaticism; more disjunct melodic line; accompanied by continuo

29. REVIEW (CHAP. 17) Bach and Handel 1. [1st] Weimar: 1708–17 (court organist and musician to duke of Weimar); wrote much organ music [2nd] Cöthen: 1717–23 (for prince of AnhaltCöthen); wrote chamber music (suites, sonatas, concertos, keyboard music) [3rd] Leipzig: 1723–50 (cantor of St. Thomas Church); wrote many cantatas and organ music for church; wrote music for university collegium musicum (student group) 2. The Well-Tempered Clavier (two volumes, including forty-eight preludes and fugues in all keys) 3. church cantatas, Mass, Passions; oratorio; Magnificat; motets 4. orchestral suites, concertos, sonatas, solo keyboard music (preludes and fugues, suites, toccatas), organ music (chorale preludes, fantasias) 5. collegium musicum (at University of Leipzig) 6. Lutheran 7. Mass in B minor 9. Halle, Germany 10. Italian opera seria (serious opera) 11. England (London) 12. The Beggar’s Opera (1728) by John Gay 13. He began writing oratorios. 14. Esther, Judas Maccabaeus, Jephtha, Solomon 15. blindness (cataracts) 16. Bach: held many church positions and one court position; known in his lifetime more as an organist than as a composer, was inspired spiritually, was married with many children Handel: more international profile, traveled widely; was an astute businessman as well as a composer; more worldly and secular than Bach


134 | Chapter 11 30. LISTEN (LG 19; LG SH 13) Bach and the Lutheran Cantata 1. hymn tune associated with the German Protestant church (Lutheran church) 2. Wachet auf; Sleepers, Awake 3. Parable of the wise and foolish virgins; watchmen sound a call on the city wall above Jerusalem to have the virgins meet the bridegroom Christ; is about preparing onself for the coming of Christ; Matthew 25:1–3 4. bar form (A-A-B) 5. soprano (top) voice 6. insistent dotted rhythms; majestic feeling 7. to unify the sections of the movement; recurs several times between vocal statements 8. seven; nos. 1, 4, 7 *9. violin piccolo (small violin) *10. A-B-A (da capo) *11. Soprano = soul; bass = Jesus Christ 12. tenors 13. first movement: chorale sung by soprano section; set against complex choral polyphony; hard to hear at times; phrases broken up by instrumental ritornelli with large orchestra; major key; movement in bar form (A-A-B) based on chorale; majestic mood fourth movement; tune sung in unison by tenors against gentle violin countermelody and basso continuo; simpler texture, so easier to hear; phrases also broken up and separated by ritornelli; major key; movement in bar form (based on chorale); gentle, lilting character *14. homophonic *15. sopranos (top voice) 16. end of the church year 18. aria 19. polyphonic (contrapuntal) 20. bass (baritone) 21. oboe; bassoon (and organ) 22. melismatic

31. LISTEN (LG 20; SH LG 14) Handel and the Oratorio 1. Dublin (Ireland) 2. compilation of Bible verses (Old and New Testaments) 3. [Part I]: prophecy of coming of Christ (Christmas section) [Part II]: Christ’s suffering and death (Easter section) [Part III]: redemption of the world through faith

4. [instrumental]: strings, oboes, bassoons, trumpets, drums, basso continuo [vocal]: four-part chorus and soloists 5. overture (French overture); *A-A-B; (slow introduction with dotted rhythms in pompous style, followed by Allegro in imitative style on short subject *6. alternation between secco and accompagnato styles; begins secco with “There were shepherds,” then accompagnato (with strings) for “And lo”; then secco with “And the angel said” and accompagnato for “And suddenly” 7. A-B-A or A-B-A'; “Rejoice greatly” has two sections, then brings back an abridged version of the first (A-B-A') 8. [recitative]: rippling string figure for “with the angels a multitude of heavenly host” [aria]: long melisma on “rejoice” [chorus]: emphasis on “Hallelujah” through text declamation (homophony); extended repetition of “for ever and ever” 10. chorus begins with four voices in homophony, then reduced number of voices in imitation with overlapping texts; changes back to homophony (on “Hallelujah”), then imitative polyphony 11. alto 12. aria 13. they exchange ideas; voice begins answered by orchestra; the instruments elaborate on the ideas from the vocal part

32. REVIEW (CHAPS. 18–20) Baroque Instrumental Forms 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

c d e b f a true false true true true false b a b a


Answers to Study Guide Questions | 135 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

binary harpsichord concerto grosso French horns, oboes, violin strings and basso continuo allegro free, improvisatory style organ strict imitation ground bass

33. LISTEN (LG 21–22; SH LG 15–16) The Baroque Suite 1. [a] allemande; Germany; quadruple meter at moderate tempo [b] courante; France; triple meter at moderate tempo [c] sarabande; Spain; stately, in triple meter [d] jig (gigue); England; lively Z or P 2. minuet, gavotte, bourrée, passepied, hornpipe 3. Handel, Bach, Telemann, Mouret *4. A-B-A' (ternary) form *5. brass (trumpets) 6. aboard a barge on the Thames River in London 7. keyboard (continuo) instruments 8. Music for the Royal Fireworks 9. strings and double reeds 10. trumpets and French horns 11. A-B-A' (ternary) form 13. strings and woodwinds 14. Baroque strings: soft, sweet, silvery Baroque oboe: reedy Baroque French horns: soft, heroic Baroque trumpets: resonant Baroque timpani: articulate 15. 5-part sectional 16. majestic; fanfare-like 17. Masterpiece Theater

8. yes; birds, murmuring brooks, thunder, and lightning are vividly depicted musically 9. running scales, trills, double-stops, fast tempos 10. his female students at the Conservatorio del’Ospedale della Pietà in Venice 11. different solo instruments (trumpets vs. violin); both movements allegro and both alternate tutti with soloists; fanfare-like themes for trumpet; La Primavera more lyrical in mood *12. concerto grosso *13. three movements: Allegro (fast), Andante (slow), Allegro assai (fast) *14. ripieno (tutti) *15. concertino *16. violin, oboe, recorder (flute), trumpet *17. rhythmic drive, fast tempo, infrequent cadences *18. seven *19. alternates different instruments from concertino; alternates large and small groups *20. Margrave Christian of Brandenburg commissioned them from Bach for his orchestra; Bach wrote dedication to him *21. two violins *22. four *23. slow, fast, slow, fast *24. sarabande; slow, triple-meter dance; emphasis on second beat *25. gigue; quick-paced, in lilting compound (Z) meter

35. LISTEN (LG 26–27; SH LG 18) Baroque Keyboard Music *1. *2. *3. *4. *5. *6. *7.

34. LISTEN (LG 23–25; SH LG 17) The Baroque Sonata and Concerto 1. 2. 3. 4. 5.

solo concerto and concerto grosso solo concerto Allegro (fast), Largo (slow), Allegro (fast) sonnet (poem) about spring refrain, or musical section that returns again and again 6. five (six if closing tutti counted separately) 7. four (five if brief solo passages near end counted)

8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Spain (Spanish court at Madrid) over 550; harpsichord one first theme sounds like a hunting horn call grace notes binary form (A-A-B-B) (rounded binary, bringing back part of A in B) grace notes and other ornaments sound Spanish; strummed accompaniment is guitarlike fourteen fugues; four canons subject; answer four The Well-Tempered Clavier; forty-eight (two books with twenty-four in each) trumpets contrapuntal; polyphonic episode played twice as slowly (twice as long) played twice as fast (two times shorter) moving in same intervals in opposite direction


136 | Chapter 11 18. 19. 20. 21. 22. 23. 24. 25.

played backward, from end to beginning false true true false false true false

36. REVIEW (CHAP. 20) Looking Ahead to the Age of Enlightenment 1. rocaille, French for “shell,” decorative 2. ornate, preference for miniatures, highly decorative; Jean Antoine Watteau 3. François Couperin (Elisabeth-Claude Jacquet de la Guerre; Jean-Philippe Rameau) 4. reaction against grandiose gestures and pretentions; change from polyphony to homophony (simplicity) 5. simplicity; expression of natural feelings 6. opera seria 7. marked change of taste in opera; toward simplicity; use of popular and folk tunes; brought end to popularity of opera seria 8. opera buffa (comic opera); Mozart 9. a 10. a 11. a 12. a 13. b 14. a 15. b 16. b 17. a 18. a 19. b 20. b 21. b 22. Monteverdi, Strozzi, Purcell, Corelli, Vivaldi, Handel, Bach, Telemann (Scarlatti, Jacquet de la Guerre) 23. Haydn, Mozart, Beethoven, Schubert

3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

b b e c a b d Haydn; Mozart; Beethoven; Schubert b; c; f; h; i; l aristocracy hired musicians and artists as part of their lives; steady demand for new works provided steady jobs, economic security, and a social setting for musicians; musicians were little more than servants; had to write what was needed or desired by patron 13. a few were professional musicians, especially singers, violinists, and keyboard players; could teach music at court; more opportunities in music businesses; amateur home music making on the rise

38. REVIEW (CHAP. 21) The Development of Classical Forms 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

13. 14.

15. 37. REVIEW (PRELUDE 4) The Classical Spirit 1. [a] order, poise, serenity; [b] objectivity; [c] reserved expression of emotions 2. b

16. 17. 18. 19. 20. 21.

motive theme themetic development fragmentation, expansion of musical idea, contraction, repetition four string quartet (other chamber works), symphony, sonata (concerto) b b c d c [Theme 1]: in home key; may contain several ideas; strong, aggressive theme [Theme 2]: contrasting key; more lyrical remains in tonic key throughout to reveal potential of themes by fragmentation, expansion, or other means; provides drama and conflict; frequent modulations provide restlessness melody, rhythm, meter, harmony, texture, instrumentation, dynamics, tempo false false true true aggressive, ascending (rocket) theme; strong and energetic rhythmic and dancelike, in triple meter


Answers to Study Guide Questions | 137 22. subdivisions of rhythms, elaborations on the melody; shift of melody to bass range; changing rhythms; harmonic shift

39. REVIEW (CHAPS. 22–23) Chamber Music and Symphony in the Classical Era 1. music for small ensembles (two to ten players), performed one on a part 2. string quartet; 2 violins, 1 viola, 1 cello 3. duo sonata; piano trio; quintet (strings, piano, winds) 4. divertimento; serenade 5. c 6. a 7. d 8. b 9. Italian opera overture 10. aggressive, ascending melody (“rocket” theme); building crescendos (“steamroller effects”); addition of minuet and trio to symphony 11. thirty to forty players; woodwinds; brass; strings; (percussion) 12. salon (intimate setting); concert hall 13. first movement; sonata-allegro form 14. last movement; rondo, sonata-allegro, sonata-rondo 15. third movement; triple meter, moderate tempo; graceful 16. second movement; A-B-A (three-part form), modified sonata-allegro, theme and variations 17. second movement 18. andante (adagio) 19. folklike (simple, suspenseful) 20. jarring loud chord after very soft music

40. LISTEN (LG 28–29; SH LG 19–20) Classical Chamber Music 1. sixty-eight quartets 2. 1797 3. Emperor; second movement based on a hymn Haydn wrote for Emperor Franz Joseph 4. four movements 5. [I] Allegro, sonata-allegro form; [II] Poco adagio, cantabile, theme and variations; [III] Menuetto, Allegro, minuet and trio form; [IV] Presto, sonataallegro form 6. theme and four variations; each variation has the same structure; also the theme has an internal phrase structure 7. lyrical (flowing, balanced) 8. “a little night music”

9. serenade; chamber orchestra or double string quartet with bass 10. [I] Allegro, sonata-allegro form; [II] Romanza, Andante, sectional rondo form; [III] Allegretto; minuet and trio form; [IV] Allegro, sonata-allegro form 11. [1st theme]: ascending “rocket” theme, aggressive; [2nd theme]: contrasting, lyrical and graceful, new key 12. strong first theme, gentler second theme; varied dynamics; change of keys; developing themes 13. [Minuet]: accented, decisive theme, dancelike; [Trio]: lyrical, connected, soaring melody; minuet more dancelike 15. first theme a “rocket” theme, gay and quick; second theme begins with downward leap, opposite in character to first, different key 16. salon or chamber setting

41. LISTEN (LG 30–32; SH LG 21–22) The Classical Symphony *1. four movements; fast (Allegro molto); slow (Andante); moderate dance (Allegro moderato); fast (Allegro assai) *2. three-note motive (germ for growth) *3. develops three-note motive, modulates, changes melody, melody in bass with new melody above, combines motives, expands them through sequence, inversion *4. more dramatic, emotional *5. minor key, very expressive 6. accented triple meter with shifting accents; sounds more angry than dancelike; trio in gentler mood 7. [a]: [Haydn] Adagio-Allegro, sonata-allegro form (with slow introduction); [Beethoven] Allegro con brio, sonata-allegro form [b]: [Haydn] Allegretto (moderato); ternary (A-B-A'); [Beethoven] Andante con moto, theme and variations form (two themes) [c]: [Haydn] Moderato, minuet and trio form; [Beethoven] Allegro, scherzo and trio form [d]: [Haydn] Presto, sonata-allegro form; [Beethoven] Allegro, sonata-allegro form 8. yes 9. Haydn uses much more percussion (cymbals, bass drum, triangle); Beethoven uses more woodwinds (pairs of clarinets and bassoons) and strings; use of trombones; 10. dramatic and commanding opening motive; high energy


138 | Chapter 11 11. high level of emotional expression, sudden shifts in dynamics, drama, harmonic language 12. substituted scherzo for minuet in third movement, longer movements, thematic development, more emotional expression

42. REVIEW (CHAPS. 22–23)

7. Fourth of July 8. poem Ode to Joy by Friedrich von Schiller 9. expression of universal brotherhood; suited spirit of French Revolution 10. Council of Europe and European Union; national anthem of Zimbabwe; Japan on New Year 11. triumphant, joyful mood; wavelike motion; fortissimo 12. triumphant, joyful mood; forceful dynamics (ff)

The Classical Masters 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21.

b c a b a a c b c c [Haydn]: over 100 (104); [Mozart]: approximately 40 (41); [Beethoven]: 9 he lived a much shorter life; wrote in other forms (opera) his symphonies are much longer, more complex works Austria a a b a b b a

43. EXPLORE (HTTN 5; SH 4)

44. REVIEW (CHAPS. 24–25) The Concerto and Sonata in the Classical Era 1. 2. 3. 4.

5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

b c c fanciful solo passage played as though improvised, which interrupts a movement of a concerto; generally played just before the coda (after the recapitulation) ritornello form and sonata-allegro form piano, violin piano and violin his student Barbara von Ployer solo piano, piano and violin, piano and cello thirty-two c a b Adagio (largo) Yes lilting, triple meter, but gentle rocking character; major mode alternates with orchestra, which imitates the soloist slow-moving, lyrical (singing) melody; repeated notes first

Beethoven and the Politics of Music 1. Napoleon Bonaparte 2. Eroica Symphony (No. 3) and opera Fidelio 3. Napoleon declared himself emperor; Beethoven feared he would trample human rights; called him “nothing more than an ordinary man” 4. celebration of British victory at Battle of Vitoria (1813) 5. Rule, Britannia, God Save the King, and Marlborough s’en va-t-en guerre (Marlborough, he’s gone to war) 6. panharmonicon (mechanical organ)

45. LISTEN (LG 33–36; SH LG 23–24) The Classical Concerto and Sonata 1. [Theme 1]: refined, graceful theme (with trills), heard in violins, then woodwinds [Theme 2]: gently undulating (rocking) theme, with repeated notes, heard in violins, then woodwinds 2. decorated theme, with scales and figurations, begins with sweep into theme


Answers to Study Guide Questions | 139 3. in solo exposition before Theme 2, and in recapitulation before Theme 2 4. a freely improvised section for the soloist; Theme 1, Theme 2 *5. restful, gentle and lyrical, rocking motion *6. [Variation 1]: features solo piano, with decorated melody, accompanied by strings [Variation 2]: woodwinds with melody accompanied by piano figurations (in triplets), feeling of faster tempo [Variation 3]: woodwind dialogue, exchanged parts of melody, answered by piano, more lyrical [Variation 4]: change to minor mode, chromatic and syncopated, strings answered by piano, seems slower and mysterious in mood [Variation 5]: forte statement in full orchestra, marchlike; answered by piano with figurations and scalar patterns *7. keyed trumpet, could play full range with all diatonic and chromatic tones; allowed for more virtuosic lines *8. sonata-rondo (A-B-A-B-A-C-A-B-A-coda) 9. title given by poet Ludwig Rellstab, who compared the work with the moonlit scenery along Lake Lucerne in Switzerland 10. free form; like a song; singing melodies; forceful dramatic writing 11. [I]: modified song form; Adagio [II]: scherzo and trio; Allegretto [III]: sonata-allegro form; Presto No, it is not typical *12. rondo (refrain, A-B-C-B-A-B); + (duple) *13. uses Janissary (Turkish effects); melodic turns, drone, accents, minor mode *14. new instrument that was capable of dynamic contrast; amateurs had pianos in their homes; ideal for chamber music

46. LISTEN (LG 37–38) Haydn, Mozart, and Classical Choral Music 1. Mass: most important service of Catholic Church, celebrated daily; Requiem Mass: setting of Mass for the Dead, sung at funerals *2. 1791, as he was dying *3. Day of Judgement *4. different performers: chorus and orchestra; soloists for various verses; varied moods from dramatic and powerful to lyrical; changing texture: polyphonic vs. homophonic *5. Book of Genesis (from Old Testament of Bible) and John Milton’s Paradise Lost

*6. Adam, Eve, three archangels (Gabriel, Uriel, Raphael) *7. with ambiguous harmonies, dissonance, and chromatic harmonies, which suddenly shift from C minor to C major *8. [secco]: sparse accompaniment; free rhythmically [text] “And God said: Let there be lights” [accompagnato]: with rhythmic accompaniment by orchestra [text]: “In splendor bright” *9. fourth day; sun, moon, and stars *10. homophonic (chordal, homorhythmic, all voices moving together) *11. “In all the lands resounds the word” with soloists singing *13. very dramatic and forceful, with orchestra and only male chorus in polyphonic texture; alternates with gentle, heavenly sound of women’s voices in a simpler texture

47. LISTEN (LG 39; SH LG 25) Mozart’s Opera Don Giovanni 1. opera buffa (comic opera) 2. sung in vernacular (language of people); down-toearth plots; acts end in large ensemble finales; humorous dialogue; use of satire and farcical situations; popular tunes; traditional buffo (comic bass) character 3. opera seria: in Italian; plots on serious mythological subjects; less focus on solo arias; less use of castrato 4. Lorenzo da Ponte 5. Così fan tutte, The Marriage of Figaro (Don Giovanni) 6. Don Giovanni: a licentious young nobleman who has abandoned Donna Elvira and has just killed Donna Anna’s father, the Commmendatore, after violating her Leporello: servant of Giovanni, the comic (buffo) role who tells part of the story Donna Elvira: she was abandoned by Giovanni but she still loves him; Leporello tells her about Giovanni’s many exploits 7. sudden dynamic, quick tempo, wide range changes 8. rapid, speechlike delivery; exaggerated listing in lilting minuet, of women Giovanni has had 9. he finds statute of Commendatore in the graveyard; he invites the statue to dinner, and the statue accepts; Giovanni is dragged to his fiery death by the statue 10. totally lacking in morals; very negative portrayal


140 | Chapter 11 48. REVIEW (CHAP. 26) From Classicism to Romanticism 1. [Mozart] “Romantic” symphony (no. 40), use of minor keys, dramatic themes and modulations, deeply emotional writing; [Haydn] use of new instruments, sudden dynamic contrasts, daring modulations 2. striking dynamic contrasts, explosive accents, expansion of Classical forms, hymnlike slow movements, dramatic intensity 3. Franz Schubert 4. chamber music and symphonies; songs (Lieder) 5. bubbling piano accompaniment 6. bouncy line, conjunct; repetitive (almost strophic) 7. change to minor mode; new music 8. [Romantic composers]: Chopin, Brahms, Tchaikovsky (Beethoven, Schubert, Fanny Mendelssohn Hensel, Mendelssohn, Clara Schumann, Liszt, Berlioz, Verdi, Wagner) 9. b 10. a 11. b 12. b 13. a 14. b 15. b 16. a 17. a 18. b 19. b 20. a 21. a 22. a 23. b 24. [Classical]: c. 1750–1825 [Romantic]: c. 1820–1900

49. REVIEW (PRELUDE 5)

7. new improvements made them cheaper and more responsive; technology strengthened sound; valves added to brass; new wind instruments (tuba, saxophone); piano gained cast-iron frame and thicker strings 8. tuba, saxophone; piano became instrument we know today 9. all of them (strings, brass, woodwinds, percussion) 10. new schools established to train more and better musicians; music education open to women 11. longing for or interest in faraway place or style; northern countries longed for southern warmth and color 12. c 13. b 14. virtuoso performers; more professional musicians and teachers; excelled in piano and voice; more amateurs; some as composers; music patrons 15. creative process was male dominated; viewed as inappropriate for women; women writers and composers published works under pseudonyms 16. large orchestra with prominent brass and percussion; extreme dynamics; grandiose and majestic 17. exotic scene in Russia; very large gate (or wall)

50. REVIEW (CHAP. 27) Song in the Romantic Era 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

The Spirit of Romanticism 1. sympathy for the poor and oppressed; interest in simple people and the individual; faith in humankind and destiny; focus on emotions; longing and discontent in condition of humankind 2. rise of the middle class; surge in urban commerce (Industrial Revolution); new democratic ideals 3. “Liberty, Equality, Fraternity” 4. c 5. a 6. b

12. 13. 14. 15. 16. 17. 18. 19. 20.

strophic form through-composed (durchkomponiert) modified strophic form song cycle; Schubert: Winter’s Journey (Winterreise), The Lovely Maid of the Mill (Die schöne Müllerin) true true false true true false Goethe; Elfking; Schubert (Heine; “In the lovely month of May,” Schumann) Brahms, Robert Schumann; Clara Schumann, Fanny Mendelssohn Hensell eighteen; Goethe a song cycle; Wilhelm Müller 600 (or more) more than 100 songs love, especially from a woman’s point of view Heinrich Heine bubbly piano accompaniment; simple melody that is repeated; light quality; about a fish modified strophic


Answers to Study Guide Questions | 141 51. LISTEN (LG 40–41; SH LG 26–27) Romantic Lieder 1. triplet pattern sets up image of galloping horse and urgency; minor mode is ominous 2. through-composed; son’s cry “Mein Vater” each time at higher pitch level; accompaniment figure 3. [Narrator]: middle range; less emotional [Father]: low range, calming line [Son]: high range; dissonance [Elfking]: middle range; major mode 4. boy’s cries to his father; very emotional 6. strophic form 7. wistful, melancholy, indecisive (because of the harmony) 8. longing or unrequited love; fragile love 9. left without resolution or knowing what comes next 10. frames the verses; sets the melancholy mood; leaves us yearning 11. strophic (2 verses) 12. lilting triple meter, repeated intervals 13. disjunct

52. REVIEW (CHAP. 28) Romantic Piano Music 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

11. *12. *13. *14. *15. *16. *17. 18. 19.

true false true Chopin; Liszt Forest Murmurs, Wild Hunt; impromptu; prelude; intermezzo Chopin wrote much Romantic piano music; his music is very songful and expressive half Polish, half French “robbed time,” rhythmic liberties taken within a measure while maintaining the basic beat George Sand (Aurore Dudevant) nocturnes; preludes; études; impromptus; waltzes; mazurkas; scherzos; rondos; marches; ballades; polonaises and mazurkas none (virtually none) Hungary Daniel Stern (Countess Marie d’Agoult) Princess Carolyne Sayn-Wittgenstein religious life; he took minor orders thematic transformation Richard Wagner mostly songs and piano music; one piano trio, one orchestral work, one string quartet; also a cantata by her mother, then theory/composition studies with a tutor

20. very close; both very musical; she performed his music; he died shortly after she did 21. publishing music was discouraged as too public; she was to be a wife and mother first; she could host salon concerts for friends at her home

53. LISTEN (LG 42–44; SH LG 28–29) Romantic Masters of Piano Music 1. triple (T); no (yes, after the introduction) 2. literally, robbed time, liberties taken with rhythm, slowing down and speeding up 3. very rhythmic, dotted rhythms, syncopations, modal and chromatic 4. melancholy, wistful, sad 5. yes 6. no 7. b 8. rushing fast notes, lilting meter (Z) 9. polyphonic texture, melody hidden among the fast notes 10. yes 11. ternary (three-part): A-B-C' with short introduction and coda *12. Transcendental Etudes after Paganini; study or exercise, each presenting a different technical problem *13. virtuoso violinist Paganini *14. with a high note that alternates with each note of the melody (a kind of pedal point) *15. distance between high notes in melody exceeds the natural span of the hand, so hand must pivot back and forth; passagework and patterns that get faster and faster

54. EXPLORE (HTTN 7, SH 6) Chopin and the Salon 1. from French word salle, for “room” 2. gathering of musicians, artists, intellectuals with similar tastes; performances in home of wealthy patrons who host concerts 3. at a party hosted by the Countess d’Agoult, who was the mistress of Franz Liszt; Aurore Dupin, Baroness Dudevant 4. Boston and Philadelphia 5. poet Amy Lowell; painter Sara Choate Sears; composers Clara Kathleen Rogers and Amy Beach; patroness Isabella Stewart Gardiner 6. affordable; family entertainment; a great deal of piano music coucld be played by amateurs 7. private party, corporate event


142 | Chapter 55. LISTEN (LGS 45–46; SH LG 30) Music in Nineteenth-Century America 1. his wife Jane Denny McDowell 2. A-A'-B-A 3. strophic (two verses) with an instrumental introduction, interlude, and postlude 4. at the end of each B section, leading back to A (the return of the opening music) 5. hammer dulcimer 6. piano 7. Oh, Susannah!, Camptown Races, Old Folks at Home, My Old Kentucky Home 8. brass group (with percussion) 9. binary (A-A-B-B) or more correctly rounded binary (A-A-B-A-B-A) 10. both are minstrel songs, because they talk about African-Americans in the South; Camptown Races uses dialect. *11. New Orleans *12. Home, Sweet Home; Union; The Star-Spangled Banner; Yankee Doodle; Hail, Columbia; Camptown Races *13. rhythmic accompaniment, set against a high-range melody; syncopated; imitates strumming and picking on a banjo *14. Camptown Races *15. a *16. a 17. slowing down and speeding up within the measures throughout 18. b 19. a 20. cartoon music, after character is hit on head

56. REVIEW (CHAP. 30) Romantic Program Music 1. 2. 3. 4. 5. 6. 7. 8. 9.

d a e f c b a b Mendelssohn, Overture to A Midsummer Night’s Dream; based on Shakespeare play of same name 10. Berlioz, Symphonie fantastique 11. folk song or dance basis; works on folklore or life of lower classes; works about national heroes, historic events, or scenes from their country; political themes

12. 13. 14. 15. 16. 17. 18. 19.

c b e a c a d b

57. LISTEN (LGS 47–49; SH LG 31–33) Berlioz, Smetana, and Grieg 1. 1830, in Rome (won Prix de Rome) 2. inspired by real-life infatuation; autobiographical; deals with nature, death, and the grotesque (typical Romantic themes); setting as program symphony; impassioned music 3. Harriet Smithson (Shakespearean actress) 4. “fixed idea,” recurring musical theme that is varied; unifies the work 5. occurs in each movement 6. diabolical, energetic, dramatic 7. loud chord at end of movement *8. associated with death; bells tolling for the dead; set against fast-moving infernal dance tune 9. c 10. b 11. [a]: rippling figures in flutes and clarinets [b]: violins [c]: French horns [d]: double reeds, accompanied by muted strings [e]: brass 12. dreamy depiction of sunrise; grotesque and ghostly 13. both use wide-ranging dynamics with crescendos 14. pastoral instruments (flute, oboe, horn); strings and staccato woodwinds 15. major; minor 17. sad, reflective, melancholy 18. the death of Aºse, Peer’s mother, sets him off on adventures, including going to North Africa and meeting an Arabian girl, Anitra, who dances for him

58. EXPLORE (HTTN 8; SH 7) Music, Folklore, and Nationalism 1. values; right from wrong; preparation for adulthood 3. mythical bird that rises out of ashes and represents hope (Egyptian); Stravinsky’s Firebird; Harry Potter (Dumbledore’s familiar, Fawkes) 4. Grimm Brothers (Jakob and Wilhelm Grimm) 5. Charles Perrault collection (1697)


Answers to Study Guide Questions | 143 6. story by German writer E. T. A. Hoffmann, expanded by French writer Alexandre Dumas 7. theatrical genres (opera, ballet, musical)

59. REVIEW (CHAP. 31)

*14. Hiawatha; by Henry Wadsworth Longfellow *15. no (yes, except that middle movments are inverted); no (yes, all but second movement) *16. modal melody suggestive of spiritual *17. Slavonic Rhapsodies; Slavonic Dances; settings of Czech folk songs

Absolute Music in the Nineteenth Century 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

14.

movements Classical Haydn; Mozart; Beethoven four first; sonata-allegro three-part form; theme and variations c a b larger proportions; number of movements and tempo schemes may vary orchestra and soloist alternate in playing themes Felix Mendelssohn, Chopin, Liszt, Robert Schumann, Clara Schumann, Brahms, Tchaikovsky public concerts on rise, became big business; improved instruments and more educational opportunities for musicians form/structure; key centers; thematic development

60. LISTEN (LGS 52-53; SH LG 34)

61. EXPLORE (HTTN 9; SH 8) Dvor˘ák, The Symphony, and African-American Music 1. spirituals, Creole tunes and dances, Native American music 2. Hiawatha, by Henry Wadsworth Longfellow 3. to use the varied folk music of America as the basis for their works; throw off domination of European music 4. collection of spirituals in art song arrangement (Jubilee Songs of the U.S.A., 1916) 5. Florence Price, wrote a symphony in the same key (E minor) as Dvor˘ák ’s symphony and drawing on African-American melodies and rhythmic ideas; William Grant Still; drew on African-American work songs, spirituals, jazz, ragtime, and blues in his works, especially in the Afro-American Symphony 6. Paul Robeson, Marian Anderson, Leontyne Price, Jessye Norman 7. iMusic selection is call and response, syncopated, sung freely, in strophic form

Brahms and Dvor˘ák as Symphonists 1. 2. 3. 4. 5. 6. 7. 8.

9. 10. 11. *12. *13.

four F–A-flat–F = Frei aber froh (free but happy) four it is not a scherzo (nor a dance); it is a melancholy waltz [opening] arched melody, like an orchestral “sigh”; [middle] smaller range; conjunct; chromatic new orchestration (instruments); French horns and oboes Beethoven form (four-movement structure and internal movement form); emotional expression, chromaticism, personal motto dramatic, theatrical, passionate crescendo, strong percussion repetition (ostinato, repeated harmonic progression) Dvor˘ák was working/teaching in the United States when he wrote it use of pentatonic melodies; inspired by his travels in America; claimed himself it was “American”; loose poetic basis on American epic poem

62. LISTEN (LG 50–51) *The Romantic Concerto and Chamber Music *1. four *2. [I.] Allegro moderato, sonata form [II.] Tempo di minuet, scherzo [III.] Andante; song without words [IV.] Allegretto, sonata form *3. piano, violin, cello *4. all instruments play the melody, in alternation *5. fast-slow-fast (Allegro molto–Andante–Allegro molto); yes *6. no orchestral exposition (violin begins with first theme); cadenza at the end of development rather than after recapitulation; no break before second movement; cyclical (first movement referred to in second movement) *7. no *8. soaring, broad, dramatic (in minor mode) *9. at end of development; no *10. Ferdinand David, a virtuoso violinist


144 | Chapter 11 *11. more dramatic, emotional *12. overall form of concerto; use of (modified) firstmovement concerto form; balanced symmetrical phrases; use of orchestra *13. sentimental; movements played without pause (making it an extended work); cyclical form; minor key; variations in form; highly virtuosic

22. [Malibran]: Rossini; [Viardot]: Gounod, Massenet, Fauré 23. yes; had visibility; established tradition of great women singers in opera

64. LISTEN (LG 54–55; SH LG 35–36) Verdi and Wagner

63. REVIEW (CHAP. 32) National Schools of Romantic Opera 1. a [aria]: solo song with accompaniment, in lyrical style; intended to express emotions and virtuosic display b. [recitative]: solo song in disjunct style; imitates the natural inflections of the words and their rhythms; secco (sparsely accompanied) or accompagnato (accompanied) styles; recitative furthers plot and action through dialogue c. [chorus]: large ensemble, accompanies solo voices or is independent; may comment on action, as in Greek drama d. [ensemble]: duets, trios, quartets, etc., in which each character expresses his/her feelings; often closes an act 2. supports the action; sets mood for scenes through overture and interludes 3. text or script of an opera; written by librettist 4. f 5. g 6. a 7. c 8. d 9. e 10. b 11. b 12. a 13. a 14. b 15. b 16. b 17. a 18. setting in far-off land; music flavored with melodies, rhythms, harmonies suggestive of locale; Bizet, Carmen; Verdi, Aida; Puccini, Turandot, Madame Butterfly 19. Esmeralda; Louise Bertin; Victor Hugo, The Hunchback of Notre Dame 20. Jenny Lind; P. T. Barnum 21. sisters; both daughters of famous Spanish tenor Manuel Garcia

1. Victor Hugo’s play The King Is Amused (Le roi s’amuse) 2. Renaissance era (early sixteenth century) in northern Italy (Mantua) 3. lilting, catchy melody; rousing 4. ladies’ man; after them all, thinks they are fickle 5. [Duke] wooing a beautiful woman [Maddalena] joking, laughing off his advances [Gilda] heartbroken, lamenting her lost love [Rigoletto] vengeful 6. memorable melodies and appealing stories 7. Italy 8. Macbeth, Otello, Falstaff 9. Aida; setting in Egypt 10. Falstaff (1893) 11. German legend of The Ring of the Nibelung 12. father of the gods; his favorite of the nine Valkyries (daughters of Wotan) 13. The Valkyries are picking up the dead, taking the fallen on their horses to Valhalla. 15. true 16. false 17. true 18. true 19. false 20. true 21. false 22. Bayreuth Festival 23. Cosima, daughter of Franz Liszt

65. LISTEN (LG 56, 59; SH LG 39) Late Romantic Opera and Exoticism *1. Prosper Merimée story; libretto by Henri Meilhac and Ludovic Halévy *2. trumpet fanfare, staccato tune with percussion, singing “fanfare” *3. soldiers, cigarette girls, street boys; sets scene for entrance of Carmen *4. dotted rhythm


Answers to Study Guide Questions | 145 *5. character is capricious, carefree about love; music is repetitive (rhythmic motive), has descending chromatic line *7. verse and chorus (strophic, with solo verse alternating with chorus) *8. realism of emotions; violence 9. jubilant, marchlike, festive 10. orchestration, triplets, and grace notes (ornaments) 12. play by David Belasco; from short story by John Luther Long; derived from Pierre Loti’s tale Madame Chrysanthème 13. in Act II, as she is waiting for her husband to return 14. initial distant, ethereal quality; builds to dramatic climax (high note) 15. she gives her son to Pinkerton, then kills herself with a samurai dagger 16. faraway setting; evocation of geisha culture; use of pentatonic and whole-tone scales; instruments evoking the Japanese gagaku 17. Pietro Mascagni, Ruggero Leoncavallo 18. realism, result of naturalism movement; depicted everyday people in down-to-earth situations

66. LISTEN (LG 57, 60; SH LG 37) Two Late Romantic Masters 1. 2. 3. 4. 5. 6. 7. 8.

9. 10. *11. *12. *13. *14.

Catholic Mass for the Dead Italian poet and humanist Alessandro Manzoni the day of judgment terror, powerful; loud dynamics, fast and agitated tempo, pounding chords, minor key; rushing strings ethereal, peaceful; soft dynamics; soaring solo line very soft, with a leap of an octave to a high note by the soloist, on the words “grant them rest.” too theatrical concert hall, as it needs very large forces and is theatrical (church, as it is the Catholic Mass for the Dead) Milan, 1874 It shows the trumpet-playing angels announcing the day of judgment. poems from The Chinese Flute, by Hans Bethge (adaptions from Li T’ai Po) solo voice (tenor and alto/baritone), orchestra pentatonic scale, use of triangle and woodwinds, thin texture, text images of “pavilion of green and of white porcelain,” tiger, jade bridge to pavilion, drinking tea, silken sleeves

67. REVIEW (CHAP. 33) Tchaikovsky and the Ballet 1. 2. 3. 4. 5. 6.

7. 8. 9. 10. 11. 12.

13. 14. 15.

16. 17.

19. 20.

true false false true true a. Swan Lake b. The Sleeping Beauty c. The Nutcracker E. T. A. Hoffmann; Alexandre Dumas (père) teacher at Conservatory of Moscow guilt ridden; unaccepting patroness; supported his music; never met him Americans loved it; he was more famous in New York than in Russia symphony, opera, concerto (piano and violin), overture, chamber music, keyboard music, choral music, song Christmas eve in a family home children Clara and Fritz; godfather; Nutcracker/Prince; Mouse King; Sugar Plum Fairy Act II takes place in land of sweets (Confiturembourg) ruled by Sugar Plum Fairy; dances reveal all attractions of magic realm new meter, tempo, and instrumentation *[March]: lively duple meter with brass; majestic [Sugar Plum Fairy]: light (pizzicato), with bell-like celesta; ethereal [Trepak]: very energetic; with tambourine harp, oboe (woodwinds) dreamy, lilting

68. REVIEW (PRELUDE 6) Modernism in the Arts 1. 2. 3. 4. 5.

c a c b retain freshness of first impressions; show continual change in appearance; focus on light and color; simple subjects (nature, everyday scenes) 6. alienation from established institutions with a focus on dynamism of twentieth century; arose around 1909 7. rejection of high art; produced absurd works with simplicity of a child’s view; founded 1918


146 | Chapter 11 8. wrote simple, “everyday” music; influenced the group Les Six 9. Surrealism; artists Salvador Dali and Joan Miró 10. was a Germanic movement against Impressionism and involved delving into the soul 11. artists Wassily Kandinsky, Oskar Kokoschka; writer Franz Kafka; composers Arnold Schoenberg, Anton Webern, and Alban Berg 12. wide melodic leaps, extreme ranges for instruments, hyperexpressive harmonies, pressing the diatonic tonal system 13. return to earlier eras and objectivity; preferred absolute over programmatic music genres; focus on craftsmanship and balance; invoked Classical ideals 14. The simplicity and abstraction of non-Western arts was an attraction; primitivism was manifested in powerful, driving rhythms.

69. LISTEN (LG 61–62; SH LG 40) Debussy and Ravel 1. Symbolist poem by Stéphane Mallarmé 2. mythological faun (half man, half goat) waking in forest, vaguely remembering episode or dream with nymphs, then sleeping again in sun 4. [melody/rhythm]: langorous, chromatic melody; fluid, rhapsodic movement; relaxed rhythm and beat [harmony/texture]: parallel chords; unresolved dissonances; “blue” chords; homophonic texture [form]: loose A-B-A' [timbre/color]: instrumental color changing throughout, like brushstrokes [other]: antique cymbals; some non-Western characteristics 5. abridged section A'; varied instrumentation; antique cymbals and “blue” chords 6. floating meter, lilting feeling; varied motion; colorful instruments 7. no strong sense of meter; colorful instruments (woodwinds) *8. Cervantes; Don Quixote *9. wayward but chivalrous knight Don Quizote who takes on challenges; Dulcinea is his fair lady, a product of his imagination in whom he sees the image of the Madonna *10. Man of La Mancha *11. guijira; lilting rhythm that alternates between T and Z (sesquialtera) *12. jota; quick triple-meter dance, accompanied by castanets and guitars *13. he was born in the Basque region of France (near Spain), in Ciboure

*14. b *15. c *16. Mother Goose Suite (China), The Child and the Enchantments and violin sonata (jazz and blues), Sheherazade (Asia), Songs of Madagascar (Africa), Tzigane (Gypsy)

70. EXPLORE (HTTN 11; SH 10) The Paris World Exhibition of 1889 1. Eiffel Tower 2. Indonesian ensemble with percussion (gongs, chimes, drums), among other instruments; Java 3. scale (pentatonic); timbre (percussive); texture; veiled beat 4. (Algeria, Senegal, Congo, Anan (Vietnam), New Caledonia, Turkey, United States, Russia, Cambodia) 5. belly dancers; whirling dervishes 6. nineteenth-century dance of African-American origin; features rhythmic strutting with linked arms (parody of white plantation owners; southern U.S. [among slaves]) 7. Spanish (flamenco) 8. Spain, Gypsy, Asia, Africa, China, jazz, blues, others

71. REVIEW (CHAP. 35) Early Modern Musical Style 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

d e b c a f true false true false true true false false true true He abandoned tonality, first using atonality, then applying a new organization principle to music: serialism, in which a twelve-tone row is established that controls all the pitch material in a work.


Answers to Study Guide Questions | 147 18. They used a smaller orchestra, focused more on winds than strings; piano often included; timbre is bright and hard. 19. They returned to succinct, tightly organized forms; they revived forms from earlier eras, such as toccata, fugue, suite, and concerto grosso. 20. [melody]: disjunct, wide-ranging, irregular phrasing [harmony]: dissonant, no sense of tonality, probably 12-tone structure [rhythm]: no sense of regular meter, or constantly changing meter [timbre]: many different instruments featured; Klangfarbenmelodie (different colors); extreme ranges

72. LISTEN (LG 63; SH LG 41) The Music of Stravinsky 1. The Firebird, Petrushka, The Rite of Spring (Le sacre du printemps) 2. polyrhythms, polytonality, percussive dissonance, primitive rhythmic treatment, new treatment of instruments 3. setting (pagan Russia), use of Russian folk songs and folklike melodies 4. more brass (8 French horns, 5 trumpets), more woodwinds, huge percussion section 5. celebration of the arrival of spring; rivalry of two tribes, selection of a maiden to sacrifice to save the fertility of the earth, evocation of the ancestors, sacrificial dance of maiden (Part II) 6. sudden, irregular accents; percussive dissonance; ostinatos; melodic repetition 7. It caused a riot; people shouted; some found the work and dancing offensive; Stravinsky left in a rage; some declared it “the work of a madman”; others found it magnificent 8. [melody]: disjunct, but not prominent; no sense of phrasing 9. [harmony]: dissonant, harsh 10. [rhythm]: irregular accents and constantly changing meter 11. [timbre]: many different instruments featured; extreme ranges 12. Oranienbaum, near St. Petersburg, Russia 13. Paris 14. Switzerland; California (near Los Angeles) 15. Agon, Threni: Lamentations of the Prophet Jeremiah 16. [choral works]: Symphony of Psalms, Canticum sacrum, Threni, Requiem Canticles [operas]: The Rake’s Progress, Oedipus Rex

73. LISTEN (LG 64–66; SH LG 42–43) Schoenberg, Berg, and Webern 1. Sprechstimme; means “spoken voice”; vocal melody is spoken or recited rather than sung on exact pitches and in exact rhythm; to bring spoken word and music close together; Expressionist treatment makes weird and effective presentation of text 2. Albert Giraud collection of poems entitled Pierrot lunaire 3. voice (mezzo soprano) and chamber ensemble 4. the moon, moonbeams, guilt 5. deals with inner dark feelings (guilt, atonement, fantasies, depression) 6. dissonant harmony, very active counterpoint; canonic treatment *7. less dissonant, more homophonic treatment 8. atonality; twelve-tone music (serial, dodecaphonic); atonal (Expressionist) 9. their teacher 10. Expressionist play by Georg Büchner 11. main character represents the “insulted and injured” of the earth; deals with dark side of humans (sadism, infidelity, illegitimacy, jealousy, murder, guilt) 12. Sprechstimme makes him sound confused, crazy; puts focus on text *13. heartbreaking scene, with child on hobbyhorse, not understanding the situation 14. Lulu *15. chamber orchestra *16. tone-color melody, each note sounded by a different instrumental color, making the music very disjunct; instrumental timbre like dots of colors in pointillistic painting *17. inversion and retrograde inversion of a theme *18. serial *19. theme and variations; inverted tone row and retrograde inversion of tone row *20. shot by an American sentry in Austria during World War II when he stepped outside to smoke a cigar after curfew

74. REVIEW (CHAPS. 37–38) Nationalism in the Twentieth Century 1. 2. 3. 4. 5. 6.

d b f a e b


148 | Chapter 11 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

17.

c a c f e combined objectivity with Neoclassicism and new harmonic idiom miltary bands (British bands tradition) John Philip Sousa; Stars and Stripes Forever, The Washington Post, Semper Fidelis Charles Ives a. [woodwinds] flutes, piccolos, clarinets, saxophones, bassoons, other sizes of clarinet b. [brass] trumpets, French horns, trombones, tuba/sousaphone c. [percussion] cymbals, bass drum, snare drum traditions of marches in parades and for sporting events

75. EXPLORE (HTTN 12; SH 11) Bartók—A Folk-Song Collector 1. identify national styles within Eastern Europe; to study and preserve their traditional music 2. one who engages in the comparative study of musics of the world, with a focus on cultural context collecting music on site, from the people, in the field 3. drew extensively from melodic, rhythmic, modal, and poetic structures of traditional music; used free speech rhythms and language inflections 4. Slovak, Romanian, Bulgarian, Serbian, Croatian, Hungarian, Roma (Gypsy), Arab 5. Gypsy 6. [vocal melodies] built on modal scales; follow natural inflection of language [rhythms] irregular and additive meters; based on free speech rhythms 7. meter built from smaller unit groups (2 + 3 + 2 + 2 = 9) 8. folk accordion 9. repetitive, built on small motives, modal, decorated (ornamented) 10. asymmetrical, additive (11/16), feels like changing meter (2+2+3+2+2), use of triplets

76. LISTEN (LG 67–69; SH LG 44–45) European Nationalists 1. Bartók treats the various instruments of the orchestra in a soloistic manner; the entire orchestra is the soloist

2. 1943; the conductor Serge Koussevitzky 3. five 4. pentatonic scales; dancelike rhythms; irregular rhythms 5. Shostakovich, Symphony No. 7 6. rondo (A-B-A'-C"-B"-A") 7. shifting (changing) between + and ", asymmetrical 8. yes; primitive, dramatic 9. Hungarian 10. search for his native Hungarian music; the rhythms and melodies of the different folk traditions 11. Music for Strings, Percussion and Celesta; string quartets; Bluebeard’s Castle; Mikrokosmos 12. World War II; Nazi alliance with Hungarian government; Bartók took anti-Fascist stand. *13. a humorous story about a misunderstanding by the Russian czar to a military report, forcing court advisers to invent a military hero and his life (birth, love, wedding, a troika ride, and death). *14. three-horse sleigh; jingling bells; use of sleigh bells, triangle, tambourine, cymbals, and celesta 15. collection of medieval poems found at a monastery in Benedikbeuren, written by wandering monks; texts on moralizing and satirical themes; also about drinking, gambling, and love 16. very percussive, harsh dissonances, strong accents, hypnotic ostinatos 17. refers throughout to the turning wheel of fortune, which can change one’s luck

77. LISTEN (LG 70–71; SH LG 46) American Modernists 1. He draws on American traditions (parades, park concerts, church services) and uses popular tunes from his childhood in New England (hymns, patriotic songs, marches, parlor ballads, fiddling songs). 2. London Bridge, The Girl I Left Behjind Me, Arkansas Traveler, Semper fidelis, My Old Kentucky Home, Marching through Georgia, British Grenadiers 3. dissonant, clashing 4. realism of an amateur band making mistakes and playing out of tune 5. Three Places in New England (including Putnam’s Camp), Concord Sonata, A Symphony: New England Holidays 6. It was not well received; society was not ready for his experimental music. He self-published his music. He was recognized finally in 1947 when his Third Symphony won the Pulitzer Prize. *7. East Liverpool, Ohio, the daughter of a minister


Answers to Study Guide Questions | 149 *8. her teacher Djane Lavoie-Herz, Scriabin, Henry Cowell *9. high level of dissonance, but gently impressionistic; mystical (from her study of Eastern religions); shifting meters; subtle contrasts in dynamics *10. she married the musicologist-folklorist Charles Seeger *11. collecting and arranging American folk songs; developed folk music programs for local schools

78. LISTEN (LG 72–73; SH LG 47–48) Still and Copland 1. Harlem Renaissance; celebrated and promoted African-American culture and arts 2. blues, spirituals, jazz 3. three works of art by three African-American artists, one for each movement; Augusta Savage, sculpture entitled Gamin, of a young street-smart kid in Harlem 4. bluesy feel, with modal harmonies and lowered thirds and sevenths in melody; very syncopated; stride accompaniment and ostinatos 5. a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills; a bride and famer husband show emotions over their new partnership 6. first hint of daybreak over the horizon (also introduces the characters) 7. Simple Gifts (“ ’Tis the gift to be simple”; Shaker hymn) 8. theme and five variations 9. clarinet 10. Rodeo Billy the Kid 11. same tune, same meter, some variations, homophonic treatment 12. choir vs. orchestra, more variety in timbre, Copland uses augmentation and theme and variations vs. a three-part form (choir)

79. LISTEN (LG 74–75; SH LG 49) Revueltas and Mariachi Music 1. mariachi band; using pairs of violins and trumpets; piano simulates guitars 2. outspoken Spanish poet killed by the Fascists during the Spanish Civil War; his death moved Revueltas, who was a Loyalist and who fought against the Fascists

3. focus on high and low-register instruments; focused heavily on winds and piano 4. son is a type of traditional Mexican dance 5. strongly rhythmic and syncopated; percussive accents; use of rhythmic ostinatos 6. rondo (rondo-like) 7. early twentieth-century arts movement that drew on elements of traditional and popular culture in Mexico 8. Carlos Chávez, Manuel Ponce 9. he was viewed as a revolutionary and a hero 10. Sensemayá; poetry of the Afro-Cuban writer Nicolás Guillen 11. Jalisco region of western Mexico 12. large acoustic bass guitar; round-back folk guitar 13. Mexican cowboys with wide sombreros 14. violins and trumpets 15. a traditional Mexican dance song with shifting meter 16. The Man from Cihuatlán 17. zapateado (Spanish flamenco-style dance), strong syncopations 18. Jarabe tapatio, or Mexican Hat Dance 19. triple 20. two verses (each repeated immediately), two choruses 21. mambo, danzón, chachacha, salsa cumbia

80. REVIEW (PRELUDE 7) The Rise of American Popular Styles 1. comedy sketch with music; many written by immigrant composers 2. music businesses of songwriters and publishers in New York City 3. Over There 4. a. [prohibition] banned the manufacture and sale of alcohol b. [Nineteenth Amendment] granted women the right to vote c. [Harlem Renaissance] promoted the arts and culture of African Americans d. [ballroom dancing] craze for Charleston, tango, and others; new fashions for women e. [Great Depression]: crash of Wall Street stock market; 1929 5. Boogie Woogie Bugle Boy (of Company B); God Bless America 6. Aaron Copland, Leonard Bernstein, Pete Seeger 7. Blowin’ in the Wind and The Times They are AChangin’ (war, civil rights) If I Had a Hammer, We Shall Overcome (civil rights) 8. LPs and 45 rpms 9. Your Hit Parade, Dick Clark’s American Bandstand, The Ed Sullivan Show


150 | Chapter 11 10. Black Eyed Peas member will.i.am 11. Public Enemy’s Don’t Believe the Hype (against discrimination, poverty, corruption, government policies); Michael Jackson’s We Are the World (against famine in Africa)

81. LISTEN (CHAP. 40) Ragtime, Blues, and Jazz 1. ragtime, blues, Western art, and popular music 2. African-American piano style noted for “ragged rhythm,” or syncopation; later popular in ensembles; Scott Joplin; Maple Leaf Rag and The Entertainer 3. to elevate ragtime to equal art music 4. opera; Treemonisha 5. three-line stanzas, with first two lines the same, all rhyming 6. Sample: I woke up this morning with an awful aching head. I woke up this morning with an awful aching head. My new man had left me, just a room and an empty bed. 7. twelve- or sixteen-bar stanzas; twelve-bar blues = I (four) IV (two) I (two) V (two) I (two) 8. pitch slightly dropped, usually on 3rd, 5th, or 7th scale tone 9. Bessie Smith, Billie Holiday 10. trumpet (cornet), clarinet, trombone, rhythm (piano, string bass, drums) 11. singing with vocables rather than words; Louis Armstrong 12. true 13. true 14. false 15. true 16. false 17. true 18. alcohol and drug abuse; used opium and heroin; was jailed; died of cirrhosis of the liver

82. EXPLORE (HTTN 14; SH 13) The Roots of Jazz 1. 2. 3. 4.

West Africa, Europe, Americas call-and-response patterns and vocal inflections communal song to synchronize group tasks religious folk song, often with refrain

5. New Orleans 6. hand clapping, storytelling, call and response, syncopation, various instruments 7. musical storytellers; preserved and transmitted history, stories, poetry of African peoples; glorified deities 8. dancing to accompaniment of drums, gourds, mouth harps, and banjos; strongly accented, with syncopations and polyrhythmic elaborations; use of rhythmic interjections, vocal glides and percussive sounds, all derived from African musics; musical scales using blue notes 9. in Mississippi Delta, as a raspy-voiced singer accompanied by steel-string guitar; Charlie Patton and B. B. King 10. covers of famous blues; expressive singing style; influence on Jimi Hendrix, Janis Joplin, among others 11. [Swing Low, Sweet Chariot]: slow and syncopated, free and improvisational; call-and-response style; emotional; theme of preparation for death 12. [Pine Apple Rag]: highly syncopated melody over steady oom-pah bass; short sections with repeats; disjunct melody 13. [When the Saints Go Marching In]: instruments treated equally (multiple improvisation); trombone (and tuba) and percussion; regular tempo; voice and instruments exchange ideas

83. LISTEN (LG 76–77; SH LG 50–51) Early Jazz Styles 1. syncopated rhythms (ragged rhythms); on piano, in right hand 2. section of a rag (or march); sixteen measures 3. A-A-B-B-A-C-C-D-D 4. piano roll (Steinway player piano) 5. C (trio) 6. steady, duple-meter accompaniment to syncopated melody in right hand 7. twelve-bar blues 8. first 9. six 10. clarinet, trumpet 11. blue notes (bent pitches) 12. [Holiday]: rhythmic flexibility, bent pitches, scoops [Shaw]: creative improvisation; disjunct [Berigan]: “gut-bucket” style playing (raspy) 13. Louis Armstrong, Bessie Smith


Answers to Study Guide Questions | 151 84. REVIEW (CHAP. 40) The Swing Era and Beyond 1. 2. 3. 4.

5. 6. 7.

8.

1930s and 1940s Great Depression; economic slowdown Duke Ellington [bebop]: Dizzy Gillespie, Charlie Parker, Bud Powell, Thelonious Monk [cool jazz]: Miles Davis [West Coast jazz]: Dave Brubeck, Gerry Mulligan, Chet Baker [avant-garde jazz] Kpjm Coltrane [free jazz] Ornette Coleman third stream; Gunther Schuller Wynton Marsalis jazz improvisation with amplified instruments and rock rhythms; Miles Davis, Jerry Garcia, Gary Burton new sounds and interactivity between computers and performers; use of MIDI and interactive performance

85. LISTEN (LG 78–79; SH LG 52) Big Band and Bebop 1. 32-bar song form (A-A-B-A) 2. big band (ensemble with trumpets, trombones, saxophones, piano, guitar, bass, drums) 3. trumpet (Ray Nance), piano (Duke Ellington) 4. exchanges between groups of instruments 5. bent notes, shakes, glissandos 6. they collaborated on many works; each one’s work complements the other’s 7. Black and Tan Fantasy; Mood Indigo; Sophisticated Lady; Black, Brown, and Beige 8. 13 Grammy awards, Pulitzer Prize nomination *9. Charlie Parker (alto saxophone), Miles Davis (trumpet) *10. Dizzy Gillespie; trumpet *11. septet (seven) *12. repeated riffs and ostinatos, short melodic ideas tossed around *13. a solo passage that interrupts the accompaniment; at the beginning of Chorus 2 *14. a short, repeated melodic idea *15. abrupt, short ideas, alternated with more lyrical lines

86. REVIEW (CHAP. 41) Musical Theater 1. comic opera, operetta 2. Johann Strauss, Jr., Gilbert and Sullivan 3. Show Boat—Edna Ferber novel; My Fair Lady— George Bernard Shaw’s Pygmalion; Fiddler on the Roof—stories by Sholem Aleichem; Kiss Me, Kate—Shakespeare’s Taming of the Shrew; Guys and Dolls—stories by Damon Runyon; Fanny—Marcel Pagnol trilogy; Porgy and Bess— play by DuBose and Dorothy Heyward; Carousel— Ferenc Molnár’s Liliom; Oklahoma!—Lynn Riggs’s Green Grow the Lilacs; South Pacific—stories by James Michener; The King and I—Margaret Landon, Anna and the King of Siam; The Sound of Music— memoir of Baroness Maria von Trapp 4. Lerner and Loewe—My Fair Lady, (Camelot); Rodgers and Hart—Babes in Arms; Rodgers and Hammerstein—Oklahoma! (Carousel, South Pacific, The King and I, The Sound of Music); Kander and Ebb—Kiss of the Spider Woman 5. a 6. c 7. b 8. b 9. a 10. Riverdance, Billy Elliott, West Side Story 11. West Side Story; Porgy and Bess 12. Porgy and Bess 13. 1968; Hair 14. Beauty and the Beast, The Lion King 15. [Rent]: Puccini’s La Bohème [Wicked]: L. Frank Baum’s Wizard of Oz

87. LISTEN (LG 80–81; SH LG 53–54) Hearing Musical Theater 1. Clara, then Bess later in the show 2. languid melody, plays on interval of a third, minor key, slow tempo, text 3. blue notes, slides, pitch inflections, syncopation, relaxed tempo, solo/chorus, dialect of text 4. Catfish Row, a black tenement in Charleston, South Carolina 5. Rhapsody in Blue, An American in Paris, Girl Crazy, Strike Up the Band, Lady Be Good 6. Stephen Sondheim


152 | Chapter 11 7. rival gangs in New York; Maria and Tony fall in love, but Tony belongs to a different gang; Tony killed in fight; Shakespeare’s Romeo and Juliet 8. syncopated dance rhythms, instruments (bongos, cowbells); syncopation, orchestration; jazzy riffs 9. A-A'-B-A" (32-bar song form) 10. different characters reflect on the situation with different emotions; Tony and Maria sing love song; others ready for fight; grand finale of section 11. dynamic music; gangs and gang warfare still prevalent 12. both; some art music works, some popular, many in between (film and musical theater) 13. conductor, teacher, pianist, television personality

88. REVIEW (CHAP. 42) Music for Films 1. emotions supporting a scene: Gone With the Wind; E.T.: The Extra-Terrestrial; The Lord of the Rings: The Fellowship of the Ring; mood throughout: Schindler’s List; others 2. music for hero or heroine: might be passionate; military character: might be marchlike; social class distinctions: Titanic 3. bagpipes (Braveheart); guitar (Brokeback Mountain) 4. music contradicts what is on screen; creates irony 5. underscoring: music from source not seen on screen; source music: music (group) part of drama of film 6. theme associated with a person or concept; Star Wars, Jaws; others *7. live performance on piano or organ *8. The Jazz Singer (1927); (Don Juan, 1926) *9. a. [Steiner] King Kong; Gone With the Wind; Casablanca; The Big Sleep; The Treasure of the Sierra Madre; others b. [Korngold] The Adventures of Robin Hood c. [Herrmann] Citizen Kane; Vertigo; Psycho d. [Rósza] Ben-Hur; Spellbound *10. f *11. e *12. d *13. b *14. c *15. a 16. 1981 17. Indiana Jones (march theme); love interest Marion Ravenswood (trio) 18. ternary (A-B-A'-coda); each section subdivides into small ternary segments 19. focus on brass and percussion 20. trio

89. REVIEW (CHAP. 43) The Many Voices of Rock 1. vocal genre, popular from 1940s through 1960s, with solo singer and instrumental group (piano, guitar, acoustic bass, drums, tenor sax); strong driving beat in Y; Louis Jordan, Ruth Brown, Bo Diddley, Joe Turner, B. B. King 2. country-western, pop, gospel 3. [African American]: Chuck Berry, Fats Domino, Little Richard [White]: Elvis Presley, Jerry Lee Lewis 4. a. [soft rock]: lyrical, less driving beat; the Carpenters, Olivia Newton-John b. [acid rock]: San Francisco–style music that focused on drugs, high volume levels, instrumental improvisations, and new sound technologies; Jefferson Airplane, the Grateful Dead c. [art rock]: large forms, complex harmonies, quotations from classical music; Moody Blues; Emerson, Lake, and Palmer; the Who; Frank Zappa and the Mothers of Invention d. [heavy metal]: simple, repetitive motives, loud, distorted instrumental solos; Led Zeppelin, Black Sabbath e. [punk rock]: provoking lyrics; shocking behavior; simple, loud, repetitive, distorted instrumental solos; Sex Pistols, the Clash f. [reggae]: Jamaican style with offbeat rhythms and chanted vocals; Bob Marley and the Wailers, Black Uhuru g. [rap]: highly rhythmic style, musical patter; Run DMC, Public Enemy, Queen Latifah, N.W.A., Snoop Doggy Dogg, Ice-T h. [grunge rock]: Seattle-based punk, harsh guitar sounds; Soundgarden, Nirvana, Pearl Jam 5. Beatles provided direction in rock in mid-1960s; turning point in style; direction from British; group continued to experiment and grow more expressive; nostalgia. 6. we listen less and look more; more attention to performer and physical aspects of performance; more glamorous 7. developed in the 1960s with the Beatles (Sgt. Pepper’s Lonely Hearts Club Band, Abbey Road); idea of unified album by theme has remained central to popular music 11. women have taken a leading (solo) role in many styles of rock as composers and performers


Answers to Study Guide Questions | 153 90. REVIEW (PRELUDE 8) New Directions in the Arts 1. a. [pop art]: Andy Warhol; Robert Rauschenberg b. [postmodernism]: Jasper Johns c. [abstract expressionism]: Robert Motherwell; Jackson Pollock d. [new wave cinema]: Michelangelo Antonioni; Jean-Luc Godard; Federico Fellini e. [performance art]: Laurie Anderson; John Cage f. [feminist art]: Judy Chicago g. [ethnic art] Faith Ringgold 2. a. [poetry]: Maya Angelou, Derek Walcott, Isaac Bashevis Singer, Gao Xingjian, V. S. Naipaul b. [novel/poetry]: E. L. Doctorow (Ragtime); Gabriel García Márquez (One Hundred Years of Solitude); Kurt Vonnegut (Cat’s Cradle; Slaughterhouse Five); Maya Angelou (I Know Why the Caged Bird Sings); Toni Morrison (The Bluest Eye; Beloved); Amy Tan (The Joy Luck Club); J. K. Rowling (Harry Potter books). c. [film]: Jean-Luc Godard (Breathless); Federico Fellini (La Strada); Michelangelo Antonioni (Blowup; The Passenger); Jane Campion (Two Friends); Quentin Tarantino (Kill Bill films; Pulp Fiction; Inglourious Bastrds); Godfrey Reggio (Koyaanisqatsi; Powaqqatsi) 3. false 4. false 5. true 6. true 7. true 8. dissonance; disjunct melody, extreme ranges, complex rhythms 9. lush orchestrations; soaring lines 10. dramatic, like film music

91. LISTEN (LG 84–86; SH LG 56) The New Virtuosity of the Modern Age *1. 1941; written during World War II, when Messiaen was in a prisoner-of-war camp (Stalag VIIA in Germany) *2. quartet: violin, clarinet, cello, piano; at the prisoner camp (Stalag VIIA) *3. Revelation of St. John: angel descending to earth saying, “There shall be no more time” *4. powerful, dissonant chords, disjunct passages in fast tempo; lyrical, slow, and distant sounding with muted strings

*5. religion, mysticism, bird songs, medieval music (Gregorian chant, modes), non-Western music (gamelan, subtle rhythms of India) *6. piano solo; 1945 *7. massive forces; divides the strings into many parts; huge percussion section *8. six-note sequence of pitches; three *9. second hexachord is transposed retrograde of the first; these two make up a twelve-tone sequence; third hexachord is a rearrangement of pitches from the second hexachord *10. unifying device; six-note figure is contrapuntal and heard staccato in the low range; alternates with higher-range material *11. intense, highly dissonant *13. music director of New York Philharmonic Orchestra; head of IRCAM (French government center for computer music) 14. Federico García Lorca, Spanish poet who was killed by the Fascists during the Spanish Civil War 15. Ancient Voices of Children; four books of madrigals; Songs, Drones and Refrains of Death; Night Music 16. flute and metallic percussion (marimba, glockenspiel, antique cymbals) 17. whispers, trills, flutter tonguing, glissandos, neighing (like a horse) 18. regular beat, like a galloping horse; “dark” text about death; solo voice with instruments 19. atonal, unusual instruments, strange vocal effects, highly disjunct, no sense of meter

92. EXPLORE (HTTN 15; SH 14) Modern Performers Say “Yes, We Can!” 1. slamming the keyboard with hands, fists, forearms; reaching inside the piano and plucking strings; inserting substances under the strings 2. highly developed finger independence; much agility to move around the keyboard fast; willingness to try and to devise new, unusual techniques 3. to make compositional decisions about tempo, dynamics, timbre, note durations, pitches 4. there is no musical content; it can be “performed” on any instrument; the music is the silence and the sounds in the concert environment. 5. ability to sing microtonal intervals; making nonvocal sounds with the voice; vocal flexibility and agility; precise sense of pitch; ability to sing “unsingable” leaps; special effects (flutter-tonguing, trills, buzzing, whispering, etc.) 6. Cathy Berberian, Jan DeGaetani


154 | Chapter 11 7. They both push their technique beyond what had been possible, redefining what is possible.

93. LISTEN (LG 87, 89, 91; SH LG 57-58)

3. 4. *5. 6. *7.

Contemporary Composers Look to World Music 1. sixteen sonatas in four groups of four; groups are separated by an interlude 2. binary (A-A-B-B) 3. various types of materials inserted between the piano strings to change the timbre 4. Javanese gamelan *6. mechanical piano works by Nancarrow; sub-Saharan African music; mathematical puzzles *7. rhythm *8. highly structured; illusion of “disorder” is created by highly organized mathematical treatment of rhythm in cycles; chaotic *9. highly virtuosic and technical, nonmelodic with focus on rhythm; energetic and accented *10. hands play off top end of piano *11. extremely difficult *12. 2001: A Space Odyssey; Atmosphères, Lux aeterna; 1968; Stanley Kubrick 13. symphonic suite (suite) 14. some movements have titles that make the program clear (Fanfare, The Stream Flows, The Three Gorges of the Long River); all influenced by folk music Sheng knew as a child; several refer to places in southern China where Sheng lived 15. pentatonic melodies; linear textures; fluid meter; percussive use of instruments (harp, brass); sliding effects (low brass, timpani, strings) 16. modern Western instruments; three-part structure; orchestration 17. H’un (Lacerations) In memoriam, 1966–75, as a portrait of the Cultural Revolution; operas, including Madame Mao; others in Major Works list

94. EXPLORE (LG 88, 90) The Sounds of Java and Eastern Africa 1. orchestra made up largely of metallic percussion instruments; played in Java, Bali, and Sunda; played for court performances and shadow-puppet plays 2. evil king Rahwana has kidnapped Sinta, wife of King Rama; brother of evil king is cast out for suggesting that Rahwana return Sinta to her husband; from the Hindu epic Ramayama

*8. *9. *10. *11. *13. *14. *15. *16.

introductory piece (overture) to play sléndro (pentatonic) scale changes in tempo and texture Cage, Ligeti, Debussy [Chordophones]: musical bows, zithers, harps, lyres, fiddles [Idiophones]: log xylophones, plucked metal instruments (lamellaphones) [Aerophones]: flutes, trumpets [Membranophones]: pitched and unpitched drums, entenga royal court ensemble of pitched and unpitched drums Kangawo, a subchief, loses a magical headband that brings him good luck; feels unprotected and dies they begin by striking the patterns on the sides of their drums rather than the heads six as apprentice to master drummer (oral tradition) Ligeti fast-paced, complex, syncopated, polyrhythmic gamelan work is highly polyrhythmic and tempos are flexible; Stravinsky’s music is less complex (less polyrhythmic) with more driving rhythms; Bartók uses shifting meters but not layered polyrhythms

95. LISTEN (LG 92) Chinese Traditional Music 1. Abing *2. apprentice Daoist monk; played in Daoist temple; expelled and became street musician; blind 3. created gradually through improvisation; has been disseminated orally 4. erhu; two-string fiddle with bow hairs between strings 5. yangqin; hammered dulcimer 6. pentatonic 7. D–E–G–A–B 8. four; no 9. “adding flowers” or melodic embellishments; decorative, with variations in melody 10. four times 11. ethereal, heavenly; thinner sound; higher in pitch 12. metallic; serves as accompaniment (harmony) 13. non-Western scale (missing tones); linear texture (accompaniment is sparse); slides between pitches on erhu; unusual timbre


Answers to Study Guide Questions | 155 96. EXPLORE (HTTN 16; SH 15) Improvisation as Compositional Process 1. performers free to make up elements of the music, based on some set of rules (scale, mode, harmonic pattern) 2. the composer provides some basic material (melody, harmony, rules); performer interprets these within a known style 3. no 4. Abing 5. raga, or scale type, provides pitches and mood of work; tala provides an organizational scheme for rhythm/meter; overall structure predetermined 6. sitar, tambura *7. dastga¯h 8. no; uses microtonal pitches 9. short grace notes

97. REVIEW (CHAP. 46)

16. interactive machines “designed to augment and expand performance in real time; enhanced real instrument” 17. Yo-Yo Ma 18. Dante’s Divine Comedy, Inferno 19. J. S. Bach, Cello Suite No. 2, Sarabande 20. delicate, energetic, emphatic, frenzied, tormented

98. REVIEW (CHAP. 47) Some Current Trends 1. 2. *3. 4. 5. 6. 7. 8. 9.

Technology and Music 1. sounds made by natural sources that are recorded and manipulated; late 1940s; France; *Pierre Boulez, Olivier Messiaen, Darius Milhaud 2. used an oscillator that could create waveforms that were subjected to alteration (filters, reverberation, amplifier) 3. altered its pitch, volume, dimensions; played it backward, add echo; filtered out overtones; spliced in other components *4. Electronic Studies; Song of the Youths 5. oscillator; see 2 above; this led to the development of the synthesizer 6. RCA synthesizer; only a few existed (one at Columbia-Princeton Electronic Music Center) 7. Robert Moog, Donald Buchla 8. Yamaha DX7 9. Musical Instrument Digital Interface; a standardized communications protocol; allows synthesizers to communicate with other devices, including instruments 10. can recreate realistic sounds (natural, instruments, voice); affordable 11. a 12. c 13. e 14. b 15. d

10. 11.

b a Samuel Barber, Adagio for Strings more immediate appeal; more emotional b a Terry Riley, Steve Reich, Philip Glass, John Adams hypnotic, mesmerizing, soothing, or trancelike meditative music; inspired by religious belief; nonpulsed music with chains of suspensions; Henryk Górecki, Arvo Pärt, John Taverner funeral service for Princess Diana at Westminster Abbey; Taverner’s Song for Athene Nixon in China: historic visit of President Nixon to China in 1972 The Death of Klinghoffer: hijacking of the cruise ship Achille Lauro by Palestinian terrorists and killing of Jewish-American passenger Leon Klinghoffer; El Niño, a nativity work modeled on Handel’s Messiah

99. LISTEN (LG 94–95; SH LG 59–60) The Return to Romantic Ideals 1. 2. 3. 4. 5. 6. 7. 8.

11.

tone poem, program music tintinnabulation Chinese reflex balls shimmering, metallic Percussion instruments her brother, Andrew Blue Higdon, who died of skin cancer solo flute is her instrument; clarinet was her brother’s Floating down the aisle of a glass cathedral, as a center for spiritual growth Focus on instrument families; much metallic percussion, solo woodwinds, dark instruments, use of brass in homophonic settings words (mention of tambourine relaized in Carigliano work with instrument) nonlyrical vocal style


156 | Chapter 11 12. modern (angular lines, asymmetrical phrasing, dissonant; syncopated); Broadway-musical style singing (breathy, speechlike); quirky 13. deamy, mysterious, frenetic, dramatic 14. progresses from innocence (Clothes Line), to awareness of the world (Blowin’ in the Wind), to political fury (Masters of War) to a premonition of the apocalypse (All Along the Watchtower).

12. sacred Hindu scripture (Song of God) 13. Chapter 11, when Krishna, an avatar of Vishnu, reveals himself as the Supreme God, the all-powerful creator and destroyer of the world 14. Nixon’s visit to China in 1972; terrorist hijacking of an ocean liner; novels Frankenstein and Moby-Dick; short stories “The Fly” and The Nose; supernatural event at Versailles

100. LISTEN (LG 96–97; SH LG 61–62) Minimalism and Postminimalism 1. Estonia (former USSR) 2. he looked to medieval and Renaissance sacred music, especially Gregorian chant and organum; he developed the tintinnabular style to simulate the ringing of bells; most choral works set religious texts 3. Psalm 95 in Catholic Bible (Psalm 96 in Protestant Bible); in Latin 4. sometimes monophonic, sometimes homophonic 5. weaving of melodic lines that hover around a central pitch; triadic pitches that ring throughout 6. yes; based on simple ideas that are repeated 7. the last days and hours before the first test on June 16, 1945 of the atomic bomb at the Los Alamos Laboratory, New Mexico; issues over the morality of the creation and the fear/dread the scientists feel 8. the physicist J. Robert Oppenheimer 9. a sonnet by John Donne 10. the fear/dread/anguish of Oppenheimer; sighing motive (2-note descending idea)

101. REVIEW (APPENDIX I) Musical Notation 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 20.

treble (G) clef; bass (F) clef A; D quarter; three six; third disjunct flat; B; lowers it by a half step sharp; C; raises the pitch by a half step D; doubling (unison) two first and second ending; work is binary, played twice, each time with a different ending downbeat first sixteenth note yes homophonic top line (right hand) harpsichord

Z

Enjoyment of Music Instructors Manual

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