Académique Documents
Professionnel Documents
Culture Documents
MusicHistoryII
HeyFolks,Samedeal,DONOTaddanyonethatwont
contribute.Wehadthisissuelastsemesterandthere
werepeoplethatgotaddedlastminuteandtheyliterally
sattherewiththecursoroveronewordforhours.We
WILLtakepeopleout.Thanks.Also,ifyouseesomething
youthinkiswrongorincomplete,checkit!Wewantthisto
bethoroughandcorrect.
Thislinkisfortheonlinequizzes:
http://global.oup.com/us/companion.websites/9780195379884/student/ch
apter3/quiz/mc_quiz/
THINGSTOCONSIDER
1.Describeseveralexamplesoforganicconnectioninmultimovementmusicalgenres.
Namespecificworksthatillustratethisprincipleandexplainhowtheorganicunity
occursineachcase.
BeethovensFifth
DemonstratesOrganicismthroughrecurringthemesandmovements
transitioningintoeachother
HESKICKINGTHEGODDAMNDOORDOWN!!!
(Iminthelibrary,keepyour
voicedownplease)
DerFreischutz(Weber)
SimilarlytoBeethoven,Weberweavesthemesthroughouttheworktorepresent
dramaticideas,but,ratherthanmakeanexclamatorystatementlikeBeethoven,
Weberistellingastoryofamansdealwiththedevilinoperaform.
WagnersRingCycle
PrettymucheverythingWagnerwrotewasorganic,butthiswasthemoststudied
pieceofwork.
Theworkclearlyidentifiesentrancesofcertaincharactersanddramaticideas
withcertainthemes(ex.FlightoftheValkyrie)
Notonlydothesethemespresentthemselveswitheachcharacter,theyarealso
recognizableinthefirstmovementa.k.a.theoverturewhereallofthethemesare
presented.
Wagnersmusichadsomenotableinfluence,especiallyintheareasoforchestral
developmentsandchromaticharmony.
2.DiscussthecontributionstoRomanticmusicofthreedifferenthistoricalfigureswho
werenotmusiciansthemselves.(TylerMcMillan?)
WilliamShakespeare
inspiredmanylyricalandtextualelementstooperaandlieds
AlsoimportantbecausetheRomanticerawassomewhatreminiscentof
theRenaissanceera
NapoleonBoneparte
InspiredBeethoventocomposehisSymphonyNo.3Eroica,orHero
whichpresentsavictoriousandtriumphantsoundtoit.Ironically,
BeethovenscribbledoutthededicationtoNapoleonbecauseheinvaded
ViennaatthetimeBeethovenfinishedcomposingthework.
3.ExplainseveraldifferentwaysinwhichthelivesofRomanticcomposersaffected
theircompositions.
Hector Berlioz fell in love with an Irish actress named Harriet Smithson.
In order to get her attention, he wrote a symphony for her, and he called it
Symphonie Fantastique.
Berlioz wrote a specific program to go along with the piece, to tell the story
with words and music. (Program Symphony)
(Camille)GiuseppeVerdihadlostmanywivesandchildren,leadinghimtobe
heartbroken,inwhichthatanguishbleedintohismusic.Oneofhisoperas,LaTraviatashows
hisveryhurtinlosingsomeonedearandloved.(Twopeopleinlove,girlacourtesanandboy
poor.TheycometogetherintheendonlyforhertodieofTB,whichisasexuallytransmitted
disease.)
(Camille)RobertSchumannhadaseverediseaseofschizophrenia.Hehadmultiple
personalitieswhichwouldcomeintoplayinsomeofhiscompositions.(Hisdissociativeidentity
disorderledtohimhavingDavidbund,whichwouldshowinhisworks,suchasmanicor
depressed.HisworkNo.5:Eusebius(depressive)andNo.6:Florestan(manic))thesepieces
includedaduplesimplemeterwrittenlikewhichwasasymmetrical/polymetric/hemiolic,with
noresolution.
4.HowweretheconventionsofClassicmusicalstructuresuitedtoadaptationtothe
characteristicandprogrammaticmusicalstylesofRomanticism?
Classicisminmusicemphasizedobjectivity,clarity,equilibrium,serenity,grace,
elegance,andwitclassicalformswererationalandrestrained.Theprimarygoalwasthe
cultivationofsymmetryandproportionasillustratedinthesonataformwithitsthreesections:
exposition(oftwocontrastingmusicalthemes),development(ofthetwothemes),and
recapitulation(areconciliationofthethemes).Thiswasthemusicaloutlineofthefirst
movementoftheclassicalkeyboardsonata,symphony,stringquartet,trio,andsoon.The
buildingblocksofthesonataformwerefourmeasurephrasesandclearcutharmonicpatterns
endowedwithspecificformalfunctions.Throughoutthelastdecadesoftheeighteenthcentury
sonataformwasoneoftheprimarymeansofmusicalarchitecture,theveryembodimentof
classicalconciseness,order,andlogic.
Themusicalformsoftheearlierpartofthenineteenthcenturyremained,generally
speaking,thoseoftheclassicalperiod.ButtheRomanticcomposerhadaninclinationfor
exaggerationandlackofbalancethatresultedinthereforgingofthesizeofmusicalworks:thus
theabundance,inthefirstthreeorfourdecadesofthecentury,ofminiatureformsbothvocal
andinstrumentaloftenarrangedinsetsorcyclesandsometimesrelatedeitherthrougha
musicaloraliteraryorautobiographicaltheme.Thetasteforminiatureswasalsopromptedby
thefashionofsoires(eveningliteraryandmusicalgatheringsofthearistocracyandbourgeoisie,
ofwhichofmostenduringfameweretheSchubertiads,associatedwiththecomposerFranz
PeterSchubert.MostRomanticcomposerswereadeptatpenningsmallscalepianopiecessuch
asimpromptus,waltzes,nocturnes,barcarolles,arabesques,andtheliketobeplayedinsalons.
Attheotherendofthecompositionalspectrumtherewasthefascinationwiththesublime
andcolossal,whichinturnbroughtabouttheswellingofthesymphonytopreviouslyunheardof
dimensions.Thesheernumberofmeasuresoftheusualfourmovementswasincreasedto
sometimesalmostunbearablelengths:afirststepinthisdirectionwastakenbyBeethoveninhis
ThirdSymphony,ofwhichthefirstmovementwasdoublethesizeofcorrespondingmovements
inhisfirsttwosymphoniesofClassicalextraction.(DavidDJ
5.Discussinwhatwaysthemusicofthefuturemovementinthelatenineteenth
centuryrejectedthemusicalassumptionsestablishedintheClassicphaseofmusical
style,andinwhatwaysitremainedbasedonthoseassumptions.
(Camille)Thereweretwodividesinthemovement,somefollowingWagners/Lisztian
inclinationofmusic,andthosewhofollowedtheclassicalinclination.Thosewhofollowed
WagnerandLiszt,theywantedtopushmusicalcompositionforward.Thosewhofollowedthe
classicalinclinationwantedtocreatemusicformusicssake,thatwasgoaldriven(teleology)
andwasbasedonharmony.ThosefollowingWagnerandLisztwentawayfromtriadicchords
andintofourths/quintalchords(AlexanderScriabin)andcreatedsongcycle.
6.BothRussianandAmericancomposersinthelatenineteenthcenturyfound
themselvesgeographicallyattheperipheryofthemainstreamEuropeancultural
tradition.Howandwhydidtheirapproachestomusicalstylediffer?
(Camille)Nationalismwasnowtakingpartoftheromanticeraofmusic,inwhich
nationalitiesweretryingtocomeupwiththeirownmusicthatestablishedtheirnationalityfor
theirpeople.
Russia:Tritonesinoperas,primarilychoralinworks.
UnitedStates:MarchesandBrassbandwerethehighendofnationalismforAmerica.
Terms,Concepts,andWorks
(Pat,Wes,Camille)
Romanticism
Novelistic,concentratingonemotionalconflictandclimax.(p.304)
PeriodofExternalization,HeroicPeriod
AperiodwhereBeethoven
experimentedheavilyandbecamefamousforexploringthepotentialofdramatic
expressioninhismusic.(p.310,alsoinclassnotes(March/5th))
PeriodofIntrospection
AperiodwhereBeethovenlosthishearingcompletelyand
inembarrassment,hecompletelyisolatedhimselffromothersandachievedfulfillment
inhiscompositions.(p.316,
ICOULDBEWRONGBUTTHISISWHATIFOUND
)(
This
iscorrect!
)(
Thisisatoaster!
)
HeiligenstadtTestament
AletterthatwaswrittenbyBeethoventohisbrothersCarl
andJohannwhenheretreatedfromViennatothespatownofHeiligenstadttoattempt
tohealhisearinfection,andultimatelyacceptedthathewouldlosehishearing.(p.310)
charactervariation
Themannerinwhichvariationsnotonlydecoratethetheme,but
alsogiveitadifferentemotionalcontextorpersonality.(p.314)
scherzo
literallyjoke,generallyaquick,lightheartedpiece.(Classnotes(p.312,
classnotes(March/5th))
cyclicism
Multiplemovementsofapiecesharingthematicmaterial
elision
Usingthecadentialchordofonephraseastheinitialchordofanother
SymphonyNo.3,Eroica
BeethovensHeroicthirdsymphony,dedicatedto
NapoleonBonaparte.However,uponNapoleonsascensiontoemperor,Beethoven
scratchedhisnameoff.Thissymphonyisalsowidelycreditedwithstartingthe
Romanticera,duetolessstructuredchangesinemotion.
SymphonyNo.5
Anearlyexampleofcyclicism,inwhichtheopeningmotifis
repeatedthroughouttheentiresymphony,andthefinaltwomovementsleaddirectly
intoeachother.
SymphonyNo.9,OdetoJoy
Broughtbacktheheroicfeelingofthethird
symphony,withagrandtieinofthethemesthroughthepieceinafinal,famous
movement
AndieferneGeliebte
asongcyclebyBeethoven,thoughttobededicatedtohis
ImmortalBeloved,AntonieBrentano
songcycle
songsthatstartedtotiemovementstogetherforasenseofunityina
pieceratherthanseparatemovementsbeingalmostlikeseparatepieces
Lied(pl.lieder)
modifiedstrophicform
(Camille)combinesfeaturesofbothstrophicformand
throughcomposed.
VolkstmlichkeitImpliesfolklikesimplicityandreflectionofthenationalfolk
character
ballad
generallythroughcomposed,narrativeanddramaticratherthanpoeticin
nature
NeueZeitschriftfrMusik(1834present)Ajournalstartedin1834thatisstill
publishedtoday,andinonearticleFranzLisztpublishedanessaydefendingprogram
music,sayingitallowstheartisttopursuebeautywithouthavingtofearfailure
Davidsbund
MythicalleaguecreatedbyRobertSchumanntocombatmusical
Philistines,orpeopleuneducatedinmusic.(p.33334)
characterpiece
Agenerictermforshort,onemovementpiecesthatexpressa
particularcharacter.(p.345)
bagatelle
Beethovenstermforcharacterpieces.(p.345)
impromptu
OneofChopinstermsforcharacterpieces.(p.345)
momentmusical
OneofChopinstermsforcharacterpieces(p.345)
nocturne
Pianostylethatresembledcavatinainopera.(p.345)
LiedohneWorte
Songwithoutwords.(p.345)
ariadisorbetto
Ariasofminorcharacters,duringwhichboxholderswouldeatand
talkuntilthemainperformercameoutagain,gainingthemthenicknamesherbetaria
(p.323)
dramma
ThetermGioacchinoRossinipreferedtousetodescribehisseriousoperas
ratherthanoperaseria.(p.325)
scenaedaria
(Camille)Twoparts:Scena:recitative
Aria:cavatina
tempodimezzo(transition)
cabaletta(fasterwithembellishments)
cavatina
Aslowlyricmovementinanaria.(p.336)
cabaletta
Afasterandmoreembellishedconcludingmovementtoanaria.(p.336)
Singspiel
Adramaticworkthatincorporatedbothspokenwordandsingingtoconvey
story,ratherthanonlysingingasinopera.
melodrama
Whencharactersspeakratherthansingoveranexpressiveorevocative
orchestralaccompaniment.(p.326).
belcanto
letvoiceresonate
rubato
subtlerhythmicmanipulationandnuanceinperformance(MD)
grandopera
AgenregenerallyregardedasbeginningwithAubers
LaMuettede
Porticci
.Awayofdistinguishingbetweentheoperacomique,withitsspokendialogue,
andoperathatwassungthroughout.(p.339)
operacomique
Amovementthattooktopicsfromthelifeoftheoppressedclasses
anddepictedtiercharactersasconditionedbysituationsthatledthemtounhappyends
theywerepowerlesstoescape.(p.374)
mazurka
Anativedanceintheromanticerainstylizedpianosettings.(p.342).
polonaise
Anothernativedanceintheromanticerainstylizedpianosettings.(p.342).
concertoverture
Musicalsectionthatbridgestherecitativewiththearia
.
incidentalmusic
overturemusicandmovementstocomebetweentheactsofaspokendrama
programsymphony
multimovementworkwithexplicitliteraturemeaning
idefixe
Obsession(p.347)
Diesirae
Dayofwrath(p.453).
Requiem
Usedmusicoriginallyintendedforacollaborativeworktocommemorate
Rossini,butwasfinishedbyVerdialoneanddedicatedtohisfriendAlessandro
Manzoni.(p.371).
collegno
Playingwiththewoodofthebow,ratherthanthehair.(p.349).
plotarchetype
ARomanticliteraryshapefoundinprogramsymphonies.(p.350)
NewGermanSchool
Whatprogressivecomposerswereidentifiedasandthey
adoptedtheirsloganthemusicofthefuture.ThefounderswereLisztandRichard
Wagner.Theyinsistedthatemotionalcontentsupersededabstractform.(p.356).
TheMusicoftheFuture
TheNewGermanSchoolsslogan.
symphonicpoem
singlemovementorchestralworkinwhichformisnotdeterminedby
abstractcompositionalproceduresbutbytheprogram.
Gesamtkunstwerk
Auniversalartworkorcollectiveartworkthatrepresentsthe
collectiveexperienceoftheculturefromwhichitproceedsandalsosynthesizesinto
oneentitygestural,verbal,andmusicaltypesofexpression.(p.359)
musicdrama
Whatthegesamtkunstwerkwaslatercalled.Thestructureisthatofthe
drama,dictatedbytheartisticcontent.Itservesasameanstocarryoutthedramatic
purpose.(p.360).
unendlichemelodie
melodythatintentionallyavoideddefiningformbylargely
removingindicatorssuchascadencesandobviousfiller,andassuchseemedtobe
endless.
DerRingdesNibelungen
LibrettocomposedbyRichardWagnerforfourmusic
dramas,withdifferentkeyssignifyingdifferentplaces,makingthemusicalconstruction
andplotfollowasingledramaticcontour
TristanundIsolde
TragiclovestorybyWagner,famousforthealmostunresolved
Tristanchord
Tristanchord
Unresolvedchordin
TristanundIsolde
,whileitisahalfdiminished
seventhchord,in
TristanundIsolde
itcouldalsobeasubdominantIIwithasuspended
13
grundthemen(leitmotiv)
basicthemesastheywerecalledbyWagner,aleitmotivis
athemethatdenotesacharacterorplace
lyricopera
focusedonexpressionoffeelingratherthanthespectacularnatureofthe
grandopera
mlodie
Frenchsongs,calleddifferentlyfromchansonandbasedoffoftheGerman
lied
tonepoem
(alsoknownasasymphonicpoem)singlemovementorchestralworkwithan
explicitprogram,usuallypoeticornarrativeinnature.
realism
topicsbasedontheoppressedclasses,leadingcharacterstounhappy
endingsthattheywerepowerlesstoescape.Thismovementwasderivedfrom
Romanticspessimisticrealizationthattheywerenotgoingtorighttheinjusticesof
society.
verismo
Violentopera.Containsmuchmoredemandingvocallines,reinforcedby
heavyorchestralbacking,includingchromaticharmonytoaddtothetension.
exoticism
Theapplicationofnewtonalpatternsandinspirationderivedfrommusical
stylesfromoutsidetheleadingmusicalnationsofEurope.(p.375)
UniversalExhibitionof1889
FirstlargescaleexposureofwesternEuropeansto
musicfromtheFarEast,performedbynativemusicians
Nationalism
Theeffortofmanycountries,bothinandoutofmusic,toattemptto
achieveindependencefromonetoanother
Moguchaykuchka(MightyFive)
FiveRussiancomposerswhoreliedonfolkmusic
ratherthantraditionalconservatorytrainingtoachieveauniquemusicalstylefor
Russia.ConsistedofchemistAlexanderBorodin,militaryengineerCsarCui,civil
servantModestMusorgsky,navalofficerNicolaiRimskyKorsakov,andtheonly
professionalmusician,MilyBalakirev.
SecondNewEnglandSchool
AgroupofAmericancomposerswhofollowedthe
GermanpatternofstudythethreemostprominentcomposerswereJohnKnowles
Paine,
Treatises,Collections,andWorks
Traitdinstrumentation(1843)
DasKunstwerkderZukunft(1850)
Names:
JohannWolfgangvonGoethe(17491832)
LudwigvanBeethoven(17701827)
FriedrichSchiller(17591805)
JohannRudolfZumsteeg(17601802)
CarlMariavonWeber(17861826)
GiacomoMeyerbeer(17911864)
EugneScribe(17911861)
GiocchinoRossini(17921868)
FranzSchubert(17971828)
GaetanoDonizetti(17971848)
VincenzoBellini(180135)
HectorBerlioz(180369)
FannyMendelssohnHensel(180547)
FelixMendelssohnBartholdy(180947)
FrdricChopin(181049)
RobertSchumann(181056)
FranzLiszt(181186)
GiuseppeVerdi(18131901)
RichardWagner(181383)
AdolpheSax(181494)
AntoninDvok(18411904)
CharlesGounod(18181893)
ClaraWieckSchumann(181996)
CsarFranck(182290)
BedichSmetana(182484)
AntonBruckner(182496)
EduardHanslick(18251904)
StephenCollinsFoster(182664)
LouisMoreauGottschalk(182969)
JohannesBrahms(183397)
GeorgesBizet(18381875)
ArrigoBoito(18421918)
GiacomoPuccini(18581924)
HugoWolf(18601903)
GustavMahler(18601911)
RichardStrauss(18641949)
AlexanderScriabin(18721915)
EdvardGrieg(18431907)
EdwardElgar(18571934)
IsaacAlbniz(18601909)
MikhailGlinka(18041857)
AlexanderBorodin(183387)
CesarCui(18351918)
MilyBalakirev(18371919)
ModestMussorgsky(183981)
NicolaiRimskyKorsakov(18441908)
PyotrIlyichChaikovsky(18401893)
JohnKnowlesPaine(18391906)
GeorgeWhitefieldChadwick(18541931)
EdwardMacDowell(18601908)
HoratioParker(18631919)
AmyBeach(18671944)
UnitIIListeningandScoreStudyGuide
Example1
Symphony:LudwigvanBeethoven,SymphonyNo.3inEflatMajor:Allegroconbrio
(movementone)
https://www.youtube.com/watch?v=ft9lJBXW5rg
(DavidDJ)
Form:SonataAllegro(Expanded)
Example2
Lied:FranzSchubert,GretchenamSpinnrade
https://www.youtube.com/watch?v=MY0eeotSDi8
(DavidDJ)
Form:Strophic/Rondo
Instrumentation:FortePiano,VocalistFemale
Example3
CharacterPieces:RobertSchumann,Carnaval,Op.9:Excerpts
https://www.youtube.com/watch?v=VELPD6FVylA
(DavidDJ)
Example4
CharacterPiece:FrdricChopin,NocturneinDflatMajor,Op.27,No.2
https://www.youtube.com/watch?v=WJ8RVjm49hE
(DavidDJ)
Form:RondoABACACoda
Texture:Homophonic
SoloPiano
Example5
KeyboardWork:FranzLiszt,Troistudesdeconcert:No.3:Unsospiro
https://www.youtube.com/watch?v=Pqy9KGqssc
(DavidDJ)
Keyboardgymnastics
mostlyarpeggiatedbass,simplemelodyline
Example6
ProgramSymphony:HectorBerlioz,Symphoniefantastique,DreamofaWitches
Sabbath(movementfive)
https://www.youtube.com/watch?v=RVUAR8Nk8xQ
(DavidDJ)(TylerMcMillan)
tempochangeshintatsectionchanges
Example7
ChamberWork:ClaraWieckSchumann,PianoTrioinGMinor,Op.17:Andante
(movementthree)
https://www.youtube.com/watch?v=JJRkjbXDlY
(DavidDJ)
Example8
EarlyRomanticOpera:CarlMariavonWeber,DerFreischtz,ActII,Finale:Wolfs
GlenScene
https://www.youtube.com/watch?v=IDI3Kstg5Ok
(DavidDJ)
Basedondiminishedchord
Bothchorusandsolosingersfeatured
Example9
MatureRomanticOpera:GiuseppeVerdi,Latraviata,ActIII,ScenaandDuet
https://www.youtube.com/watch?v=0qnIBXK6LUc
(DavidDJ)
Male/FemaleDuet
Example10
LateRomanticSymphony:JohannesBrahms,SymphonyNo.4inEMinor,Op.98:
Allegroenergicoapassionata(movementfour)
https://www.youtube.com/watch?v=EhmCNkWCUtA
(DavidDJ)
Form:ThemeandVariations(Originalthemestatedinthefirsteightbars,30variations
throughoutrestofthepiece)(DavidDJ)
Example11
March:JohnPhillipSousa,TheStarsandStripesForever
https://www.youtube.com/watch?v=mRn9chmRAY
(DavidDJ)
Example12
OrchestralSongCycle:GustavMahler,Kindertotenlieder:No.1,NunwilldieSonnso
hellaufgeh
https://www.youtube.com/watch?v=hqTyEKB64EE
(DavidDJ)
Animportantmodelforthesuccessofaheroicpersonalityinpoliticallifeat
the
turnofthenineteenthcenturywas
Napoleon Bonaparte
.
Beethoven's middleperiodissometimesknownashis
heroic
period
.
The HeiligenstadtTestamentwasBeethoven's
reflection onhisdeafnessandhis
vocation
.
ThepoetwhowrotethetextBeethovenusedinhisNinthSymphonywas
Friedrich
Schiller
.
Twoimportantexamplesofthe
songcycle
are
AndieferneGeliebteandDieschne
Mllerin.
FranzSchubert
combinedthefolkidealinsongwith personalinterpretationofthe
songtext.
W
illiam
Shakespeare
wasidealizedbyearlyRomanticopera librettistsbecause
heprovidedamodelofagreatartistwho
succeededdespitehisdisregardfor
standardrulesofartisticform.
Italianopera composersintheearlynineteenthcenturyoftenusedtheprocessof
parody
to
recycletheirmusicinordertokeepupwiththedemandfornew
Therescue operawascreatedin
France
Schubert
around1800.
neverachievedmuchpublicacclaimandreliedforhisdailyliving
generosityofhisfriends.
works.
onthe
The composer
Robert Schumann
worked as a music critic and founded the
Neue Zeitschrift fr Musik
, an independent music journal.
TheItaliancomposersoftheRomanticperioddevelopedastructureforthelargesolo
operaticnumberin
two
largeparts.
The"dissimilarduet"wasdesignedtoexpressdramaticconflictinoperabythe
composer
GaetanoDonizetti
.
EugneScribemadehisimportantcontributionstothehistoryofmusicasa
librettist
.
.NicoloPaganinimadehisimportantcontributionstothehistoryofmusicasa
virtuoso
performer
.
1.
Themazurkawasatypeof
character
danceandusedby
Chopin.
piece
forpianobasedonaPolish
Berlioz's
Symphoniefantastique
isanexampleofthegenre
program
symphony
.
Thecomposer
HectorBerlioz
wasoneofthemostimaginativeorchestratorsof
theRomanticperiodandevenwroteatreatiseonthesubject.
Cyclicunification
standsasanabstractsymbolinmusicoftheRomantic
thinker'ssearchfortheunityinallthings.
Theconductor
FelixMendelssohnBartholdy
hasanimportantplaceinmusic
historyforhisroleinrevivingtheworksofprecedinggenerationsinhis
performances.
employed
thematic
transformation
todevelop
unconventionalforms.
Wagner's
TristanundIsolde
is
anexampleofthegenrehecalled
music
drama
.
AmusicalideainWagner'smature
works,oftenassociatedwithanideaor
characterintheplotand developedinsymphonicstyleintheorchestra,isusually
calleda
Leitmotiv
,a termthecomposerhimselfdidnotuse.
Thecomposer
Brahms
tookupthetraditionofMendelssohnandSchumannand
laterprovidedimportantsupporttothecareerofDvok.
Verdi'slasttwooperaswerebothadaptedfromworksof
WilliamShakespeare,
who
wasanimportantfigurein nineteenthcenturyliterarythought.
ThepostRomanticcomposerGustav
materialtakenfrom
hisownLieder.
Mahlerbasedseveralofhissymphonieson
The
verismoopera
employedplotsthatfeaturedviolentemotional outbreaksin
charactersfromthelowerclassesandamusicalstylebasedondeclamatorysinging
andpowerfulorchestration.
Composersseekingtorevitalize theEuropeanmusicaltraditioninthelatenineteenth
centuryturnedto
exoticism
,theuseofmaterialsderivedfrommusicalstylesfrom
outsidethe leadingnationsofEurope.
The
moguchaykuchka
wasanimportantgroupofnationalist
composersinthe
latenineteenthcentury.
ThanksforthisTony,thiswasagoodideatopostthemultchoicequestions