Besides home music making, what other sector of musical performance saw phenomenal growth during the Romantic period? |
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public concerts |
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In addition to professional orchestras and virtuoso's, what other kinds of institutions also arose with missions to provide public performances of art music? |
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Amateur Orchestras, Choral Societies and entrepreneurs |
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What type/ genre of art music also moved at this time from being " privately" performed to "public" performance? |
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chamber music |
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Over what initial period did "classical" or regularly repeating repertoires begin to form, and what genre of music and what composers lead the way? |
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1780-1870; starting with oratorios of Handel and Haydn; Beethoven, Mozart and Haydn |
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The text points out that all of this came with and helped provide a new historical awareness, resulting in a rich tension between what two things? |
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Romantic content and classic genres and forms |
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How did orchestras grow in the number of expected players over the nineteenth centuries? |
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40-90 |
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When did the tuba join the brass section? |
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1830's |
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In what year did Louis Spohr introduce the concept of conducting with a baton? |
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1820 |
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What kinds of music typically comprised a London Philharmonic program before 1850? |
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symphony, aria or choral composition, a concerto or chamber work, another vocal work and a closing symphony |
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What percentage of music programmed by the Leipzig Gewandhaus Orchestra was from living composers in the 1780's, 1820 and 1870? |
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1780: 85%1820:75%1870:25% |
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The new seriousness of the repertoire was matched by a new seriousness in___________. |
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concert behavior |
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The text states that the history of orchestral music in the nineteenth century can be seen as a series or varied responses to the example of what composer? |
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Beethoven |
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For the mature Schubert and his fellow romantics, what was more important in music? |
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melodies |
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Who wrote the nineteenth century "bible" on orchestration? |
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Hector Berlioz |
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Because his music was too radical to win steady support, to what did Berlioz ( and Schumann) turn to as their chief profession? |
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music criticism |
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What other career did Berlioz later undertake with much success? |
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orchestral conducting |
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Summarize the story/ program of Berlioz's symphony fantastique. |
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dwells on passions aroused by his thoughts and fantasies about a woman whom he hopes to win |
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What did Berlioz call the melody/theme he used in each movement to represent the obsessive image of his beloved? |
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idee fixe |
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What did Berlioz supply to his listeners ( besides the music itself) to help them understand the work? |
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An autobiographical program |
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How many movements comprise the Symphonie fantastique? What is the basic story for each movement? |
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5; |
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What famous gregorian chant does the piece also quote? In what movement is it heard? For what sacred "genre" was this chant originally composed? |
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Dies Irae in 5th movement. Symbol of dead from Requiem |
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Which Beethoven symphonies similarly introduced a recurring theme and developing it across all the movements? |
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5, 6 and 9 |
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List 3 novel orchestration techniques/ ideas used by Berlioz in Symphonie fantastique. |
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muted strings, oboe off stage, violins play with wood of the bow. |
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List and briefly explain Berlioz's three other symphonies, all of them programatic. |
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1. Harold en Halie: features viola2. Romeo et Juliette: dramatic symphony3. Grand symphonie: |
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In what year did Berlioz publish his famous book on orchestration? |
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1843 |
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What are the programmatic associations of Mendelssohn's symphonies No. 2-5? |
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Geographic locations |
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Mendelssohn's genius for musical landscapes is also evident in his____________. |
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ovetures |
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How old was Mendelssohn when he composed his overture of A Midsummer Night's Dream? |
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17 |
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How many years passed before he added the additional incidental music for this play, including his famous Wedding March? |
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17 years |
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How many piano concertos and violin concertos did Mendelssohn compose? |
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4 piano concertos and 1 violin concerto |
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Compared to Berlioz, was Mendelssohn's music more or less classic? |
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more |
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How did Schumann's 4th symphony reflect his knowledge/ appreciation of Schubert's Wanderer Fantasy for piano? |
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4 movements played without pause |
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Why is Schubert's piano quintet called " The Trout Quintet"? |
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because the fourth movement presents variations on a theme from his song, "The Trout" |
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Did Schubert, Mendelsson, and Schumann also compose chamber music inspired by the models of Haydn, Mozart and Beethoven? did Berlioz? |
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yes; no |
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While the nineteenth century orchestra grew increasingly "professional", choir became, increasingly______________. |
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amateur |
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Why was choral music a particularly lucrative field for publishers? |
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each choir member needed their own part |
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Besides the love of music, what other believe about music encouraged the choral society movement? |
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democracy, social unity, ethical and spiritual values |
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Who conducted the revivals of Bach's great oratorio -style Passions and the B-Minor Mass and what year did he do this? |
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Mendelssohn; 1833-1834 |
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How many performers had Bach written these works for, vocally and orchestrally? |
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8-12 singers and an orchestra of about 15 |
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What are the titles of Mendelssohn's two oratorio's? |
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St. Paul and Elijah |
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What are Berlioz's two large/ orchestral works? |
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The Requiem and Te Deum |
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How big of an orchestra does the Berlioz Requiem require? |
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140 players |
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What was perhaps the favorite subject for the poetry of partsongs? |
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Nature |
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Did a permanent repertoire of such partsongs develop? |
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no |
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What was the original meaning of "a capella" and what new meaning did it achieve in the nineteenth century? Was this new meaning historically accurate? |
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"old/ contrapuntal style" now meant unaccompanied singing; yes |
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How did shape-note singing notation work? |
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shape of noteheads indicates solfeg syllables allowing for easy sightreading. |
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