[学术] music 144考试复习资料

drumaurora

这个是我在读music 144时候总结的资料，叫“给你背到死”
先是各重点单词的解释，然后是一些章节的重点归纳。
希望能够帮助有学music 144这门冷门课的同学。

Pythagoras and Tuning:
•        Pythagoras decided that music needs a vocabulary.
•        He discovered was that certain note in nature created harmonious sounds and that these notes had a mathematical relationship.
•        It was this creation of new notes using the harmonious ratio of 2:3 that caught Pythaora’s imagination
•        The distance between your original note and it’s dominant is 2:3

Mozart’s opera
•        He produce his first opera” Bastien und Bastiene” at 12 years old
•        His opera “Magic Flute 1791” is viewed by many as a hymn in praise of Masonic ideals.
•        He had two greatest Italian opera “ The Marriage of Figaro and Don Giovanni”
•        Don Giovanni get the huge success when first performance in Prague in 1787

Classical style in Music ( In Mozart’s Day)
•        Classical period is more homogeneous in style than in any other period in the history of music
•        Much has been written about the Classical style in Music: Its quite grace , noble simplicity, purity and serenity
•        The melody of Classical style: simple , tuneful , memorable , often with a folk-song flavour and in clear phrases
•        Rhythm: different rhythm sand constant change and in phrases of “statement” and “ answer”
•        Harmony: with tonic and dominant harmony many harmonic effect were sectional key-change rather than choral chords.
•        Texture: simple original: homophonic , but with lots of changes, flowing basses, and often a sense of operatic melody “ showing off”
•        Dynamic : long are diminish , sudden forte, piano.

Mozart and piano concerto
•        Mozart wrote 23 piano concertos more than other important composer because his economic live hood depends on it.

Mozart’s A major Piano Concerto , K488
•        1786
•        In the classical love of balance is immediately eviden , for the piano and orchestra appear in equal measure
•        Of all solo instruments, the piano , with its capacity for melody  , for speed of execution, and for full sound , is perhaps most up to the task of competing with an orchestra in a spirited give and take of musical material
•        When the orchestra comes forward with a rich full sound or varied instrumental colour , the piano can counter with a line of tender expression , a virtuosic runs or a passage of fortissimo chord
•        The constant exchange between orchestra and soloist requires special attention on the part of the listener
•        He used double exposition form in the frst movement

Lucy in the Sky with Diamond
•        Lucy like G major , counteracting the B flat key signature , but is perhaps a plagal approach to the triad on D
•        Magic “ Ah” , highly equivocal in effect
•        The restatement of this brusque refrain as coda acquires three sharps as key signature, though the G sharps never appears, no more than in the original waltz
•        This time the D major triad forms a plagal cadence to A , but without any sense of finality ; and the fade-out carries us back from trip, childhood , and dream-girl to reality , though again with equivocal irony

She’s leaving home
•        Is also by Paul , though John wrote some of the words
•        Were culled from Daily Mirror , and the verses evoke the mysery of the commonplace , having the true economy of poetry
•        The musical structure is irregular
•        Begain with a 4 bar instrumental intro , over a tonic E major triad, with romantically plashing harp
•        The vocal turn is a corny waltz mainly in stepwise movement octave , followed by a descent by way of the flattened seventh
•        The first phrase runs to 5 bars rounded off by an instrumental ritornello of three bars with emotive solo cello apparently modulating to the dominant
•        The next phrase of the tune reassert the tonic
•        A reapeat of a 4 bar phrase and extened to 9 bars
•        The verse section is completed with 4 bar phrase in the tonic repeated
•        The chorus: has the falsetto obbligato for the parents
•        The vocal lin overlap with that of the narrator of the girls story
•        Both the asymmetrical phrasing of the tune(s) and the repeated frustration of the modulation sharpwards keep us on tenterhooks
•        Forms a plagal cadence from A to E

When I’m 64
When I'm Sixty-Four" is a popular love song by The Beatles, written by Paul McCartney (but co-credited to John Lennon) and released in 1967 on their album Sgt. Pepper's Lonely Hearts Club Band. It is sung by a young man to his love, about the perils of growing old together. It begins
The song accompanies the "Sea of Time" sequence in the film Yellow Submarine.
Paul McCartney will turn 64 years of age on June 18, 2006.
Ironically, although it involves themes of aging, it was one of the first songs McCartney wrote, dating back from his days with the Quarrymen.
The song was parodied by The Rutles as "Back in '64" on the album Archaeology. It was also used as the theme song for the movie version of John Irving's novel The World According to Garp.
When I'm 64 (using the numerals instead of spelling out the numbers) is also the name of a BBC television series starring Paul Freeman and Alun Armstrong as two older men who surprise themselves by falling in love with each other.

Neumes
•         Different system of performance indication in the form of squiggles and lines above words had been applied to the church’s appropriate texts- the psalum , hymn or canticle of the day
•        Neume were very makeshift and varied from region to region and even from scribe to scribe but gregory’s collecting chant also ensured a much greater degree of uniformity in the practice of neumes

Organum
•        By 1100, a simple form of 2 part singing was becoming known , called Organum
•        Referred to singing lines” breaking out” of unison practice , to move in parallel fashion sometimes a 4th , a 5th , an 8th  apart.

12 Bar Blues
•        Is a chord progression , typical of blues and later influoncial music
•        In addition to the harmonic formulate the 12 bar blues uses a rhythmic scheme of twelve 4/4 bars to the verse with swing or shuffle ( and thus may be notated in 12/8)
•        A basic chord of 12 bar blues , is I IV V
•        Eg               I     I   I   I
                         IV IV  I   I
                         V  IV  I   I

Well –Tempered Clavier
•        Is a collection of solo keyboard music composed by JS Bach
•        His first title to a book of “prelude and fuges in all 24 major and minor keys” appearing in 1722
•        Composed “for the profit and use of musical youth desirous of learning , and especially for the pastime of those already skilled in this study”
•        1744 , appears a neww book entitled “ 24 preludes and fugues”


Das Rheingold
•         Is the first of 4 operas that comprise the ( ring of the nibelung ) by Richard Wagner
•        It received its premiere at the Munich Court Theare on 22/sept /1896



Concerto grosso
•         The concerto grosso was a popular form of baroque music using an ensemble usually having 4 to 6 movement in which the musical material is passed between a small group of soloist and full orchestra

Guido  d’ Arezzo
•        Was a music theorist of the Medieval era
•        He is regarded as the inventor of modern musical notation that replaced neumatic notation
•        His text the Micrologus, was the second most widely  distributed treatise on music in the middle ages

Work Songs
•        Is a typically an a capella rhythmic song sung by people working on physical and often repetitive task
•        The work song is probably intened to reduce feeling of boredom and to increase the feeling of fun
•        Rhythms of work songs also serve to synchronize the singer with a sometimes subversive form of expression: improvised verses sung by slaves had verse about escaping
•        The improvisation provided sung by sailor had verses complaining about the capitain and the work conditions
•        Works songs also helped created a feeling of familiarity and connection between the workers

Seg. Pepper
•        Is an album of British Band Beatles
•        It is often cite as the most influentical rock album of all time by publication
•        Including Rolling Stone and is among the “ albums that have been considered the greastest ever”
•        It recorded by the Beatles over a 129 day  period beginning on Dec 6, 1966, released on June 1 , 1967 , in UK

“Baroque Style” In Music
•        Baroque style used exaggerated motion and clear , easily interpreted detail to produce drama , tension grandeur from music and other art
•        The style started around 1600 in Rome ， Italy and Spread to most of Europe
•        In music , the Baroque applies to the final period of dominance of imitative of counterpoint

Enrico Caruso’s recording
•        Was one of the most famous tenor in the history of opera
•        Caruso was also the most popular singer in any genre in the first 20 years of 20th century , and one of the pioneer of recorded music , During his career , he made nearly 500 recordings and make over 2 million dollars from sale of his record.


Thomas Morley
•        A English composer , theorist , editor and organist of the Renaissance and the foremost member of the Mardrigal School
•        He was the most famous composer of secular music in Elizabethan England , and the composer of the only surviving contemporary setting of verse by Shakespeare

John Dowland
•        (1563-1626)
•        English , Irish born composer , singer and Lutenist He is best known today for his song “Flow my tears”
•        Most of Dowland’s music is for his own instrument , the lute  they include several books of solo lute works
•        His best known instrumental work: Lachrimae or seaven Teares Figured in Seaven Passion Pavans” as set of seven for 5 viols and lutes . each base on flow my tears.

Sonata form
•        Refers to both the standard layout of an entire musical composition and more specifically to the standardized form of the first movement
•        Sonata form is both a way of organizing the composition of a work and a way of analyzing an existing work
•        While described and named in thearly 19 century,the models for the form were works of the classical period, most specifically Haydn , Mozart , & Beethoven , and the form is rooted in the schematics described in the late 18 century
•        Intro+Exposition +development+Recapitulation +Coda

Gregorian Chant
•        Is known as plain chant , and is a form of monophonic unaccompanied sining , which was developed in the Catholic church , mainly during the period 800-1000
•        This music was traditionally sung by monks , and was used during religious services

A day in the life
•         A song composed by John and Paul
•        From Sgt Pepper’s Lonely Heart Club Band (1967)
•        The song is considered to be one of the most ambitious , influential , and grownd breaking works in pop music history
•        Inspiration from a newpaper
•        Impromptu work in the studio
•        An orchestral “ freak out”
•        The chord: following the final orchestra crescendo , the son gends with one of the most famous final chords in music , history : all four beatles , joined by evans, simulateously playing an E major chord on three different piano , the sound of the final chord was manipulated to ring out for as long as possible by increase the sound level to the tape as the vibration faded out.


The Triumphs of Oriana
•         One of the books that Thomas Morley , a renaissance composer , printed and put together was the Triumphs of Oriana
•        This book consists of 25 madrigal by 23 different composer two of the madrigal are written by Thomas
•        This book was published in 1601.  it was said to be made in the honor of Queen Elizabeth I
•        At the end of Thomas’s madrigals it says “ long live oriana” The word Oriana often referred to Queen Elizabeth”

Charles Ives( 1874 -1954)
•        Charles Edward Ives was an American composer of classical music
•        He is widely regarded as one of the first American classical composers of international significance
•        Ives’s music was largely ignored during his life , and many of his works went unperformed for many years
•        Over time , Ives would come to be regarded as one of the “ American Originals” a composer working in a uniquely American style , with American folk tune woven through his music and a reaching sense of the possibilities in music”
Unit F: Johann Sebastian Bach – The Father of Them All (1685 - 1750)

Bach and his Music:
1.        As a Baroque composer, he transcends the categories and has something of the “Romantic” and “Classical” in him.
2.        He wrote in all the style of the day except for opera – the opera remains the basis of the drama running through all of his Cantatas.
3.        German provenance, he also assimilated many elements from French and Italian school of the current time.
4.        For the first half of his life – he traveled around and worked in both sacred and secular environment – orchestral suites and stylized dance music.
For his second wife, he wrote pedagogical music – Anna Magdalena Bach, and keyboard works of 2- and 3- part inventions and as well as 48 Preludes and Fugues.
For the second half of his life – he confined to Leipzig as an organist – Cantata.
The Prelude and Fugue:
Prelude
1.        A Prelude is a relative short keyboard.
2.        Prelude can be an independent compositions or the introduction to another piece or sets of pieces.
3.        Preludes often are improvisatory in style, suggesting that the performers are “warming up” the instrument for the more structured and virtuosic piece or pieces to follow.
4.        Prelude and Fugue are common in late Baroque.
Fugue
1.        Polyphonic composition with 3 to 5 melodic lines/voices.
2.        The first voice presents the subjects or principal melody, which is then imitated by each of other voices in turns.
3.        The entrance alternate between tonic and dominant keys, with those in the dominant key are called answer.
4.        The imitation of fugue is merely similar, since the answer begins on a different tone from the subject.
5.        In fugue, each voice proceeding independently after it has entered. There are usually reference to the subject and answer throughout the fugue, but the form is quite flexible after to opening section – exposition.
6.        Fugue is not only written for instruments like lute or keyboard, they are very effective in choral music.
Bach: Brandenburg Concerto No.2 in F major
1.        Solo group: oboe, trumpet, violin and recorder.
2.        Bach continuously used his trick of sequence – moving the same pattern from key to key, often in a kind of statement-and-answer format.
3.        The harpsichord supplies the base of the music from its figured bass part.
4.        Continuo instrument – harpsichord and cello, they continues the texture of the melodic instruments down to the bass.

Bach: Advent Cantata 190 “Sleepers Wake, For Night is Flying”
1.        The “wake-up” rhythm and the urgent passing of the theme at the start, while the rhythm gradually gathering the speed.
2.        The soprano takes the chorale tune while the others add little “motifs” excitedly to it.
3.        The dotted-note figure keeps going on in the accompaniment of strings and oboe.
4.        Chorale setting in hymn-like fashion in the end – a full example of arias, duets, solo and recitative.

Unit G – Concertos: Musical Difference Becomes Musical Display
1.        Introduction:
a.        Concerto – the main instrumental genre for larger groups of musicians.
b.        Concertino – the solo group
c.        The “Ripieno” band – joining back into the full company.
2.        Three developments combined in 18th century:
a.        The rise of public concert-hall – the availability of larger spaces, increasingly large audience; the ripieno were known as Concerti Grossi, and the concertino group was refined to one solo instrument.
b.        The musical instruments were made with richer tones and greater projection – violins (Antonio Stradivari and G.B Guarneri); Bartolomeo Cristofori invented piano-forte (struck keyboard), by the end of the 18th century, the keyboard became the favorite instrument for concertos.
c.        The influence of musical style and form, song-like concertos rather then Baroque concerto (e.g. Bach’s Brandenburgs)
3.        Classical Style in Music
a.        Melody – often tuneful and singable; the phrases are organised in antecedent-consequent pair (phrases are in symmetrical groups of bars).
b.        Harmony – more homophonic and less polyphonic character; tuneful melody was supported by a simple harmony (tonic and dominant chords); Alberti bass: instead of playing a pitch of chord together, the notes are spread out to provide a continual stream of sound (e.g. Mozart’s C major piano sonata).
c.        Rhythm – more flexible (Mozart and Haydn); rapid motion; and there is little of the driving and constant motion of Baroque musical rhythm.
d.        Texture – less on writing dense counterpoint, more charming melodic lines; lighter, more transparent sound, especially in the middle range of texture; lots of changes: unison, passage, chordal interruption, flowing basses and often a sense of melody “showing off” above the light accompaniment.
e.        Dynamic – long crescendo and diminuendo, sudden forte, piano.
4.        The Classical Orchestra
a.        During the late 18th century, the orchestra grew in size as direct response to larger audience.
b.        The strings constitute the core of orchestra, but the woodwinds gained its increased autonomy
c.        The musical structure – thicken.
5.        The Dramatic Quality of Classical Music
a.        In Baroque period (Bach and Vivaldi), the composers would establish one mood to be rigidly maintained from the beginning to end.
b.        In Classical period (Mozart, Haydn and Beethoven), the mood of a piece may change radically within few short phrases – an energetic theme in rapid notes may be followed by a second one that is slow, lyrical and tender.
c.        Texture – more contrapuntal to create tension and excitement.
6.        Classical Forms
Sonata Form
a.        Home – Move away – Back home again
b.        Themes instead of tunes – change key within the first section, presenting the contrasting musical idea (B) in the new key. A and B began to grow becoming more condensed, with fragments and rhythm that could be developed later. Theme could be re-appeared and worked out differently. Theme A always in home key (the “tonic” key) and theme B was most nearly the related key (the “dominant” key or relative minor)
c.        Creating character of themes – the composers added the difference to first theme (A) and second theme (B). The first theme would be dramatic and arresting (“masculine”) and the second theme would be more restrained and lyrical (“feminine”).
d.        Linking and marking – the space between two themes as a bridge passage or transition. Codetta (the little tail-piece that marked the new theme)
e.        Repetition – the movement’s Exposition Section– Theme A-Transition-Theme B-Codetta.
f.        Development Section – the old “Trio” section where the musical material in Exposition would be expanded, decorated, inverted, combined with other material and put into different key; continuous change of key and then return to the main key and theme.
g.        Recapitulation Section – “return home”, it has the same event as Exposition section but there are some changes: the bridge passage is re-written so it does not have the key change in order to end the movement to tonic/home key adding the stability to the sense of closure; Coda – the little tail-piece in Exposition Section is larger and assertive.
Sonata Form and the Concerto
a.        The sonata form altered to suit the requirements and opportunities of the concerto.
b.        Instead of repeating the whole Exposition Section, they arranged for two appearances of the material: the first with orchestra alone and the second for the soloist in the combination with the orchestra.
c.        Before the Development Section, it was usual refer to the opening material again.
d.        Slowing up and pause in the Recapitulation Section so the soloist could improvise a cadenza, allowing more expanded sense of closure of movement when the orchestra came back.
Mozart (1756-1791)
1.        Born in Salzburg, Austria, in 1756
2.        Father – Leopold was a violinist in archbishop of Salzburg.
3.        First opera – Bastien and Bastinne produced when Mozart was 12.
4.        1785-1787 was the peak of Mozart’s success: piano concertos, string quartets, symphonies and the two greatest Italian operas – The Marriage of Figaro and Don Giovanni.
5.        1791, the last year of Mozart’s life, he composed the clarinet concerto and the German opera – The Magic Flute.
6.        Mozart wrote 23 piano concertos more than any other important composers.
7.        Piano Concerto in A Major (1786)
a.        First movement (allegro): double exposition from which is an extension form of sonata-allegro from. The orchestra presents the first, second and closing theme, and then the soloist enter, with orchestra assistance, the piano version of same material but modulated to dominant before the second theme. The orchestra throwbacks to the ritornello principle.
b.        Second movement (andante): expressive melodic lines make the piano sound like an operatic soloist (F-sharp minor) and the Third movement (presto): Rondo form.




Unit H: Beethoven – Classical Music Come of Ages
Beethoven (1770-1827)
1.        Born in Bonn, Germany 1770
2.        Beethoven’s letter to Franz Gerhard Wegeler and Karl Amenda admitting that he feared he might be going deaf.
3.        Heiligenstadt Testament – it has the tone and emotional tension of a suicide note in places.
4.        Beethoven’s works – enormous amount of music production
a.        9 Symphonies: No.3 op. 55 in E flat (Erotic, it was dedicated to Napoleon); No.6 op. 93 in F (5 movements); No.9 op. 125 in d minor (Chorus added).
b.        5 Piano concertos
c.        Chamber music: Strings quartets, Sonatas for violin and piano, Cell sonatas and Piano trios
d.        Piano solo: Piano sonatas.
e.        Opera: Beethoven’s only opera – Fidelio
f.        Masses: Christ on the Mount of Olives
5.        Symphonies: the Beethoven Principle
a.        The Early Symphony: large groups of instrumentalists.
b.        The Mannheim Symphony: in the German city of Mannheim; Johann and Carl Stamitz (key leaders); features of Mannheim Symphony – prominence of strings, long passage of crescendo, sudden variation in dynamics, dotted-notes themes and elevation of importance of woodwind instruments (use of the recently-invented clarinet)
c.        Beethoven and the Symphony: with continuing expansion of the orchestra – more horns and he made the trumpet and drums standard, the requirement of piccolo and contrabassoon. The trombone was added from the Fifth Symphony onwards. The full choir added to the finale of Ninth Symphony.
As symphonic length grew (20’ max with Mozart and 35’ to 40’ with Beethoven) it also became more complex in the form and structure.
Beethoven Principle was one of thematic growth, where themes and cells evolve out of larger material, then re-combine in dramatic and cumulative ways.
Unit I: Music Becomes Drama Becomes Music
Wagner and “Opera” (1813 - 1883):
1.        First opera “Die Feen” in 1833
2.        In 1876, Wagner produced this 4-opera cycle in his own designed and built theatre in Bayreuth “The Ring”.

NZFigo

不学muscis的也可以看一看

吾乃西瓜

多谢分享
考试时候最需要这些笔记了

攒起来。。。明年学。。。

哦哦哦哦

thx 想請問 這科就背這種東西嗎?
容易拿a嗎?

peach_twinkle

i'm doing it next sem. it's a GE paper, so shouldn't be that hard right?
looks very interesting, im pretty excited about it

peach_twinkle

OMG@!!!! im so gonna love this paper. anyways, i think ur notes are not in a chronological order.

CEOjennifer

顶一下！这门课很和我胃口，我GE 就学这门了！