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This comprehensive review covers the essential fundamentals of music, including the ordering of tempos from slowest to fastest: Largo, Adagio, Andante, Moderato, Allegro, and Presto. It distinguishes between major and minor keys, highlighting examples from Mozart and Haydn. The text explores musical textures—monophony, polyphony, and homophony—and delves into the families of musical instruments such as strings, woodwinds, brass, and percussion. Additionally, it traces the evolution of music through various eras, from the Middle Ages to the Modern Era, showcasing significant composers and their contributions.
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Fundamentals of Music • Tempos: from slowest to fastest: • Largo, Adagio, Andante, Moderato, Allegro, Presto • Be able to order three tempos from slowest to fastest. Major and minor: distinguish between the two --major is often regarded as “happier” Ex. Mozart, Piano Concerto No. 23, I Ex. Haydn, Symphony No. 92, III, Minuet --minor is often regarded as “sad” Ex. Mozart, Symphony No. 40 in G Minor, I
Music Textures • Monophony (monody): a single line of melody; ex. In Paradisum, anonymous composer, 9th c. • Polyphony: two or more independent melodic lines; ex. Fugue in C Major, Well-Tempered Clavier, Book I, J. S. Bach; Machaut, “Dame, de qui toute ma joie vient”; • Homophony: harmony; one primary melodic line with chords underneath. Generally all voices hve the same rhythm.
Musical Instrument Families • Strings: violin, viola, cello, contrabass (double bass) • Woodwinds: flute, clarinet, oboe, bassoon • Brass: trumpet, French horn, trombone, tuba • Percussion: snare drum, timpani (kettle drums), bass drum
Music Eras • Middle Ages: 476-1450 • Hildegard of Bingen, Columba aspexit • Anonymous, In Paradisum • Guillaume de Machaut, “Dame de qui toute ma joie vient” • Renaissance: 1450-1600 • Guillaume Dufay, Ave marisstella, homophony • JosquinDespres, Kyrie from Pange Lingua Mass; polyphonic
Baroque and Classical Eras • Baroque 1600-1750 • J. S. Bach, WTC, Book 1, Prelude and Fugue in C Major • Tonality, functional harmony, basso continuo • Dissonances resolve.
Classical Era • Classical 1750-1820 • Mozart, Symphony No. 40 in G Minor, I • Mozart, Don Giovanni, “La ci darem la mano” • Early Beethoven, Symphony No. 5 in C Minor, I • Tonality, functional harmony, sonata form—key relations are important. Tonic key, dominant key.
Romantic Era • Romantic 1820-1900 • R. Schumann, “Eusebius” from piano cycle Carnaval—piano character piece; • R. Schumann, “In the Lovely Month of May” from song cycle Dichterliebe. Doesn’t resolve. Harmony is less functional; expression of emotion more important. • F. Chopin, Nocturne in F Sharp—piano character piece. Characteristic: rubato, “stolen time”
Modern Era • Modern Era 1900-present • Impressionism, Claude Debussy, Clouds (Nuages): • Loose ABA [not really]; dissolution of form; still tonal, but what about resolution? Functional harmony—no. • Resolutions are avoided. Octatonic scale. Modernism: Igor Stravinsky, Rite of Spring, “Dance of the Adolescents”. Functional harmony: no. Tone cluster chords—very dissonant, not resolving. Expressionism: Arnold Schoemberg, PierrotLunaire. Atonal, “the emancipation of dissonance.” Sprechstimme
Modern Era, continued • Experimentalism: John Cage. Sonatas and Interludes for Prepared Piano (1946-1948). Piano Sonata No. 5. • Concrete music –the use of recorded ambient (environmental) sounds (Varese’s Poemeelectronique) • Minimalism: Steve Reich, Music for 18 Musicians; tonal, major mode, rhythmic pulse throughout piece. • Post-Minimalism: David Lang, Cheating, Lying, Stealing; tonal, melodic development , more complex form than Reich’s work.
