Introduction to Music History and Literature MUL 2014 (Fall 2009) - Warfield

Review Sheet # 6 - Romantic era Music


This review sheet covers materials presented in Forney & Machlis, Enjoyment of Music, Units XV, XVI, XVII, & XVIII, Chapters 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50 & 51, which will be tested on the fourth test in MUL 2014 in the near future.

The following concepts and terms in boldface (as well as a few others not specifically listed, but indicated in these review questions) will be included on the third of the three large mid-term tests. You should know all of these terms, including their (1) spelling, (2) definition, and (3) be able to use them correctly in speaking and writing about music.

Dictionary definitions may be found in the glossary section of your textbook or in the Music Materials section of the publisher-sponsored web site that supports your textbook.

Additionally, you should know by sound the seven music examples (Listening Guides, p. 242-4, 247, 254-5, 257-8, 261-3, 269-70, & 273-4) that support this portion of the textbook.



    CHAPTER 40

  1. What are some of the basic social and political events that mark the beginnings of the Romantic era?
  2. What are some of the goals of Romantic artists (of all kinds), what sorts of subject matter interest them, and how are these subjects portrayed?

  3. CHAPTER 41

  4. How does the orchestra change in the 19th century, especially when compared to ensembles of the Classic era? How is this a product of the industrial revolution?
  5. How (and why) do folklore and exoticism influence composers of the Romantic era?
  6. What are some basic style traits of music in the Romantic era?
  7. How does the role of the professional musician shift in the 19th century? How does the composer in the 19th century now view him(her)self?

  8. CHAPTER 42

  9. What is the German word for an "art song", and what are the normal performing forces for such a work?
  10. What are the differences between strophic, through-composed, and modified strophic song forms?
  11. What is the role of the piano in an art song? What are the prelude and postlude in an art song?
  12. What is a song cycle?

  13. CHAPTER 43

  14. Who was Franz Schubert, and where and when did he live?
  15. For what particular musical genre is he best remembered?
  16. What is a "Schubertiad", and of what relevance is it to German art songs?

  17. Listening Guide 25 (p. 242-44, Schubert, "Erlking")

  18. What kind of piece is this, and who composed it?
  19. What are its performing forces?
  20. What is the story of "The Erlking", and how is this reflected in the form of the piece?
  21. What are some of the ways in which Schubert makes the story more realistic? How does the piano contribute to this process?

  22. CHAPTER 44

  23. Who was Robert Schumann, and where and when did he live?
  24. What was Schumann's initial career goal in music, and why did he not achieve that?
  25. What was Die neue Zeitschrift für Musik, and what did Schumann have to do with this publication?
  26. Who was Schumann's wife? (and not just "Mrs. Schumann")

  27. Listening Guide 26 (p. 247, R. Schumann, "In the Lovely Month of May" from A Poet's Love, No. 1)

  28. What kind of piece is this, and who composed it?
  29. What are its performing forces?
  30. What is the organization of the text of this work?
  31. How is the poetic meaning of the piece reflected in the harmonies of this work?
  32. What does the piano contribute to this piece?

  33. CHAPTER 45

  34. How does the 19th-century piano begin to resemble the modern instrument known today?
  35. How were such things as the frame, the stringing, and the number of keys improved?
  36. How did the marketing of pianos and piano music in the 19th century resemble modern (today's) marketing practices?

  37. CHAPTER 46

  38. Who was Frédéric Chopin, and where and when did he live most of his adult life?
  39. What was Chopin's homeland, and what were some ways that his music reflected that?
  40. Who was Franz Liszt, and where and when did he live?
  41. What sort of a performer was Franz Liszt, and what are some of the ways he influenced music in the 19th century?

  42. Listening Guide 27 (p. 254-5, Chopin, Polonaise in A major, Op. 40, No. 1, "Military")

  43. What kind of piece is this, and who composed it?
  44. What are its performing forces?
  45. What is the predominant texture of this piece? (What is the relationship between the two hands, and what does that tell you about this music?)
  46. What is important about the opening rhythmic figure, and what does that tell you about the composer of this piece?
  47. How "steady" is the rhythm in the "B" section, especially between the two hands, and what is this technique or trait called?
  48. How "exact" are the repetitions of the melody (and the accompaniment)?

  49. CHAPTER 47

  50. Who was Clara (Wieck) Schumann, and where and when did she live?
  51. What sort of a musician was she? Specifically, what did she do in music that is so important?

  52. Listening Guide 28 (p. 257-8, C. Schumann, Nocturne, from Music for an Evening Entertainment, Op. 6)

  53. What kind of piece is this, and who composed it?
  54. What are its performing forces?
  55. What is the predominant texture of this piece? (What is the relationship between the two hands, and what does that tell you about this music?)
  56. How "exact" are the repetitions of the melody (and the accompaniment)?

  57. CHAPTER 48

  58. Who was Louis Moreau Gottschalk, and where and when did he live?
  59. In what American city did Gottschalk grow up, what sorts of music did he hear and how did those experiences affect his music?
  60. In what international city did Gottschalk later study and perform, and how was he received there?

  61. Listening Guide 29 (p. 261-2, Gottschalk, The Banjo)

  62. What kind of piece is this, and who composed it?
  63. What are its performing forces?
  64. What is the predominant texture of this piece?
  65. What is the most important rhythmic feature of this piece, and why might Gottschalk have emphasized that feature?

  66. CHAPTER 49

  67. What is program music, and what are its usual performing forces?
  68. What are the four (4) basic kinds of program music, and what is a program?
  69. How does a concert overture resemble the first movement of symphony? What makes it (the overture) programmatic?
  70. What is incidental music and when might it be performed?

  71. CHAPTER 50

  72. Who was Hector Berlioz, and where and when did he live?
  73. How was he unlike many earlier composer-musicians, e.g., Mozart, Beethoven, etc.?
  74. How did Berlioz's obsession with the actress Harriet Smithson influence him as a composer?
  75. What is the program of the Symphonie fantastique? What is an idée fixe?
  76. How is Berlioz's use of the orchestra different from that of almost every other composer before him?
  77. What is a program symphony and how does it differ from an "ordinary" symphony?

  78. Listening Guide 30 (p. 269-70, Berlioz, Symphonie fantastique, 4th mvt)

  79. What kind of piece is this, and who composed it?
  80. What are its performing forces? How are they different from the usual forces for a symphonic work?
  81. What is the program of this piece, and what effect does this have upon the form of the symphony? NB. See p. 268-9 for the program and a discussion of it.
  82. What is an idée fixe and how is it related to both the form and the program of this piece? NB. See p. 269 for the idée fixe itself.
  83. What are some specific examples of how the program can heard in the fourth movement of this symphony?

  84. CHAPTER 51

  85. What is nationalism, especially as it relates to music and the other arts?
  86. What are some ways by which a nationalistic composer might express his identity in music?
  87. Who was Bedrich Smetana, where was he born and lived, and what effect did that have on his music?
  88. What is a symphonic poem and how does it differ from an overture?

  89. Listening Guide (p. 273-4, Smetana, The Moldau)

  90. What kind of piece is this, and who composed it?
  91. What are its performing forces?
  92. What is the program of this piece, and what effect does this have upon the work's form? NB. See p. 273 for the program.
  93. How closely does this work conform to the model of a symphonic first movement? What are some ways in which it is and is not like an ordinary symphonic movement, i.e., what is the effect of the program?