Music History Listenings Exam 2

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Music History Listenings Exam 2
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2011-03-29 23:18:59
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  1. La serva padrona, excerpts
    • Pergolesi
    • 1733
    • Intermezzo
    • Recit between Uberto and Serpina, then Accomp. recit by Uberto, then aria by uberto with string ritornello in between
    • recit = speechlike rhythms
    • aria= very fast notes! "rapid patter", moves to slower melody
    • aria = da capo form
    • A and B sections present many contrasting moods
    • breaks in melody remind of uncertainty
    • NAWM 101
    • ●By Giovanni Battista Pergolesi (1710–1736)
    • ●There are only three characters, one of whom is mute.
    • ●The plot questions the social hierarchy.
    • ●Recitative section
    • ●The opening conversation is set in the standard simple recitative.
    • ●As Uberto doubts his actions with Serpina,
    • the orchestra punctuates his thoughts.
    • ●The harmonies modulate rapidly, suggesting Uberto’s
    • changing thoughts.
    • ●Aria
    • ●Da capo form
    • ●Ritornello frames the A section.
    • ●The A section has two complete statements of poetic text.
    • ●The B section has new text, keys, and musical ideas.
    • ●The music projects contrasting moods, unlike Baroque arias.
  2. Cleofide, excerpts Act I, No. 10
    • Hasse
    • Opera Seria
    • 1731
    • ●Cleofide was composed for Hasse’s wife, Faustina Bordoni, a professional singer.
    • ●The da capo aria has contrasting ideas and short phrases.
    • ●In the A section, the first vocal statement modulates to the dominant, and the second modulates back to the tonic, E major.
    • ●The B section changes to E minor and has a faster triple meter.
    • Very gentle string section
    • NAWM 102
  3. The Beggar's Opera, excerpt from scene 13
    • Gay
    • Ballad Opera
    • 1728
    • IN ENGLISH
    • STARTS WITH WORDS!
    • ●In this scene, Macheath is fleeing from the law and hiding in Polly’s room.
    • ●My heart was so free/It roved like a bee is sung by Macheath.
    • ●The song parodies the simile aria of Baroque operas (a predicament is described through comparison).
    • ●The words are sung to the melody of Come fair one be kind, a courting song.
    • ●The tune has a jig character and is in binary form.
    • NAWM 103
  4. Orfeo ed Euridice, excerpt from Act II, scene 1
    • Gluck
    • Opera
    • 1762
    • Very intense horn intro
    • Chromatic motion, clearly intense
    • •The poet Raniero de Calzabigi supplied the libretto.
    • •As with Alceste, in Orfeo Gluck molds the music to the drama.
    • •Two orchestras are used, one of which is for plucked strings imitating the sound of Orfeo’s lyre.
    • •Dissonances and diminished chords create the sense of terror.
    • •The ballet of the Furies
    • •The dance quickly modulates to C minor through chromaticism.
    • •The dance is central to the story.
    • •Orfeo’s song to the Furies
    • •Simple melody, sparse embellishment, and economy of material
    • •The melody has simple phrases.
    • •The Furies periodically respond with “No.”
    • NAWM 104
  5. Creation from The Continent Harmony
    • Billings
    • Fuging tune
    • 1794
    • In English
    • •This is a fuguing tune from The Continental Harmony.
    • •The first half of the piece is homophonic and syllabic.
    • •The second half, the fuging portion, is imitative.
    • •Homophony returns at the end.
    • •The principal melody is in the tenor line.
    • •Parallel fifths and octaves suggest Billings’s lack of training.
    • NAWM 105
  6. Sonata in D Major, K. 119
    • Domenico Scarlatti
    • Keyboard Sonata
    • 1740s
    • 3/8
    • one-movement sonata
    • balanced binary form both halves end with same material
    • first section - many ideas, immediately repeated
    • harmonically stable
    • second section moves thru d min and a min, cad on e min, then circle of fifths back to tonic
    • large leaps, rushing scales, rapid arpeggios, create brilliant effect
    • "castinet like" rhythms
    • •After the opening tonic, a new phrase imitates the sound of castanets.
    • •A new theme in the minor dominant follows the modulation.
    • •Scarlatti builds to a climax with trills and growing dissonance that includes chords of five and six notes.
    • •The total effect suggests the sound of a Spanish guitar.
    • •Other typical features include wide leaps and hand-crossing
    • NAWM 106
  7. Sonata in A major - second movement, poco adagio
    • C. P. E. Bach
    • Keyboard Sonata
    • 1765
    • Lots of notated ornaments for expression purposes
    • recit style
    • fourth out of six published sonatas
    • written for amateurs
    • empfindsam (sentimental) style
    • ornamentation serves as a means of expression
    • •From Sechs Clavier-Sonaten für Kenner und Liebhaber (composed 1765, published 1779)
    • •The movement features an expressive melody in short phrases.
    • •The form is a type of binary form that can be described as sonata form without development.
    • •Bach also exploits the element of surprise with unexpected turns.
    • •Passages in dialogue or recitative style add to the emotionality.
    • NAWM 107
  8. Symphony in F Major, No. 32, first movement, Presto
    • Sammartini
    • Symphony
    • 1740
    • Starts with the three quarter notes in each part
    • Distinctive first idea, typical of that time period
    • •The symphony is scored for four-part strings and probably harpsichord.
    • •It has three movements (fast–slow–fast), each of which is relatively short.
    • •In the first movement, each half is repeated, and the material heard in the dominant in the first half is repeated in the tonic in the second half.
    • NAWM 108
  9. Sinfonia a 8 in E-flat major, Op. 11, No. 3, first movement
    • Stamitz
    • Symphony
    • Mid 1750s
    • militant rhythms, horn rhythms, associated with hunting
    • MANNHEIM CRESC.
    • •The work was published in La melodia germanica (1758), a collection of symphonies by several composers.
    • •The work is scored for strings and two oboes and two horns
    • •The transition exploits the famous Mannheim crescendo.
    • •The move to the dominant is highlighted by a lyric and graceful new melody.
    • Following the development, the recapitulation begins with the second theme
    • Sonata Form-ish, FIrst theme, Transition, Second Theme, Closing Theme
    • NAWM 109
  10. Symphony No. 92 in G Major
    • Haydn
    • Symphony
    • 1789
    • •the work derives its name from a 1791 performance at Oxford.•The first movement is in a sonata form.
    • •The slow introduction makes the following allegro sound energetic.
    • •Exposition
    • •The first theme group contains three distinct ideas.
    • •Haydnbegins the second thematic group with the opening idea and a countermelody in the winds.
    • -The closing subject is repetitive and cadential •Development
    • •Modulates through several related keys
    • •The section features sequences, counterpoint, and motivic development.
    • •Recapitulation
    • •Haydn playfully begins the recapitulation with the theme in the flute and with new counterpoint
    • .•In the recapitulation, the second and closing themes appear in the tonic, and the transition is extended and intensified.
    • Known as the Oxford Symphony
    • presented it at Oxford University
    • 4 movements
    • fast sonata form, slow mvt, minuet, fast finale
    • First mvt = starts w/ slow intro
    • = turns from maj to chromaticism
    • = P contains 3 sections, quiet dominant scalar fig, sudden loud figue on tonicwith leap up to dotted quarter and sixteenth note tumble down, repetetive cadential phrase
    • Slow mvt = ABA' form
    • -period of calm
    • - A sec = rounded binary
    • Minuet and trio = ABA form overall
    • Final mvt = sonata form
    • harpsichord for basso continuo
    • NEED TRACKS 63-78
    • NAWM 112
  11. String Quartet in E-flat major, Op. 33, No. 2 - fourth movement
    • Haydn
    • String Quartet
    • 1781
    • Composed for sale
    • ABACA form
    • Rondo
    • effective rondo refrain
    • "The Joke"
    • Humor found throughout mvmnt
    • •The rondo form is an ABACA form.
    • •The binary opening theme has a playful, unfinished character.
    • •The two episodes do not introduce new material.
    • •Haydn heightens drama with extensions and delay.
    • •The exaggerated drama is humorous, creating a witty effect.
    • •Haydn’s wit is especially endearing to players and connoisseurs, but also appeals to inexperienced listeners.
    • NAWM 111
  12. The Creation, Part 1: No. 1, Introduction and No. 2, "In the beginning..."
    • Haydn
    • •Haydn’s Depiction of Chaos at the beginning of The Creation is remarkable for its harmonies and drama.
    • •The opening unison C is associated with the void before the Creation.
    • •The image of Chaos is created through a number of effects:
    • •vague and fragmentary themes
    • •unexpected wind scales and arpeggios
    • •ambiguous harmonies
    • •progressions that resolve in unexpected ways
    • •In the oratorio, soloists depict angels and other biblical characters, including Adam and Eve.
    • •After the orchestral introduction,the angel Raphael announces the Creation.
    • •When Raphael mentions that the Earth was “without form” the music of the opening is referenced by a turn to E-flat minor
    • •A chorus enters quietly narrating the next moments.
    • •The word light is set with great drama.
  13. The Creation, Part 2: No. 20 and 21, "Let earth bring forth the living creature..."
    • Haydn
    • Oratorio
    • •In these recitatives, the angel Raphael describe the appearance of animals on the Earth.
    • •No. 20 is a secco recitative.f
    • •No. 21 is an accompanied recitative that uses text painting to convey the image of the animals mentioned.
    • •The general pattern is for Haydn to provide the orchestral picture of each animal before the singer’s words provide the clue.

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