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| when romantic composers deliberately create music with specific nationality, folk songs, dances, legend, and history |
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| when composers draw on colorful material from foreign lands |
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| instrumental music associated with story, poem, idea, or scene |
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| slight holding back or pressing forward of tempo |
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| when a leody returns in a later movement or section of romantic works, this is when the character may be transformed by changes in dynamics |
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| German word, commonly used for song with German text |
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| repeating the same music for each stanze of a poem |
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| writing new music for each stanza of a poem |
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| a piece designed to help a performer master specific technical difficulties |
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| single melody used in several movements of a long work to represent a recurring idea |
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| symphonic poem (tone poem) |
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| programmatic composition for orchestra in one movement, which may have traditional form |
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| instrumental music having no intended association with a story, poem, scene |
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| symphony related to story, idea, scene, in which each movement usually has a descriptive title |
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| independent composition for orchestra in one movement, usually in sonata form, often in romantic period |
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| music intended to be performed before and during play, setting mood for drama |
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| an Italian literary movement |
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| short musical idea associated with a person, object, or thought, characteristics of the operas of wagner |
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| To display his own incomparable piano mastery, this man composed Transcendental Etudes |
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| develops new form of program music that influences later composers |
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| Johann Wolfgang von Goethe. |
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| Among Liszt's favorite inspirations were the literary works of |
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| had a charismatic personality and was a stupendous performer. |
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| Liszt typified the romantic movement because he |
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| arpeggios, rapid octaves and daring leaps, and complexity of sound |
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| Characteristics of liszt's piano works |
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| In many of his works, Liszt unified contrasting moods by a process known as |
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| During his teens and twenties, Liszt lived in |
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| As a youth, Liszt was influenced by the performances of |
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| Liszt created the ______________, a one-movement orchestral composition based to some extent on a literary or pictorial idea. |
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| Liszt abandoned his career as a traveling virtuoso to become court conductor at _____________, where he championed works by contemporary composers. |
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| Until the age of thirty-six, Liszt toured Europe as a virtuoso |
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| The high point of Mendelssohn's career was the triumphant premiere of his oratorio _____________ in England. |
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| soloist, who presents the main theme. |
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| Mendelssohn's Concerto for Violin in E Minor opens with a(n) |
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| are played without pause. |
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| The three movements of Mendelssohn's Concerto for Violin |
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| appears at the end of the development section as a transition to the recapitulation. |
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| In the first movement of the Concerto for Violin, the cadenza |
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| Mendelssohn is known as the man who rekindled an interest in the music of |
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| In order to support his family, Berlioz turned to |
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| sensationally autobiographical program, amazingly novel orchestration, vivid description of the weird and diabolical |
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| Parisians were startled by Berlioz's Fantastic Symphony because of its |
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| In 1830 the Paris Conservatory awarded Berlioz |
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| The liturgical melody quoted in the last movement of the Fantastic Symphony is the |
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| Outside France, Hector Berlioz enjoyed a great career as a(n) |
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| Berlioz's Fantastic Symphony is unified by the recurrence of a theme known as the |
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| love for the actress Harriet Smithson. |
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| The Fantastic Symphony reflects Berlioz's |
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| The fourth movement of the Fantastic Symphony depicts a |
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| The Sorcerer's Apprentice |
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| Which of the following was not composed by Berlioz? |
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| The second movement of the Fantastic Symphony is a __________, the most popular dance of the romantic era. |
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| a wealthy benefactress who provided Tchaikovsky with an annuity. |
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| At its premiere in 1870, Tchaikovsky's Romeo and Juliet Overture was |
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| Symphony no. 6, marche slave, overture 1812 |
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| Tchaikovsky's Romeo and Juliet is a(n) |
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| a slow, despairing finale |
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| Tchaikovsky's Sixth Symphony ends with... |
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| Smetana grew up when Bohemia was under _________ domination. |
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| Smetana is regarded today as the father of ___________. |
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| Smetana's most popular opera is |
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| Smetana's most famous work is the tone poem Ma Vlast (My Land). In it, the movement called The Moldau depicts ____________ |
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| are exquisite miniatures. |
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| the left hand must play rapid passages throughout. |
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| Chopin's Revolutionary Étude in C Minor develops the pianist's left hand because |
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| produce big sounds on the piano. |
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| Because of his size, it was difficult for Chopin to |
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| Much of Chopin's music is an example of |
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| The most original, and probably the greatest of the Russian five, was |
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| The romantic period in music extended from about 1820 to 1900. |
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| Romantic style flourished in music when? |
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| emphasis on self-expression and individuality of style. explores flamboyance and intimacy, unpredictability and melancholy |
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| What are the characteristics of romanticism? |
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| a composition for solo voice and piano |
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| What instrument was often found in most middle-class homes during the romantic period? |
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| Franz Schubert's song Erlkönig is in what song form? |
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| How many songs did Franz Schubert write? |
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| Which composer first developed the symphonic poem? |
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| How many musicians might be included in an orchestra in the late romantic period? |
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