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Music 105 Final Review

Music 105 Final Review. Fundamentals of Music. Tempos: from slowest to fastest: Largo, Adagio, Andante, Moderato, Allegro, Presto Be able to order three tempos from slowest to fastest. Major and minor: distinguish between the two --major is often regarded as “happier”

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Music 105 Final Review

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  1. Music 105 Final Review

  2. Fundamentals of Music • Tempos: from slowest to fastest: • Largo, Adagio, Andante, Moderato, Allegro, Presto • Be able to order three tempos from slowest to fastest. Major and minor: distinguish between the two --major is often regarded as “happier” Ex. Mozart, Piano Concerto No. 23, I Ex. Haydn, Symphony No. 92, III, Minuet --minor is often regarded as “sad” Ex. Mozart, Symphony No. 40 in G Minor, I

  3. Music Textures • Monophony (monody): a single line of melody; ex. In Paradisum, anonymous composer, 9th c. • Polyphony: two or more independent melodic lines; ex. Fugue in C Major, Well-Tempered Clavier, Book I, J. S. Bach; Machaut, “Dame, de qui toute ma joie vient”; • Homophony: harmony; one primary melodic line with chords underneath. Generally all voices hve the same rhythm.

  4. Musical Instrument Families • Strings: violin, viola, cello, contrabass (double bass) • Woodwinds: flute, clarinet, oboe, bassoon • Brass: trumpet, French horn, trombone, tuba • Percussion: snare drum, timpani (kettle drums), bass drum

  5. Music Eras • Middle Ages: 476-1450 • Hildegard of Bingen, Columba aspexit • Anonymous, In Paradisum • Guillaume de Machaut, “Dame de qui toute ma joie vient” • Renaissance: 1450-1600 • Guillaume Dufay, Ave marisstella, homophony • JosquinDespres, Kyrie from Pange Lingua Mass; polyphonic

  6. Baroque and Classical Eras • Baroque 1600-1750 • J. S. Bach, WTC, Book 1, Prelude and Fugue in C Major • Tonality, functional harmony, basso continuo • Dissonances resolve.

  7. Classical Era • Classical 1750-1820 • Mozart, Symphony No. 40 in G Minor, I • Mozart, Don Giovanni, “La ci darem la mano” • Early Beethoven, Symphony No. 5 in C Minor, I • Tonality, functional harmony, sonata form—key relations are important. Tonic key, dominant key.

  8. Romantic Era • Romantic 1820-1900 • R. Schumann, “Eusebius” from piano cycle Carnaval—piano character piece; • R. Schumann, “In the Lovely Month of May” from song cycle Dichterliebe. Doesn’t resolve. Harmony is less functional; expression of emotion more important. • F. Chopin, Nocturne in F Sharp—piano character piece. Characteristic: rubato, “stolen time”

  9. Modern Era • Modern Era 1900-present • Impressionism, Claude Debussy, Clouds (Nuages): • Loose ABA [not really]; dissolution of form; still tonal, but what about resolution? Functional harmony—no. • Resolutions are avoided. Octatonic scale. Modernism: Igor Stravinsky, Rite of Spring, “Dance of the Adolescents”. Functional harmony: no. Tone cluster chords—very dissonant, not resolving. Expressionism: Arnold Schoemberg, PierrotLunaire. Atonal, “the emancipation of dissonance.” Sprechstimme

  10. Modern Era, continued • Experimentalism: John Cage. Sonatas and Interludes for Prepared Piano (1946-1948). Piano Sonata No. 5. • Concrete music –the use of recorded ambient (environmental) sounds (Varese’s Poemeelectronique) • Minimalism: Steve Reich, Music for 18 Musicians; tonal, major mode, rhythmic pulse throughout piece. • Post-Minimalism: David Lang, Cheating, Lying, Stealing; tonal, melodic development , more complex form than Reich’s work.

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