Claude Debussy Biography: - LaGrange Collegehome.lagrange.edu/mturner/theory3/ListeningJournal_2011.pdf · Claude Debussy Biography: ... Book II (1910-13) Diagram the Form (create

Page 1 of 67

ListeningJournal_2011 9/20/11 9:36 AM

Claude Debussy Biography: ____________________________________________________

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Compositional Style: ____________________________________________

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Major Works List: _______________________________________________

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BIBLIOGRAPHY:

Authoritative Biography : _________________________________________

Book on Analysis of their music : ___________________________________

Page 2 of 67


Analysis: Debussy "La cathédrale engloutie" from Preludes, Book I (1910)

What is "impressionism" in art? _____________________________________

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SOURCE(S): ___________________________________________________

What is "impressionism" in music? __________________________________

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SOURCE(S):___________________________________________________

Diagram the Form(create a bubble diagram using themes labeled with letters; include measure numbers)

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Show the motives, scales, scale fragments and/or pitch-class sets that dominate each thematic section in your above diagram

Discuss the Texture of each section in your above diagram _______________

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Page 3 of 67


Analysis: Debussy "Canope" from Preludes, Book II (1910-13)


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Discuss the "pitch centricity" in this piece _____________________________

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What key is this piece in? Why do you think so? ________________________

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Page 4 of 67


Analysis: Debussy "Sarabande" from Pour le piano, Book I (1894-1901)


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Discuss the how you determined a change in section in your above diagram. Ask yourself if you used changes in texture, pitch-class set, motive, pitch centricity, or theme to mark formal section changes. What factors informed your sectional divisions?

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Page 5 of 67


Igor Stravinsky Biography: ____________________________________________________

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Page 6 of 67


Analysis: Stravinsky "Introduction to Part I" from The Rite of Spring (1913)

Discuss the Aesthetic Style this piece belongs to. _______________________

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SOURCE(S) ___________________________________________________

Diagram the Form(create a bubble diagram using themes labeled with letters; include rehearsal numbers)

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Discuss the how texture and orchestration helped you diagram the form. _________

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Page 7 of 67


Belá Bartók Biography: ____________________________________________________

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Page 8 of 67


Analysis: Belá Bartók "Song of the Harvest" no. 33 from Forty-four Violin Duets


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How does the theme in m.1 relate to the theme in m.16? _____________________

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Describe what happens to the meter in mm.11-12. __________________________

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Page 9 of 67


Analysis: Belá Bartók "Whole-tone Scale" no. 136 from Mikrokosmos


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How does the right-hand theme in mm.1-3 compare to the left-hand theme in mm. 7-9?

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How would you describe the general texture of this piece? ____________________

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How do mm. 1-12 relate to mm. 20-27? __________________________________

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Page 10 of 67


Analysis: Belá Bartók "Diminished Fifth" no. 101 from Mikrokosmos


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How would you describe the general texture of this piece? ____________________

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Why is this piece called "Diminished Fifth"? ________________________________

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Page 11 of 67


Analysis: Belá Bartók "From the Island of Bali" no. 109 from Mikrokosmos


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What are the vertical pitch-class sets that end this piece ?

m.40 m.41 m.42 m.43

How do these last harmonic pitch-class sets compare with the melodic pitch-class sets in m.1 and m.2?

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Page 12 of 67


Anton Webern Biography: ____________________________________________________

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Page 13 of 67


Analysis: Anton Webern Five Movements for String Quartet, op. 5, movement II

Discuss the use of meter in this piece. __________________________________________________________________

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What is the tempo and general mood of this piece? __________________________

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Discuss the dynamics in this piece.__________________________________________________________________

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What is "modernism" in art and literature? __________________________________

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SOURCE(S)________________________________________________________ What is "modernism" in music?__________________________________________

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What does "free atonality" with respect to music mean? _______________________

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Page 14 of 67


Analysis: Anton Webern Five Movements for String Quartet, op. 5, movement III


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Is there any pitch centricity in this piece? If so, what is (are) the center(s).

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Page 15 of 67


Arnold Schoenberg Biography: ____________________________________________________

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Page 16 of 67


Analysis: Arnold Schoenberg "Angst und Hoffen" from Book of the Hanging Garden

Discuss the aesthetic style this piece belongs to. ___________________________

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Who was Stefan George (the poet)? _____________________________________

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Does the the music fit the meaning of the text? Is so, why? If not, why not?

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What are the pitch-class set names for the chords in mm.15-19 (include normal order)?

m.15 m.16

m.17 m.18 m.19

How do these concluding sets relate to those in m. 1? _______________________

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Page 17 of 67


Alban BergBiography: ____________________________________________________

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Page 18 of 67


Analysis: Alban Berg "Schlafend trägt man mich" from Four Songs op.2

What are the vertical pitch-class set names for the chords in piano part for mm.1-3 (include normal order)?

m.1

m.2

m.3

How do mm.1-3 relate to mm.15-18?

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Page 19 of 67


Analysis: Stravinsky Agnus Dei from Mass


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Show the pitch centers for each thematic section in your above form diagram

Which aesthetic style does this piece belong to?

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What are the primary aesthetic styles that Stravinsky composed in over his career?

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Page 20 of 67


Paul HindemithBiography: ____________________________________________________

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Page 21 of 67


Analysis: Hindemith "Interlude in G" from Ludus tonalis


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Compare the motives (melodic pc sets) found in mm.5-7 to those in mm.19-21.

m.5 m.6 m.7

m.19 m.20 m.21

Show the pitch centers for the beginning and end of each thematic section in your above form diagram.

Show the pitch class set found in each cadential measure (m.10 and m.24).

m. 10 m.24


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Page 22 of 67


Analysis: Hindemith "Vom Tode Mariä I" from Das Marienleben

What is a basso ostinato? ____________________________________________

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What time period is a basso ostinato generally associated with? ________________

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Write out the basso ostinato that is used to organize this piece.

With the idea of basso ostinato in mind:Diagram the Form

(create a bubble diagram using themes labeled with letters; include measure numbers)

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How many large-scale sections did you find? _______________________________

What makes the opening and ending sections similar? ________________________

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Page 23 of 67


Charles IvesBiography: ____________________________________________________

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Page 24 of 67


Ruth Crawford Seeger Biography: ____________________________________________________

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Page 25 of 67


Introduction to 12-Tone/Serial Music(complete this page before the "Introduction to 12-Tone Music" lecture)

Who is generally given as the inventor of a the 12-Tone method of composition? [Note: 12-tone music is also called "serial" music or "serialism".]

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Who were the three principal members of the Second Viennese School?

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What is a row in 12-Tone theory? ___________________________________

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What are the four basic forms of the row used to analyze 12-Tone music?

1) __________________ 2) __________________

3) __________________ 4) __________________

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What is a 12-Tone Matrix (sometimes called "Magic Square")? _____________

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Page 26 of 67


Use the following staves to take notes during the in-class lecture.

Page 27 of 67


Use these blank 12X12 Matrices for notes during the class lecture.

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Page 28 of 67


Use these blank 12X12 Matrices for notes during the class lecture.

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Page 29 of 67


Luigi DallapiccolaBiography: ____________________________________________________

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Page 30 of 67


Analysis: Dallapiccola "Contrapunctus secundus" from Quaderno musicale di Annalibera

This entire piece, Quaderno musicale di Annalibera, uses one primary row. Write it on the staff from the given integer form.

[int] 10 11 3 6 8 2 1 5 7 0 9 4

Create the form P-0 from the above P-10 form. Give staff notation and integers.

[int] __ __ __ __ __ __ __ __ __ __ __ __

Create a 12X12 Matrix for this piece using your P-0 form to start with.

This first 12 notes in "Contrapunctus secundus" in the right hand (leave out repeated notes) constitute a row. Which row is it? ____________________

Page 31 of 67


Analysis: Dallapiccola "Quartina" from Quaderno musicale di Annalibera

Determine which rows are being used in mm.1-3 of "Quartina." _____________

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[int] __ __ __ __ __ __ __ __ __ __ __ __

[int] __ __ __ __ __ __ __ __ __ __ __ __

How would you describe the texture of this piece? _______________________

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What is the most identifiable motive in this piece?

Page 32 of 67


Analysis: Anton Webern "Wie bin ich froh" from Drei Lieder

I↓

P → 0 9 8 11 6 10 7 4 3 5 2 1 ← R3 0 11 2 9 1 10 7 6 8 5 44 1 0 3 10 2 11 8 7 9 6 51 10 9 0 7 11 8 5 4 6 3 26 3 2 5 0 4 1 10 9 11 8 72 11 10 1 8 0 9 6 5 7 4 35 2 1 4 11 3 0 9 8 10 7 68 5 4 7 2 6 3 0 11 1 10 99 6 5 8 3 7 4 1 0 2 11 107 4 3 6 1 5 2 11 10 0 9 810 7 6 9 4 8 5 2 1 3 0 1111 8 7 10 5 9 6 3 2 4 1 0↑

RI

Which row form is being used at the beginning of this song?________________

Write that row out in staff notation.

Page 33 of 67


Analysis: Anton Webern Piano Variations Op. 27, movement II

Define "modernism" as it is found in music. ________________________________

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Show how Webern's Piano Variations exhibits the traits of modernism. __________

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How does Webern treat dynamics in this piece? ____________________________

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Write out I-10 on a staff[int] 10 9 1 11 2 0 6 5 4 8 7 3

Write out P-8 on a staff[int] 8 9 5 7 4 6 0 1 2 10 11 3

[P-3 and I-3, below, will be done in class]Write out P-3 on a staff[int] __ __ __ __ __ __ __ __ __ __ __ __

Write out I-3 on a staff[int] __ __ __ __ __ __ __ __ __ __ __ __

Page 34 of 67


Analysis: Schoenberg Klavierstück op. 33a

I↓

P → 0 7 2 1 11 8 3 5 9 10 4 6 ← R5 0 7 6 4 1 8 10 2 3 9 1110 5 0 11 9 6 1 3 7 8 2 411 6 1 0 10 7 2 4 8 9 3 51 8 3 2 0 9 4 6 10 11 5 74 11 6 5 3 0 7 9 1 2 8 109 4 11 10 8 5 0 2 6 7 1 37 2 9 8 6 3 10 0 4 5 11 13 10 5 4 2 11 6 8 0 1 7 92 9 4 3 1 10 5 7 11 0 6 88 3 10 9 7 4 11 1 5 6 0 26 1 8 7 5 2 9 11 3 4 10 0↑

RI

Write out P-10 on a staff.[int] __ __ __ __ __ __ __ __ __ __ __ __

Write out I-3 on a staff[int] __ __ __ __ __ __ __ __ __ __ __ __


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What does "hexachordal combinatoriality" mean? ___________________________

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SOURCE(S):_______________________________________________________

Page 35 of 67


Analysis: Stravinsky "Lacrimosa" from Requiem Canticles


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How does timbre (or orchestration) help you in your effort to delineate the phrases in this piece.

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In very general terms, describe Stravinsky's use of "serial rotation."

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Page 36 of 67


Pierre BoulezBiography: ____________________________________________________

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Page 37 of 67


Analysis: Pierre Boulez Structures Ia

Discuss Boulez's sense of meter. ______________________________________

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Discuss Boulez's use of dynamics in mm.32-39. ___________________________

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What is meant by the term "total serialism" (also called "integral serialism")?

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Page 38 of 67


Milton BabbittBiography: ____________________________________________________

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Page 39 of 67


Analysis: Milton Babbitt Philomel

Diagram the Form (there is no score for this in the Anthology)(create a bubble diagram using themes labeled with letters; instead of measures give time in seconds)

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Describe the sound of the music for each section in your above diagram. Include the time (in seconds) at which each section begins._________________________________________________________________

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How is Philomel to be performed? ______________________________________

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What "instrument" was used to write the tape part? __________________________

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Describe Babbitt's sense of melody. How does it compare to your own? __________

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Page 40 of 67


Olivier Messiaen Biography: ____________________________________________________

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Page 41 of 67


Analysis: Messiaen Introduction to Turangalîla Symphony (NOTE: our anthology score begins at 3' 50" of the recording)

Diagram the Form (of the entire Introduction)(create a bubble diagram using themes labeled with letters; instead of measures give time in seconds)

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Describe the sound of the music for each section in your above diagram. Include the time (in seconds) at which each section begins.

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For the following, use the orchestral score:What is (are) "2 Htb." ____________ Transposition? ____________What is (are) "C. angl.." __________ Transposition? ____________What is (are) "2 Clar. Si♭"_________ Transposition? ____________What is (are) "4 Cors Fa" _________ Transposition? ____________What is (are) "3 Trp. Ut" __________ Transposition? ____________What is (are) "Onde" (hint: this is short for Ondes Martenot) ________________________________________________________________

Watch these: http://www.youtube.com/watch?v=Yy9UBjrUjwohttp://www.youtube.com/watch?v=vVtDR5BoyFM

(Ondes Martenot is shown at 2'20")http://www.youtube.com/watch?v=I_6begaAXMg&feature=related

(Ondes Martenot is shown at 1' 57")

Page 42 of 67


Elliott CarterBiography: ____________________________________________________

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Page 43 of 67


Analysis: Elliott Carter String Quartet No. 2, movement I(NOTE: There are two sound files for this. Our anthology score is the second, beginning at Allegro fantastico.)

Diagram the Form (of the entire first movement; both sound files)(create a bubble diagram using themes labeled with letters; instead of measures give time in seconds)

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Discuss Carter's treatment of rhythm in this movement.

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Discuss Carter's usage of meter.

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Define the term "metric modulation" which is associated with Carter's music.

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Page 44 of 67


Karlheinz StockhausenBiography: ____________________________________________________

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Page 45 of 67


Analysis: Stockhausen Stimmung

Just by listening, discuss the pitch content in Stimmung.

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Describe the way the voice is use in Stimmung.

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How does the score to Stimmung (shown on pp.108-110 of the anthology) compare to traditional scores?

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Page 46 of 67


Analysis: Stockhausen Gesang der Jünglinge(NOTE: there is no score for this)

Diagram the Form (create a bubble diagram using themes labeled with letters; instead of measures give time in seconds)

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Describe the sound of the music for each section in your above diagram. Include the time (in seconds) at which each section begins._________________________________________________________________

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What is musique concrète?

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What is elektronische Musik?

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What are the primary sound sources Stockhausen used in this piece?

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Page 47 of 67


John CageBiography: ____________________________________________________

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Page 48 of 67


Analysis: John Cage "Sonata No. 5" from Sonatas and Interludes(NOTE: there is no score for this)

Diagram the Form (create a bubble diagram using themes labeled with letters; instead of measures give time in seconds)

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What instrument is being used in this recording? ____________________________

What is meant by prepared piano? ______________________________________

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Describe Cage's piece 4' 33". __________________________________________

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Define aleatory. ____________________________________________________

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Define indeterminacy. ________________________________________________

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Define chance operations (as applies to Cage's music). ______________________

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Page 49 of 67


Witold LutosławskiBiography: ____________________________________________________

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Page 50 of 67


Analysis: Lutosławski Jeux vénitiens movement I

Diagram the Form (do this by ear; do not look at the score yet)(create a bubble diagram using themes labeled with letters; instead of measures give time in seconds)

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What is the function of the loud drum-claves-xylophone hit? __________________

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Describe the sound of the music for each section in your above diagram. Include the time (in seconds) at which each section begins.

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Now look at the score. Carefully read the instructions in the middle of pp. 112-113.

Why is this piece considered a "limited aleatoric" composition? _______________

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Page 51 of 67


György LigetiBiography: ____________________________________________________

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Page 52 of 67


Analysis: Ligeti Ramifications(NOTE: we only have the score to the very beginning.)

What does "microtonal: mean? _________________________________________

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What does scordatura mean? ___________________________________________

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What is a sound-mass composition? ______________________________________

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Page 53 of 67


George RochbergBiography: ____________________________________________________

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Page 54 of 67


Analysis: George Rochberg Sixth String Quartet Movement 3(NOTE: no score)

Diagram the Form (do this by ear)(create a bubble diagram using themes labeled with letters; instead of measures give time in seconds)

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What form do you think this movement is in? _______________________________

Why was Rochberg a controversial figure in American music?

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Do you think he should have been controversial? ____________________________

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What do you think of music that quotes pre-existing music? ____________________

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Page 55 of 67


Luciano BerioBiography: ____________________________________________________

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Page 56 of 67


Analysis: Berio Sinfonia movement III

What is a "collage" in music? ___________________________________________

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SOURCE(S): _______________________________________________________

What is "postmodernism" in music.? ______________________________________

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What pieces or composers are quoted in the third movement of Sinfonia?

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SOURCE(S): ________________________________________________________

Page 57 of 67


George CrumbBiography: ____________________________________________________

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Page 58 of 67


Analysis: Crumb "Dream Images (Love-Death Music)" from Makrokosmos

Discuss the score for this piece. _________________________________________

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How do musical quotations appear in the score? ____________________________

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Do you think the quotations fit in with the piece. In other words, discuss whether or not you think they work musically.

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What are the two allusions to in the title of this piece?

1) ____________________________________

2) ____________________________________

SOURCE(S): ________________________________________________________

Page 59 of 67


Steve ReichBiography: ____________________________________________________

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Page 60 of 67


Analysis: Steve Reich Violin Phase


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SOURCE(S): ______________________________________________________

What does the "phasing" technique mean for Reich? [Note: also called "process music".]

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SOURCE(S): _______________________________________________________

What does "minimalism" mean in art? ____________________________________

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SOURCE(S): _______________________________________________________

What does "minimalism" mean in music? __________________________________

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SOURCE(S): _______________________________________________________

Compare the sound of Violin Phase with De Staat, how does European and American

minimalist music differ? _______________________________________________

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Page 61 of 67


Louis AndriessenBiography: ____________________________________________________

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Page 62 of 67


Analysis Louis Andriessen De Staat


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Were there any instruments in the orchestral piece that surprised you? Which ones?

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Characterize the voice used at Rehearsal Number 5. Does it sound "classical"?

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Page 63 of 67


Arvo PärtBiography: ____________________________________________________

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Page 64 of 67


Analysis: Arvo Pärt Cantus

Discuss how dynamics are used in this piece. ______________________________

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What does Pärt mean by the term tintinnabuli? _____________________________

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Page 65 of 67


Augusta Read ThomasBiography: ____________________________________________________

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Page 66 of 67


Thomas AdèsBiography: ____________________________________________________

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Page 67 of 67


Kaija SaariahoBiography: ____________________________________________________

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Major Works List: _______________________________________________

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Documents

Claude Debussy Biography: - LaGrange Collegehome.lagrange.edu/mturner/theory3/ListeningJournal_2011.pdf · Claude Debussy Biography: ... Book II (1910-13) Diagram the Form (create