An Introduction to Music as Social Experience Chapter 13: Music and Concert.

Slides:

Advertisements

Similar presentations

Musical Form The organization of musical ideas in time

Advertisements

The Classical Period (c ) Composers of the Viennese School Composers of the Viennese School Wolfgang Amadeus Mozart ( ) Wolfgang Amadeus.

Music History. The Romantic Era ( )  The term Romantic refers to the music being expressive and emotional (rather than referring specifically.

Piano Concerto no 23 in A Major

IB Music SL Classical Music Concerto and Sonata. The Classical Concerto The Movements of the Concerto Three movements: fast-slow-fast Three movements:

The Enjoyment of Music 10 th Edition. Unit XIII The Eighteenth-Century Concerto and Sonata.

Classical Music Higher Music.

 A less complicated texture than Baroque times (less Polyphonic/more homophonic)  More use of Dynamics.  Elegant  Question & Answer phrases  Clear.

Music History An Abbreviated History of Western Classical Music An Abbreviated History of Western Classical Music.

Choice Works Question 5 – 10 marks (only one choice work or choice song will be asked) You need to know the category, name and 2x features about each There.

Chapter 12: The Symphony The Slow Movement.

Music Pure art form: freedom from physical restrictions of space applied to other arts Responsibility of the listener: we have only the moment to capture.

MILES DAVIS - ALL BLUES. KIND OF BLUE All Blues This track is from the album KIND OF BLUE and was recorded in one take in New York in 1959 Each.

Chapter 13: Other Classical Genres

 Ludwig Van Beethoven Ishleen Saini Music Biography  Ludwig Van Beethoven was born on 16 th December, 1770 in Bonn, Germany  was the grandson.

The Enjoyment of Music 10 th, Shorter Edition The Enjoyment of Music 10 th Shorter Edition.

The Classical Era ( ) Year 10 IGCSE October 2009.

Piano Concerto no 23 in A Major

© 2010 The McGraw-Hill Companies, Inc. All rights reserved The World of Music 7 th edition Part 4 Listening to Western Classical Music Chapter 11: Music.

Music of the Enlightenment “Today there is but one music in all of Europe.” –Michel Paul de Chabanon.

Orchestral Landmarks.

S5.  Learn about the Classical era.  Listen to some music from the classical period.  Discover famous classical composers.

Piano Concerto no 23 in A Major

The World of Music 7 th edition Part 4 Listening to Western Classical Music Chapter 11: Music of the Classic Period ( )

III. Sonata Form. Sometimes called sonata-allegro form Sometimes called sonata-allegro form Definition- The form of a single movement. Definition- The.

CLASSICAL FORMS Old forms and new forms will be discussed in detail later Usually though instrumentals will have four movements (1. FAST 2. Slow 3. Dance-related.

Classical Period Forms. Sonata Allegro - Review Exposition Exposition Development Development Recapitulation Recapitulation Coda Coda.

Mozart Symphony No 40 in G minor. The essay question - melody Well proportioned/balanced melody lines Regular 4 bar phrases Contrasting melodies in the.

Sound Pitch: (high and low) –Corresponds to size! Dynamics: (loud, soft) –Forte (f) –Mezzo Forte (mf) –Mezzo Piano (mp) –Piano (p) Timbre/Tone Color: (bright,

MUSIC THROUGH THE AGES. MEDIEVAL MUSIC ( ) Church Music (Religious) Church Music (Religious) PLAINCHANT/SONG – Single line melody sung in latin.

70 yrs The Classical Period WHAT WAS HAPPENING?

Chapter 13 The Symphony. Key Terms Symphony Sonata form Exposition First theme Bridge Second group Second theme Cadence theme Development Recapitulation.

The Structure of Music Musical Forms. Identification Repetition and Contrast: major parts of form Divide music into its major sections ▫Music tends to.

Begins on page 159 Chapter 19 Chamber Music Nature of Chamber Music  Important in Classical period  One player on a part  Instrumental music  Forms.

Important form in the late Baroque period Concerto Grosso – a small group of soloists is set against a larger group of players Anywhere from 2-4 soloists.

The Classical Era ( ) The Enlightenment:

Area of Study 05: Structure and Form AQA GCSE Music.

Other Aspects of Musical Sound pp Texture  Texture describes the number of things that are going on at once in a piece of music.  Monophony-

Analysis.  Four seasons published in 1725 (late Baroque).  Three Movements  Solo Concerto – for solo violin and orchestra (strings and harpsichord/continuo)

Begins on page 145 Chapter 17 The Concerto Solo Concerto  Contrasts soloist with orchestra  Solo part more showy  Soloist stands before orchestra.

Chapter 16: Classical Genres: Instrumental Music.

 Greatest Composers  Wolfgang Amadeus Mozart – GCSE Bitesize Wolfgang Amadeus MozartGCSE Bitesize  Joseph Hayden Joseph Hayden  Ludwig.

Elements of Classical Period. Elements Transition to classical period: (pre-classical period) Shift to more homophonic textures. Pioneers in.

BAROQUE AND CLASSICAL CHAMBER MUSIC – AOS2. This lesson… All of you will be able to name some features of Baroque and Classical Chamber music. All of.

Chapter 4 Musical Form and Musical Style

The Classical Era: The Enlightenment and the 18 th century.

Classical Era The Classical Era  Important events: –American Revolution ( ) –French Revolution ( ) –The Industrial Revolution.

Classical Music = ??? Active but often “nameless” period – sometimes known as “Pre-Classical” or GALLANT STYLE or Rococo C.P.E. Bach.

©2009, The McGraw-Hill Companies, Inc. All Rights Reserved. 1 The Music of Beethoven.

Piano Concerto in G Major, K453,. a work for instruments (usually orchestra) that features a soloist or group of soloists like the sonata and symphony,

Area of Study 05: Structure and Form

Classical Music Higher Music.

The Overall Plan or Structure

Classical Music Higher Music.

Classical Music HIGHER.

Mozart – Symphony no.40 in G minor

The classical period

Chapter 16: Classical Genres: Instrumental Music

AOS 3 ALL BLUES MILES DAVIS

The World of Music 6th edition

Baroque revision question

Classical Music S5.

Introduction to Music: Musical Forms & Styles

THE CLASSICAL ERA

Chapter 15: Classical Forms: Theme and Variations, Rondo

The Classical Era ( ) Year 10 IGCSE October 2009.

Classical Music Higher Music.

Key styles, composers and their works.

Presentation transcript:

An Introduction to Music as Social Experience Chapter 13: Music and Concert

Cornelius-Natvig, Chapter 13: Music and Concert2 Questions for Thought What is the difference between the experience of live music and recorded music? Does familiarity with recorded versions of music influence expectations of live performance? Why see a live performance? What makes a concert experience special?

Cornelius-Natvig, Chapter 13: Music and Concert3 A Symphony Orchestra Concert Standardized programming: Overture or “light” composition Concerto: featured instrumental soloist + orchestra Intermission Symphony or other symphonic composition

Cornelius-Natvig, Chapter 13: Music and Concert4 “Hoe-Down” from Rodeo by Aaron Copland (1942) Introduction: Percussion, trumpets: excitement of rodeo Angular melody, galloping rhythms Section A: Cymbals introduces fiddle theme (Appalachian folk tune) Opening music returns as transition Section B: Trumpet solo punctuated by snare drum Oboe, clarinet, violin share melody Syncopated passage expands to hoe-down music Section A: Return of fiddle theme Finale

Cornelius-Natvig, Chapter 13: Music and Concert5 “La Primavera” (Spring), opening movement from Concerto No. 1 in E major, opus 8 by Antonio Vivaldi (1725) Ritornello form: orchestral refrain (ritornello) alternates with solo instrument passages Introduction: Orchestra plays violin theme with cello, basses accompanying Ritornello: Violins play slightly different theme Orchestra will repeat this section in alternation with solo violin Solo violin: Trills, descending scales showcase virtuoso violin technique

Cornelius-Natvig, Chapter 13: Music and Concert6 Symphony No. 40 in g minor by Wolfgang Amadeus Mozart (1788) Four movements, typical of 18 th -century symphony: First movement: Molto allegro – fast tempo, sonata form Second movement: Andante – slow/moderate tempo, lyrical Third movement: Menuetto – quick tempo, triple-meter dance rhythms Fourth movement: Allegro assai – fast tempo

Cornelius-Natvig, Chapter 13: Music and Concert7 Molto allegro, first movement from Symphony No. 40 in g minor by W.A. Mozart (1788) Sonata form: Exposition, Development and Recapitulation sections Exposition: Two key areas, contrasting themes => harmonic unease Development: Thematic ideas fragmented, expanded => instability Recapitulation: Themes return in same key => harmonic stability, completion

Cornelius-Natvig, Chapter 13: Music and Concert8 First movement from Symphony No. 40 in g minor, continued Exposition (played twice): First theme: short, short, long motive (tonic key) Second theme: “sighing” melody (related key) Development: First theme material fragmented, in multiple keys Independent countermelodies in polyphony with first theme Pulsing, energetic rhythms Recapitulation: First, second themes re-presented Expansion of thematic material at closing All in tonic key

Cornelius-Natvig, Chapter 13: Music and Concert9 Chamber Music Music for small instrumental ensembles 18 th century: written for amateur players, performed in private settings Today: often performed by professionals, small concert halls Most frequently written for: String quartet: violin I, violin II, viola, cello Four movements, similar to symphony Piano trio: violin, cello, piano Solo instrument, or solo instrument + piano

Cornelius-Natvig, Chapter 13: Music and Concert10 Presto (last movement) from String Quartet in E-flat Major, opus 33, no. 2, “The Joke” by Franz Joseph Haydn (1781) Rondo form: Thematic material returns (“refrain”), alternating with new material (“episodes”) Usually ABACADA Haydn’s joke: Repetitions of Section A refrain are shorter and shorter Grand pause introduces coda Fragments of Section A refrain, pauses keep listeners wondering

Cornelius-Natvig, Chapter 13: Music and Concert11 Caprice in a minor, op. 1, number 24 by Niccolò Paganini (circa 1805) Form: Theme + 11 variations and finale Virtuosic work, originally intended for composer’s own performance Melody changes in successive variations Harmony and phrase structure remain constant

Cornelius-Natvig, Chapter 13: Music and Concert12 South Indian Karnatic Music Melodies based on ragas (system of melodic modes) Rules govern pitches, melodic sequences with ragas Rhythms based on talas (system of drum patterns) Specific timbres, clapping associated with talas Ensemble: featured vocalists/instrumentalists + instrumental accompaniment Three part texture: Melody – Solo instrument, may be in heterophony with voice Rhythm Drone Improvisation is essential component of performance

Cornelius-Natvig, Chapter 13: Music and Concert13 Manasu Visaya by Tyagaraja (Natakuranji Raga and Adi Tala) Ensemble instruments: Violin Venu: transverse bamboo flute Mrdangam: double-headed drum Ghatam: clay-pot percussion instrument Flute and violin improvise, introduce tones of raga Flute begins pallavi (first verse) Tala cycle played by percussion instruments Heterophony: flute and violin Soloistic improvisations by melodic instruments, then percussion

Cornelius-Natvig, Chapter 13: Music and Concert14 Jazz What is jazz? Combination of African and European musical traditions Improvisation: musical ideas created and developed in the moment Rhythms “swing,” not always restricted by meter Performers’ oral tradition: Listen and assimilate Imitate and re-create Generate original ideas Dance music => concert music

Cornelius-Natvig, Chapter 13: Music and Concert15 “So What” from Kind of Blue by Miles Davis (1959) Performers: Miles Davis, trumpeter and bandleader Julian “Cannonball” Adderley, alto saxophonist John Coltrane, tenor saxophonist Bill Evans, pianist Paul Chambers, bassist Jimmy Cobb, drummer Form: 32-bar song form AABA Tonality: Dorian mode (re-mi-fa-sol-la-ti-do-re)

Cornelius-Natvig, Chapter 13: Music and Concert16 “So What” from Kind of Blue by Miles Davis, continued Introduction: non-metric, bass and piano explore melodic possibilities Melodic conversation: Bass melody, piano answers “So what?” Other instruments join “So what?” response Trumpet solo: Improvisation, 8-bar phrasing Meditative, exploring melodic mode Bass and piano now in supporting role Tenor saxophone solo: Improvisation Animated, melodically and rhythmically more active

Cornelius-Natvig, Chapter 13: Music and Concert17 What makes a concert? More than music Social phenomenon: Shared experience and expression of values Reaffirms social history Legitimizes interests and beliefs

Cornelius-Natvig, Chapter 13: Music and Concert18 Different kinds of concert performance Folkloric performance, audience imagines unfamiliar world Call to focus on modern, industrial environment Shared journey of initiation and integration Culture is central to assessment of “good” music Musical performance Connects us to the past Enhances our experience of the present Prepares us for the future