Classical "Concert" Piece

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M u s i c A p p re c i a t i o n C o n c e r t R e p o r t G u i d e l i n e s

Dr. Kurt Fowler Indiana State University Center for Performing and Fine Arts, 211 812-237-2743 [email protected]

GENERAL INFORMATION The following material indicates the information to be included in your Concert Reaction Report. During the semester, you need to observe one classical music performance and submit a report of approximately 2-3 typed pages (700 word minimum, 900 word maximum). I recommend trying to observe a concert by large ensembles such as orchestras, bands, or choirs. If you are unsure whether or not the concert you want to observe meets the course criteria, please ask prior to observing the concert.

When you attend your concert you might want to take these guidelines along to help focus your listening. Once you have observed the performance use the guidelines to construct your report

Submit the concert program - there will be separate links for submitting the report and the program. You may scan or take a picture of the program page (the page that includes the list of pieces performed) and upload it using the appropriate link, or you may mail the program to me.

CHECKLIST Please make sure that you check the following before submitting your report:

• Did you observe a classical music program (not broadway musical, rock concert, etc.)? • Is your report between 700-900 words? • Did you follow the directions on the Concert Report Guidelines? • Did you check the report for spelling and grammar? • Is your report saved as a Word or PDF file? • Is your report uploaded to the Turnitin link in Blackboard • Did you upload the program page (the page that includes the list of pieces performed)

using the appropriate link in Blackboard? You may also embed a photo into your report.

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GRADING CRITERIA Your report will be graded according to the following:

• Followed directions: 10 points • Length at least 700 words: 10 points • Submitted Program 10 points • Content of musical descriptions 20 points • Grammar/Spelling 20 points • Overall content and writing style: 30 points

Note: If you do not submit a program (see paragraph three of “General Information”), you will automatically lose 10%.

WHAT TO WRITE ABOUT Paragraph 1: Introduction

• Date & place of the performance • Title of performance • Name of performing group or ensemble • Type of music presented (instrumental, choral/vocal, or combination)

Paragraph 2: Setting & General Music Description • Briefly describe the concert setting (hall, performers' dress) • Were any program notes provided, giving you background information on the pieces

performed and their composers? • Did anyone discuss the music before or during the performance? • Which genres, or types, of music were performed? (symphonic music, chamber music,

vocal music, opera, etc. Please see descriptions listed on p. 7 of this document) • What historical eras were represented on the program? (pre-1600, Baroque, Classical,

Romantic, 20th Century.) You can usually tell this information by looking for the birth & death dates of the composers, often listed next to their names. Please see your textbook for further descriptions of the historical eras.

• If program notes were provided, did you read them? Were they helpful?

Paragraph 3: Musical Description 1. Briefly describe the first piece on the program in your own words. If the piece is a large

work with multiple movements (or sections), just describe the first movement. Please include • The name of the piece • The name of the composer • Birth and death dates of the composer if included in the program (usually found right

next to the composer’s name on the program) • Instrument, vocal range, or ensemble • General mood of the work • Distinctive characteristics of the performance

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2. Briefly describe the last piece on the program using the same criteria as described above. 3. Choose one other piece, or movement, on the program and write a more musical

description. This can take quite a bit of concentration (try practicing with the listening guides in your textbook to get some ideas). Of course, include the name of the work, composer, instrument/vocal range/ensemble, and general mood of the work. Then, in your own words, describe at least three elements of music that you observed. Here are elements to consider: • Tempo (ex. fast, slow, or a variety) • Dynamics (ex. loud, grew louder, became deafening) • Melody (ex. range, smooth scale-like motions, lots of leaps) • Rhythm (ex. easy to feel or too complex to understand ) • Harmony (ex. consonant, dissonant, made you want to scream) • Texture (ex. monophonic, homophonic, polyphonic, combination of all three) • Other (ex. anything you can think of)

Paragraph 4: Conclusion • What was your overall reaction to the concert? • What was your favorite thing about the performance? • What was your least favorite thing about the performance? • Other comments

Note: If you need more text in order to attain the 700 word minimum, you may need to describe more pieces or movements. You may use your program notes to help you understand the music, but please do not rewrite program notes or researched information in your paper. The musical descriptions need to be based on your observations, not the observations of the program notes author or outside sources.

MISCELLANEOUS If you do use information from your book or other sources when writing your paper, please acknowledge them in the paper. Also, keep in mind that Wikipedia is not the most reliable source of information. It can be very helpful (I use it quite a bit myself), but there are other electronic resources that are far more reliable and scholarly. The Grove Dictionary of Music is one such example. You can access this by going to the ISU Library homepage (http:// lib.indstate.edu), clicking on “Electronic Resources” and then scrolling down to “Grove Music Online.”

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M u s i c A p p re c i a t i o n F i n d i n g C o n c e r t s

Dr. Kurt Fowler Indiana State University Center for Performing and Fine Arts, 211 812-237-2743 [email protected]

HOW TO FIND CONCERTS IN YOUR AREA

One of the easiest ways to find a concert is to check with local colleges and high schools. These concerts are usually free and the quality tends to be high. Check the web for college or high school music department events or take a trip to the campus to check for announcements on bulletin boards. If you are in Terre Haute, here are the two best places to find concerts:

• ISU School of Music (www.indstate.edu/music) • Terre Haute Symphony Orchestra (www.thso.org)

- Terre Haute Symphony concerts are free to students with ISU ID’s

Concerts by community groups or professionals usually cost some money. Look for community or professional ensembles, such as orchestras, choruses, or bands. Check the web for cultural event listings for your town/city or browse for announcements in your local newspaper. For example, if you live in Indianapolis, look for events by visiting www.indy.com or by searching for the following groups:

• Indianapolis Symphony (www.indianapolissymphony.org) • Indianapolis Chamber Orchestra (www.icomusic.org) • Indianapolis Symphonic Choir (www.indychoir.org) • Butler University Ensembles (www.butler.edu/music) • University of Indianapolis Ensembles (music.uindy.edu)

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Concert information for other areas: (Please feel free to send me links that you find for your area)

• Evansville, Indiana - www.evansvillephilharmonic.org/ - music.evansville.edu/concerts.htm

• Columbus, Indiana - www.thecip.org/

• Lafayette, Indiana - Tippecanoe Chamber Music Society (www.tippecanoechambermusic.org) - The Long Center for the Performing Arts (www.longcentertheater.com). - Lafayette Symphony Orchestra (www.lafayettesymphony.org)

Metropolitan Opera Live in HD at your local movie theater!! • “The Met’s experiment of merging film with live performance has created a new art

form,” said the Los Angeles Times of the groundbreaking series of live, high-definition performance transmissions to movie theaters around the world. This is a fantastic opportunity to experience opera performed at the highest level.

• Check the following websites for information including pricing, ticket purchasing, and participating theaters:

- http://www.ncm.com/fathom/ - www.metoperafamily.org/metopera/broadcast/hd_events.aspx

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M u s i c A p p re c i a t i o n A l l A b o u t G o i n g t o C o n c e r t s

Dr. Kurt Fowler Indiana State University Center for Performing and Fine Arts, 211 812-237-2743 [email protected]

INTRODUCTION TO CONCERT GOING One of the most exciting activities you will engage in for this course is attending concert events. Students often tell me this is one of the best things they do all semester, even though it sounded like a pain at first. Preparing for the concert experience can be very helpful, and you can begin by reading the Prelude section of your textbook again - it has a good introduction to the concert going experience.

In some ways, going to a classical music concert is similar to any other kind of concert. We go to concerts because, in a live performance, artists put themselves on the line - their training and musicianship must overcome the technical difficulties of the music and the performers have to find a way to connect with the audience. What is performed, how it sounds, and how the artist feels about the performance are elements that only exist for that moment in time. As the audience responds to the music and the energy around them, feelings are exchanged between stage and hall. These feelings have a real impact on the performance.

Going to concerts should not be intimidating. Even if you know nothing about classical music, you are an important member of the audience and what you know or don't know doesn't matter. What does matter is that you are there to learn more about music and to expand your mind. As a member of the audience, there are a few rules of etiquette to follow when going to any classical music concert.

RULES OF ETIQUETTE 1. Please do not talk, text, or make extraneous noises during a performance - this is

distracting to the performers and to those sitting around you. Most importantly, please turn off your cell phones, pagers, etc. Please respect your neighbor and the efforts of the performers. Do not text during the performance.

2. Please come on time and stay for the entire performance. Try to think of this as a learning opportunity, not just an assignment.

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3. Avoid falling asleep. Sometimes it's difficult to stay awake but make every effort to stay alert and concentrate on the music. Besides, do you really want the rest of the audience to hear you snore?

4. Clap after most of the audience has already started clapping. Because many classical pieces are broken into sections (called ‘movements’), it can be difficult to know when to clap. You have to make sure that the piece is really over, not just between movements. So a good rule of thumb is: when in doubt, wait. Otherwise, you might have your own solo.

TYPES OF CONCERTS Concerts are presentations by orchestras, bands, chamber groups, and choruses. Recitals are presentations by soloists, with or without accompanists. Here are some of the common types of performing groups:

• Symphony orchestras include the four major families of instruments: strings, woodwinds, brass, and percussion. For a complete listing of instruments, please check your textbook.

• Chamber orchestras are smaller, consisting of 20 to 30 players.

• Concert bands consist primarily of woodwinds, brasses, and percussion.

• Chamber ensembles are small groups (usually, no more than about 10 players) consisting of various combinations of instruments; examples are string quartets, wind quintets, and piano trios (piano, violin, and cello). Chamber ensembles have one performer to a part and, unlike the larger groups, generally appear without a conductor.

• Choruses are large groups of singers. A chorus often performs with instrumentalists and typically has a conductor.

• Opera companies present operas (and operettas). Musicals are most commonly presented by theater companies but may be performed by opera companies.

• Solo instrumentalists and solo vocalists often perform with piano accompaniment.

FINDING A CONCERT One of the easiest ways to find a concert is to check with local colleges and high schools. These concerts are usually free and the quality tends to be high. Check the web for college or high school music department events or take a trip to the campus to check for announcements on bulletin boards.

Concerts by community groups or professionals usually cost some money. Look for community or professional ensembles, such as orchestras, choruses, or bands. Check the web for cultural event listings for your town/city or browse for announcements in your local newspaper.

See also the section in this document titled Finding Concerts, p. 3.

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WHAT TO EXPECT If possible, prepare for a concert by listening to recordings of some of the works to be performed and by reading about their composers.

Orchestra and band concerts usually last between ninety minutes and two hours, with one intermission. They usually include three or four compositions representing several stylistic periods and genres, such as a classical overture, a twentieth-century concerto, and a romantic symphony.

Opera performances last somewhere around three hours, often with two intermissions. Usually the story line helps to maintain your interest. You may want to bring opera glasses (small binoculars) to help you see better.

Chamber concerts and solo recitals range between one and two hours. In addition to the written program, the performer(s) may play an additional piece. This is called an encores, French for "again" (chamber groups may also perform encores).

AT THE CONCERT At an orchestra or band concert, the stage will be lit and some of the musicians will be onstage tuning and warming up. Then, the lights are dimmed for the audience and one of the members of the ensemble walks on stage to tune the group. The conductor will then enter, and the first piece on the program will be played. The conductor will often leave the stage between pieces but the musicians remain in place (unless some rearrangement of personnel or seating is necessary). At the intermission, they all leave the stage. During the applause, the conductor may signal individual members of the orchestra to stand up, in recognition of special passages they played. If an orchestral piece (such as a concerto) involves a soloist, he or she will come onstage with the conductor and will exit with the conductor.

At an opera house, the musicians will be located in the orchestra pit (below and in front of the stage). The curtain will be down or the stage dark. Next, the concertmaster (first chair violin) tunes the orchestra. The conductor then enters and begins the overture to the opera. An opera proceeds steadily from scene to scene (even if the curtain descends at the end of a scene), with intermissions between acts. The performers take bows before an intermission as well as at the end of the opera.

At a chamber music concert or a recital, the stage will be empty when you arrive and the players will come onstage together (greeted by applause) to perform the first piece. Often times the performers will go offstage between works, returning for bows.

THE PROGRAM At a concert or recital the program lists the performers, performed works, and composers along with their birth/death dates. It may also include program notes or the text of a vocal piece, with a translation.

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At an opera the program lists characters (customarily in order of appearance), acts, and scenes. It will also usually give a synopsis (a brief description) of the plot (but it will not, typically, include the libretto).

Programs may also have biographical sketches of the principal performers, a listing of the members of the orchestra or opera company personnel, articles on musical topics, or lists of coming musical events.

COMMON ABBREVIATIONS The titles of musical works on a concert program often include the following abbreviations:

• Op. stands for opus, Latin for "work". An opus number is a way of identifying a piece or set of pieces. Usually, within a composer's output, the higher an opus number, the later the work was written.

• BWV indicates a number in a thematic catalogue of the works of Johann Sebastian Bach, Bach-Werke-Verzeichniss (List of Bach's Works); this catalogue was compiled by Wolfgang Schmieder.

• Hob. indicates the number in a thematic catalogue of the works of Joseph Haydn compiled by Anthony van Hoboken.

• K. stands for Köchel number and indicates a number in a thematic catalogue of the works of Mozart, first compiled in the nineteenth century by Ludwig von Köchel. (His catalogue has been revised several times since then.)

OTHER IMPORTANT INFORMATION SAVE THE PROGRAM!

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M u s i c A p p re c i a t i o n Wr i t i n g A b o u t M u s i c

Dr. Kurt Fowler Indiana State University Center for Performing and Fine Arts, 211 812-237-2743 [email protected]

BASIC PERFORMANCE VOCABULARY In writing about music, it is important to use certain terms correctly. Following are a few common terms that will help you in discussing musical performances.

• Composition, piece, and work. These terms may all be used, more or less interchangeably, when referring to a single, complete piece of music ("The first composition on the program was very short"; "The second piece was the one I enjoyed most"; "This is a contemporary work").

• Song. This is a brief work for a solo singer, which is not part of a larger work like an opera or an oratorio (though it may be part of a song cycle). Note that song should not be used for an instrumental work, or for an aria. (“The vocalist performed a song composed by Schubert.”)

• Aria. This is a passage for a solo singer in an opera or oratorio. If it is being performed out of context, as part of a concert or recital, it is still referred to as an aria. Some arias are independent compositions; these are called concert arias. (“The vocalist performed an aria from Puccini’s Madame Butterfly.”)

• Vocal, vocalist. Vocal means of the voice. Vocalist is simply a synonym for singer. (“The vocalist performed a vocal work by Haydn.”)

• Choral, chorus. Choral means of a choir (thus, a choral work is a work for choir), and a chorus is a relatively large choir, or group of singers. (“The chorus performed a choral work by Bach.”)

• Ensemble. This can refer to any group of performers, but it is most commonly used for smaller groups. A large group would often be referred to by its proper name: orchestra, chorus, or band. (“The ensemble performed string quartets by Mozart.”)

• Chamber music. This refers to instrumental music where each part is performed by only one player. Examples are string quartets and piano trios. (“This evening’s concert was a chamber music recital performed by the Emerson String Quartet.”)

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• Symphony. This is a composition for orchestra, usually in four movements. A symphony orchestra is a type of ensemble (not a composition) and can be referred to simply as an “orchestra.” (“The orchestra performed a symphony by Beethoven.”)

• Program. A word with several meanings: (1) An entire concert or recital ("I enjoyed tonight's program"). (2) The printed program booklet given to audience members at a concert, opera, recital, etc. ("I found that reading the program notes helped me understand the music"). (3) A literary text, place, event, or the like on which a musical composition is based ("Berlioz's Symphonie fantastique has an autobiographical program").

• Performance. This term typically refers to the actual act of making music ("an exciting performance"), though it is also used to refer to a musical presentation ("The performance consisted of six pieces").

• Concert, recital. A concert is usually a program by a large ensemble (orchestra, band, or chorus); there are also rock, jazz, and pop concerts. A recital is a program by a soloist or small chamber ensemble.

• Production. This is a performance of a work that involves staging - costumes, scenery, etc. - as well as music (“The opera was quite a production!”). The term may also refer to the costumes, scenery, and so on, as distinct from the music ("The opera was well sung, but the production seemed elaborate").

• Show. This term is properly used only for popular music and musical comedy. • Act, scene. In opera, operetta, and musical theater, an act is a major section of the work

("The third act of Verdi’s Rigoletto includes the famous Quartet"); usually, an intermission takes place between acts. Acts may be subdivided into scenes. In popular forms like revues and variety shows, act refers to the presentation of one of the performers or performing groups ("A tough act to follow"); but the term is not correctly used in this way for recitals, orchestra or chamber concerts, etc. (Improper use: "For his second act he sang Die Forelle." Proper use: "The second piece he sang was Die Forelle." or, "The second work was Die Forelle.“)

• Movement. This is a section of a long work like a symphony, a concerto, a string quartet, etc. The term is not used for sections within an opera. (“The second movement of the Beethoven’s Second Symphony was very fast.”)

• Section, passage. These terms are useful for referring to parts of a composition shorter than a movement or (in musical drama) shorter than an act, scene, aria, duet, ensemble, etc.

USES AND CONVENTIONS In music, as in other disciplines, there are various usages, or conventions, regarding terminology. What words are capitalized, for example? When is italic used? To answer such questions, systems of usages are established by a host of different sources such as publishers, university departments, professional organizations, and so on. These systems can differ considerably from each other - a fact you should bear in mind when you are reading about music.

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When you write a concert report, or any other assignment for this music course, you will need to learn a system of usages and apply it correctly and consistently, particularly for titles of musical works.

EXAMPLES OF USES AND CONVENTIONS • Generic titles of works. Works identified by a genre or form (usually with some

number, or a key, or both) are capitalized: Brahms's Symphony No. 4 in E Minor, Op. 98; Chopin's Nocturne in E Flat Major, Op. 9, No. 2; Mozart's Piano Concerto No. 23 in A Major, K.#488.

• Non-generic titles of works. The use of actual titles rather than a numbered genre or form are set in italic (or underlined - underlining is the equivalent of italic). Examples are titles of songs, oratorios, operas, symphonic poems, and ballets: Gershwin's I Got Rhythm, Handel's Messiah, Mozart's Don Giovanni, Smetana's The Moldau, Stravinksy's Petrushka.

• Nicknames of works with generic titles are italic. They are placed in parentheses when they appear with the full title, but they may also be used in place of the full title. Examples are: Beethoven's Piano Sonata in C Minor, Op. 13 (Pathétique), and Haydn's Symphony No. 94 in G Minor (Surprise); the Pathétique Sonata, the Surprise Symphony.

• Some titles combine a generic part and a nongeneric part. Examples: Bizet's L'Arlésienne Suite No. 2; Machaut's Notre Dame Mass.

• For translations of works with foreign-language titles, both the original and the translation are italic. Examples: Schubert's Erlkönig (The Erlking); Puccini's La Bohème (Bohemian Life).

• A foreign-language title usually conforms to the conventions for capitalization in that language (different usages apply in different languages). Examples: Schumann's Im wunderschönen Monat Mai (In the Lovely Month of May); Stravinsky's Le Sacre du printemps (The Rite of Spring).

• Parts of larger works are usually lowercase if identified by form and number. Examples: first movement, scene 2, the third act.

• Parts of works which bear their own nongeneric titles are italic. Examples: March to the Scaffold (from Berlioz's Symphonie fantastique); Game of Pairs (from Bartók's Concerto for Orchestra); La donna è mobile (from Verdi's Rigoletto.)

• Vocal works that are identified by the first few words (rather than formal titles) are italic but not capitalized throughout. Example: When I am laid in earth (from Purcell's Dido and Aeneas).

• Lowercase is used for forms and genres apart from titles. Examples: A symphony usually has four movements. A minuet and trio is in three-part form (ABA).

• Terms for tempos and dynamics are neither italic nor capitalized in text: allegro, andante, pianissimo.

• Musical styles and stylistic periods are usually lowercase. Examples: baroque, classical, romantic. But there are some exceptions; for example: Renaissance, Dixieland.