Artaria String Quartet 2015-16 Program IV Conscientious Objections
... recognized in Haydn and recreated in his own way was essential to the development of Western music, and specifically the string quartet, from the 18th century to the present and presumably beyond. That Mozart, by his own admission, struggled with the string quartet form is not evident in his six qua ...
... recognized in Haydn and recreated in his own way was essential to the development of Western music, and specifically the string quartet, from the 18th century to the present and presumably beyond. That Mozart, by his own admission, struggled with the string quartet form is not evident in his six qua ...
Music Program Template
... 1 Centered. All caps. Not bold. Font may match the rest of the program. The rest of the program should use no bold and should use a standard body-text font. 2 Generic title or title based on genre: capitalized, but with no italics. Also: use B-flat, Csharp, etc., and “Major” and “Minor” as needed. 3 ...
... 1 Centered. All caps. Not bold. Font may match the rest of the program. The rest of the program should use no bold and should use a standard body-text font. 2 Generic title or title based on genre: capitalized, but with no italics. Also: use B-flat, Csharp, etc., and “Major” and “Minor” as needed. 3 ...
20th Cent Definitions
... Instrumental music associated with a story, poem, idea, or scene, often found in the Romantic period An equal division of time Works which make extensive use of quotations from earlier music Slight holding back or pressing forward of tempo to intensify the expression of the music How music moves thr ...
... Instrumental music associated with a story, poem, idea, or scene, often found in the Romantic period An equal division of time Works which make extensive use of quotations from earlier music Slight holding back or pressing forward of tempo to intensify the expression of the music How music moves thr ...
Beethoven String Quartet Op 131
... Allegro molto vivace, we are in the Scherzo second movement with a new arrangement of two semitones: A#-B [1] and C#-D [2]. After an almost petulant fortissimo outburst, the music subsides to well-separated pianissimo chords that are not quite final, and we go straight into a short bridging recitati ...
... Allegro molto vivace, we are in the Scherzo second movement with a new arrangement of two semitones: A#-B [1] and C#-D [2]. After an almost petulant fortissimo outburst, the music subsides to well-separated pianissimo chords that are not quite final, and we go straight into a short bridging recitati ...
Musical Forms glossary - Bay Area Music Association
... Chaconne: a slow, stately instrumental work in duple meter employing variations. Chanson: French for song; in particular, a style of 14th- to 16th-century French song for voice or voices, often with instrumental accompaniment. Chant/plainchant: monophonic music used in Christian liturgical services ...
... Chaconne: a slow, stately instrumental work in duple meter employing variations. Chanson: French for song; in particular, a style of 14th- to 16th-century French song for voice or voices, often with instrumental accompaniment. Chant/plainchant: monophonic music used in Christian liturgical services ...
Program Notes for Ryan Stahl`s Senior Recital
... progression. Also included are standard 12-tone row permutations, but applied to the tonal themes, and ...
... progression. Also included are standard 12-tone row permutations, but applied to the tonal themes, and ...
Download Article Abstract
... Teaching eighteenth-century music effectively, particularly at a conservatory where the students are quite familiar with the music of Bach, Handel, Haydn, Mozart, and Beethoven, can prove challenging when you introduce less familiar material—the early works of Haydn and Mozart, for example, or the w ...
... Teaching eighteenth-century music effectively, particularly at a conservatory where the students are quite familiar with the music of Bach, Handel, Haydn, Mozart, and Beethoven, can prove challenging when you introduce less familiar material—the early works of Haydn and Mozart, for example, or the w ...
Program Notes - Roanoke Symphony Orchestra
... three-movement concerto formula; he replied — in another fit of ironic understatement! — that he felt it was necessary because the first and third movements were so “harmless.” The pianist hurls out a boldly rhythmic first theme, and the strings contribute a contrasting sighing melody, which the piano ...
... three-movement concerto formula; he replied — in another fit of ironic understatement! — that he felt it was necessary because the first and third movements were so “harmless.” The pianist hurls out a boldly rhythmic first theme, and the strings contribute a contrasting sighing melody, which the piano ...
Late Nineteenth-Century Developments after Beethoven
... Example: Anton Webern, Five movements for String Quartet, Op. 5 (1928-29), Third Movement Primitivism Example: Béla Bartók, String Quartet No. 4 (1928), fifth movement Neoclassicism Return to forms, genres and ideals of the 18th century and earlier — symphonies, sonatas, etc. — though with modificat ...
... Example: Anton Webern, Five movements for String Quartet, Op. 5 (1928-29), Third Movement Primitivism Example: Béla Bartók, String Quartet No. 4 (1928), fifth movement Neoclassicism Return to forms, genres and ideals of the 18th century and earlier — symphonies, sonatas, etc. — though with modificat ...
Level 9 - The Music Makers
... homophonic texture: a melody in one voice or part with accompaniment; chordal texture is a type homophonic texture, with pitches sounding simultaneously augmentation: the presentation of a subject or theme with note values doubled, for example, .l ...
... homophonic texture: a melody in one voice or part with accompaniment; chordal texture is a type homophonic texture, with pitches sounding simultaneously augmentation: the presentation of a subject or theme with note values doubled, for example, .l ...
Hans Kox - David Wright : Music
... human understanding. He has said that we must never ignore the past lest we shall be ignored by it. His early works show some influences of Beethoven, Bruckner, Wagner, Mahler and yet in the 1950s and 1960s he was keen to explore new music as were his modernist colleagues. He rejected innovationism ...
... human understanding. He has said that we must never ignore the past lest we shall be ignored by it. His early works show some influences of Beethoven, Bruckner, Wagner, Mahler and yet in the 1950s and 1960s he was keen to explore new music as were his modernist colleagues. He rejected innovationism ...
the PROGRAM - Rockport Music
... and Antonio Salieri. Beethoven dedicated his first published piano sonatas, the three works issued as Opus 2, to the 63-year-old Haydn, who was at the height of his fame. Given Beethoven’s exceeding piano skills, no one need be surprised that the Piano Sonata No. 3 in C major, not only exudes self-c ...
... and Antonio Salieri. Beethoven dedicated his first published piano sonatas, the three works issued as Opus 2, to the 63-year-old Haydn, who was at the height of his fame. Given Beethoven’s exceeding piano skills, no one need be surprised that the Piano Sonata No. 3 in C major, not only exudes self-c ...
Music 181: Structure of the Major Scale
... C. Knowing the order in which sharps and flats are added to key signatures? #s= bs= ...
... C. Knowing the order in which sharps and flats are added to key signatures? #s= bs= ...
MTO 18.2: Sly, Review of Damschroder
... approach. There are three innate encumbrances to this strategy. First, though he has done what he can to represent opposing perspectives fully and accurately, such a format cannot possibly manage this with uniform success. While the battle lines are certainly drawn well enough, a textured image of t ...
... approach. There are three innate encumbrances to this strategy. First, though he has done what he can to represent opposing perspectives fully and accurately, such a format cannot possibly manage this with uniform success. While the battle lines are certainly drawn well enough, a textured image of t ...
PROGRAM NOTE - San Diego Symphony
... Josef Suk, the son-in-law and one-time favorite pupil of Antonín Dvořák, became a leading Czech composer, noted particularly for his chamber music. Though he also played piano and organ, the violin was his main instrument and he became second violinist in the well-known Czech quartet. Suk wrote this ...
... Josef Suk, the son-in-law and one-time favorite pupil of Antonín Dvořák, became a leading Czech composer, noted particularly for his chamber music. Though he also played piano and organ, the violin was his main instrument and he became second violinist in the well-known Czech quartet. Suk wrote this ...
Elements of Sonata Theory - Trace: Tennessee Research and
... Hepokoski and Darcy are particularly precise in their definition. For them, the recapitulation is “another complete rotation through the action-zone layout initially set forth in the exposition. . . . Its expanse begins with the layout’s first module (P1) and continues until the last one has been so ...
... Hepokoski and Darcy are particularly precise in their definition. For them, the recapitulation is “another complete rotation through the action-zone layout initially set forth in the exposition. . . . Its expanse begins with the layout’s first module (P1) and continues until the last one has been so ...
Program Notes - The Friends of Chamber Music
... The sonata that opens Mr. Bidini’s program is one of three that were published together in 1802 as Opus 40. Although Clementi’s mature style is usually compared to Jan Ladislas Dussek, this B Minor work is arguably the most Beethovenian of his sonatas. The structure is compressed: two substantial mo ...
... The sonata that opens Mr. Bidini’s program is one of three that were published together in 1802 as Opus 40. Although Clementi’s mature style is usually compared to Jan Ladislas Dussek, this B Minor work is arguably the most Beethovenian of his sonatas. The structure is compressed: two substantial mo ...
Dwett - Laura Falzon
... slow-‐fast-‐slow-‐fast. Beginning with a slow Adagio followed by an energetic Allegro second movement, it is followed by a Siciliano, Baroque dance third movement, and a faster final Allegro fourth movement. ...
... slow-‐fast-‐slow-‐fast. Beginning with a slow Adagio followed by an energetic Allegro second movement, it is followed by a Siciliano, Baroque dance third movement, and a faster final Allegro fourth movement. ...
+54 - Dubrovačke ljetne igre
... origin of the Sonata for flute and harpsichord in G minor, BWV 1020. Y. Kobayashi considers it to be a piece by Carl Philipp Emanuel Bach (1714-1788). Some (for instance, Schmieder) believe it to be an authentic adolescent piece by Johann Sebastian Bach (1685-1750). The others (such as Spitta) place ...
... origin of the Sonata for flute and harpsichord in G minor, BWV 1020. Y. Kobayashi considers it to be a piece by Carl Philipp Emanuel Bach (1714-1788). Some (for instance, Schmieder) believe it to be an authentic adolescent piece by Johann Sebastian Bach (1685-1750). The others (such as Spitta) place ...
Higher Concepts - Garnock Academy
... played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is used to describe the structure of the first movement of many sonatas, symphon ...
... played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is used to describe the structure of the first movement of many sonatas, symphon ...
Higher Concepts - Dunblane High School Music Website
... opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is used to describ ...
... opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is used to describ ...
Higher Concepts Higher Music Listening 2014 Onwards Music
... played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is used to describe the structure of the first movement of many sonatas, symphon ...
... played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is used to describe the structure of the first movement of many sonatas, symphon ...
Beethoven Study Sheet
... Beethoven Study Sheet You will need to know the following for your quiz Songs that Beethoven wrote: Ode to Joy Moonlight Sonata Fur Elise Symphony #9 Beethoven can be described as: Angry Messy Musical Later in life Beethoven became: Deaf Beethoven’s relationship with his father: Wa ...
... Beethoven Study Sheet You will need to know the following for your quiz Songs that Beethoven wrote: Ode to Joy Moonlight Sonata Fur Elise Symphony #9 Beethoven can be described as: Angry Messy Musical Later in life Beethoven became: Deaf Beethoven’s relationship with his father: Wa ...
Sonata form
Sonata form (also sonata-allegro form or first movement form) is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period).While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this, sonata form is difficult to pin down in a single model.The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.Since its establishment, the sonata form became the most common form in the first movement of works entitled ""sonata"", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within eras and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.