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22 Cards in this Set
- Front
- Back
- 3rd side (hint)
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J.S Bach - Cantata 'Ein Feste Burg: Historical Context |
- Baroque composer - Prolific - Music for Church (like Hadel or Ethel Symth) - Cantor at Leipzig University - Cantata important part of Lutheran church - Cantata: vocal with accompaniment, subject of the sermon - chorale cantata based on Lutheran hymn - based on Martin Luther's hymn (religious activist, brought Reformation to Germany) - use of cantus firmus : fixed melody - 8 movements based on 1795 text by Solomon Frank |
Time period? Based on what? |
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J.S Bach - Cantata 'Ein Feste Burg: Texture |
Movement 1: - contrapuntal - fugal style (layers at the strategy with tasb) - fugal with subject presented in tenor part (bars 1-3) and again in the soprano part in bar 6 - hetrophonic - the tonal answer is presented on the fifth degree of the scale, down a fourth in the alto part in bar 3 and the bass in bar 8 - counter subject, based on second phrase of Luther's hymn tune in bar 4 - unembellished cantus firmus played in canon between oboes and second continuo part
Movement 2: - orchestral intro has Melody Dominated Homophony ( upper strings playing semiquaver triadic line + lower strings accompany with quaver offbeat leaps + waking bass) - soprano + bass parts enter to form a contrapuntal texture (soprano singing variation of cantus firmus) - soprano and oboe create heterophonic texture
Movement 8: typical of a chorale, texture is homophonic |
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J.S Bach - Cantata 'Ein Feste Burg: Text Setting |
- vocal line contains long melismatic passages (movement 1 + 2) (particularly seen in 2nd movement in solo bass part) - movement 8 typically entirely syllabic |
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J.S Bach - Cantata 'Ein Feste Burg: Melody |
- use of cantus firmus (basis of polyphonic composition)
Movement 1: main theme based on hymn tune by Martin Luther - closely related to first phrase of chorale from the 8th movement, with altered rhythm -melodic shape is the same - a conjunct melody, small leaps - theme transposed down a fourth to provide answer to subject - ascending sequences - mostly diatonic - SATB choir covers wide range
Movement 2: - soprano solist sing ornamented version of chorale melody - soloists line are scalic - bass line highly scalic, melimatic running quavers - a few sequences - trills in oboe and soprano in bar 26 - soprano and bass cover wide range
Movement 8: - most resemblance to Luther's original hymn tune - melody conjunct and diatonic, typical, small leaps - SATB narrower range |
Type of melody? SATB range? |
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J.S Bach - Cantata 'Ein Feste Burg: Structure + Tonality |
Movement 1: Bars 1 - 16: - starts in tonic key of D major, brief modulation to dominant, cantus firmus announced as each part enters. Bars 16 - 30: theme announced in soprano
Movement 2: soprano sings a mildly embellished version of chorale, bass sings aria.
Movement 8: Bar 1 - 4: Two 2 bar phrases repeated. Brief modulation to dominant.
Overall Things: - emphasis on perfect cadences |
Cadence? |
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J.S Bach - Cantata 'Ein Feste Burg: Harmony |
- diatonic + functional chords - frequent perfect cadences - example of imperfect cadence in bar 10 - typical of baroque period, suspensions occur - most chord in root position/1st inv. |
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J.S Bach - Cantata 'Ein Feste Burg: Tempo, metre + rhythm |
Movement 1: - 4/2 and simple quadruple time - semibreves + quavers - melisma - tied notes in main theme - occasional dotted rhythms Movement 2: common time - moto perpetuo semiquavers in opening - semiquavers for bass soioist Movement 8: common time - anacrusis - typical of chorale, pauses present at end of each phrase where cadences are - crotchet |
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Mozart - The Magic Flute: Historical Context |
- singspiel opera (unlike oratorio) - Mozart born in Salzburg Austria - prodigy (tested in Venice for this) - loved traveling - settled in Vienna - Austrian emperor Josef ii took over power from church, funded the arts, took over Burgtheatre, made traditionally Italian operas German - Mozart worked at Burgtheatre with Schikaneder (annoyed that Mozart didn't write anything down) - Schikaneder was a Freemason - Freemason: secret society, morality/ethics, number 3 |
Kind of piece? - influences |
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Mozart - The Magic Flute: Form |
'O zitt're nicht, mein Sohn!' A - recitative (sung speech) B1 + 2 - Aria - solo - tells story Recitative stromento - accompanied 'Hm! Hm! Hm! Hm! Through composed |
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Mozart - The Magic Flute: Melody |
O zitt're nicht, mein Sohn!
- virtuosic - larghetto is conjunct - high tessitura - high f representing Queen of the nights anger - vocal line broken by orchestra breaks in recitative
Hm! Hm! - simple + repeated pitches (papageano is a simple character) - conjunct - periodic phrasing - diatonic with some chromaticism - singers double instruments - sotto voce (whispered) - characters emphasise telling truth: loud, unison, octaves - Queen takes pity on pap. and unlocks his padlock (mod to Dom f maj) |
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Mozart - The Magic Flute: rhythm + metre |
O zitt're nicht, mein Sohn!
- continuous repeated crotchet tonic pedal notes - syncopated repeated quavers in the violin - simple triple time with dotted rhythm - anger represented by demisemiquavers scalic passages - 'shivering' repeated semiquavers - use of triplets in accompaniment Hm! Hm! - cut common time (brisk feel) - slower andante section (sombre mood) - simple crotchet and quavers (pap.) |
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Mozart - The Magic Flute: Tonality and Harmony |
O zitt're nicht, mein Sohn!
-FH - Bb major - diatonic - perfect cadences - chromaticism - tonic and dominant sevenths - relative minor (grief) - dim sevenths -aria ends with repeated perfect cadences - Neapolitan 6th Hm! Hm! - opening has simple diatonic phrases - Queen's three ladies take port in dominant - Bb major = 3 - free masons - German Aug 6th |
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Mozart - The Magic Flute: Texture |
O zitt're nicht, mein Sohn! - MDH - little contrapuntal devices - oboe bassoon... deeper pitch = shows tessitura Hm! Hm! - MDH - polyphonic passages - homophonic passages to express agreement |
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Mozart - The Magic Flute: Sonority |
O zitt're nicht, mein Sohn - role demand an extremely high voice range and virtuosity - recitative in typical soprano range, as Queen becomes more distressed, her tessitura rises Hm! Hm! - similar orchestral scoring but with andante to change music to a more sombre mood |
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Vaughn Williams - On Wenlock Edge: Historical Context |
- Song Cycle - group of six poems 'A Shropshire Lad - A.E Housman - poems have different themes - written in different voices (includes conversation from the grave) - controversial performances (debated the faithful reflection of the spirit - influences to replace German romanticism; English folk song (interest that was dying out, wanted to preserve), English chorale tradition, notably Tudor church music, French impressionists |
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Vaughn Williams - On Wenlock Edge: Form |
On Wenlock Edge - AABBA/B (five verses) Is My Team Ploughing? - omits third and forth verses of Housman's poem - modified strophic, three pairs of voices Bredon Hill - Strophic |
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Vaughn Williams - On Wenlock Edge: Texture |
On Wenlock Edge - right hand doubles strings parallel chord ( French influence) - left hand occasional double cello line - long trills in string parts shows poets uneasy state of mind - constant movement e.g. right hand semiquavers, steering tremolos, trills Is My Team Ploughing? - MDH - dead man's stanzas accompanied by long sustained triads in strings - living man stanzas accompanied by repeated chords on piano Bredon Hill - barred choral texture in intro like Debussy - texture changes at bar 115 when piano begins arpeggios - bar 129 use of cascading quavers representing bells |
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Vaughn Williams - On Wenlock Edge: Harmony |
On Wenlock Edge - mainly diatonic chords - organisation and function give new meaning in 20th century (series of 1st uncertain chiefs in the beginning) - parallel motion instead of contrary motion (typical of French music) - creates false relations (common in Tudor music) - quartal harmony Is My Team Ploughing? - dead man's stanza are diatonic - parallel minor triads in bar 40-41 it's Vaughn Williams style - dissonance in living man's stanza Bredon Hill - 7th chords are distinctive feature, blurring tonality - parallel chords representing bells |
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Vaughn Williams - On Wenlock Edge: Melody |
On Wenlock Edge - range of tenor soloist is from D below middle c to the g above - mainly syllabic + stepwise - top notes emphasise stress and turmoil in poem - mainly pentatonic with chromatic descent at the end to bring melancholy place - final phrase not much chromatic descent Is My Team Ploughing? - mostly stepwise and recitative style - dead man's voice middle of tennis tessitura - living man register higher than dead man's (bar 50 'dead man's tenor reaching extreme to deliver bad news) Bredon Hill - stepwise - highest register used for moments of drama especially in bar 128 as singer succumbs to bells -melody in stanza 1 + 2 revolves around g, music departs as tension increases |
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Vaughn Williams - On Wenlock Edge: Tempo, Metre, Rhythm and Dynamics |
On Wenlock Edge - moderate tempo - contains enough real is movement to maintain and give sense log storm - 4/4 but with trills, triplets, metre is blurred - cres and dim - sudden FP and fz to represent storm Is My Team Ploughing - change in tempo and metre based on two voices - dread man's first stanza in slow 4/4 - response being faster - shortened interlude in bar 37-38 give sense of dead man's impatience - similar dynamics - pianissimo with muted strings sound like a ghost Bredon Hill - extreme dynamics down to pppp in bar 20 - simple duple metre sets calm and resigned tone, turns into slow 4/4 rhythm increases drama - long sustained chords - rhythm speeds up and becomes dotted crotchet and a quaver - voice should be sung freely, irrespectively of accompaniment, suggests confusion and echo of bells |
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Vaughn Williams - On Wenlock Edge: Sonority/Timbre |
On Wenlock Edge
- tenor cut thorough instrumental texture - voices range explored for drama - piano is demanding but not virtuosic - use of string quartet reminiscent of Debussy and Ravel - strings play sul ponticello
Is My Team Ploughing
- strings are con sordino (muted) to create distant feel - removed late to add drama - solo cello without mute alongside living man's voice adda tension and drama
Bredon Hill
- con sordino and double stopping - pizzicatos to reflect bells - sustained pedal notes like Debussy |
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Vaughn Williams - On Wenlock Edge: Tonality |
On Wenlock Edge - G minor - tonality ambiguous, suggests G minor pentatonic (impressionist) (opening chords 1st inversions) - vocal line pentatonic with F natural lingering to suggest pentatonic - bitional effect intensifies mood (bar 11 left hand vocal line in Ab man, right hand G min) - closing chromaticism Is My Team Ploughing - opening dead man's voice in d minor with Dorian influence - living man in d maj - final stanza tonality being unclear Bredon Hill - uncertain with 7th chords - dissonance for drama |
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