Power point 16. The Classic Era: Early Classic Italian Opera
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The document summarizes the Classic Era of opera from 1750-1820. It describes the characteristics of early classic Italian opera, including small casts consisting of castrati, sopranos, tenors, and the structure of da capo arias and ensembles. Intermezzi were short comic operas performed between acts of serious operas. Opera buffa were full length comic operas influenced by commedia dell'arte. Italian opera was popular throughout Europe, with composers like Hasse, Pergolesi, Jomelli, J.C. Bach, and Traetta producing operas in Italy, Germany, and Russia. Christoph Willibald Gluck's operas emphasized dramatic unity and simplicity to heighten
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This document provides an overview of opera and music drama in the 19th century. It discusses the roles and popularity of opera, the development of bel canto singing, the rise of nationalism in opera, and the growth of grand opera in France led by composers like Meyerbeer. Italian opera of the early century is described, focused on Rossini, Bellini, and Donizetti. Verdi emerges as the dominant later figure in Italian opera, developing the art form with works like Rigoletto, La Traviata, Aida, and Otello. German opera before Wagner is also briefly touched on.
Chapter 27 - Early Romantic Opera
Opera developed significantly in the Romantic era. In Italy, bel canto opera flourished with composers like Rossini, Bellini, and Donizetti. Their operas featured beautiful singing styles and melodies. In France, grand opera became popular with works by Meyerbeer that included large choruses and spectacles. German opera emerged with composers like Weber who drew on national folk influences. By mid-century, opera had become a widespread genre across Europe with new houses and audiences.
Chapter 18 Performing Grief: Purcell and Early Opera UPDATED
This document discusses the key characteristics and components of Baroque opera. It provides an overview of how opera developed from early dramatic works and became a large musical genre combining poetry, singing, instrumentation and staging. The document focuses on important composers like Monteverdi, Purcell and Handel who helped establish opera and discusses key works like Monteverdi's Orfeo and Purcell's Dido and Aeneas. It describes characteristics of Baroque opera like the use of recitatives, arias and basso continuo accompaniment.
Chapter 28 wagner, verdi, bizet, puccini, & the russians
This document provides an overview of Richard Wagner and Giuseppe Verdi, two influential 19th century composers. It discusses Wagner's concept of the Gesamtkunstwerk and his major operas including Der Ring des Nibelungen and Tristan und Isolde. It also covers his influence on later composers. For Verdi, it summarizes his career and style, and analyzes some of his famous operas such as Rigoletto, La Traviata, Aida, and how he supported Italian nationalism through his work.
Power Point 25. The Romantic Era: Diverging Traditions in the Late 19th Century
This document summarizes diverging traditions in late 19th century music between nationalism and internationalism. It provides an overview of prominent composers from different regions who either incorporated national folk elements or adopted more cosmopolitan styles. Key composers discussed include Dvorak, Smetana, and Janacek from Bohemia; Grieg and Sibelius from Scandinavia; the Russian nationalist group known as the Mighty Five including Mussorgsky and Rimsky-Korsakov; and internationalists like Tchaikovsky. French composers covered are Bizet, Franck, Saint-Saens, and Fauré. In England, Edward Elgar is discussed.
Chapter 31 Making It Real: Mozart & Classical Opera
This document discusses Mozart and classical opera. It notes that opera was enjoyed by the middle class and aristocracy during this period. Both Haydn and Mozart composed many operas, though most of Haydn's are lost. Mozart wrote some operas in German, including singspiels performed in folk theaters that often satirized the aristocracy. The document outlines different opera types of the time and examines Mozart as a master of opera, noting he wrote in both German and Italian. It provides details on some of Mozart's most famous operas, including The Marriage of Figaro, Cosi fan tutte, and Don Giovanni.
Chapter 21 Later Romantics.pptx
Franz Liszt was one of the most famous and influential pianists and composers of the 19th century. He pioneered new piano techniques and was the first to give solo piano recitals. As a composer, he invented the symphonic poem and made innovations in harmony. Johannes Brahms was a leading German composer who wrote symphonies, chamber works, piano music, and over 200 songs. His works were influenced by Baroque counterpoint and he championed the music of Bach. Pyotr Ilyich Tchaikovsky was the most prominent 19th century Russian composer, known for his ballets, operas, and symphonies, including his popular Symphony No. 4 and 5.
Power point 15: Late Baroque Music in Germany
German composers in the Late Baroque Era incorporated elements from German, French, and Italian styles in their compositions. Key figures included Dietrich Buxtehude, who wrote organ works based on chorales as well as praeludiums, Georg Philipp Telemann who was extremely prolific across genres, and George Frideric Handel who combined Italian and German styles in his operas and oratorios. Johann Sebastian Bach lived in several German cities over his career, was highly influential as a keyboard player and composer of cantatas, passions, oratorios and instrumental works, and incorporated counterpoint and chromatic harmony into his distinctive compositional style.
Verdi and the Opera (Romantic Period)
Opera is a drama set to music that includes elements like poetry, scenery, costumes, acting, and dancing in addition to singing and music. The document defines key components of opera like the libretto, overture, recitative, aria, ensembles, chorus, orchestra, ballet, and acts/scenes. It also provides biographical information about Giuseppe Verdi, noting he was Italy's foremost opera composer who wrote 27 operas between 1840-1893, including famous works like Rigoletto, La Traviata, Aida, Otello, and Falstaff.
Power point 11: Early Baroque Music
The Baroque era saw the development of new musical styles and genres between 1600-1750. A key doctrine was that a piece of music should express a single emotion. Early styles included Stile Antico which used polyphony and strict rules versus Stile Moderno which broke rules to effectively express text. The Florentine Camerata in the 1570s-80s planned to revive Greek opera and develop monody with solo melody and basso continuo accompaniment. Early opera began around 1600 with Dafne by Peri and L'Euridice by Peri and Caccini. Monteverdi's 1607 opera L'Orfeo was highly influential in establishing conventions for the new genre such
Power point 14: Late Baroque Music in France and Italy
Vivaldi was a prominent composer in late Baroque Italy who wrote over 500 concertos, most notably The Four Seasons. He helped popularize the solo concerto form which alternated between a solo instrument accompanied by orchestra and full orchestra sections. In France during this period, Couperin wrote keyboard suites comprised of dances and character pieces that featured ornamentation. Rameau was an influential opera composer and theorist who incorporated Italian styles like da capo arias into French opera, while still retaining French elements like overtures and recits with shifting meter.
Gaetano Donizetti - English Version
Gaetano Donizetti was an Italian composer from Bergamo who lived from 1797 to 1848. He was one of the great masters of the bel canto opera style and was extremely prolific, composing over 70 operas as well as other works. Some of his most famous and popular operas include Lucia di Lammermoor, L'elisir d'amore, and Don Pasquale. Donizetti dominated the Italian opera scene between the deaths of Bellini and the rise of Verdi, helping to transition opera between the styles of Rossini and Verdi. He was renowned for his skill in dramatic construction and ability to build excitement and tension entirely through melody.
Music 9 Q4 Lesson 1 vocal music composers
The document discusses vocal music of the Romantic period from 1820-1910. It provides information on characteristics of Romantic vocal forms like art songs and operas which featured fantasy, the supernatural, romance, and using nature as a reflection of the human heart. It then profiles several famous opera composers from the period, including Franz Schubert, Giuseppe Verdi, Giacomo Puccini, Richard Wagner, and Georges Bizet. It lists some of their most famous works and provides basic biographical details about each composer.
Classical power point
During the Classical era from 1750-1825, art and music embraced order, balance, and classical ideals inspired by ancient Greece and Rome. This era saw the rise of the symphony, string quartet, and sonata forms, as well as major composers like Haydn, Mozart, and the early Beethoven. Their instrumental works featured memorable melodies, homophonic textures, and an emphasis on form and structure over improvisation. Opera and chamber music were also popular genres during this period.
lesson1vocalmusiccomposers-190121081121 (1).pptx
The document summarizes vocal music of the Romantic period from 1820-1910 and profiles famous opera composers from that era. It notes that romantic vocal forms like art songs and operas featured fantasy, the supernatural, romance, and using nature as a reflection of the human heart. It then provides brief biographies and lists of famous works for five major opera composers from this period: Franz Schubert, Giuseppe Verdi, Giacomo Puccini, Richard Wagner, and Georges Bizet. Their operas helped establish new forms of expression and pushed the boundaries of vocal performance.
Romanticism in opera
Romanticism was an artistic movement from 1775-1850 that featured solitary heroes, strong emotions, and individuals apart from society. It emphasized passion, nature, and feelings over reason. Key characteristics included intense passion in love and anguish, daring acts, and brooding poets apart from normal society. Goethe's 1774 novel The Sorrows of Young Werther popularized these tropes and influenced generations of artists. The movement also drew inspiration from imagined ancient poems like those of Ossian that were actually literary forgeries. Operas like Werther and Romeo and Juliet depicted these romantic ideals through stories of doomed lovers and individuals willing to risk death for love.
Impressionism Music.ppt
The document discusses musical styles and genres that emerged in the 20th century, including Impressionism. It profiles two influential French composers, Claude Debussy and Maurice Ravel, describing their compositional styles and most famous works. Debussy dissolved traditional rules with parallel chords and whole-tone scales. Ravel was a perfectionist known for dissonant yet elegant harmonies. Both composers explored tone color and atmosphere in pieces like Debussy's Clair de Lune and Ravel's Jeux d'eau.
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Ch21 – Opera & Vocal Music in the Early Classical Era.pptx
Ch21 – Opera & Vocal Music in the Early Classical Era.pptx
Power point 22. The Romantic Era: Early Romantic Opera
Power point 22. The Romantic Era: Early Romantic Opera
Power point 23. The Romantic Era: Late Romantic Opera
Power point 23. The Romantic Era: Late Romantic Opera
Chapter 18 Performing Grief: Purcell and Early Opera UPDATED
Chapter 18 Performing Grief: Purcell and Early Opera UPDATED
Chapter 28 wagner, verdi, bizet, puccini, & the russians
Chapter 28 wagner, verdi, bizet, puccini, & the russians
Power Point 25. The Romantic Era: Diverging Traditions in the Late 19th Century
Power Point 25. The Romantic Era: Diverging Traditions in the Late 19th Century
Chapter 31 Making It Real: Mozart & Classical Opera
Chapter 31 Making It Real: Mozart & Classical Opera
Power point 14: Late Baroque Music in France and Italy
Power point 14: Late Baroque Music in France and Italy
More from Scott Marosek
Power point 19. The Classic Era: Beethoven
This document provides biographical information about Ludwig van Beethoven and summarizes the key periods and styles of his compositions. It is divided into sections on his early life and education, his early compositions that were influenced by Haydn and Mozart, his heroic middle period starting around 1803 characterized by expanded forms and counterpoint, and his late period starting in 1815 with more meditative and developed works. The document also provides context about the Enlightenment period in which Beethoven was composing and how his music reflected Enlightenment ideals through heroic, universal, and nature-inspired themes.
Power Point 18. The Classic Era: Haydn and Mozart
Franz Joseph Haydn (1732-1809) was an Austrian composer who spent much of his career writing works for the Esterházy family in Hungary. He is known for introducing humor into his works through unexpected musical elements. His symphonies and string quartets followed sonata form and featured development throughout. Important works include his string quartets, symphonies, and the oratorio The Creation. Wolfgang Amadeus Mozart (1756-1791) was a child prodigy composer from Salzburg who toured extensively as a performer. He was influenced by various styles he encountered in England, Italy, and Vienna. Mozart composed in many genres including symphonies, concertos,
Power point 17. The Classic Era: Early Classic Instrumental Music
This document summarizes early classical keyboard and orchestral music from around 1750. It discusses the Italian composer Domenico Scarlatti and his 550 harpsichord sonatas. It also discusses three German composers: J.C. Bach and his style galant keyboard music characterized by simplicity and elegance; C.P.E Bach and his empfindsamer stil which featured continual changes in expression; and Johann Stamitz who conducted the renowned Mannheim orchestra and developed elements of sonata form.
Power point 13: Late Baroque Instruments, Concerto Grosso, Opera Seria
The Late Baroque period saw developments in instrumental music forms and genres. The concerto grosso featured a small group of soloists alternating with a larger ensemble. Opera seria was dominated by da capo arias for leading singers like castrati and sopranos, with minimal ensembles and choruses. Keyboard instruments like harpsichord and organ remained prominent, and woodwind instruments like oboe, bassoon, and transverse flute gained importance as solo instruments through sonatas and concertos. String instruments gradually standardized tuning and technique during this period.
Power point 10: Instrumental Music in the 1500s
Music in the Renaissance Era from 1420-1600 saw the development of instrumental music. Treatises in the vernacular provided instruction for amateurs and professionals. The 1500s saw the first lasting tradition of written polyphonic instrumental music. Composers did not specify instruments, allowing for flexibility. Instrumental music was played on families of instruments including winds, plucked strings, bowed strings, and keyboards. New genres included dance suites and variations on vocal themes. Italian composers like the Gabrielis and Frescobaldi pioneered abstract instrumental works for ensembles.
Power point 8: Music of the Reformation
The Reformation began in the 1500s when Martin Luther posted his 95 theses criticizing the Catholic Church, establishing the Protestant branch of Christianity. In Lutheran areas of Germany and Scandinavia, hymns replaced most Latin chants in worship, beginning with monophonic hymns and later incorporating polyphony. Calvinist worship in Switzerland, France, and Germany only allowed biblical texts set to metrical psalms, initially monophonic but later with polyphony. Across Europe, Renaissance vocal polyphony developed further from 1420-1600, with composers like Palestrina and Lasso writing multi-voiced masses, motets, and other sacred music that carefully balanced text clarity with complex counterpoint.
Power point 7: Second and Third Generation Renaissance Vocal Polyphony
During the Renaissance period from 1420-1600, vocal polyphony developed in several ways. Franco-Flemish composers like Ockeghem, Busnoys, Obrecht, Isaac, and Des Prez advanced the genre through more complex meter, cadences using triads rather than double leading tones, and greater use of imitation between equal voices. They also composed secular masses and chansons in addition to sacred masses and motets. By the late Renaissance, composers like Des Prez expertly set text to music and incorporated both imitation and homophony into highly structured works.
Power point 6: First Generation Renaissance Vocal Polyphony
The document summarizes music of the Renaissance era from 1420-1600. It describes the development of polyphony in England and Burgundy during the early Renaissance, with composers like Dunstable, Binchois, and DuFay popularizing new styles. Key changes included the introduction of meter, new cadence formulas, three-voice textures, secular forms like the chanson and ballade, and masses that used existing melodies (cantus firmus) as structural voices. DuFay's works exemplified international Renaissance styles through pieces like the ballade "Resvellies Vous" and his cantus firmus mass "Missa se la face ay pale."
Power point 5: Ars Nova
1. Ars Nova was a style of music that developed in 14th century France and Italy, outlined by theorist Philippe de Vitry in his treatise of the same name.
2. De Vitry introduced innovations like motets with 3 voices, hocket technique, and imperfect consonances that had to resolve. Mensural notation also became more complex during this time period.
3. Guillaume de Machaut was a renowned 14th century poet and composer who further developed Ars Nova styles and techniques in genres like motets, masses, and chansons.
Power point 3: Medieval Secular Vocal Music
Medieval secular vocal music developed outside of the church in various regions of Europe between the 11th-13th centuries. In France, the earliest known French writings date to the 800s and included chanson de geste epic poems that were performed by wandering minstrels. Distinguished troubadours and trouvères, who were poet-composers of the nobility, composed songs of courtly love during this period in Southern and Northern France. In Germany, minnesingers wrote bar form love songs praising courtly love. In Iberia, the Cantigas de Santa Maria collection of songs was compiled in the 1200s under King Alfonso X of Castile. Penitential lauda songs were
Power point 1: Ancient Music
This document provides an overview of the history and development of ancient music from prehistoric times through ancient Greece and Rome. It traces the earliest evidence of musical instruments dating back 36,000 BCE found in bone flutes and whistles. Musical traditions developed over millennia, as evidenced by instruments becoming more advanced in different ancient cultures. In ancient Greece, music was deeply ingrained in society and closely linked to mathematics and philosophy. Greek writings provide valuable insights into their theories of music and use of specific instruments. While little music survives from ancient Rome, Greek musical concepts and instruments influenced Roman music.
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Power point 17. The Classic Era: Early Classic Instrumental Music
Power point 17. The Classic Era: Early Classic Instrumental Music
Power point 13: Late Baroque Instruments, Concerto Grosso, Opera Seria
Power point 13: Late Baroque Instruments, Concerto Grosso, Opera Seria
Power point 7: Second and Third Generation Renaissance Vocal Polyphony
Power point 7: Second and Third Generation Renaissance Vocal Polyphony
Power point 6: First Generation Renaissance Vocal Polyphony
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Power point 16. The Classic Era: Early Classic Italian Opera
- 2. Early Classic Italian Opera: Opera ca. 1750
- 3. •small cast: –castrati: •primo uomo—leading man •secondo uomo –sopranos: coloratura or lyric •prima donna--leading lady •seconda donna –tenor: father, king, mentor •da Capo aria •aria @ end of scene, culminates in singer’s exit •occasional duet •few large ensembles •Alessandro Scarlatti, Handel •Johann Adolph Hasse –Italian operas in Germany –Cleofide Metastasio (1698-1782) •libretti set by many composersOpera seria Hasse
- 4. Intermezzo • short comic opera performed between acts of an opera seria • 2 acts • each act 2 or 3 da capo arias & secco recitatives, concludes with duet • 2 singing roles – buffo bass – soubrette soprano • 1 or 2 mute characters • commedia dell’arte was model • Pergolesi, La Serva Padrona Pergolesi Opera Buffa • full length comic opera • large cast • ensemble finale • influenced by intermezzo
- 5. commedia dell’arte • masked Italian street theatre • regional dialects Dovelike, gentle, Harlequin’s female counterpart, servant, soubrette ColumbinePulcinella hunchback, large nose, servant Harlequin nimble, witty, capriccious heartless lover, servant, stupid, gluttonous Scaramouche cowardly soldier, conquests in love & war Patalone miserly old merchant Il Dottore boring, old lawyer, lengthy speeches
- 6. • Jomelli: – Italian – operas in Italy and Germany • J.C. Bach: – German – operas in London • Traetta – Italian – operas in Russia Italian Opera Popular throughout Europe
- 7. Christoph Willibald Gluck •Opera Reform –unified theatrical production •ballet, chorus integrated with action –music expresses drama •fewer da capo arias •levels of recitative (secco to accompagnato) lead into aria •simplicity—no superfluous ornamentation •overture leads into 1st scene •Sturm und Drang: “Storm and Stress” –German literary & dramatic movement –goal is to frighten, shock, overcome with emotion •in opera, emphasized by music, costumes, staging – Orfeo ed Euridice, “Furies scene”