Listening to Classical MusicMUS 110Listening Packet 3Due: Tuesday, November 23, 2021Please complete each set of questions prior to the class for which these examples are assigned. I recommend that you print a copy of this packet to complete your assignments, check yourresponses during class, and take notes as we discuss these examples.Your responses may be brief, as long as you demonstrate that you understand the material.Completed packets should be uploaded to Blackboard by the end of day, on the date given above.Accepted formats: DOC, DOCX, PDF, or JPG.Please be sure any PAGES files (the default format for Google Docs and other online programs) are savedas a PDF prior to submission. (Blackboard cannot process PAGES files, thus they are unreadable.)Photos in JPG format should be taken clearly, and from a logical angle.Handwritten responses are fine, as long as I am able to read them easily.The assignments are numbered in the packet using the following system: semester week #, and either a orb for the weekday. (See Listening Packet 1 for additional details.)Central Connecticut State UniversityFall 2021 Dr. Heather de SavageWeek 10bProgram Music in the Romantic EraPlease review the textbook information and related listening guide(s): pp. 235-49Briefly define the following terms:Program music:Character piece:Example 1: “Eusebius” and “Florestan” from Carnaval , Schumann (1833-35) 1. How is a character piece similar to a Lied? What is the biggest (most obvious) difference between the two genres?2. What is the general story/program suggested in Carnaval?3. Briefly describe the musical style heard in these two examples from Carnaval:“Eusebius”“Florestan”4. How do the characters “Florestan” and “Eusebius” relate to the composer Schumann’s personallife?5. If you were to express yourself through a particular style of music, what might that sound like?1Week 11aProgram Music (cont’d)Please review the textbook information and related listening guide(s): pp. 244-49; 250-57Briefly define the following terms:Program symphony:Idée fixe:Opera (again):Example 1: Symphonie Fantastique (Fantastic Symphony), fifth movement, Berlioz (1830) *Please be sure to read about the program/story associated with this piece.*1. How is this symphony different from a traditional Classical symphony (e.g., Haydn, Mozart, or even Beethoven)?2. The term idée fixe (French, obsession) refers to one particular melody used in each movement, and its connection to the story being told (the program). What does Berlioz want this melody to represent for the listener?4. Please follow along with the listening guide on p. 248 as you get to know this piece. While Berlioz presents the idée fixe melody in a variety of transformations in the other movements, but in this final movement it is played by a deliberately squeaky clarinet (starting near 02:00). What does this grotesque transformation represent?5. Just something to keep in mind (no question to answer here): the Dies Irae plainchant heard beginning at 03:38 is from the traditional Catholic funeral service; this creates a brilliant mix of sacred and pagan elements here. (This would have been noticed instantly in the very Catholic Paris of 1830.) Listen for this melody as it comes back throughout the second half of the movement in different presentations.26. This movement essentially has an introduction followed by three main sections, each with very different styles of music. For each section (I am using the labels that you will find in the listening guide on p. 254), briefly describe the music as you hear it:Introduction:Idée fixe:Dies Irae: Witches’ Round Dance” (beginning at 05:28):7. Berlioz’s Symphonie Fantastique is recognized as at least partly autobiographical; in fact, he puts himself into his story even more than Schumann does in Carnaval. Pop musicians today often do that as well, through concept albums, stage performances, etc. that deliberately tell a story that is unique totheir personal experience. Can you think of a recent example of this?Week 11bRomantic Opera in in 19th CenturyPlease review the textbook information and related listening guide(s): pp. 258-78No music examples to review on your own for today’s class.Briefly define the following terms:Music drama:Leitmotif:The Ring Cycle:3Week 12aRussian Nationalism in MusicBriefly define the following terms:Nationalism (how it might be expressed in music):Kuchka:Example 1: Mussorgsky, “Promenade” and “Gnomus” from Pictures at an Exhibition (1874) (Note: this work includes many other interesting movements to explore on your own!)1. What was the goal of the Russian Kuchka? (It will help to define the term in general; you do not need to memorize the five names, only Musorgsky for now.)3. Although Pictures at an Exhibition is best known in its orchestral arrangement, it was originally composed as a set of character pieces for solo piano (similar to Schumann’s Carnaval). Remember, this is a genre of program music. In general terms, what is the story being told here?Example 1a: “Promenade”1. Which instrument(s) give this movement its strong, regal quality (esp. at the beginning)?2. What is unusual about the meter(s) of this movement, and how might they relate to the overall Russian style or the story being told? 3. How does the composer use this movement to create a sense of unity and coherence throughoutPictures at an Exhibition?Example 1b: “Gnomus”1. What image is Mussorgsky depicting through the music in this movement?42. While “Promenade” evokes a grand, regal mood, how would you describe the mood in “Gnomus”? Is the composer effective in bringing to life that image described in #1?3. In some ways, this movement is a reference to which well-known ballet by another Russian composer?4. How might today’s composer, songwriter, or artist express their own feelings of national pride through their creative work?Week 12bResponses to Romanticism: Brahms and MahlerPlease review the textbook information and related listening guide(s): pp. 278-88Briefly define the following terms:Concerto (again):Rondo form (again):Folk music:Hungarian/“Gypsy” fiddling:Example 1: Brahms, Violin Concerto in D Major, III (1874)1. How would you describe the style and level of complexity of solo playing heard in this example?2. What is the “exotic” style heard in this piece, and others by this composer?3. Why is this piece considered absolute