Berlioz’s use of a lyrical melody from the opening movement of Symphonie fantastique that is then repeated as a grotesque dance in the finale is an example of: |
thematic transformation. |
The purpose of using chromatic chords in Romantic music was to |
add motion & color. |
By the end of the romantic era, an orchestra might include ___ musicians. |
100. |
Instrumental music associated with a story is called: |
program music. |
What music reflects the concept of exoticism? |
Bizet’s opera Carmen. |
What is true of the Romantic Period. |
Harmony tended to be colorful and more unstable, new forms developed, & there were greater ranges of tone color, dynamics, and pitch. |
When music conservatories were founded, women |
were at first accepted only as students of performance. |
Music criticism was a source of income for both Berlioz and |
Robert Schumann. |
One of the few composers fortunate enough to be supported by private patrons was |
Peter Tchaikovsky. |
A composer who earned his living as a violin virtuoso was |
Niccolò Paganini. |
The composer whose career was a model for many romantic composers was |
Ludwig van Beethoven. |
Instrumentation in the art song is usually a combination of |
voice & piano. |
Lied is the German word for |
song. |
Art song composers include |
Robert Schumann, Franz Schubert, & Johannes Brahms. |
The structure of the art song can be |
strophic, through-composed, or modified strophic form. |
Songs in strophic form are easy to remember because |
the music is the same in every verse. |
The form of The Erlking is |
through-composed. |
The Erlking is a poem by |
Johann Wolfgang von Goethe. |
The Erlking, in Schubert’s song of that name, is a romantic personification of |
death. |
Schubert’s songs number more than |
600. |
The piano’s relentless rhythm in Erlkönig (The Erlking) unifies the song’s episodes and suggests the |
galloping horse. |
Schubert |
was the first great master of the romantic art song. |
During the first ten years of his creative life, Schumann published only |
piano pieces. |
One of the characteristics of Schumann’s Carnaval is that it |
is permeated with autobiographical references in its musical ideas. |
Clara Wieck was |
Schumann’s wife & virtuoso pianist. |
Robert Schumann’s Carnaval is a(n) |
cycle of piano pieces. |
What are characteristics of Schumann’s works? |
they are intensely autobiographical, usually linked with descriptive titles, texts, or programs, & essentially lyrical in nature. |
As a composer, Clara Schumann |
wrote songs, piano pieces, a piano concerto, and a trio for piano, violin, and cello. |
Clara Schumann |
stopped composing at the age of thirty-six. |
Romanze (romance) in the nineteenth century was often used for a |
short, lyrical piece for piano. |
Clara Wieck Schumann considered herself to be primarily |
a performing artist. |
The polonaise is |
a dance in triple meter. |
Chopin’s Revolutionary Étude in C Minor develops the pianist’s left hand because |
the left hand must play rapid passages throughout. |
Most of Chopin’s pieces |
are exquisite miniatures. |
Chopin was |
shy & reserved. |
Until the age of thirty-six, Liszt toured Europe as a virtuoso |
pianist. |
Liszt created the ___, a one-movement orchestral composition based to some extent on a literary or pictorial idea. |
symphonic poem. |
As a youth, Liszt was influenced by the performances of |
Niccolo Paganini. |
During his teens and twenties, Liszt lived in |
Paris. |
In many of his works, Liszt unified contrasting moods by a process known as |
thematic transformation. |
What are characteristics of Liszt’s piano works? |
arpeggios, rapid octaves and daring leaps, & complexity of sound. |
Liszt typified the romantic movement because he |
had a charismatic personality and was a stupendous performer. |
Among Liszt’s favorite inspirations were the literary works of |
Johann Wolfgang von Goethe. |
The high point of Mendelssohn’s career was the triumphant premiere of his oratorio ___ in England. |
Elijah. |
Mendelssohn’s Concerto for Violin in E Minor opens with a |
soloist, who presents the main theme. |
The three movements of Mendelssohn’s Concerto for Violin |
are played without pause. |
In the first movement of the Concerto for Violin, the cadenza |
appears at the end of the development section as a transition to the recapitulation. |
Mendelssohn is known as the man who rekindled an interest in the music of |
Johann Sebastian Bach. |
The aim of most program music is |
expression. |
A ___ is a one-movement orchestral composition based to some extent on a literary or pictorial idea. |
symphonic poem. |
The composer who developed the symphonic poem was |
Franz Liszt. |
Today’s movie scores may be regarded as examples of |
incidental music. |
Nonprogram music is also known as |
absolute music. |
In order to support his family, Berlioz turned to |
music journalism. |
Parisians were startled by Berlioz’s Fantastic Symphony because of its |
sensationally autobiographical program, amazingly novel orchestration, & vivid description of the weird and diabolical. |
In 1830 the Paris Conservatory awarded Berlioz |
the Prix de Rome. |
The liturgical melody quoted in the last movement of the Fantastic Symphony is the |
Dies irae. |
Outside France, Hector Berlioz enjoyed a great career as a |
conductor. |
Berlioz’s Fantastic Symphony is unified by the recurrence of a theme known as the |
idée fixe. |
The Fantastic Symphony reflects Berlioz’s |
love for the actress Harriet Smithson. |
The fourth movement of the Fantastic Symphony depicts a |
march to the scaffold. |
What did Berlioz compose? |
Romeo & Juliet, The Damnation of Faust, & Requiem. |
Even though Smetana was deaf at the time, he composed a musical work depicting Bohemia’s main river as it flows through the countryside. The name of the river, and the musical composition, is the |
Moldau. |
The first American concert pianist to gain international recognition was |
Louis Moreau Gottschalk. |
Music Appreciation Pt 5 Ch 1-12.
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