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M100: Music Appreciation Discussion Group Ben Tibbetts, T.A. Welcome! Please sign the attendance at the front of the room.

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Presentation on theme: "M100: Music Appreciation Discussion Group Ben Tibbetts, T.A. Welcome! Please sign the attendance at the front of the room."— Presentation transcript:

1 M100: Music Appreciation Discussion Group Ben Tibbetts, T.A. benjamintibbetts@yahoo.com Welcome! Please sign the attendance at the front of the room. benjamintibbetts@yahoo.com Thursday March 5, 2013

2 Today’s Agenda Baroque Tests Pages 187-206

3 Concert Reports –some clarification

4 pass back tests

5 Baroque Test SECTION A 1.Bach’s Fugue in G Minor (polyphonic) 2.Bach’s Brandenburg Concerto No. 5 (soloists: harpsichord, violin, flute) 3.Dido’s Lament (aria) from Purcell’s Dido and Aeneas (opera) (homophonic)

6 Baroque Test SECTION B 1.False 2.True 3.False

7 Baroque Test SECTION C 1.Basso continuo – plays throughout a work, provides bass line & harmonies Cello, Bassoon, Harpsichord, Organ, Lute, Guitar, Bass viol, Harp

8 Baroque Test SECTION C 2. Ritornello principle – alternating ritornello/solo sections in concerto

9 Baroque Test SECTION C 3. Subject in a fugue – main theme, layered over itself, imitative counterpoint

10 Baroque Test SECTION C 4. Oratorio - opera for church, not staged

11 Baroque Test SECTION C 5. Recitative – dialogue/monologue between singing & speaking Aria - song

12 Baroque Test SECTION C 6. Program music – instrumental music associated with story/event/idea i.e. Vivaldi’s Four Seasons

13 Baroque Test SECTION C 7. Castrati – man with high singing voice, castrated Coveted for soprano/mezzo- soprano/contralto parts

14 Baroque Test SECTION C 8. Word painting – how sung music imitates/describes imagery in text

15 Baroque Test SECTION C 9. Middle entry – music in middle of fugue where subject appears Episode – music in middle of fugue without subject

16 Baroque Test SECTION C 10. Timbre – character/quality of sound In Baroque music, often separates sections

17 Baroque Test SECTION C 11. Solo concerto – one soloist Concerto grosso – multiple soloist

18 Baroque Test SECTION C 12. Homophony – in operas, allows one character to take precedence In concertos, allows one soloist to take precedence

19 pages 187-206

20 Franz Joseph Haydn 1732-1809 Austrian composer

21 Listening today to Haydn’s Symphony No. 20 Four movements Pick one for listening log

22 The Classical Symphony (and other large works) Three or four movements, usually like this: Form:Tempo: 1.Sonata-allegro formmoderate 2.(Theme & Variations)slow 3.Minuet & Triomoderato 4.(Rondo)fast

23 The Classical Symphony (and other large works) Three or four movements, usually like this: Form:Tempo: 1.Sonata-allegro formmoderate 2.(Theme & Variations)slow 3.Minuet & Triomoderato 4.(Rondo)fast

24 Sonata-allegro form Large, complex form in three basic parts: ExpositionDevelopmentRecapitulation

25 Sonata-allegro form Exposition – Stable. Introduces themes. Repeated. Development – Unstable. “Develops” (fragments, modulates, generally messes with) themes. Recapitulation – Stable. Repeat of the exposition. Musical material is transposed to home key. ============================================== In some pieces, development/recapitulation pair is repeated. Some pieces end with a coda after the recapitulation.

26 Haydn’s Symphony No. 20 movement 1 Exposition Exposition (repeated) Development Recapitulation

27 The Classical Symphony (and other large works) Three or four movements, usually like this: Form:Tempo: 1.Sonata-allegro formmoderate 2.(Theme & Variations)slow 3.Minuet & Triomoderato 4.(Rondo)fast

28 Second movements aren’t always theme and variations, but they are almost always played at a slow tempo

29 Haydn’s Symphony No. 20 movement 2 (form: AABABA or rounded binary) A B A

30 The Classical Symphony (and other large works) Three or four movements, usually like this: Form:Tempo: 1.Sonata-allegro formmoderate 2.(Theme & Variations)slow 3.Minuet & Triomoderato 4.(Rondo)fast

31 Minuet and Trio Dance, French origin. Always in ¾ time. Large ABA. AThe minuet proper BThe Trio AThe return of the minuet proper

32 Minuet and Trio AThe minuet proper In binary form – two sections, each repeated BThe Trio Also in binary form – two sections, each repeated Contrasting mood AMinuet proper (again) This time, sections aren’t repeated

33 Haydn’s Symphony No. 20 movement 3 Minuet proper (sections each repeated) Trio Minuet proper (sections not repeated)

34 The Classical Symphony (and other large works) Three or four movements, usually like this: Form:Tempo: 1.Sonata-allegro formmoderate 2.(Theme & Variations)slow 3.Minuet & Triomoderato 4.(Rondo)fast

35 Rondo form In Italian, rondo means “round dance” Usually in duple meter A B A C A D A etc. (or A B A C A B A or similar)

36 Fourth movements aren’t always rondos, but they are almost always played at a fast tempo

37 Haydn’s Symphony No. 20 movement 4 A B A C A B A

38 Final Reminders / Homework Thursday: Listening Log Collection #1 Read pages 215-223 Questions? Email: benjamintibbetts@yahoo.combenjamintibbetts@yahoo.com

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