HMU ANSWERS

1. Classical
2. 1720
3. galant
4. Yes, until mid-century. Baroque.
5. Seria or heroic tradition of opera
6. The dynamic musical language of buffa opera
7. Increasing esthetic weight was placed on instrumental music

8. Pietro Metastasio
9. He set hundreds of Italian opera & oratorio librettos
10. Classical elegance & form
11. Lieto fine, happy ending
12. Status quo, featuring clemency of enlightened ruler

13. Johann Hasse

14. In Italy and the Dresden court
15. Faustina Bordoni, famous soprano
16. Metastasio

17. Pergolesi

18. Comic opera usually in two acts, performed between the acts of a seria opera
19. La serva padrona
20. Federico
21. Uberto (bass), servant Serpina (sop) and the servant Vespone (mute)
22. Look up.
23. Naples, 1733.
24. Secco, dry
25. Look up.
26. Look up.
27. Buffa style features thin textures, angular melodic style and the use of
patter
28. Bass, basso buffo
29. Christoph Gluck
30. He studied in Vienna.
31. The librettist, Calzabigi
32. Orfeo ed Euridice & Alceste
33. Gluck cut back on da capo arias.
34. He included more accompagnatos to lesson the sharp contrast between recit
& aria
35. Gluck writes in an expressive style with fewer melismas and cadenzas
36. The chorus
37. Ballet was included.
38. Kirkpatrick
39. Kirkpatrick catalogued Scarlattis sonatas.
40. Piano & harpsichord
41. Single movements, with dynamic binary sonata form which is
42. Dramatic over-hand passages and dense chords (crushing tones)
43. Domenico Scarlatti.
44. Origins in Italian overture or sinfonia. Often fast-slow-fast series of
movements.
45. Associated with overtures or overture functions.
46. Sammartini.
47. Relatively thin textures and bold gestures.
48. Esterhazy family.
49. Born in 1732, son of wheelwright, choirboy at 8, did freelance work with
Porpora. 1761=Esterhazy family.
50. His music was solely for the use of Prince Nikolaus. Haydn had to wear a
uniform, supervise musicians, rehearse and direct performances, take care of
the library and instruments. Had to compose operas and different kinds of
vocal and instrumental pieces for the Prince to perform on the Baryton.
51. Haydn.
52. They were called divertimentos.
53. Five movements with two minuets.
54. Developed the concept of chamber performance- one player to a part.
55. He settled on a four-movement form, yes.
56. 1780. The Prince revised his contract because he was publishing widely.
57. Very tuneful melodies, and contrapuntal give & take.
58. Rondo form, aka sonata form
59. J.C Bach is the youngest surviving son of Johann Sebastian Bach.
60. 1700s, particularly major figure in London in 1760/1770s
61. Italy
62. He was an important figure in the history of copyright law.
63. J.C Bach was one of first to play pianoforte publicly.
64. Mozart. Elegance of melody, decorated themes and improvisatory elements.
65. Small size, ungainly due to him overworking himself. Also he led a very
sedentary life from 6 onwards.
66. Mozart broke with the Archbishop of Salzburg and moved to Vienna. Married
Constanze Weber.
67. He produced some of his greatest works and was an independent musician.
(17 piano concertos, some string quartets and operas)
68. He created them for himself to play in public concerts.
69. Stands for Kchel, who catalogued Mozarts works in the 19th cent.
70. To compose operas.
71. Italian opera in seria tradition- La Clemenza de Tito 1791. Italian opera in
buffa tradition- Le Nozze di Figaro 1786. German Singspiel- Die Zauberflte
1791.
72. The librettist was Lorenzo Da Ponte.
73. A drama giocoso with both buffa and seria themes and characters.
74. Leporello- Don giovannis servant. Don Giovanni, scoundrel. Donna Anna,
noble woman. The Commendatore, father.
75. Fast text declamation.
76. 1792-1802
77. He settled in Vienna
78. Beethoven had composed lieder, piano variation sets, piano sonatas, piano
quartets, and a funeral cantata in honor of the dead Emperor.
79. He mastered the Viennese style.
80. The Heiligenstadt.
81. 1802-1816 or so.
82. Heroic or Expansion period.
83. Yes. Preferred bigger, heavier kinds of instruments.
84. Expansion is evident, in textures and scope (four movements) and technique.
85. Yes, because of C.P.E Bachs use of legato.
86. Exposition, development, recapitulation, coda.
87. After 1816-to death.
88. Abstract, extremely long, and complex. Spiritual abstraction was dominant.
Difficulty in performance.
89. No he was not popular in Vienna, it took several years for his influence to
take root.
90. In romantic composers who were active in the genre of Lieder.
91. Tragic and isolated young man, fairies, nature, green, trees, streams, hunting,
horns, supernatural forces, ethnic roots, and the medieval period.
92. Program music defines musical romanticism.
93. Cyclic or unified structures.
94. No, not always.
95. By Schubert, german lied.
96. Die Winterreise, poems by Wilhelm Mller.
97. It suggests the rustling of leaves and later a cold wind.
98. A horn call.
99. Modified strophic form to reflect the story. AABA
100. Schumann.
101. Classical genres, featuring cyclical elements.
102. Weber, Berlin, 1821.
103. The libretto was by Johann Friedrich Kind.
104. Romantic themes of the hunt, nature, and the supernatural (demonic
vs. Divine)
105. The finale of this act features the famous Wolfs Glen scene with
Caspar, Samiel, and Max.
106. Diminished 7th, reminiscence motive.
107. Bel Canto means beautiful singing. It is applied to Italian operatic style
of Rossini, Bellini, and Donizetti. (1830-1840s)
108. Perfect legato production throughout the range, with skill in both
slow, long-breathed passages and fast coloratura.
109. It was revived in 1950s by Maria Callas, Joan Sutherland, and
conductor Tulio Serafin.
110. Impressive sets, large choruses, it was a spectacle with themes of
political struggle and sentimentalized religion. Luxuriant melodic styles.
111. Meyerbeer, Halvy.
112. Because many were produced at the Paris Opera.
113. Bellini wrote Norma.
114. A French play.
115. Libretto written by Felice Romani.
116. Premiered at La Scala, Milan, in 1831.
117. Norma is a Druid priestess during the Roman occupation of Gaul.
118. A cantabile aria thats part of a musical-dramatic unit called a scena.
119. Opening musical dialogue, a slow aria (cavatina), the tempo di mezzo
section (often with chorus or other character) and the final fast cabaletta.
120. The style involves long lines and some melodic chromaticism.
121. The orchestra has a accompanimental function.
122. It involves rubato and added embellishments.
123. The piano became a marker of domesticity and was found in many
homes.
124. Liszt.
125. Fryderyk Chopin.
126. He settled in Paris in 1831.
127. George Sand.
128. Born in Warsaw Poland.
129. He gave more intimate performances because he had a nervous and
slightly unwell temperament.
130. Dances and character pieces (mazurka, waltz, polonaise, nocturnes,
etudes, preludes) 3 sonatas, 2 concertos.
131. It is usually given to Chopin but this is inaccurate, it was invented by
Irish composer John Field night music
132. Its structure relies on vocal models resembling a song in modified
strophic form.
133. They evoke bel canto features- long phrases and luxuriant
chromaticism. Tempo rubato.
134. Franz Liszt, superstar and hotty.
135. He studied with Czerny and Salieri.
136. In 1823.
137. He heard violinist Paganini.
138. He invented the solo piano recital and placing the piano in profile.
139. He stopped touring around 1847.
140. Verdi lived from 1813-1901.
141. His middle period operas were famous, also in London and Paris.
Rigoletto, il trovatore, La Traviata.
142. Otello, Falstaff.
143. They were sung in the streets as part of political demonstrations in
the struggle for Italian unification. Nabucco.
144. His name was part of a popular rally cry and he was urged to lead the
state after unification but he retired to the country instead.
145. He died in Milan and hundreds of thousands of people lined the
streets, and covered the streets in straw so that the cart wheels would not
disturb him.
146. Piave was the librettist for La Traviata.
147. He based his work on a play by Alexandre Dumas, La Dame aux
camlias.
148. It was unusual because it was contemporary, the characters appeared
dressed in the clothing of the 1850s.
149. Story of a paris courtesan who falls in love with a young man from a
good family, his father persuades her to leave him, for his own good and for
his family. She dies of tuberculosis but he returns to her right before and they
have a moving reunion.
150. It takes the form of a scena.
151. Alfredo, Violetta, and Violettas maid, Annina.
152. In the opening section Annina announces Alfredo and they reunite
with joy. In the cavatina they plan to leave to Paris together so that Violetta
can recover her health. In the tempo di mezzo she collapses and they face
reality of her death. In cabaletta they declare their courage and constancy
even in death.
153. Hector Berlioz.
154. He was fascinated by literature.
155. Yes, they remain influential. They are on the topic of orchestration.
156. Opera- Les Troyens. Choral- Grande messe des morts. Songs- Les
Nuits dt.
157. By Berlioz.
158. Episode from the Life of an Artist.
159. It was inspired by Berliozs passion for the Shakespearean actress
Harriet Smithson, who he met at the first performance.
160. It was cancelled because the orchestra was too large for the theatre
(130though he had hoped for 220) It premiered in December 1830.
161. Liszt.
162. He was in Rome, and returned to Paris in 1832.
163. Program music is instrumental music that is explicitly related to an
extra-musical idea.
164. Yes, he did and he insisted it be distributed to the audience.
165. It is represented by the idee fixe.
166. This melody is heard in all five movements.
167. The five movements are unified by the program and the idee fixe
168. It almost always appears in thematic transformation.
169. The fifth movement of Berliozs symphonie fantastique is known as
"Dream of a witches Sabbath
170. It falls into five sections: 1) strange noises of ghosts, sorcerers and
monsters (mm1-20, unstable C major- use of tritone) 2) arrival of the
beloved, now hideous (m21) idee fixe (C major to E flat) 3) dies irae (m127, c
minor) 4) witches round Dance (m 241, C major) 5) dies irae combined with
Witches round dance (m414, C major, with minor inflections)
171. Its remarkable for its orchestration including the use of ophicleide.
172. Richard Wagner, 1813-1883.
173. He wrote at length about music and his own ideas.
174. He wrote his own poetic librettos.
175. It culminated in the monumental tetralogy Der Ring des Nibelungen
176. He used the term music drama
177. He viewed his mature works in terms of a unified aesthetic concept
called Gesamtkunstwerk.
178. First performed in 1865.
179. It was completed while Wagner was in political exhile in Switzerland.
180. Based on a traditional medieval story about the Irish princess Isolde,
and Tristan, the knight of King Mark of Cornwall. Tristan is supposed to
deliver Isolde to Mark as his bride but Tristan and Isolde have a complicated
history and drink a love potionon the ship. Their love is doomed and they
both die.
181. Love and death and their connection are the central theme of the
work.
182. The musical language is continuous. It is in sharp contrast to the
traditional Italian use of arias. It is fuelled by intense chromaticism and the
avoidance of traditional cadences.
183. The dense textures feature complex combinations of significant
motives denoted by the term leitmotif They contrast the melody-
accompaniment textures of Italian opera.
184. He was court music director at Weimar.
185. To orchestral works.
186. He premiered works by Wagner.
187. He embraced Wagners concept of Artwork of the Future
188. He wrote thirteen symphonic poems, also known as tone poems. They
are program music with literary inspirations.
189. Single movement works as well as Piano sonata in B minor.
190. The abstract, classical symphony falls dormant, except for
conservatory or graduation pieces.
191. The building of great public concert halls in Leipzig, Vienna, and NY.
192. Started with Brahms.
193. Brahms lived from 1833-1897.
194. He was active as a composer, pianist, and conductor.
195. His works included four symphonies, two piano concertos, a violin
concerto, chamber music, Lieder, piano works, and choral works.
196. He was intensely interested in music of the past, he used themes of
Haydn and Handel and based some movements on Baroque models.
197. By Brahms, der.
198. The final version was published in 1865.
199. All parts are important, and the piano and strings trade material.
200. The texture is thick and therefore works best in a large concert hall.
201. There are 3 keys, and the tonal relationships are based on the 3rd
which is different.
202. It is called the developing variation.
203. In the development especially.
204. Gustav Mahler, 1860-1911.
205. Bruckner.
206. Together they were one of the great Post-romantic symphonists.
207. As a conductor, Vienna state opera, the Met, and NY philharmonic.
208. He completed 9, but also composed many songs with orchestra. Some
symphonies had voice parts.
209. Attended by Schoenberg, Berg, and Webern.
210. First of the Kindertotenlieder.
211. Also set by Schubert.
212. Simple AABA structure.
213. It is embedded within a complex, linear orchestral accompaniment.
214. Set in a kind of chamber style with emphasis on winds.
215. The melodic structure suggests one chromatic mode.
216. An eight-note theme and rising semi-tone.
217. Rising sixth motive.
218. Movie.
219. Especially in France and Russia, they sought to liberate them from the
German-influenced conservatory tradition.
220. It included Poulenc, Honegger, and Milhaud.
221. It included Balakirev, Borodin, Cui, Musorgsky, and Rimsky-Korsakov.
Also known as the Mighty Handful.
222. Dvorak, Smetana.
223. Dominated in England by Holst and Vaughan Williams.
224. English Musical Renaissance, and Folk-song collecting respectively.
225. Claude Debussy, 1862-1918
226. Studied at the Paris Conservatoire.
227. He won the Prix de Rome.
228. He associated with Symbolist poets.
229. Opera titled Pelleas et Melisande, orchestral works, piano music,
songs, string quartet, and chamber music.
230. Nuage is first in a trio on tone poems called Nocturnes by Michel
Plasson.
231. ABA form.
232. Its tonal centres are B-D sharp-B. Yes, it does have non-functional
harmonic relationships also known as parallelism.
233. Yes it does use other modes, octatonic and Dorian.
234. The opening pattern is floating inspired by a Musorgsky song.
(Russian composer)
235. Yes it does feature prominent melodic tritones.
236. He heard the Javanese gamelan at the Paris expo of 1889 and it
influenced imaginative scoring- with the flute and harp effect in the B section
possibly reminiscing of the gamelan.
237. Impressionism was first applied to painting, Monet.
238. It means shifting lines of representation. Artists exploited the effects
of light, color, and atmospheric conditions to undermine sharply defined
contours.
239. It translated to Symbolist poets, Verlaine and Mallarme. They used
intense imagery, symbols, and disrupted syntax to invoke an indefinite,
dreamlike state and to suggest feelings and experiences rather than explicitly
describing them.
240. In music this translated to an emphasis on harmony as colour and
denial of functional syntaxcreation of image or impression.
241. He was mainly centred in Vienna.
242. 1874-1951
243. Germanic musical tradition.
244. A highly chromatic post-romantic style.
245. Around 1908 he moved beyond chromaticism to atonality. The
emancipation of dissonance.
246. He published his first twelve-tone work in 1923.
247. The Second Viennese School
248. Yes!
249. From a song cycle named Pierrot lunaire, 1912.
250. Based on 12 poems.
251. Written for actress Albertine Zehme
252. There are 5 instrumentalists, 9 instruments. It features bass clarinet,
cello, piano.
253. Triggered by visions of a moonbeam, in nacht- giant black moths.
254. Dominated by a motive consisting of a rising minor third followed by
a falling major third. Developing variation.
255. Schoenberg called it a passacaglia (piano part mm6-8)
256. It is related to the visual arts.
257. Artists aspired to represent the inner experience, to explore the
hidden world of the psyche and to render visible the stressful emotional life
of the modern person- isolated, helpless in the grip of poorly understood
forces, prey to inner conflict, tension, anxiety, and fear, and tormented by
elemental, irrational drives, including an eroticism that often had morbid
overtones.
258. Coincided with the emergence of psychoanalysis. (freuds
interpretation of dreams)
259. With atonality.
260. He studied with Schoenberg from 1904-1911.
261. He composed in both atonal and twelve-tone styles.
262. They feature tonal elements.
263. It was first performed in 1925, based on a century0old play by Georg
Buchner.
264. Story of a soldier who is helpless to assert himself in a hostile
environment. His lover and mother of his child, Marie, is seduced by Drum
Major. He murders her in jealousy and desperation.
265. This opera is a significant example of atonal Expressionism.
266. 3 acts, divided each into 5 scenes with interludes.
267. Yes, in a conventional musical pattern of suite-symphony-set of
inventions. Leitmotifs.
268. Wozzeck has just murdered Maria and goes to a tavern, sings a song
and asks Margret to sit on his lap, she sees blood on his arm and he runs
away in a panic.
269. The scene is an invention on a rhythm. With Berg highlighting the
Hauptrhythm in the score with a capital H in brackets.
270. The atmosphere is created by an out-of-tune piano playing a fast
polka.
271. The conventional lines of syntax became blurred. 1914-1918
272. Cubism and Primitivism.
273. Futurism.
274. Advances in science creating improvements in the human condition
(but also disruption) and people questioning their beliefs. Freud and Einstein
played a part.
275. It challenged Frances traditional sense of grandeur and pre-
eminence.
276. Paris was entranced by any foreign culture rather than their own.
277. Ballet Russes (Russian Ballet), the works being Stravinskys The
Firebird, Petrushka, and the Rite of Spring. Vaclav Nijinsky. Serge Diaghilev
was in charge. It was formed in Paris in 1909.
278. It was conceived by Nikolai Roerich, who also designed the sets and
costumes.
279. It is a ballet set in prehistoric Russia.
280. It is the tale of a fertility rite, in which a young girl is chosen as a
sacrifice to the god of Spring and must dance herself to dance.
281. It evokes an elemental and primitive style. The music is written by
Stravinsky.
282. It features Russian folk melodies.
283. There was a RIOT.
284. Danses des adolescents
285. Dissonant (bi-tonal) and does not resolve.
286. Eighth-note pulsation combined with irregular pattern of accents
(eight horns) depicts the primitive element of the story.
287. Blahblah.
288. The intensity builds with repetition and layering of musical elements.
289. Learned them from his teacher Rimsky-Korsakov.
290. It was sharply in contrast to the tradition.
291. Almost no solo dancing, not the norm, the graceful leaps and
pirouettes were replaced by rhythmic stamping and flat-angular movements,
mass movements in machine-like synchronization.
292. No it was not revived until 1989.
293. It was successfully received as a concert performance in 1914 so after
that Stravinsky made an effort to describe it as a piece of concert music
rather the ballet at all.
294. Edgard Varese was a remarkably isolated figure on the avant-garde
scene at the time when there was virtually no avant-garde music to speak of.
295. He went to Berlin after reading Busonis Sketch of a New Aesthetic of
Music
296. He moved to NY.
297. It refers to the intensification of a prismatic (refractive or light-
bending) function, hence to the breaking down of a formal whole (white
light) into contrasting compounds (spectral colors) This has been related to
the episodic nature of Vareses composition, with its many short sections and
contrasting tempos.
298. It is scored for 9 wind players.
299. There are 17 percussive instruments, including indian drum, sleigh
bells, Lion roar and siren.
300. No it does not work in a traditional organic process, rather it works in
sound masses or blocks. There are spatial effects.
301. There are 3 sections and a short coda.
302. M1-29: 12 tone melody in the flute, M30-58: features an extended
passage in which the percussion drops out. M59-84:Somewhat like a
climactic reprise of the opening. M84-89 all 12 tones are heard.
303. Bela Bartok. 1881-1945
304. He was also an ethnomusicologist, he collected and studied folksongs
from Hungary, Romania etc.
305. He composed Music for Strings, Percussion and Celesta
306. 1940.
307. Bartok composed concertos, chamber music, songs, and operas. His
six string quartets are among the greatest ever.
308. Adagio.
309. Piano, harp, celesta, strings, timpani, xylophone, small cymbals
310. Whaaaat.
311. Each section features a symmetrical structure of ABCBA References
to fugue theme of I.
312. It demonstrates symmetry at a local level, it is a palindrome.
313. It draws on the vocal-ornamental style of Serbo-Croation folk song.
314. Section C.
315. Until the 1960s.
316. 1965.
317. 1980.
318. Extremely conservative.
319. The Conservatory and U of T, U of T symphony orchestra.
320. When he went to graduate school at the Eastman School of music in
NY.
321. He was active as a composer, arranger, and performer.
322. The CBC.
323. He changed the way music was taught in TO by introducing the
twelve-tone method and other modern ideas.
324. The first to write in twelve-tone style.
325. In 1967, the centennial celebrations inspired many artistic
commissions.
326. Because of lack of patronage (Europe) it is largely based in
universities.
327. Jean Coulthard, Violet Archer, and Barbara Pentland.
328. Barbara Pentland.
329. A method or technique of composition that uses a series of values to
manipulate different musical elements.
330. Orders the 12 notes of the chromatic scale forming a row or series and
providing a unifying basis for a compositions melody, harmony, structural
progressions, and variations.
331. It starts with a tone row, which sequences all 12 chromatic pitches
without repetition.
332. It is called the prime series (P).
333. It is notated as P(0).
334. Thats a lot.
335. 4 ways are as following: transposition up or down, giving P(x).
Reversal in time, giving the retrograde (R). Reversal in pitch, giving the
inversion (I). The combination of the retrograde and the inversion
transformations known as the retrograde inversion (RI).
336. It gives rise to 48 forms of set-complex of the set and 12
transpositions of the four basic forms, P, R, I, and RI.
337. No, because some transposed transformations may be identical to
each other.
338. 1920s to 1950s primarily, pretty much taken its course by the 1960s.
339. Schoenberg.
340. The culmination of his chromatic and atonal works since 1890s.
341. No, other serial composers are Webern, Berg, Stockhausen, Boulez,
Luigi Nono, Milton Babbitt, and Jean Barraque.
342. Bela Bartok, Luciano Berio, Benjamin Britten, John Cage, Aaron
Copland, Olivier Messiaen, Arvo Part, Walter Piston, Ned Rorem, Alfred
Schnittke, Shostakovich, and Stravinsky.
343. Yusef Lateef and Bill Evans used serialism in some of their jazz
compositions.
344. This is called integral serialism or total serialism.
345. Olivier Messiaen, and his students, Boulez, in post-war Paris.
346. They inspired mathematical analogues, uses of set theory, group
theory, operators, and parametrization.
347. They were influential in the development of electronic music and
synthesized music.
348. Ruth Crawford Seeger, 1930-33.
349. Schoenberg, debated by Babbitt and Stockhausen.
350. WWI, because it was an epoch, a time in history very associated with
musical style, and there was a breakdown of other ways in which society is
structured and ordered. Connection with the psyche, inner worlds in sound.
351. Look up.
352. The end result is that the composer takes more control of music
performance.
353. Total serialism is when the composer extends serial techniques
beyond pitch to elements such as dyamics, rhythm, and timbre.
354. It was pioneered by Milton Babbitt in the late 1940s.
355. Pierre Boulezs song cycle Le marteau sans matre (1953-1955)
356. The second trend was to find composers relinquishing control over
music performance.
357. American composer John Cage (1912-1992)
358. He continued the work of Henry Cowells.
359. Cages Sonatas and Interludes for prepared piano.
360. In the 1950s and 1960s.
361. Chance music is when the composer makes compositional decisions
based on chance operations.
362. Indeterminacy, the composer gives up control to both the performer
and the environment (ambient sounds).
363. The avant-garde movement.
364. It refers to 18th sentury violinist and composer Tartini who wrote the
Devils Trill sonata.
365. It is known as the diabolus in musica.
366. No it does not, it is eclectic, creating a network of associations.
367. Christos Hatzis was born in Volos Greece in 1953, and teaches at U of
T.
368. Juno award.
369. His music is relate to post-modernism in that it does not privilege any
style of music over another style.
370. They reference his Greek Orthodox background.
371. Yes it does, sometimes achieving a combination of complicated
orchestration and popular singing style. (Lamento, 2012)
372. Born in Estonia.
373. He was exposed to the music of Bartok, Shostakovich, and Prokofiev.
374. Yes he did, the few pieces that penetrated the Iron Curtain.
375. He was a heavily spiritual Christian and his use of religious texts put
him in conflict with soviet esthetics.
376. In the 1960s he went through a period of silent, contemplative study
and focused on the vocal music of the Middle Ages and Renaissance.
377. His tintinnabuli technique emerged and this style of composition
defined his future works.
378. He immigrated to Berlin via Vienna.
379. It comes from the latin word for bell (tintinnabulum)
380. It is designed to recreate the meditative sonorities found in church
bells.
381. The melodic line which moves step-wise up and down in the chosen
mode, and the accompaniment line which outlines the tonic triad of the
mode, this line always moves to the closest possible note of the triad without
leaping above the upper melodic line.
382. The rhythm is serial in nature meaning the composer pre-designs a
sequence or series that determines note placement.
383. In 1976.
384. Dedicated to a family friend.
385. Upper voices that move stepwise while lower voice outlines the B-
minor triad. The treble voices are in tintinnabuli.
386. There are two treble voices and one bass voice.
387. It is 15 bars long.
388. The performer is given great liberty with tempo, phrasing, and the
number of times the piece is played through and repeated.
389. There is an additive relationship between the two.
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Reading Review Answers

1. Divided into two sections.

2. When in major, the first sections ends in the fifth of the scale, and the second
ends in the key. When it is minor, the first sections ends in the third of the
scale and the second in the key.
3. Into two subsections, so four subsections total for the whole piece.
4. The first subsection must contain the setting out from the key to its fifth in
major, or third in minor, and it may end with the chord of the key, or its fifth,
the fifth being better. Second subsection begins with an elaboration, with a
more natural modulation that the third subsection, it can be confined to the
third or fifth of the key or touch upon related or non-related keys but only if
no formal digression is made to any key other than the fifth in major and
third in minor. The third subsection is another elaboration with digressions
into all keys and modes which are introduced other than the fifth or third,
and there are also abrupt modulations or enharmonic changes here. The
fourth subsection contains the return to the key, a third sort of elaboration
which is usually similar to the first section.
5. It illustrates the plan of modulation.
6. It is found in most sonatas, symphonies, and concertos.
7. Franz Joseph haydn born in Lower Austria, father was a wheelwright. In
1940, he was sent to Vienna and served as a choirboy to St. Stephens
Cathedral till 1750.
8. Works as a freelance musician in Vienna, spends a few years as assistant to
Porpora, a famous Italian opera composer. In 1759, has first real
appointment with Count Morzin. Marries in 1760.
9. Appointed to the court of Prince Nikolaus Esterhazy in 1761, in his early
years he composed mostly instrumentals for Eisenstaddt. In 1766 though the
Kappellmeister died and Haydn took over the musical establishment. He
composed instrumental works and chamber and symphonies. Also vocal
works and operas in the drama giocoso type.
10. Continues at Esterhazy, in 1777 the opera Il mondo della luna premieres. In
1779, the Prince re-wrote Haydns contract allowing him to publish his music
 widely and keep the money. It was then that his reputation was established
as the most famous composer in Europe.
11. In 1790 the Prince died and his successor was not interested in music so
Haydn was free to pursue other opportunities. He went on two trips to
London from 1791-1792 and 1794-1795 and he earned lots of money and
became famous there too. He earned an honorary doctorate at Oxford in
1789, among other compositions of this period are the twelve London
symphonies. He continues to compose string quartets until his death and
two oratories until his death in May 1809.
12. Wolfgang Amadeus Mozart is born in Salzburg in January. His father Leopold
is a famous violinist and composer in the employ of the archbishop of
Salzburg.
13. He writes his first compositions and performs in public, in Salzburg, Munich,
and Vienna, etc. Sometimes with his sister Maria Anna.
14. Travels to Paris, London, Vienna, and Italy to perform, during this period
composes keyboard works, quartets, concertos, symphonies, operas, sacred
vocal works, and an oratorio.
15. In Vienna, explores influence of Haydns music and composes six important
string quartets. Returns to Salzburg and feels frustrated by limitations of his
position. Composes masses, and a buffa opera, La finta giardiniera and the
seria opera style Il re pastore.
16. Travels to Mannheim and Paris (mother dies), wanting to secure an
appointment. Returns to Salzburg and becomes official court organist.
Composes Idomeneo opera.
17. Move to Vienna, parts with archbishop. Marries Constanze (dad did not want
to consent) Composes many works, of note the Singspiel Die Entfuhring aus
dem Serail and piano sonata K 331.
18. Continues to live in Vienna, composes operas and gets a full-time job. Six
quartets are published in 1785 and dedicated to Haydn. Le nozze di Figaro is
premiered in May of 1786. Composes six piano concertos, including K488 in
A major. Travels to Prague where Figaro is super popular in 1787. Don
Giovanni premieres here in October.
19. In summer of 1788 composes his last three symphonies, K551 in C (The
Jupiter). Composes La Clemenza di Tito and Die Zauberflte in 1791. Also
received a mysterious commission to write a Requiem mass. It is unfinished
when he dies in early December of 1791.

20. The piano.

21. He excelled at improvisation.
22. Five concertos for piano and orchestra, chamber works with piano, etc. Also
his 32 sonatas for solo piano spanning over 3 decades form a central fixture
of the musical canon.
23. They were known as forte-pianos.
24. Fortepianos were more delicate in construction and had narrower ranges.
Todays pianos are sturdier with more resonance and wider pitch ranges.
25. The newer pianos were more appropriate to Beethovens distinctive style of
playing because it demanded more intense dynamics and eventually a range
of pitches.
26. He abandoned it for a greater emphasis on continuous legato.
27. He stands out from his contemporaries because for most of the 1790s his
financial security was guaranteed by a powerful group of Viennese
aristocratic sponsors and this protected him from the mass market forces
that weighed upon his rivals.
28. First, to never travel to Paris or London because after his tours to Berlin,
Prague, and Pressburg in 1796, he didnt need to make extensive foreign
journeys. He also rarely played in large public spaces, preferring salon
performances to Viennas most aristocratic elite.
29. They encouraged him to pursue his marked bent towards learned serious
music with novel, difficult, and densely argued music as opposed to the
widespread popular tastes.
30. It was a style that was characterized by faultless technical ease, a light touch,
the smooth production of an even and brilliant perl tone in rapid
passagework, the subtle inflection of melodic lines imitating the ideal of vocal
delivery and controlled poise in the player.
31. Beethoven performed with a more pronounced legato, undampened
resonance of his instruments, more forcefully, no poise or grace, but his
passagework was sometimes untidy. Tonal ranges were wider and used with
more brutality, more accents and dynamics.
32. They were regarded as a rhetorical act. speaking in tones
33. He affected the piano construction by his style of music and playing.
34. South German or Vienna made pianos were suited to Mazrt non-legato styles:
shallow touch, light action, effective dampers, delicate sound and all these
qualities varied a lot between registers. English instruments were suited to
sonorous legato style, with heavy action, they were louder, more resonant,
and had greater timbral homogeneity.
35. Symphonic characteristics. Inn Grand style with imposing ideas, rich
textures, figuration and broad structures. Movements grew in size and had
four movements rather than the traditional three.
36. On the technique of the performer and the technical capabilities of the
instrument.
37. It was most cultivated during the Risorgimento (rising-up again) of the
Italian people to nationhood and independence, which extends from the
Napoleonic period to the Unification of Italy in 1860, therefore covering all of
Bellinis career.
38. To educate, but in a certain way- to teach the values of society.
39. Yes, heavily because artists wanted to showcase politics but the theatres
were supported by those who they sought to undermine.
40. Censors kept operas from becoming overtly political.
41. This censor was overcome by setting issues in distant places in remote ages,
in disguise.
42. At La Scala in Milan in December of 1831.
43. Based on a modern French play.
44. Librettist is Felice Romani.
45. Giuditta Pasta sang the role of Norma.
46. Norma is both, a number opera due to arias, duets, choruses, and finales yet
a scene opera due to individual solos and ensembles and choruses that fall
within a particular theme.
47. Casta Diva is the cantabile aria in the scena.
48. It consists of an opening musical dialogue, a slow aria (cavatina), tempo di
mezzo (often with chorus or other character), and final fast cabaletta.
49. It injects dramatic action into the arias while style the emphasis on beautiful
singing.
50. Norma prays to a chaste moon goddess to bring peace to the Romans, the
melodic line is long and drawn out, with coloratura flourishes and cadenza-
like passages.
51. It prompts Bellini to make it a prayer, with a long introduction, part
harmonic transition and part thematic anticipation. Makes it a grand ternary
design.
52. Beautiful singing, and is applied to the Italian operatic vocal style of Rossini,
Bellini, and Donizetti. (1830s-1840s)
53. It features perfect legato production throughout the range. Also skill in both
slow long-breathed passages and fast coloratura lines.
54. It fell out of favor in the late 19th century and early 20th, it was revived in the
1950s by Maria Callas, Joan Sutherland, and conductor Tullio Serafin.
55. Talks about how feminine composers are affected by their upbringing and
lack of ego, courage, and independence, their self-images are affected and
outside prejudice and male chauvinism is also a factor.