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Chapter 12 Questions: Reminder: Study your textbook listening guides as

by | Jun 24, 2021 | Music | 0 comments


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Chapter 12 Questions: Reminder: Study your textbook listening guides as you listen to the music. This will assist you greatly in writing an informed answer. 1. List five of the more notable composers from this time period (1825-1912). (See text) 2. In what ways was the orchestra of the nineteenth(19th) century different from the eighteenth(18th) century?
3. What musical careers emerged during the Romantic period?
4. Listen to (#63)”Trio for Piano, Violin and Cello in D Minor” by Fanny Mendelssohn Hensel
5. Why is this considered “absolute” music?
6. Listen to (#64)”How Lovely is Thy Dwelling Place” by Johannes Brahms 7. Why is this considered “program” music?
8. Listen to (#65)”Prelude, Op. 28, No. 6 in B minor” by Frederick Chopin 9. This is “absolute” music. But do you think it could produce ‘images’ of one kind or another for the listener, depending on the listener’s mood? If so, what images come to your mind?
10. Listen to (#66) “An Sylvia” (“Who Is Sylvia”) by Franz Schubert [see English translation in text Listening Guide]
11. Is the poem about Sylvia accurately expressed in music? Why?
12. Listen to (#68)”Piano Concerto no. 2 in C Minor (1)(excerpt)” by Sergei Rachmaninoff 13. This composer is Russian, and it is based on a Russian Folk Song. What about the sound of this is different than the other examples? Describe as best you can.
14. For the Romeo and Juliet Overture, by another Russian composer, Piotr Il’ych Tchaikovsky, you may listen to (#67) in our textbook: “Romeo And Juliet (excerpt)”. However, you may wish to skip this and watch this video of a performance of the overture by an excellent, professional Russian orchestra. You will see the entire performance of one of the most popular compositions in all of nineteenth century orchestral music! I encourage you to use the guide as you watch the first part of the video.This is the State Symphony Orchestra of Tatarstan, Russia, (It is separated into two links according to You Tube policies) The entire performance is about 22 minutes. (part 1) (part 2)
15. I am assuming we all know the story of Romeo and Juliet as told in William Shakespeare’s play. If not, please ‘Google’ the story. This Concert Overture is written to express musically the story line of the play; i.e. the feuding families, the two young lovers and the tragic ending. As with last week, I want your written essay response (125-150 words; or more) to this performance to come from your artistic, aesthetic and emotional feelings and observations..
Chapter 13 1. What is the difference between tonality and atonality? 2. Listen to (#69) “Jeaux de vagues [Play of the Waves] from La Mer” by Claude Debussy 3. As you “hear” this music, describe what you would “see” at the seashore during changing wind and weather conditions. How effective is Debussy in ‘painting’ this with music 4. Listen to (#70) “Le Sacre du Printemps [The Rite of Spring]” by Igor Stravinsky. Listening to this audio excerpt is optional. I want you to watch this video of the world famous Joffrey Ballet performing the the 1913 Nijinsky choreography to the same music. It is called Pictures of Pagan Russia. The ballet is in three sections on You Tube, each section lasting about nine minutes. When you are on You Tube you will also find links to other ballet performances of the Rite of Spring which present very different and more modern choreography. That may interest you as well. (1 of 3); (2 of 3); (3 of 3) 5. Write a brief essay (125-150 words) about your reaction to this ballet, both the music and the dancing. You may compare it to Tchaikovsky’s Romeo and Juliet if you wish, or just write about the Rite Of Spring. What was Stravinsky trying to express? You may wish to do a little “Google research” for further information. Again I am particularly interested in your aesthetic and emotional feelings.
6. What was the public response when this work was first performed? Was the response expected?
7. What issues confront women and minorities as composers? Expand your answer to include your own experiences and perceptions.
8. Listen to (#71)”Billy the Kid” by Aaron Copland.
9. In what nationalistic style is this ballet based?
10. Listen to (#72)”Symphony No. 1 (III)” by Ellen Taaffe Zwilich.
11. Do you feel that the composers Copland (#71), Zwilich (#72) and Stravinsky (#70) treated meter the same? Support your reasoning.
12. What can you say about the use of percussion instruments (drums, cymbals, chimes, xylophones, etc.) in these compositions?
13. Listen to(#80)”Preludes for Piano, No. 1″ by George Gershwin. 14. What American styles are incorporated into this work?
15. How does this piano composition compare to (#65)”Prelude No. 6″ by Frederick Chopin?
16. Listen to (#74)”La Creation du Monde, Op. 81″ by Darius Milhaud.
17. Would the work be as stylistically effective if the primary instrument was a more traditional one such as violin or clarinet? Chapter 14 Mickey Hart
Mickey Hart is the long-time drummer of the rock group the Grateful Dead. But Hart is not an ordinary rock drummer. He has introduced his audiences to an every-growing collection of percussion instruments from around the world and fueled his desire to learn about the various cultures that produced them (see Chapter 8). Hart’s album Planet Drum (1991) reached #1 on the Billboard World Music chart, remaining there for twenty-six weeks. It also received the Grammy award for best world music album. Planet Drum is one of twenty-nine world music recordings in Hart’s WORLD series, released on the Rykodisc label. In 1999, Hart was appointed to the Board of Trustees of the American Folklife Center at the Library of Congress. In 2002, he established the Endangered Music Fund, whose goal is to return royalty payments from many of these recordings to the indigenous peoples who produced them.
Planet Drum, by Mickey Hart.
Foday Musa Suso and the Kronos Quartet
The Kronos Quartet, founded more than thirty years ago, has devoted itself to pursuing a singular artistic vision with a commitment to expanding the range and context of the conventional string quartet. The Kronos Quartet has presented thousands of concerts worldwide, released more than forty recordings, and received numerous awards, including Musicians of the Year (2003) and a Grammy for best chamber music performance (2004). The Kronos Quartet counts numerous artists from around the world among its collaborators, including the Chinese pipa virtuoso Wu Man, the American soprano Dawn Upshaw, the Modern Jazz Quartet, David Bowie, Nine-Inch Nails, Nelly Furtado, and Dave Matthews. Pieces of Africa (=(1992) from which “Tilliboyo” is excerpted is a collection of music by African-born composers.
Foday Musa Suso is a hereditary griot (musician-oral historian) of the Mandingo people of Gambia. Suso says that he “started on the kora because I’m from a kora-playing family…from that I went to the ‘talking drum,'” the tama.
“Tilliboyo” (“Sunset”)
Aaron Copland
Aaron Copland is considered one of the greatest American composers of the twentieth century (see Chapter 13).
“Hoe-Down,” from Rodeo. This is a selection from the ballet, Rodeo, a classic of the American dance repertoire, originally choreographed by Agnes de Mille. It was first presented in 1942 at the Metropolitan Opera House. The four episodes in the orchestral suite are “Buckaroo Holiday,” “Corral Nocturne,” “Saturday Night Waltz,” and “Hoe-Down.”
This is a good performance of “Hoe Down” by a youth orchestra.
Bela Fleck
Bela Fleck, born in 1958 in New York City, is a virtuoso banjo player. His diverse musical interests include bluegrass, bebop jazz, classical, and other genres. He has been recording since 1979. One of his strengths is his gathering of outstanding artists for his sessions. The Flecktones, formed in 1989, perform a mix of classical, jazz, and bluegrass.
“Hoedown” by Aaron Copland in a jazz setting by Bela Fleck and the Flecktones
A further note for those of you who are not familiar with woodwind instruments. The long instrument made of reddish colored wood is a Bassoon, generally found only in classical music settings.
Eric Whitacre
Eric Whitacre (born January 2, 1970) is a Grammy-winning American composer, conductor and speaker, known for his choral, orchestral and wind ensemble music. [website: ] He is also known for his “Virtual Choir” projects, bringing individual voices from around the globe together into an online choir. Born in Reno, Nevada, Whitacre studied piano intermittently as a child and joined a junior high marching band under band leader Jim Burnett. Later he played synthesizer in a techno-pop band, dreaming of being a rock star. Though he was unable to read music at the time, Whitacre began his full musical training while an undergraduate at the University of Nevada, Las Vegas, eventually taking a BM in Music Composition. Whitacre states that the first work that he sang, Mozart’s Requiem, changed his life. (Wikipedia – for full biography see this link: )
Eric Whitacre’s Virtual Choir 4: ‘Fly To Paradise’
Wu Man
Wu Man, perhaps the world’s foremost pipa virtuoso, moved from China to the United States in 1990. The pipa, a lute-like, plucked instrument capable of many different effects, has a history spanning more than two thousand years in traditional Chinese music. Wu Man has used the pipa’s versatility to give it a new role in music by Western composers and performers in all genres. A composer as well as a performer, she has developed a place for the pipa in solo and quartet works, concertos, opera, chamber music, electronic music, and jazz.
Wu Man, lecture/demonstration of Chinese Pipa: ********************
The Silk Road Ensemble
Silk Road Project is a not-for-profit organization, initiated by the cellist Yo-Yo Ma in 1998, promoting collaboration among artists and institutions, promoting multicultural artistic exchange, and studying the ebb and flow of ideas inspired by the cultural traditions of the historical Silk Road. The Project encompasses a number of artistic, cultural and educational programs. It has been described as an “arts and educational organization that connects musicians, composers, artists and audiences around the world” and “an initiative to promote multicultural artistic collaboration.” (Wikipedia)
Driven by complex additive rhythms and improvisatory melodic lines, “Arabian Waltz” is a propulsive work by Lebanese-born composer Rabih Abou-Khalil, whose works fuse the musical traditions of the Arabic world with jazz improvisation and European classical techniques. The Silk Road Ensemble with Yo-Yo Ma (cello and leader) and Wu Man (Chinese Pipa) performed this piece at the Park Avenue Armory in New York, NY. Other instruments featured are the Tabla (hand drums: India), Shakuhachi (end blown flute: Japan), Violins, Viola, Double Bass, Tambourine, and Dumbeck/Darbuka [and many other names] Chalice Drum (Middle East). The Silk Road Ensemble performing “Arabian Waltz”: ********************
Tan Dun
Tan Dun was born in Changsha, Hunan Province, China, but now lives in New York. He is a multifaceted composer whose repertoire spans the boundaries of Western classical, multimedia, and Eastern musical traditions. He has received a Grammy Award, Musical America’s Composer of the Year award, and an Academy Award for his music for the film Crouching Tiger, Hidden Dragon.
Performance by the Taichung, Taiwan City Symphony Orchestra of Tan Dun-Crouching Tiger Concerto: (In this performance the solo is played on a Chinese Erhu rather than a European Cello)
Jennifer Higdon
Jennifer Higdon, born in 1962, is an award-winning American composer. She has accumulated a long list of prestigious commissions from leading American symphony orchestras. Higdon hold an Artist’s Diploma from the Curtis Institute of Music in Philadelphia and a Ph.D. in composition from the University of Pennsylvania. She is currently on the composition faculty of the Curtis Institute.
Blue Cathedral was commissioned by the Curtis Institute for its seventy-fifth anniversary. The piece is also a memorial on the loss of her younger brother, Andrew Blue. His death moved her to reflect on the “amazing journeys that we all make in our lives, crossing paths with so many individuals, singularly and collectively learning and growing each step of the way.” In tribute to her brother, Higdon chose to feature the clarinet (her brother’s instrument) and the flute (her own instrument). They participate in dialogue, but it is the “flute that drops out and the clarinet that continues on in the upward progressing journey.”
To Higdon, “blue is the sky, where all possibilities soar,” and “cathedral [is] a place of thought, growth, and spiritual expression.”
This is a link to a live performance of Blue Cathedral by the New England Conservatory Youth Orchestra, beginning with a short explanation by the conductor. He speaks for four minutes before the performance of the music begins. (Note: this a High Definition You Tube video)
Question 1. write and post a thorough and thoughtful essay about what you have read, seen and listened to (similar in length to the previous in-depth essays you have written for other Discussion topics). You have had the opportunity to bring your awareness into a kind of ‘focus’ about such issues as multi-cultural musical collaboration, the possibility of interracial harmony, and cross-genre fusion. Also consider the blending of instruments and styles, creative interpretation and transformation of the ‘old’ to the ‘new’, and the kinds of musical evolution that might occur in the future. Write as thoroughly as you can as you think about these various ideas. I will grade based primarily on content, depth of thought and personal perceptions.

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