MUS- M 402 1st EditionLecture 20Outline of Last LectureI. German Composers React to BeethovenII. Richard WagnerIII. Wagner’s Music: Interrelated Stylistic ConceptsOutline of Current LectureI. Wagner’s GesamtskunstwerksCurrent LectureI. Wagner’s Gesamtskunstwerksa. Gesamtskunstwerk- Wagner’s name for his musical dramas, or operas, in which he would compose in a way encompassing a total ideal of art; the use of music, drama, spectacle, dance, etc. to synthesize total art. b. Interrelated Stylistic Concepts:i. “Infinte melody”1. In Wagner’s works, we no longer see strict arias and recitative sections. 2. Instead, Wagner creates lengthy melodic lines that continue throughout the entirety of the work.ii. Erosion of hypermetric stability1. No longer is the writing of music focused on clear melodic or balanced phrasing. 2. The entire work is focused on moving the drama forward.3. Written in free-verse style- non-rhyming patterns designed to reflect normal patterns in speech. iii. Constantly mobile, chromatic harmonies1. Stable harmonies with a clear tonal center are basically nonexistent. 2. Wagner create huge harmonies that are constantly moving from one key area to another.iv. Few detachable “numbers”, constant flow of musical discourse1. Specific “numbers”, or songs cannot easily be separated from the context of the musical drama to be performed independently. a. This is because of the constantly moving harmonies and the lack of a tonal center. v. Role of the Orchestra1. Wagner viewed all elements (singers, chorus, staging, libretto, drama, orchestra, lighting, set, etc.) as equal and important in creating “total music/art” for his Gesamtkunstwerks.vi. Leitmotivic transformation1. Leitmotifs- specific musical cues or phrases used to represent characters, actions, feelings, etc.a. Used to draw connections between Wagner’s ideas/concepts/sketches of a new inner world of emotions.b. Used to communicate more than just the lyrics of the libretto would literally communicate to the audience.vii. Inner vs. Outer Action1. Outer Action- the occurrence of specific actions and plot on stage.a. What the audience sees.2. Inner Action- the non-literal elements of Wagner’s musical dramas.a. Which leitmotifs are being played, what the audience hears and how it connects/contrasts what the audience literally sees on
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