MUS-M 402 1st EditionExam # 1 Study Guide Lectures: 1 – 11Lecture 1 (January 15)Exploring “Music of the Western Art Tradition”o Following the Baroque, music of the Pre-Classical Period emerges with a distinct new aesthetic ideal. Naturalness was a style where composers chose to create music based on a more simpleaesthetic appeal reflecting what is natural in sound. o Corresponded with European Enlightenment thinkingThe Bourgeoise was the “merchant class” that emerged in Europe in the mid-18th century as European class structure and the way people think began to change. Galant Style was the style of composition emphasizing simplicity, with big cadential markings that clearly define distinctions between different sections. “Fortspinnung” translates to the “spinning out of ideas”, typical Bach method of composition.FOP (far out point) is the key area of a piece that is furthest removed from the tonic.Understand and be able to recognize the Emerging Classical Binary Form (see Lecture 1 notes)Lecture 2 (Janurary 17)Understand Rousseau, “Querelle des bouffons”, or “The Fight of Clowns”, and how comic opera was introduced to France. Periodicity- very clear cadences and periods in the musicOpera buffa was a style of opera that reflected ideas of returning to simplicity because people desired to see characters that were relatable to them in their everyday life. Usually comical storylines or plots. The Basso buffa was the bass singer who played the pompous aristocratic character in an opera buffa. A Patter song was the kind of song characteristically sung by a basso buffa. Extremely fast and quick moving with as many syllables fit into each beat as possible. Understand the difference between a Writer’s Opera vs. Singer’s OperaA technique of dramatic integration begins to emerge in which the drama is heightened in the vocal lines and able to shine through because the accompaniment is so simple.Lecture 3 (January 22)Understand and be familiar with Gluck’s “Operatic Manifesto” / “Reform”Through his second reform of opera, known as his “Operatic Manifesto”, Gluck was able to create a classical aesthetic in opera utilizing the repetition of simple elements in a “perfect order”. Music was restricted to the function of serving thepoem with expression and involved less ornamentation. The dialogue was not sostrictly split up between arias and recitatives. Furthermore, for the first time, theOverture was responsible for introducing the main themes of the opera. Instrumental interjections were no designed to be impulses of the moment to spur on the emotion of the storyline. Composers used dramatic integrations to generate power through a variety of means and combinations of the different elements of ballet, solo singing, chorus interjections, and orchestra. With all this,composers in the emerging classical style were able to please and fulfill the expectations of the audience by sticking to expected syntax and simplicity of style. Lecture 4 (January 24)The life and career of Josef Haydn (See Lecture 4 notes)Haydn as an “Old Model of Patronage”Haydn was the last composers of his time to exist under the old model of patronage due to his connection, relationship with and employment by the Esterhazy family. Haydn’s patronage by the Esterhazy’s (Prince Nicholas the Great) enabled him to become an extremely prolific composer. Following Haydn, however, musicians begin to be recognized as “artists”. Lecture 5 (January 27)A castrato was a male classical voice type equivalent to the range of a soprano or mezzo-soprano used to sing opera in the Classical Period. To create the voice type of a male castrato, the male voices were altered before the male reached puberty.. Understand and be able to recognize Sonata Form (See Lecture 5 notes)Lecture 6 (January 29)Be able to explain and essay about the differences between the compositional styles of Haydn and Mozart. Haydn was famous for his technique of monothematism, or one themed-ness. Mozart was famous for dramatizing points of arrival and new harmonic moments with new themes. Throughout the drama of his works, Mozart is able to capture the emotions of different characters simultaneously through difference writing and compositional styles used in the singers’ lines. His technique of Sturm und Drang, German for “storm and stress” was frequently used to alternate between cheerful, songlike themes and minor-modes, turbulent or dramatic transitions, and developmental sections. Lecture 7 (January 31)The life and career of Wolfgang Amadeus Mozart (See Lecture 7 notes)Understand and be able to recognize Concerto Form (See Lecture 7 notes)Lecture 8 (February 3)The Classical Aesthetic was the perfect arrangement of expected forms with the repetition of simple elements in a “perfect order”. It deeply reflected the classical idealsof depicting emotion. In addition, it reflected a love of all things nature and rational evenly balanced against conveying incredibly strong emotions through the music. Be able to understand and write about this concept for the exam. The life and career of Ludwig van Beethoven (See Lecture 8 notes)Lecture 9 (February 5) and Lecture 10 (February 7)The Beethovenian Style defines Beethoven’s compositional technique in which Beethoven takes existing, widely-understood aspects of form and style and monumentalizes them. He does this by giving each an identity, putting them in conflictwith one another, heightening contrast and tension between them, and then conspicuously resolving that tension. He further uses the concept of teleological genesis to communicate that music has a goal- and his compositions all pull towards this unknown goal.Beethoven composes absolute music, believing that all music is simply a functionof its own internal form and the arrangements of notes on a page. Beethoven’s music compels the audience to ask and soul-search for answers to the “big”questions in life: What is it that people are really after, what do people really want, what is the purpose of life, what is life’s ultimate goal? While it may be uncomfortable for the listener to experience unfamiliar and somewhat unpredictable patterns in music, Beethoven is able to use this technique to simultaneously surprise and convict the audience to listen and consider greater thoughts. Lecture 11 (February 10)Because the characteristics of Beethoven’s music had had such an