Can someone help with music of the Twentieth Century, Part 2?

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Study Guide

Music Appreciation By

Eric Swanson

About the Author

Eric Swanson is a graduate of Yale University and The Juilliard School. He is the author of What the Lotus Said: A Journey to Tibet and Back and the novels The Greenhouse Effect and The Boy in the Lake. He has also written a set of thirty-five essays on the lives of com- posers of classical music for the LaserLight CD-ROM label.

All rights reserved. No part of the material protected by this copyright may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

Requests for permission to make copies of any part of the work should be mailed to Copyright Permissions, Penn Foster, 925 Oak Street, Scranton, Pennsylvania 18515.

Printed in the United States of America

All terms mentioned in this text that are known to be trademarks or service marks have been appropriately capitalized. Use of a term in this text should not be regarded as affecting the validity of any trademark or service mark.

INSTRUCTIONS TO STUDENTS 1

LESSON ASSIGNMENTS 7

LESSON 1: THE MIDDLE AGES AND THE RENAISSANCE 9

LESSON 2: THE BAROQUE ERA 18

LESSON 3: THE CLASSICAL ERA 23

LESSON 4: THE NINETEENTH CENTURY, PART 1 27

LESSON 5: THE NINETEENTH CENTURY, PART 2 32

LESSON 6: THE TWENTIETH CENTURY, PART 1 37

LESSON 7: THE TWENTIETH CENTURY, PART 2 44

SELF-CHECK ANSWERS 50

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YOUR COURSE

Your music appreciation course is designed to offer you a solid foundation in the history of Western music, as well as an introduction to music from cultures around the world.

As you make your way through this fascinating course, you’ll listen to a broad selection of musical works and learn about the people and cultures that created them.

While reading your textbook and listening to the accompa- nying musical selections, you’ll experience the unique ways in which composers communicate to listeners. You’ll also begin to appreciate music on a new, more personal level as you focus on the artistic value and cultural importance of musical masterpieces. In the end, you’ll find yourself listening to music with a deeper level of attention than ever before.

OBJECTIVES

When you complete this course, you’ll be able to

n Identify the basic principles of music theory, including melody, harmony, dynamics, and timbre

n Name the main types of musical instruments

n Distinguish between different forms of musical composition

n Differentiate the major periods of Western musical history

n Identify influential composers of various periods of musical history

n Identify representative modern musical compositions and the movements associated with their creation

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COURSE MATERIALS

Your music course provides you with the following materials:

1. This study guide, which includes an introduction to your course, plus

n A lesson assignments page with a schedule of study assignments and lesson exams, which you’ll complete as you progress through the course

n Explanatory material that emphasizes the main points of each lesson

n Suggestions on what to take note of as you read and listen to the required material

n Self-checks and answers to help you to assess your understanding of the material

2. Your textbook, Listen to This, which contains your assigned readings

3. Accompanying music tracks that illustrate the points addressed in the reading assignments

KNOW YOUR TEXTBOOK

Your textbook, Listen to This, offers a complete overview of the history of music from ancient times to the modern era. The lessons in your textbook are grouped into seven major parts that are comprised of several chapters each.

Before you begin your first lesson, spend a little time skim- ming your textbook to become familiar with its basic design and organization. Your textbook is organized in such a way so you get the most out of your studies, and its features include profile sidebars that focus on key moments in com- posers’ lives and work; music timelines; and sections titled Historical Context, which place the music in the context of the social history of each era, and A Closer Look, which delve into detail about objects and events that shaped the history of music.

Instructions to Students2

Since experiencing music is vital to music appreciation, every chapter includes a supplemental listening assignment that can be accessed online. Listening guides are provided in each chapter to help you focus on the important details of each selection, as are the sections titled Listen To This First, which highlight what important aspects of the track you should listen for.

The back portion of your textbook includes two useful study resources: a glossary that contains an alphabetized list of definitions of important musical terms and a detailed index of the subjects discussed in your textbook. Once you complete your study of the textbook, you can use these resources to refer to topics you may wish to review.

Listen to This provides a complete overview of music history and theory. Each reading assignment is geared to assist you in exploring specific periods, styles, or forms of music. To complete the course quickly and easily, schedule time to read your textbook and complete the recommended listening exer- cises several times each week.

As you progress through the course, you’ll soon discover the rewards of the effort you put into your study.

YOUR STUDY GUIDE

This study guide is a companion to your textbook and provides a lesson plan that will help you explore the history and theory of music. The guide is broken down into seven lessons. Each lesson in the study guide provides a practical overview of the areas covered, as well as several reading and listening assignments. After you finish each assignment in the study guide, complete the short self-check to help measure your progress. For every lesson, you must also complete a multiple-choice examination.

Instructions to Students 3

ACCOMPANYING MUSIC SELECTIONS

Your study of music would be incomplete without hearing the selections you’re studying. Therefore, you’re encouraged to access and listen to the music tracks that exemplify the information from your reading assignments.

To listen to the music selections, go to http://listening- guide.pearsoncmg.com/webroot/index.php/Collection/index/ id/8.

The few tracks for which streaming audio rights haven’t been secured may be found by searching online or accessing music sites you’re already familiar with.

Use the Listen To This First and Listening Guide sections in your textbook to identify the selections’ key attributes. Listen to each selection several times, both before and after reading the chapter in the textbook.

A STUDY PLAN

Work through this study guide one assignment at a time. After reading the assigned pages in your textbook and listening to the corresponding audio selections, you’ll have a chance to review the concepts and skills you’ve learned by completing the self-checks. Once you’ve finished all the assignments included in each lesson, you’ll be ready to complete the examination for the lesson. Before you attempt to take an exam, make sure you’ve read all the assigned material and completed all the self-checks.

To get the most out of your studies, follow these steps to complete your assigned work:

Step 1: Skim through the assigned pages in both the study guide and the textbook to get a general idea of their contents. Try to develop an overall perspective on the concepts and skills you’ll be studying.

Instructions to Students4

Step 2: Carefully read through the introductory material in the study guide, then read the assigned pages in your textbook and listen to the audio selections. Take notes on any important points or terms that you feel are especially significant and reread or replay selections you need to review.

Step 3: Complete the self-checks after each assignment in your study guide and compare your answers with those given at the back of the guide. The self-checks are intended for your personal use in evaluating and directing your progress. If you answer any self- check questions incorrectly, review the assigned materials until you have a thorough understanding.

Step 4: When you feel you’ve mastered all the material in the first assignment, proceed to your next assign- ment. Repeat Steps 1–3 for the remaining assignments in each lesson.

Step 5: Once you’ve finished all of the assignments and self-checks in Lesson 1, complete the multiple- choice examination for the lesson. Take your time with the exam, and feel free to refer to your text- book, the study guide, and any notes you may have taken.

Step 6: When you’ve completed the assignments, self- checks, and examination for Lesson 1, proceed to the next lesson. Repeat Steps 1–5 for the remaining lessons in your study guide.

Remember: At any point in your studies, you can email your instructor for further information or clarification. Your instructor can answer questions, provide additional information, and explain any of your study materials. You should find your instructor’s guidance and suggestions very helpful.

You’re now ready to begin your study of music.

Good luck!

Instructions to Students 5

Instructions to Students6

NOTES

Lesson 1: The Middle Ages and the Renaissance

For: Read in the Read in the study guide: textbook:

Assignment 1 Assignment 1 Pages 1–15

Assignment 2 Assignment 2 Pages 16–53

Assignment 3 Assignment 3 Pages 54–84

Examination 007409 Material in Lesson 1

Lesson 2: The Baroque Era

For: Read in the Read in the study guide: textbook:

Assignment 4 Assignment 4 Pages 85–110

Assignment 5 Assignment 5 Pages 111–132

Assignment 6 Assignment 6 Pages 133–159

Examination 007410 Material in Lesson 2

Lesson 3: The Classical Era

For: Read in the Read in the study guide: textbook:

Assignment 7 Assignment 7 Pages 160–190

Assignment 8 Assignment 8 Pages 191–226

Examination 007411 Material in Lesson 3

Lesson 4: The Nineteenth Century, Part 1

For: Read in the Read in the study guide: textbook:

Assignment 9 Assignment 9 Pages 227–254

Assignment 10 Assignment 10 Pages 255–271

Examination 007412 Material in Lesson 4

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Lesson 5: The Nineteenth Century, Part 2

For: Read in the Read in the study guide: textbook:

Assignment 11 Assignment 11 Pages 272–301

Assignment 12 Assignment 12 Pages 302–328

Examination 007413 Material in Lesson 5

Lesson 6: The Twentieth Century, Part 1

For: Read in the Read in the study guide: textbook:

Assignment 13 Assignment 13 Pages 329–351

Assignment 14 Assignment 14 Pages 352–376

Assignment 15 Assignment 15 Pages 377–407

Examination 007414 Material in Lesson 6

Lesson 7: The Twentieth Century, Part 2

For: Read in the Read in the study guide: textbook:

Assignment 16 Assignment 16 Pages 408–447

Assignment 17 Assignment 17 Pages 448–471

Assignment 18 Assignment 18 Pages 472–511

Examination 007415 Material in Lesson 7

Lesson Assignments8

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The Middle Ages and the Renaissance

INTRODUCTION

Lesson 1 is your introduction to some of the basic elements of music that will be discussed throughout your course. In addition, this lesson offers you an opportunity to explore the music of two of the earliest periods of Western music: the Middle Ages and the Renaissance in Europe.

ASSIGNMENT 1: ELEMENTS OF MUSIC Read the following introductory material for this assignment. Then, read the section “The Elements of Music: A Brief Introduction” in your textbook.

In this assignment, you’ll explore the elements of music and learn to listen for thow they’re used in composition. You’ll be introduced to the nine elements of music, which are discussed in further detail in the introduction. Make sure you fully understand each of these terms, since they’re used throughout the course. The listening assignments included in the reading will give you examples of how each is used.

Melody and Harmony

In music, the relative highness or lowness of a sound is referred to as pitch. A series of pitches combined in a logical or self- contained unit is commonly referred to as a melody, tune, or theme. Melodies are typically distinguished from one another by several factors, such as length, the range of high and low pitches, and the overall musical shape, or contour, made by the sequence of sounds. The musical effect created by multiple sounds playing simultaneously is commonly known as

harmony. Composers typically use harmony to support the melody and create a richer, fuller sound. Three or more notes played or sung at the same time are referred to as a chord.

Rhythm

Rhythm is composed of three essential elements:

1. Beat, a recurring pulse that drives through a segment of music

2. Meter, the organization of beats into recognizable or repeating patterns

3. Tempo, the speed at which beats are played; the tempo of various passages in a musical work is often indicated by Italian words such as presto (very fast) and largo (very slow).

Texture

The texture of music describes a composition’s combined melodic, harmonic, and rhythmic elements. If you think of music as a fabric, the interwoven instruments and voices provide the texture to the fabric. There could be a prominent thread that stands out among the others, or the “fabric” of the piece could be smooth and all one color. Make sure you under- stand the differences among the three major textures below, and try to distinguish each type as you listen to different kinds of music, especially your listening assignments.

n Monophonic texture contains a single melody, whether it’s performed by one soloist or a group of singers or instruments in unison (all together).

n Homophonic texture, the most common type, features a prominent melody that’s backed by the accompaniment of either music or voices.

n Polyphonic texture includes several voices or instruments playing the melody, with none prominent.

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Timbre, Dynamics, and Form

Another essential element of music involves the way in which sounds are produced. For example, sounds may be produced softly or loudly. The term dynamics describes the relative loud- ness of sound. The quality of sound—such as its depth, richness, or sharpness—is referred to as its timbre.

Musical instruments, as well as human voices, produce sounds of widely varying timbre and pitch. Composers use the tonal characteristics of different instruments in a variety of ways to achieve specific musical effects. Composers may have instru- ments played simultaneously or separately, depending on the effect they wish to achieve. For example, one instrument may play the melody by itself, or a group of instruments may carry the melody while others contribute to the harmony.

Word-Music Relationships

When you pay attention to the score of a movie, you find a direct relationship between the music and what’s happening on the screen. During the exciting parts, the music becomes faster and louder, while during tender moments, it’s more hushed and soothing. The same is true of any composition and its style. The words—even if it’s only the title—provide guidance for what to expect from the music. A suite representing the seasons will have four distinct moods that represent different times of the year, from a light, airy spring sound complete with chirping birds to a turbulent, menacing winter tone that gives the listener chills.

Genre

You’re already aware of some of the genres, or categories, of music. You would have no trouble telling a symphony from a show tune, a Chinese folk song from American rock ’n’ roll, or an acoustic piece from an electric one. But as you become more familiar with the elements of music, consider how they work together to create music of different styles and how exactly they’re distinguished from one another. In this course, you’ll study various types, including classical and experimental types of art music; pop music, which is mainly created for

Lesson 1 11

Music Appreciation12

entertainment purposes; and traditional music, which is handed down orally and contains elements from the culture in which it developed. While there’s some crossover among the genres, most music fits fairly comfortably into one group or another.

Musical Instruments

The instruments in an orchestra are typically organized into four distinct groups, or families:

1. String instruments produce sounds through the vibration of strings pulled tightly across a hollow wooden case. Examples are the violin and cello.

2. Woodwinds are tubelike instruments that produce sounds when air is blown across a wooden reed attached to the mouthpiece. Examples include the oboe and clarinet.

3. Brass instruments, as the name implies, are typically made of brass and produce sounds when air is blown through a cupped mouthpiece. The trumpet and French horn are brass instruments.

4. Percussion instruments produce sounds when struck or rattled. Examples include drums, cymbals,a nd even keyboard instruments.

In addition, keyboard instruments, such as the piano and pipe organ, produce sounds when fingers depress keys on the outside of the case. Even the human voice is considered a musical instrument.

Other categories of musical instruments include folk, popular, and electronic instruments. Folk instruments are typically associated with the various ethnic groups and cultures that develop them. Popular instruments include the guitar, the banjo, and the accordion. Finally, the family of electronic instruments includes the electronic guitar, the sound of which is amplified or subtly altered electronically, and the synthe- sizer, which produces sound entirely by electronic means.

Lesson 1 13

To be truly considered music, a piece must combine all the various elements (melody, rhythm, and dynamics) within a definite structure, or pattern. These patterns are typically referred to as forms. Composers have developed quite a variety of musical forms, all of which use one or more of three basic principles of organization: repetition, variation, and contrast.

Once you’ve finished studying Assignment 1 and listening to the music assignments, complete Self-Check 1. Answers to these questions are at the end of this study guide.

Self-Check 1 At the end of each section of Music Appreciation, you’ll be asked to pause and check your understanding of what you’ve just read by completing a self-check exercise. Answering these questions will help you review what you’ve studied so far. Please complete Self-Check 1 now.

Questions 1–10: Match the term in the left-hand column with its definition in the right- hand column.

Term Definition

______ 1. Timbre

______ 2. Octave

______ 3. Major mode

______ 4. Minor key

______ 5. Acoustics

______ 6. Rhythm

______ 7. Dynamics

______ 8. Genre

______ 9. Pitch

______ 10. Monophonic

Check your answers with those given on page 50.

a. Category

b. Somber sound

c. Volume

d. Highness or lowness of sound

e. Science of sound

f. Eight notes

g. Happy music

h. Containing a single melody

i. Ordering of music through time

j. Color of music

Music Appreciation14

ASSIGNMENT 2: THE MIDDLE AGES Read the following introductory material for this assignment. Then, read the introduction to Part 1 and Chapters 1–5 in your textbook. Listen to the accompanying music selections to further your understanding.

Like all other aspects of Western culture, music has changed a great deal throughout the centuries. Sweeping political and social events have influenced composers and listeners alike. At the same time, creative innovations that developed in one European country influenced the artists and audience members of neighboring countries.

As a practical means of examining the way music has devel- oped, critics and scholars have divided the history of music into chronological periods. These divisions aren’t arbitrary. The music of each period is closely linked, in form and con- tent, to events of the day. As you’ll see, significant changes in the style of composition correspond fairly closely with major political or cultural developments occurring within the same time frame.

Songs and Chants

For centuries after the fall of the Roman Empire (A.D. 476), religious institutions functioned as the main centers of read- ing and writing in Western Europe. Accordingly, much of the music preserved from the Middle Ages is religious in tone and content. Both sacred and secular music of the time had songs, music involving words as its most basic element. One of the most typical forms of religious music of the early Middle Ages was the Gregorian chant, or plainchant, which was characterized by a single melodic line and a rather solemn tone.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 2, complete Self-Check 2.

Lesson 1 15

Self-Check 2

Questions 1–7: Match the term in the left-hand column with its definition in the right-hand column.

Term Definition

______ 1. Polyphony

______ 2. Plainchant

______ 3. Melisma

______ 4. Vocables

______ 5. Heterophony

______ 6. Strophe

______ 7. Terraced melody

Check your answers with those given on page 50.

a. Meaningless sung syllables

b. Two voices, one embellishing the melody

c. Two voices of equal importance

d. Poetic verse

e. Syllable sung to many notes

f. Gradual descending on the scale

g. A single melodic line

Music Appreciation16

ASSIGNMENT 3: THE RENAISSANCE Read the following introductory material for this assignment. Then, read the introduction to Part 2 and Chapters 6–9 in your textbook. Listen to the accompanying music selections to fur- ther your understanding.

Music as Art

The word renaissance means “rebirth.” During the Renaissance period (the early 1300s to 1600s), music and art were, in a sense, reborn. Music evolved from its restrictive medieval roots. Society’s interest in exploring all that life had to offer seeped into the music of the age. Vocal music became even more important, and polyphonic music became popular. While it developed most fully in Italy, it wasn’t long before people throughout Western Europe began to view music—as well as other kinds of art—as a means of expressing purely human values and emotions. New forms of nonreligious music were created as composers began to experiment with complex melodies, harmonies, and rhythmic patterns. The same energy and creativity also influenced the style of religious music of the period. Overall, restraint and balance were the defining characteristics of Renaissance music.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 3, complete Self-Check 3.

Lesson 1 17

After you’ve finished Self-Check 3, take time to review all the assignments in the lesson. Then complete the examination for Lesson 1.

Self-Check 3

1. What are the four registers of the human voice?

__________________________________________________________

2. Writing a new melody against an existing one is the first step in _______.

3. A musical setting of a text in a single strophe is called a/an _______.

4. What is falsetto?

__________________________________________________________

5. What is a capella?

__________________________________________________________

6. Describe rhyme singing.

__________________________________________________________

Check your answers with those given on page 50.

The Baroque Era

INTRODUCTION

The Baroque era was one of the most fascinating periods in Western music. Near the end of the sixteenth century, com- posers began to explore a richer, more elaborate approach to art music than their medieval and Renaissance predeces- sors. This new music was considered extravagant, free, and unpredictable.

ASSIGNMENT 4: MONTEVERDI, PURCELL, AND MBUTI PYGMIES Read the following introductory material for this assignment. Then, read the introduction to Part 3 and Chapters 10–12 in your textbook. Listen to the accompanying music selections to further your understanding.

New Musical Forms

An immense range of new musical forms emerged during the Baroque period. Aristocratic audiences eagerly embraced dramatic new vocal works, such as the oratorio cantata and opera. In the field of instrumental music, composers explored new ways to show off the expressive range and qualities of solo instruments, such as the pipe organ and the violin. Among the most well-known instrumental works of the Baroque period are the suite (a series of dances), the concerto grosso (concerto using multiple soloists), and the fugue (a poly- phonic work with a central theme introduced by successive voices or instruments).

Once you’ve finished the reading and listening assignments in Assignment 4, complete Self-Check 4. L e

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ASSIGNMENT 5: STROZZI, VIVALDI, AND BACH Read the following introductory material for this assignment. Then, read Chapters 13–15 in your textbook. Listen to the accompanying music selections to further your understanding.

Sacred, Ensemble, and Program Music

The types of music created during the eighteenth century fell into one of three categories: sacred music of the church, music of the theater, and chamber music. Chamber music has been described as the “music of friends,” having been developed for a small group of instruments, playable by professionals and amateurs alike, and accommodated easily in an intimate set- ting, such as a small room or “chamber.” One of the key features of this type of music is that the musicians don’t require the guidance of a conductor. Early trio sonatas (musi-

Lesson 2 19

Self-Check 4

1. Music is called “baroque” by historians to call attention to the _______ and _______ qualities of the music.

2. A drama sung from beginning to end is a/an _______.

3. The musical term for “continuous bass” is _______.

4. One of the first operas ever written in English was _______.

5. What does “opera seria” mean?

__________________________________________________________

Check your answers with those given on page 51.

Music Appreciation20

cal pieces written for two solo instruments along with an underlying continuous bass line and harmonies, or a basso continuo line) are attributed to Johann Sebastian Bach, among others. Later in the Baroque period, these pieces were taken on by larger groups of instruments.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 5, complete Self-Check 5.

Self-Check 5

1. Repeating the same words with the same basic melody at intervals during the course of a work is called the _______.

2. What is trio-sonata texture?

__________________________________________________________

3. What is the maximum number of parts allowed in chamber music?

__________________________________________________________

4. A polyphonic work based on a central theme is called a/an _______.

5. More than half the women who published music in Italy between the mid-sixteenth century and the eighteenth century were _______.

6. How is chamber music similar to jazz?

__________________________________________________________

Check your answers with those given on page 51.

Lesson 2 21

ASSIGNMENT 6: BACH AND HANDEL Read the following introductory material for this assignment. Then, read Chapters 16–18 in your textbook. Listen to the accompanying music selections to further your understanding.

The Concerto

A significant musical form that evolved during the Baroque period was the concerto, which usually consisted of several different movements of varying keys and tempos. Sometimes referred to as a solo concerto, this form relied heavily on con- trasts between solo instrumental performances and larger orchestral passages.

The word concerto is believed to have been derived from the Latin word “concertare,” which means both “to work together” and “to dispute.” At the beginning of the eighteenth century, Venetian composers began using the ritornello principle when writing their concertos. This principle has the orchestra playing a refrain of one or more ideas in its entirety at the beginning of a movement and weaving it, in whole or in part, throughout the piece. The idea was to demonstrate the “working together” and “disputes” between the soloist and the tutti (the larger ensemble).

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 6, complete Self-Check 6.

Music Appreciation22

After you’ve finished Lesson 2, take the time to review all the assignments for this lesson. Then complete the examination for Lesson 2.

Self-Check 6

1. Vivaldi is particularly known for the instrumental work associated with a story, event, or idea called _______.

2. The basic principle of almost all concerto movements of the Baroque era is _______.

3. Why is it impossible to create a violin as perfect as a Stradivarius?

__________________________________________________________

4. What does modulate mean?

__________________________________________________________

5. How does a Baroque trumpet differ from a modern trumpet?

__________________________________________________________

6. What is a suite?

__________________________________________________________

7. _______ is another word for hymn tune.

Check your answers with those given on page 51.

The Classical Era

INTRODUCTION

In Lesson 3, you’ll explore the beauty and power of the music of the Classical period, which lasted from about 1750 until approximately 1820. Although the timespan may seem brief, many of the best-known and best-loved art music heard around the world today was written during the Classical period. In this lesson, you’ll explore the unique approach to music used by Classical composers, as well as the various musical forms they developed.

ASSIGNMENT 7: HAYDN AND MUSICIANS OF JAPAN Read the following introductory material for this assignment. Then, read the introduction to Part 4 and Chapters 19–21 in your textbook. Listen to the accompanying music selections to further your understanding.

The Classical Period

The Classical period in music coincided with a social period marked by widespread interest in logic, science, and philosophy. Classical composers abandoned the dramatic excesses of the Baroque period in favor of a more formal, elegant approach. The melodic line of Classical music became clear and simple, rarely overshadowed by ornamentation, counterpoint, or harmony.

Classical composers brought a new sense of elegance, bal- ance, and proportion to opera. Perhaps for this reason, many of the operatic works performed today are from the Classical, rather than the Baroque, period. Two different approaches to the opera form also emerged during the Classical era. Opera buffa was lighter and more comic in style and content. Opera seria retained the more dramatic, often tragic, function that characterized operas of the Baroque period.

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Music of Asia

The Asian continent includes a wide range of cultures, many of which developed in isolation from one another. It’s difficult, therefore, to find a common thread among the various styles of Asian music. Chinese music is somewhat formal, and built around a pentatonic scale, and consists primarily of melodic lines. Harmony plays a rather small role in Chinese music. Native Japanese music was strongly influenced by Chinese and Korean styles, and many Japanese musical compositions are also similarly based on a pentatonic scale.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 7, complete Self-Check 7.

Self-Check 7

1. Another term for comic opera is _______.

2. _______ is the use or adaptation of a work to serve something other than its original purpose.

3. What is the name of the plucked stringed instrument from Japan with 13 silk strings?

__________________________________________________________

4. A lively, stylized dance in triple meter and in the tonic key is called a/an _______.

5. An Italian word for “round dance” is _______.

6. Why were Haydn’s later symphonies missing the basso continuo?

__________________________________________________________

Check your answers with those given on page 51.

Lesson 3

ASSIGNMENT 8: MOZART AND BILLINGS Read the following introductory material for this assignment. Then, read Chapters 22–25 in your textbook. Listen to the accompanying music selections to further your understanding.

The Sonata

Probably the most significant development of the Classical period was the sonata form. The sonata form elaborates the musical theme into three distinct movements. The first move- ment, or exposition, introduces the main theme. The second movement, commonly called the development, introduces themes related to the main theme. These variations may appear as counterpoints or variations on the principal theme. The third movement, known as the recapitulation, returns to the esposi- tion and often expands it into a richly expressive finale. Since the mid-eighteenth century, the sonata form has been used as the framework for thousands of works. It was embraced most thoroughly by Mozart and is evident in his many sym- phonies.

Mozart

There’s a reason that several chapters of your textbook are dedicated to Mozart. Wolfgang Amadeus Mozart is one of the world’s best-known and most respected Classical composers. In spite of his personal eccentricity, he wrote graceful music that revealed both brilliance and passion. He composed more than 600 pieces, including concertos, operas, and sym- phonies, as well as Masses and dance and choral pieces. He played piano and violin as a very young child and began composing on the keyboard when he was five years old. His father took him and his sister on performance tours through- out Europe when they were children. At 17, Mozart won a position as court musician in his native city of Salzburg, Austria. Eventually, he moved to Vienna, where his genius was appreciated and he made a good living writing and per- forming music. However, he went into debt and died at the age of 35.

Music Appreciation26

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 8, complete Self-Check 8.

After you’ve finished Lesson 3, take the time to review all the assignments for this lesson. Then complete the examination for Lesson 3.

Self-Check 8

1. What is the exposition?

__________________________________________________________

2. What is the driving force behind the concerto?

__________________________________________________________

3. What are the differences between the standard sonata form and the double-exposition concerto form?

__________________________________________________________

4. What is the difference between accompanied recitative and standard recitative accompaniment?

__________________________________________________________

Check your answers with those given on page 52.

The Nineteenth Century, Part 1

INTRODUCTION

The Romantic period in music history spans nearly the entire nineteenth century, a period of great social change across Europe. The Industrial Revolution, which began in the early part of the century, completely transformed everyday life. Factories sprang up in towns and cities, and thousands of rural laborers abandoned their farms to work in urban areas. Pollution, along with the construction of new industrial centers, altered the European landscape in ways still evident today. As you’ll see in this lesson, many of the period’s artists responded to the rapid changes around them by adopting a reverent attitude toward nature and a longing for the past.

ASSIGNMENT 9: BEETHOVEN, SCHUBERT, AND MENDELSSOHN Read the following introductory material for this assignment. Then, read the introduction to Part 5 and Chapters 26–28 in your textbook. Listen to the accompanying music selections to further your understanding.

Science and Style

Classical composers had a somewhat mathematical approach to creating music. Of all of the composers of the Classical period, few have made as great an impact on the history and development of music as Ludwig van Beethoven. Beethoven composed a tremendous variety of musical works. Most schol- ars agree, however, that his most profound contribution lay in the musical form known as the symphony, a long orchestral composition organized into several movements.

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Beethoven was particularly interested in the expressive range and capabilities of the piano. Some of his most interesting and dynamic works were written for that instrument. The changes he brought to piano compositions reflect the stylistic influence of the Classical period.

Later, Romantic composers of the nineteenth century gradu- ally abandoned the Classical composers’ approach to music. While they continued to use many of the forms developed during the Classical period, Romantic composers turned their attention to the emotional power of music. They adopted more fluid melodies with complex harmonies. Their rhythms, too, were more varied than those of the Classical period.

Many Romantic-era composers looked beyond Classical forms for other means of musical expression. One new form developed during the Romantic period was program music. Instead of the traditional structure of theme and development, program music was based on associations with nonmusical ideas, such as a story, a person, or an event.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 9, complete Self-Check 9.

Lesson 4 29

Self-Check 9

1. How many symphonies were written by Beethoven?

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2. Define the term cyclic.

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3. A poem that tells a story is known as a/an _______.

4. Schubert set Goethe’s ballad “Erlkönig” into the musical form Lied, which is comprised of a/an _______.

5. A type of music that’s purely instrumental and openly linked to some object, story, or idea outside the music is called _______.

6. Which play by William Shakespeare was adapted to music by Felix Mendelssohn?

__________________________________________________________

Check your answers with those given on page 52.

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ASSIGNMENT 10: BERLIOZ, HENSEL, AND SCHUMANN Read the following introductory material for this assignment. Then, read Chapters 29–31 in your textbook. Listen to the accompanying music selections to further your understanding.

Stories in Music

Romantic composers are known for developing new musical forms to convey a more personal, intimate experience to listeners. One of these forms, known as the art song, consisted of a poem sung to music. The music itself was deliberately crafted to reflect the overall tone and feeling of the poem. You’ll study an example of program music, Hector Berlioz’s emotional Symphonie fantastique, which he also related through a detailed written program.

In addition, composers of this era developed new instrumental forms. For example, the ballade and the berceuse were song- like compositions. The prelude and the nocturne were short, solo instrumental works. Songs without words, which used meter to imply a voice, were created by Fanny Hensel.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 10, complete Self-Check 10.

After you’ve finished Self-Check 10, take time to review all the assignments in the lesson. Then complete the examination for Lesson 4.

Lesson 4 31

Self-Check 10

1. The art of arranging music for orchestral instruments is called _______.

2. Define tetrameter.

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3. What is a piano trio?

__________________________________________________________

4. A group of unaccompanied voices is called a/an _______ chorus.

5. _______ was the brother of Fanny Hensel.

Check your answers with those given on page 52.

The Nineteenth Century, Part 2

INTRODUCTION

Many Romantic composers chose to break with the past by bringing a new sense of freedom and lyricism to existing musical forms. For example, in the hands of Russian com- poser Pyotr Tchaikovsky, ballet music attained a stunning level of beauty and emotional power.

ASSIGNMENT 11: CHOPIN, GOTTSCHALK, SHANKAR, AND VERDI Read the following introductory material for this assignment. Then, read Chapters 32–35 in your textbook. Listen to the accompanying music selections to further your understanding.

The Ballade

One of the true masters of the Romantic music of the nineteenth century was Frédéric Chopin. Although most of his composi- tions were written as solo piano pieces, he was credited with inventing a musical form called the instrumental ballade. Like other ballad forms, the instrumental ballade suggests a narra- tive; Chopin’s ballads were inspired by the poems of Adam Mickiewicz. He was also responsible for the innovation of the piano sonata, the etude (a short, solo piece for the piano requir- ing technical virtuosity), and the mazurka, a Polish folk dance in triple meter that served as a salute to his Polish heritage.

Louis Moreau Gottschalk was the first American pianist to be recognized internationally and has been referred to as both the American Chopin and the “First Gershwin.” It has also been said that without Gottschalk, there would be no jazz; his use of syncopation influenced ragtime music, which also drew on the “ragged” rhythms of African and Caribbean music.

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He was the first American composer to be consciously guided by the folk themes of Latin American and Creole cultures, African American rhythms, and classic European form. This was probably due to his heritage: his mother was Haitian- Creole and his father was a German Jewish man who grew up in London. He had a business relationship with Chickering, the piano manufacturer, and endorsed their instruments by playing them whenever possible. Gottschalk also always made a show of removing his white gloves before a performance.

Ravi Shankar

While the other three composers featured in this assignment lived and worked in the nineteenth century, Chapter 34 intro- duces Ravi Shankar, a famous twentieth-century sitarist and composer. His performance of the traditional raga, which includes mood or color in music performance, will acquaint you with North Indian classical music and the tonal contrast with European classical music. The raga also includes improvisation, which was a prominent feature of nineteenth- century virtuoso performances.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 11, complete Self-Check 11.

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Self-Check 11

1. The nineteenth century composer _______ was known for a repertory consisting primarily of character pieces.

2. A Polish folk dance in triple meter, with heavy accent on the second or third beat of each measure, is called the _______.

3. _______ was the first American-born piano virtuoso to achieve international fame.

4. What are the three types of melody used by Verdi in La Traviata?

__________________________________________________________

5. Define diva.

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Check your answers with those given on page 53.

Lesson 5 35

ASSIGNMENT 12: WAGNER, BRAHMS, AND DVOŘÁK Read the following introductory material for this assignment. Then, read Chapters 36–38 in your textbook. Listen to the accompanying music selections to further your understanding.

Drama and Counterpoint

Operatic composers reached new heights of dramatic intensity with technically demanding arias and a richer orchestration. Richard Wagner’s operas took a different approach to the relationship between music and drama. He developed the technique of leitmotif, a musical phrase connected with a character, event, or theme in the drama.

Composers such as Brahms and Dvořák (pronounced DVOR-zhak) brought fresh ideas to established forms such as the symphony and the string quartet. Sometimes linked with Bach and Beethoven to make the “Three B’s” of music, Johannes Brahms was a nineteenth-century composer of piano and chorale music as well as music for chamber ensembles and symphony orchestras. Firmly rooted in the technique and structure of the Baroque and Classical musical periods, he was also a master of counterpoint, a style of musical writing that’s basic to the polyphonic texture and in which every voice is a melody and all voices work together.

Brahms greatly influenced Antonín Dvořák, and the two became friends. Dvořák was a professor of musical composi- tion and instrumentation at the Prague Conservatory. In 1892, he gave up his position and moved to the United States, where he became convinced that the country’s nationalist music should grow from African American and Native American roots. Dvořák returned his birth country of Bohemia, now called the Czech Republic, in 1895.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 12, complete Self-Check 12.

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After you’ve finished Self-Check 12, take time to review all the assignments in the lesson. Then complete the examination for Lesson 5.

Self-Check 12

1. Darth Vader’s theme music in Star Wars is an example of _______.

2. If a piece of music is considered “chromatic,” what does that music include?

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3. In his earlier career, Dvořák was a/an _______.

4. Define scherzo and explain what it means musically.

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5. Dvořák was inspired by _______.

6. Who are the “three B’s” of German music?

__________________________________________________________

Check your answers with those given on page 53.

The Twentieth Century, Part 1

INTRODUCTION

It’s much more difficult to characterize the music of the twentieth century than that of earlier periods in music history. Part of the difficulty stems from the enormous amount and variety of music produced during the past hundred or so years. Composers from around the world have contributed a broad array of national and ethnic influences.

During the nineteenth century, many European composers and musicians moved to America, bringing with them their skills, talents, and ambitions. These individuals powerfully influenced American composers, who began to produce music based on European models. Then, during the twentieth century, art music began to reflect a distinctively American character, which embraced both patriotic themes and the polytonal and polyrhythmic elements of modern music. In addition, twentieth-century inventions such as radio, television, computers, and portable music devices made it possible to share musical ideas and innovations more rapidly than at any earlier point in history.

To better explore some of the ways in which modern musical principles were put into practice, you’ll examine several cate- gories of modern music. The mainstream category includes modern variations on traditional forms, such as the sym- phony, the aria, and the Mass. Neoclassicism, the return to the more formal, intellectual approach that characterized the works of the Classical period, became a prevalent style. Expressionism is an artistic movement that reflected the grief and anxiety underlying the early decades of the century. Fianlly, folk music has a long history in the United States and around the world.

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ASSIGNMENT 13: DEBUSSY AND IVES Read the following introductory material for this assignment. Then, read the introduction to Part 6 and Chapters 39 and 40 in your textbook. Listen to the accompanying music selections to further your understanding.

Impressionism and Transcendentalism

While use of the whole-tone scale among Western musical pieces can be traced back to the works of Mozart, Claude Debussy was one composer of the twentieth century who used the whole-tone scale extensively in his compositions. Debussy, a Russian-born composer, was very much like other impressionist composers of the time who emphasized timbre over melody in their compositions.

Charles Ives was educated in many types of music, including church hymns, band music, and orchestral works. He incor- porated all these idioms into his own music, which was also influenced by the American transcendental movement in New England. During this movement, writers and thinkers like Ralph Waldo Emerson, Henry David Thoreau, and Bronson Alcott questioned the intellectual status quo of the mid- nineteenth century. Emerson described their philosophy as looking at the world with new eyes and asking “What is truth? What is good?” Ives both absorbed and rebelled against tradition, and by challenging conventional ideas of what was true or good in music, he pioneered modern music in America, and his Piano Sonata no. 2, Concord, Mass., 1840–60 was a direct interpretation of the transcendentalist philosophy.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 13, complete Self-Check 13.

Lesson 6 39

ASSIGNMENT 14: SCHOENBERG, STRAVINSKY, AND JOPLIN Read the following introductory material for this assignment. Then, read Chapters 41–43 in your textbook. Listen to the accompanying music selections to further your understanding.

Primitive Influences

The music of Africa is extremely complex, characterized by the simultaneous playing of several different rhythmic patterns filled out with trills, slides, and other improvised melodic elements. Much African music serves a functional role. For example, it may be played at ceremonies or special events, or it may tell the story of an important historic or social event. Listeners often participate with the performers in a call-and- response fashion. Primitivism celebrated the liveliness and

Self-Check 13

1. The quality of suggesting rather than stating is known as _______.

2. A move from F# to G# would be considered a/an _______.

3. In Debussy’s time, the primary system of organizing pitch was _______.

4. Debussy’s music is usually associated with _______.

5. When all the instruments in an orchestra are playing the same rhythm, the ensemble is playing in _______.

6. The clashing sounds of atonal music are called _______.

Check your answers with those given on page 53.

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color of Polynesian and African cultures. During the early years of the twentieth century, African American composers began to have an impact on popular music. Ragtime, with its upbeat, syncopated tempo, quickly captured public attention. During the years between World War I and World War II, composers produced a slower, more melancholy style of music referred to as blues. Jazz, a somewhat improvisational, syncopated musical style that incorporates elements of African American, Latin American, and French Creole music, also emerged during this period.

Until the end of the nineteenth century, the traditional approach to pitch was based on the principle of a tonal center. In the twentieth century, a number of composers abandoned the traditional tonal system and invented new ways to craft melodic lines. One of the more important systems, known as the tone row, was based on a set of 12 pitches unrelated to any tonal center. Other composers extended the tone row system by incorporating one or more series of pitches within a single tone row. This approach to composition is referred to as serialism.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 14, complete Self-Check 14.

Lesson 6 41

Self-Check 14

Questions 1–10: Match the term in the left-hand column with its definition in the right- hand column.

Term Definition

______ 1. Expressionism

______ 2. Commedia dell’arte

______ 3. Pierrot lunaire

______ 4. Sprechstimme

______ 5. Atonal

______ 6. Pentatonic scale

______ 7. Ostinato

______ 8. Scenario

______ 9. Le Sacre du printemps

______ 10. Syncopation

Check your answers with those given on page 54.

a. Lacking tonal center

b. Repeated rhythmic gesture

c. Twentieth-century artistic movement

d. Cycle of poems

e. The use of rhythmic accents that oppose the beat

f. Improvisational theater

g. Story line

h. Five-note scale

i. Slow recitative

j. Discordant composition

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ASSIGNMENT 15: JOHNSON, ELLINGTON, PARKER, AND CRAWFORD Read the following introductory material for this assignment. Then, read Chapters 44–47 in your textbook. Listen to the accompanying music selections to further your understanding.

New Forms and Styles

A wide variety of musical styles and forms emerged in the twentieth century. Many twentieth-century composers aban- doned the traditional approach to rhythm and explored ways to create fascinating—and sometimes startling—effects. They also abandoned the traditional approach to melody, creating melodic lines characterized by unexpected leaps, dips, and other changes. Their harmonies became more complex and variable, often composed without reference to tonal centers.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 15, complete Self-Check 15.

After you’ve finished Self-Check 15, take time to review all the assignments in the lesson. Then complete the examination for Lesson 6.

Lesson 6 43

Self-Check 15

1. Raw, authentic, and noisy describe the _______ of a historic blues recording.

2. Downhome blues songs are often marked by _______ as well as woe.

3. _______ notes are generally about a half step lower than the standard major scale.

4. The _______ is one of the most common chord patterns in big band jazz.

5. A/An _______ occurs when as many individual notes of a chord as possible are played within the same octave.

6. When shorter notes continually propel music toward the longer notes, the result is the rhythmic groove called _______.

7. After World War II, the musical craze that infiltrated the jazz world was known as _______.

8. The range in which music is presented is the _______.

9. The AABA pattern is called the _______ because it was used so pervasively in popular hits of the 1920s and 1930s.

10. The compositions of _______ challenged the divisions between jazz and classical music.

Check your answers with those given on page 54.

The Twentieth Century, Part 2

ASSIGNMENT 16: TAILLEFERRE, STILL, COPLAND, BARTOK, BERNSTEIN, AND CAGE Read the following introductory material for this assignment. Then, read Chapters 48–53 in your textbook. Listen to the accompanying music selections to further your understanding.

Experimentation and Roots

Composers in the latter part of the twentieth century experi- mented even more widely with musical form. The English composer John Cage, for example, incorporated elements of chance and unpredictability into his work. Sometimes he even based the structure of a melodic line on a random throw of dice. Other composers explored new electronic means of producing music thanks to breakthroughs in technology.

Twentieth-century music also drew on its roots in folk music. As you may recall from Lesson 6, folk music refers to the music created and refined during a long period of time by a group of people who share a similar cultural heritage. Ethnic music shares many characteristics with folk music, but it’s typically produced by a small or specialized segment of a par- ticular culture. Both types tend to be created spontaneously through improvisation. The individuals or groups who produce such songs rarely invest the same degree of planning and organization demonstrated by composers of art music. Yet, even classical composers often have been influenced in subtle ways by the music of their cultures. Aaron Copland’s compo- sitions are distinctly American, reflecting both the openness of the West and the country’s folk music heritage.

American folk music incorporates the ballad form, but also includes a number of other forms. The subject matter frequently revolves around a story, such as an account of a

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heroic battle or a tragic love affair. This type of folk music is often referred to as a ballad and ranges from square-dance music to occupational songs, which focus on the lives of cow- boys, railroad workers, or wagon train drivers.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 16, complete Self-Check 16.

Self-Check 16

1. A tonal scale consisting entirely of half-steps is said to be _______.

2. The first African American composer to win a Pulitzer Prize in music was _______.

3. Western square dancing is an energetic dance in _______ meter.

4. Another word for small opera is _______.

5. John Cage’s 4�33� consists of three movements during which the musician plays _______.

6. The cultural capital of African American arts in the 1920s was _______.

7. _______ was a folklorist who collected and published American folk music.

8. The polyphonic ending of “Tonight” from West Side Story concludes with five _______ performed simultaneously.

9. Traditional fiddle tunes comprise the melody of _______.

10. A song in the tradition of the German Lied, such as “A Black Pierrot,” is considered a/an _______.

Check your answers with those given on page 54.

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ASSIGNMENT 17: GAMELAN, GLASS, AND BERRY Read the following introductory material for this assignment. Then, read Chapters 54–56 in your textbook. Listen to the accompanying music selections to further your understanding.

The Gamelan as Inspiration

Gamelan is a term for “musical ensemble” in Indonesia, espe- cially the provinces of Java and Bali. It consists of melody and rhythm instruments, including bells, gongs, drums, and xylophone-like instruments called vibraphones. The music is taught using numerical notation, with each number repre- senting a corresponding scale step, but traditionally it wasn’t notated and players had to learn their parts by rote. Gamelan compositions are built on a series of ostinatos—repeated musical patterns. Each ostinato has a different length and is set in a different tempo. Musicians inspired by gamelan music include Claude Debussy, John Cage, and Philip Glass, all whom are mentioned in the textbook.

Technology and Rebellion

Increasingly sophisticated recording technology has made it possible for people to listen to and share music of widely varied form and content. As a result, composers from diverse musical backgrounds have influenced each other in countless ways. Country music, rock music, Latin American music, and music for live theater and films are just a few types of music that became popular during the twentieth century. While live performances have always been an important part of experiencing music, new sounds were created by playing with technology and creating sounds that couldn’t be reproduced in a live performance, at least without some kind of electronic augmentation.

A great example of this is Chuck Berry, who pioneered the combination of songwriting, guitar playing, and singing, effective for both recordings and live performances. While songs like “School Day” and “Rock Around the Clock” seem

Lesson 7 47

tame by today’s standards, they were a shocking combination of rebellious attitude, black rhythm and blues, and youthful sound that many adults found threatening. Elvis Presley is considered a crossover, credited with introducing white audi- ences to black music— or, depending on your point of view, blamed for appropriating the black sound for the profit of white producers.

Once you’ve finished the reading assignments and have listened to the music selections in Assignment 17, complete Self-Check 17.

Self-Check 17

1. Philip Glass’s Einstein on a Beach is more _______ than sung.

2. _______ refers to when all the instruments in the ensemble are struck at the same time.

3. A mid-tempo rhythmic pattern is a/an _______.

4. A significant rhythmic feature of Chuck Berry’s “School Day” is known as a/an _______.

5. _______ music tends to unfold across long periods and relies on the passage of time to create an almost trance-like state in the listener.

6. Rock ’n’ roll performers used the 12-bar blues form, but without the _______ used by downhome blues musicians.

7. Elvis Presley’s “Blue Moon of Kentucky” and Buddy Holly’s “That’ll Be the Day” both incorpo- rated _______ sounds.

8. When instruments that provide the basic accompaniment strike a single note on a downbeat of a measure together and then remain silent for the rest of the measure, that’s known as _______.

Check your answers with those given on page 55.

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ASSIGNMENT 18: PUBLIC ENEMY, LEÓN, WILLIAMS, DARGEL, AND WINTORY Read the following introductory material for this assignment. Then, read Chapters 57–61 in your textbook. Listen to the accompanying music selections to further your understanding.

Postmodern Music An enormous variety of popular music styles appeared in the latter half of the twentieth century. While modern music was a means of expression, postmodern music is more exhibitionist in nature. It doesn’t have one particular style, characteristic, or technique. It’s self-referential and random in nature, and boundaries are blurred. As you listen to the mix of Cuban dance music and modern atonal harmonies in Tania León’s A la Par—all played on percussion instruments—you’ll under- stand better the sound and spirit of the music.

Hip hop is an example of the exhibitionist aspect of post- modernism. The genre evolved among black urbanites as a form of musical graffiti and has since developed as an art form that extends to lifestyle. Hip hop often samples beats from existing tracks. The pitches, durations, and timbres of those short excerpts are manipulated and repeated, and the patterns are used as rhythmic and musical accompaniment.

Music as Enhancement

Aside from being enjoyed on its own and serving as a primary focus, music can serve as a subtle yet powerful enhancement of another experience, such as acting as the soundtrack to a movie or a video game. In these cases, this music—referred to as non-digertic; the characters don’t hear the music but the user or the audience does—supports the action and dialogue, sets the mood, and reflects the overall tone. It also provides information about the events and characters and signals how the viewers and players are supposed to feel about them, and

Lesson 7 49

establishes a memorable and emotional experience for the audience. If non-digertic music doesn’t call attention to itself, then it’s done its job properly.

Once you’ve finished the reading assignments and listened to the music selections in Assignment 18, complete Self-Check 18.

After you’ve finished Self-Check 18, take time to review all the assignments in the lesson. Then complete the examination for Lesson 7.

Self-Check 18

1. Rhymed speech patterns combined with hip hop beats make up the musical art form called _______.

2. _______ grew out of an environment in which graffiti, deejaying, emceeing, and breakdancing were equally significant forms of cultural expression.

3. Playful in spirit, _______ works are a reaction against the seriousness of modernist art.

4. In “Nascense,” the _______, combined with the evolving melody, creates a sense of constant development.

5. Public Enemy differed from earlier rap artists because of their _______ messages.

6. Tania León’s composition title, _______, describes the balanced style and instrumentation of the piece.

7. The distinction between “_______” and “_______” music is sometimes quite meaningless.

8. Which movie’s soundtrack is famous for its two-note theme that creates tension by featuring modernist musical elements, frequent dissonance, and percussive string playing?

__________________________________________________________

Check your answers with those given on page 55.

Self-Check 1 1. j

2. f

3. g

4. b

5. e

6. i

7. c

8. a

9. d

10. h

Self-Check 2 1. c

2. g

3. e

4. a

5. b

6. d

7. f

Self-Check 3 1. Soprano, alto, tenor, bass

2. counterpoint

3. madrigal

4. A technique whereby the singer bypasses the larynx creating a very high range

5. Music to be sung without instrumental accompaniment

6. Based on gospel texts, sung in three parts, each with different words

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Self-Check 4 1. extravagant, bizarre

2. opera

3. basso continuo

4. Purcell’s Dido and Aeneas

5. Serious opera

Self-Check 5 1. refrain

2. Three main voices—two soprano and one bass

3. Nine

4. fugue

5. nuns

6. Musicians embellish the basic tune with individuality and spontaneity.

Self-Check 6 1. program music

2. the ritornello principle

3. Air pollution has damaged the trees on Earth.

4. To move to a different key area

5. The Baroque trumpet had no keys or valves.

6. A musical piece comprised of different types of dances

7. Chorale

Self-Check 7 1. opera buffa

2. Musical appropriation

3. Koto

Self-Check Answers 51

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4. minuet

5. rondo

6. The voices were sufficiently full without it.

Self-Check 8 1. The introduction to a movement’s thematic idea

2. The dramatic tension between soloist and orchestra

3. Standard sonata form has one literally repeated exposition that modulates from the tonic. There is no cadenza.

Double-exposition concerto form has two different expo- sitions. The first exposition (for the orchestra alone) stays in the tonic, while the second (for the soloist and orchestra together) modulates to a new key area. At the end of the recapitulation, the soloist plays a cadenza.

4. An accompanied recitative accompanied by the orchestra

A standard recitative accompanied by basso continuo alone.

Self-Check 9 1. Nine

2. Individual movements linked in a tangible and distinctive way

3. ballad

4. solo voice and piano accompaniment

5. program music

6. A Midsummer Night’s Dream

Self-Check 10 1. orchestration

2. Each line has four basic units.

3. An ensemble made up of violin, piano, and cello

Self-Check Answers 53

4. a capella

5. Felix Mendelssohn

Self-Check 11 1. Chopin

2. mazurka

3. Gottschalk

4. Declamatory, virtuosic, lyrical

5. Goddess; a female singer/phenomenon whose life story is as fascinating as her artistic accomplishments

Self-Check 12 1. leitmotif

2. Many notes that don’t occur naturally in the key of the music

3. professional violinist

4. A scherzo is a joke; in music, it’s a light-hearted move- ment in a fast tempo and triple meter.

5. those who made music outside the concert hall

6. Bach, Beethoven, Brahms

Self-Check 13 1. impressionism

2. whole step

3. tonality

4. impressionism

5. homorhythm

6. dissonance

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Self-Check 14 1. c

2. f

3. d

4. i

5. a

6. h

7. b

8. g

9. j

10. e

Self-Check 15 1. timbre

2. humor

3. Blue

4. circle-of-fifths

5. tight voicing

6. swing

7. bebop

8. register

9. Standard Song Form

10. Duke Ellington

Self-Check 16 1. chromatic

2. George Walker

3. duple

4. operetta

Self-Check Answers 55

5. nothing

6. Harlem

7. Alan Lomax

8. monologues

9. “Hoe-Down”

10. art song

Self-Check 17 1. recited

2. Kebyar

3. shuffle groove

4. anacrusis

5. Minimalist

6. variation

7. rockabilly

8. stop time

Self-Check 18 1. rap

2. Hip hop music

3. postmodern

4. textural growth

5. political

6. A la Par

7. classical, popular

8. Jaws