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Hand-Back Exam III

Discuss Final Exam:

Part I. The Twentieth Century

A. 10 DefinitionsB. 5 Listening ExamplesC. Mini Essay

Part II. Semester in Review

A. 10 Short AnswersB. 5 Listening Examples

Wrapping Up/Taking Stock

From the beginning:

What is music?

Musical Contingency:

Music means different things to different people in different places at different times

The Middle Ages

Music begins as Monophony

Music as ritual, spiritual devotion: plainchant: music in the abbeys and monasteries

Music as entertainment: courtly secular music: the Troubadours and Trouvères

Development of polyphony – Organum = Notre Dame School (Ars Antiqua)

Secular polyphony – Machaut and the 14th century motet (Ars Nova)

The RenaissanceBegins with a simplification of texture: Homophony

Codification of the Mass

Development of Imitation (Josquin), leads to greater complexity

Reforms of Palestrina: new simplification, concentration on the words, and careful treatment of dissonance and counterpoint (Prima Pratica)

Early development of independent instrumental music

Madrigal

The Baroque

Monteverdi and Opera (Seconda Pratica)

Figured bass and functional harmony

Rigid, ornate, static, stylized form of expression

Flowering of instrumental music (trio sonatas, instrumental suites, concertos[Vivaldi])

Late developments: Bach (fugue) and Handel (oratorio)

The Classical Era

Roots in Galant Style: reaction against high seriousness and artificiality of baroque style – pleasing and direct

Self-conscious simplification: regular phrases, emphasis on melody and straightforward harmonies

Haydn: codifies classical symphony and string quartet

Mozart: brings concerto and opera up to date with greater expressivity, flexibility and dramatic relevance

Sonata Form

The Nineteenth CenturyBeethoven: internalizes and then supersedes the high Viennese Classical style; emerges as quintessential romantic genius/artist

Literary connections abound, from Schubert’s Lieder to the Character Pieces of Chopin and Schumann to:

Program Symphony – Berlioz, Liszt, Tchaikovsky

“Neo”-Classical elements (preference for inherited genres and forms, clarity) – seen in Brahms, as well as some Schumann, Mendelssohn, Tchaikovsky, Dvorak

Emerging Nationalism

Opera: Continuous Opera (Verdi and Wagner); Gesamtkunstwerk, Lietmotiv (Wagner)

The Twentieth Century and the Present

ImpressionismPrimitivismAtonality and ExpressionismNeo-ClassicismSerialismExperimentalismConservatismTotal SerialismFluxusMinimalismPost-MinimalismNeo-RomanticismNew Simplicity

Toru Takemitsu(1930-1996)Japanese

Arvo Pärt(b. 1935)Estonian

Jimi Hendrix – White Men Can’t Jump:The difference between listening and hearing

A final Appeal