Power point 19. The Classic Era: Beethoven
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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.
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Ch17 late 17th century italy & germany
Italy and Germany had diverse and vibrant musical cultures in the late 17th century. In Italy, opera was the dominant genre, centered in Venice, with increasing numbers of da capo arias. Instrumental forms like the sonata and concerto flourished, particularly thanks to composers like Corelli. Germany drew on Italian and French influences while maintaining native styles. Lutheran church music incorporated both older polyphony and newer concerted styles, with Buxtehude and Pachelbel composing influential organ works during this period.
WK 13 - 19th Century Age of Romanticism, Early Romantics, French Grand Opera.ppt
This document provides information about Ludwig van Beethoven and the context of his life and career, including:
- Beethoven lived from 1770-1827 and worked in Bonn and Vienna as a composer and pianist.
- His career spanned the Classical and early Romantic periods and he helped define the Romantic view of the artist.
- His works are divided into three periods - early, middle, and late - which saw increasing experimentation and expression of personal struggle.
- Major works included 9 symphonies, 16 string quartets, and 32 piano sonatas that pushed technical and expressive boundaries.
Chapter 35 Dancing At The Keyboard: Chopin and Romantic Piano Music
This document discusses romantic piano music and prominent composers of the genre. It covers how the piano evolved to become louder and more responsive to virtuosic playing, fueling the popularity of piano concertos. Composers like Chopin, Schumann, Liszt, and Clara Schumann excelled at short lyric pieces. The document provides examples of works by these composers, including Chopin's mazurkas and preludes, Schumann's "Dedication," and Liszt's "La Campanella." It describes the lives and musical contributions of Chopin, Schumann, Clara Schumann, and Liszt.
Classical Period
The document provides historical background on the Classical period in music from 1750-1830. It discusses the orderly and balanced nature of Classical music as well as important cultural and historical events during this time period. The characteristics of Classical music are described, including forms like the symphony, sonata, and concerto. Biographies and notable compositions of Haydn, Mozart, and Beethoven are summarized as the three major composers of the Classical period who developed Classical music forms and expanded the use of dynamics and instrumentation.
Renaissance
The Renaissance period from 1450-1600 saw a rebirth of learning that was inspired by ancient Greek and Roman culture. Notable historical events during this time included Columbus' voyage in 1492 and the start of the Protestant Reformation under Martin Luther in 1517. This era saw developments in many artistic disciplines including painting, architecture, and music, with new forms such as the madrigal and the birth of opera in the late Renaissance.
3rd Q PPT in Music G9 21-22.pptx
The document provides an overview of instrumental music from the Romantic period. It discusses how Romantic music featured freedom, creativity, emotion, and experimentation compared to the strict rules of Classical music. New forms emerged such as the symphonic poem, art song, nocturne, etude, and polonaise. It also profiles several influential Romantic composers such as Chopin, Liszt, Berlioz, Schumann, Mendelssohn, and Saint-Saens, highlighting their contributions to instrumental music through genres like piano miniatures, symphonic poems, and marches.
MAPEH Grade 9 - Music - Music of the Classical Period - Composers during the ...
MAPEH Grade 9 - Music - Music of the Classical Period - Composers during the ...Talangan Integrated National High School
The document provides an overview of classical period music between 1750-1820. It discusses key characteristics including a shift away from Baroque complexity towards simplicity and balance inspired by ancient Greece. The classical orchestra became standardized and instrumental music was patronized by nobility. Major composers like Haydn, Mozart, and Beethoven emerged, developing new forms like the sonata and symphony. Their works came to define the classical style through harmonic homophony, clear dynamics, and forms emphasizing single melodies with accompaniment.Classical Period Music
This document provides an overview of classical music, including its historical background from 1750-1830, cultural context, and key characteristics. It then profiles three major classical era composers: Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. Haydn developed the symphony and was known for his humor and balanced compositions. Mozart was a child prodigy who experimented in all musical genres. Beethoven bridged the classical and romantic eras with larger-scale works and was deaf for much of his career.
musicoftheclassicalperiod-190812161443.pdf
The document discusses the Classical period of Western music from 1750-1820. It began as an attempt to simplify the complexity of the Baroque period by emulating ancient Greek styles. The Classical period saw the standardization of the orchestra and the rise of instrumental music. Major composers like Haydn, Mozart, and Beethoven composed symphonies, sonatas, concertos and operas that followed classical forms and appealed to the emerging middle class audience.
Prelude 5 The Romantic Era
The document provides an overview of music and culture during the Romantic era in the 19th century. Some key aspects covered include the rise of individual expression and emotion in music, the growth of concert halls and audiences, larger orchestras, and the influence of nationalism as composers incorporated folk music styles into their works. Composers gained more independence and prestige during this time as classical forms and genres continued alongside new styles of piano music and orchestral works.
Beethoven - Chapters 29 and 30
Beethoven was a pivotal composer who represented the transition from Classical to Romantic eras. He broke from formal Classical structures and expressed more emotion and drama. As he went deaf, his music became more introspective. He expanded orchestral and piano techniques and forms like the sonata and symphony. His 5th Symphony uses a simple four-note motif throughout, and his 9th includes voices and text for the first time in a symphony. Beethoven was considered a musical revolutionary who transformed classical forms into vehicles of personal expression.
musicoftheclassicalperiod-190812161443 (2).pptx
The document provides an overview of classical period music between 1750-1820. It discusses key characteristics including a shift away from Baroque complexity towards simplicity and balance inspired by ancient Greek styles. The classical orchestra became standardized and instrumental music was patronized by nobility. Major composers like Haydn, Mozart, and Beethoven emerged, developing new forms like the sonata and symphony. Their works came to define the classical style through harmonic homophony, clear dynamics, and forms emphasizing single melodies with accompaniment.
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.
music9.pptx
The document provides an overview of classical period music between 1750-1820. It discusses key characteristics including a shift away from Baroque complexity towards simplicity and balance inspired by ancient Greece. The classical orchestra became standardized and instrumental music was patronized by nobility. Major composers like Haydn, Mozart, and Beethoven emerged, developing new forms like the sonata and symphony. Their works came to define the classical style through harmonic homophony, clear dynamics, and forms emphasizing single melodies with accompaniment.
Classical Instrumental Chamber
1. The document provides an overview of classical instrumental and chamber music forms, including the piano, string quartet, classical concerto, and classical sonata.
2. It also summarizes the life and important compositions of Ludwig van Beethoven, a crucial figure in the transition from classical to romantic eras known for his 9 symphonies, 5 piano concertos, and 32 piano sonatas, many composed while deaf.
3. Sample works by Haydn and Beethoven are referenced for listening and score study.
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WK 13 - 19th Century Age of Romanticism, Early Romantics, French Grand Opera.ppt
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Chapter 35 Dancing At The Keyboard: Chopin and Romantic Piano Music
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More from Scott Marosek
Opera
Opera is a sung drama that combines visual art, literature, theatre, dance, vocal music, and instrumental music. It features opera singers of different voice types singing arias and recitatives. While often sung in Italian, opera can be in any language. Operas can be serious or comedic, featuring noble or everyday characters. The action moves slower than a play to focus on the musical elements, like arias for characters to reflect on events. Most operas last from two to three hours including an intermission.
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.
Power point 24. The Romantic Era: Brahms and the Wagnerians
Johannes Brahms was a German composer and conductor in the Romantic era. He was encouraged early in his career by Robert Schumann. Brahms destroyed many of his early works and had a conservative, classical style compared to Liszt and Wagner. He is known for his symphonies, piano works, chamber music, songs, and choral works. Brahms was influenced by Beethoven in his use of motivic development, modulation, and relating movements by thirds. Wagnerians like Liszt, Bruckner, Wolf, and Strauss experimented with program music and pushing musical boundaries in different ways.
Power point 23. The Romantic Era: Late Romantic Opera
This document summarizes late Romantic Italian and German opera. It discusses the key composers Giuseppe Verdi and Richard Wagner. Verdi wrote dramatic operas with emotional subjects and distinctive singing roles. Wagner developed "total art works" using leitmotifs and continuous melody. His epic four-opera cycle Der Ring des Nibelungen combined Norse mythology with themes of power and redemption.
Power point 22. The Romantic Era: Early Romantic Opera
Early Romantic opera between 1820-1850 saw the genre become an important part of popular culture across Europe. Works by Rossini, Bellini, Donizetti, Meyerbeer, and Weber established the permanent repertory of classics. Their operas incorporated bel canto singing, simple harmonies, and highly embellished melodies. They advanced drama through seamless transitions between recitatives and arias. Italian opera dominated the genre, while France had three prominent opera houses and Germany featured works with ordinary characters and personal feelings.
Power point 20. The Romantic Era: Early Romantic Song and Piano
The document summarizes the Early Romantic period in music from 1820-1850, focusing on German Romanticism, style characteristics, and prominent composers of the time. Key points include the rise of art music focusing on individualism and nature, the innovation of Schubert and Schumann in song/lieder setting German poetry, and the emergence of character pieces, etudes, and solo piano works by Chopin, Mendelssohn, Liszt that demonstrated technical virtuosity.
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 16. The Classic Era: Early Classic Italian Opera
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
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.
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.
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 12: Middle Baroque Music
In the Middle Baroque period of 1600-1750:
- Jean-Baptiste Lully dominated French music as the head court musician for Louis XIV, establishing the conventions of French opera including dances, choruses, and divertissements. His operas like Armide featured recitatives and arias with distinctive French rhythmic styles.
- Henry Purcell incorporated Italian styles like recitative and aria into English works including the opera Dido and Aeneas, though opera did not become firmly established in England until later.
- German composers like Johann Pachelbel contributed to the development of the suite and other instrumental forms while French composers outside the court like Charpentier wrote oratorios and
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 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 9: Secular Vocal Music of the 1500s
This document summarizes secular vocal music styles that developed across Europe during the Renaissance period from 1420-1600. It describes the villancico form that emerged in Spain featuring short strophic songs on popular subjects. In Italy, similar frottola and livelier villanella, canzonetta, and balletto emerged alongside the serious madrigal set to poetry. France saw the new chanson style become popular as well as the influence of the musique mesurée movement. England developed the consort song, madrigals, and lute songs. Germany had the tradition of Meistersingers singing unaccompanied songs.
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.
More from Scott Marosek (20)
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
Power point 24. The Romantic Era: Brahms and the Wagnerians
Power point 24. The Romantic Era: Brahms and the Wagnerians
Power point 23. The Romantic Era: Late Romantic Opera
Power point 23. The Romantic Era: Late Romantic Opera
Power point 22. The Romantic Era: Early Romantic Opera
Power point 22. The Romantic Era: Early Romantic Opera
Power point 20. The Romantic Era: Early Romantic Song and Piano
Power point 20. The Romantic Era: Early Romantic Song and Piano
Power point 17. The Classic Era: Early Classic Instrumental Music
Power point 17. The Classic Era: Early Classic Instrumental Music
Power point 16. The Classic Era: Early Classic Italian Opera
Power point 16. The Classic Era: Early Classic Italian Opera
Power point 14: Late Baroque Music in France and Italy
Power point 14: Late Baroque Music in France and Italy
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
Power point 6: First Generation Renaissance Vocal Polyphony
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Chapter 2
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Power point 19. The Classic Era: Beethoven
- 2. •born in Bonn, Germany 1770 –studied: • piano & violin w/father •organ & viola •counterpoint, composition, organ w/Neefe –played Well-Tempered Klavier at a young age Young Beethoven
- 3. •1782: organ & harpsichord @ court in Bonn, composing •1792: to Vienna –studied with Haydn –pianist @ aristocratic gatherings –performed in others’ concerts –piano teacher –publishing Early—1782-1802
- 4. Early Compositions •influenced by Haydn and Mozart •Symphony no. 1 in C •Piano Sonata in c minor, Op. 13, mvt. 1, “Pathetique”
- 5. •in Vienna: –concerts –commissions/dedications/gifts –sold performing rights to works •began to lose hearing –1802—Heiligenstadt Testament •after 1808—stopped performing solo •1814—last performance Middle—1803-1815 “Heroic”
- 6. Middle Compositions • form – expanded dimensions • long, complex development sections • coda like another development and recapitulation – blurred demarcations between sections, movements – themes/motives conceived for developmental possibilities • dramatic, heroic • counterpoint • large orchestra – Symphony #5—piccolo, contrabassoon, 3 trombones – Leonore overtures—4 horns • Symphony no. 3 in E-flat “Eroica”
- 7. •1815-1820—nephew Karl custody issue •1820-1826—composing •1826—Karl attempts suicide •1826—with brother Johann to Gneixendorf; returns to Vienna seriously ill with cirrhosis/hepatitis; develops pneumonia •dies 1827 Late—1815-1827
- 8. Late Compositions • meditative quality • exhaustive development • counterpoint—studied Bach, Handel, Palestrina • expanded transitions • lyricism—instrumental recitative/arioso • variation, fugue •Symphony no. 9 in d minor “Choral” •String Quartet in c# minor, Op. 131
- 9. works • 9 symphonies • 5 piano concertos • violin concerto • overtures • chamber music, including 16 string quartets, 10 violin sonatas, 5 cello sonatas • piano music, including 32 piano sonatas • Fidelio, opera • songs
- 10. Enlightenment Enlightenment--1685 to French Revolution (1789-99) --Humanitarian secular movement Enlightenment ideals: Enlightenment effects: --religious skepticism --French and American Revolutions --”dignity of man”/human rights --rise of middle class --education --fewer courts --empiricism --brotherhood --liberation What does this mean for art and music? --popularization of art and learning --treatises in vernacular --novels and plays depict ordinary people --literature in prose --public concerts --music in the home (violin, keyboard) --musicians work outside of courts as performers, teachers, composers --music printing --the beginning of the Romantic Era
- 11. Enlightenment • How does Beethoven’s music reflect the ideals of the Enlightenment? – heroic—Eroica Symphony – brotherhood of man—9thsymphony – interest in nature—6th symphony “Pastoral” – artist’s role is to uplift and ennoble audience