Schubert: Sonata in B-Flat Major (First Mvmt)

- Schubert’s most unusual contribution to sonata form:

- Schubert uses the sub-dominant

goes through 3 keys

melody like a song

- modulates to sub-dominant in the exposition as the 2^nd theme

- sub-dominant was like a point of rest

Schumann: Davidsbundlertanze, Op. 6

an agressive key experience

perpetually moving to keys to find b minor

ends last piece in C maj

Hamonic ambiguity (not T-D), rhythmic ambiguity 

recall of #2 in #17

lots of little b minor sections to ensure importance

Chopin: Ballade in F Minor, Op. 52

sounds like from baroque

Combined Theme and variation with Sonata form and mixed it into a ballade. 

created new standard of forms with preludes and etudes

harmonic ambiguity 

Ballade tells a story

(Block) every cadence is a key area

Wagner: Die Walkure (Act III, scene iii)

E major!

wotan puts brunhilda to sleep becasue she disobeyed him

makes her mortale, and puts to sleep waiting for hero. renunciation of love theme

while she sleeps, magic sleep

5 families

spear, nature, love, heroic humanity, mystery

ways of categorizing motifs

musical themes and motives for each family

spear is law

spear motive is bent and broken by brunhilda,

sings in major

magic fire is mystery (chromatic motif)

Bizet: Carmen (Prelude and act I, nos. 3-6)

comdedic opera

bullfight and don jose music

spoken word at first

gireo changed to recitative to become grand opera

women as chromatic,

micaela first as chromatic but later not.

Brahms: Symphony no. 4 in E minor Op. 98

combines sonata form and theme and variations

synthesized the past, rather than moved away

uses insperation from bach (Contata 150) and beethoven 5th symphony

Fits sonata form better than Eroica (Block)

paraphrase, decending 3rds at of main theme recap

takes melodys and creates new ones with them

development returnes to theme with counterpoint

coda is stuck on (fi)

Verdi: Otello (Act IV)

wrote Otello after retirement when he was 74

verdi and shakespeare differences:

names and pronunciations,

cut out first act and inserted a love duet,

Iago less subtle in character (motivation) 

Iago believes in cruel god, not what otello did

Willow Song (act IV) and an Ave Maria

Otello as a great hero, 

Love Duet, lost of stings, and kiss theme, establishes key

right before Iago kills her, Kiss theme, and B/A he kills himself

grows in Counter point  and dynamics to represent Jealousy (in wrong key to represent inner thoughts)

interrupted by keys to resemble interrupted thoughts 

Dvorak: Symphony no. 9 in E Minor, Op. 95

open 5ths and pentatonics 

perception is everything

Debussy: Prelude to the Afternoon of a Faun

went away from traditional harmonies

paralelism, and break down of functional harmonies

but didnt abandon harmony or function

instead used modes and created whole tone scale

chromaticism and tri-tone to work in an ambiguous (atonal) effect except tonality excerpts of E major

flute harmonies in many ways through out work

Mahler: Fifth Symphony (Mvmts IV and V)

large orchestration for brass

progressive tonality

adagietto is a friedrich ruckert song

and as a decleration of love for Alma

(paraphrases tristan in B sect)

one big appogatura

disonence on strong and resol;ution on weak beats

Rondo-Finale with sonata and fugue like traits. Donkey song in every b section

brass fanfares

about struggle that hasnt been overcome

lots of self borrowing

Debussy: Syrinx

Schoenberg: Pierrot Lunaire 

(no. 7 Der Kranke Mond, No. 8 Nacht, No. 13. Enthauptung, No. 18 Mondfleck, No. 21 O Alter Duft,)

Stravinsky: Rite of Spring

could be ballet or symphony

composed both piano and orchestration

booed off stage at first

only one described folk song (when 5 songs are borrowed)

large orchestration (lots brass)

sac dance is missing in sketch book 

conductor criticism changed parts of music

melodies are within p4, p5 min 3rd and octatonic

(hill) didnt want to be limited by octatonic or conform to it anymore than follow folk songs

RoS chord fits in Octatonic

meters:

irregular accents on beats on simple duple

 sextuple rhythm with accents on 2&4

also conception of unequal beats

11/8 meter

with accent not on down beat

unequal rhymic cells that block thinks are dance steps

Ives: Concord Sonata (Hawthorne and the Alcotts)

Parlante (mix with recitative and speach)

avoids cadences and moves towards more a of continuity

voice allowed flexability through the orchestra

(Tauskan) Wagner and Verdi: similarities and didnt want the connotation

Wagner abandonded aria, verdi stuck to his roots and traditions and refined them (improved what already worked)

Burkholder:

wanted to redefine modern music by not leaving traditional, but push it further. Used passed to lean upon and advance where they left off.

More modern than Wagner becasue he sounds old-fashioned, not radically different (like Wagner does)

(similar to neo-classicism)

very first modern composer

Nationalist is an exploitation of ones own culture 

and can be deemed to be as a limitation for composer to move forward

base melodies off of tradintional folk songs

and the way the music is precieved

Exotisism uses aspects of other countries to emulating them (mainstream vs exoitc)

Bizet (pentatonic scale as spanish)

Us and them

chromatic and wierd, them

diatonic tonality structure and social order, us (tonal)

women aserting dominance (not being in their place)(chromatic), carmen.

mikala at first too

when she dies, music is tonal again