MUS 1010 - Fifth Listening Analysis - Twentieth Century
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Apr 3, 2024
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Fifth Listening Analysis – From Part Seven in the Text (Modern.20
th
Century Era)
Directions:
Listen to each of the examples mentioned below, which can be found in CONNECT. It would help you to use these particular recordings, and refer to the Listening Guides in your text, as the time given within the recording will be helpful. It also might help for you to listen to them MULTIPLE TIMES.
Then write a paragraph or two answering the questions pertaining to these examples. It is acceptable if the answers to the less technical questions are subjective. There are three different sets of questions to answer. You can answer these right on the sheet or on another, but make sure to send them to my e-
mail at kira.seaton@tri-c.edu
A. Listen to Debussy’s Prelude a l’Apres-midi d’un faune (Prelude to the Afternoon of a Satyr), pp.384-385.
Then listen to Stravinsky’s Sacre du Printemps (Rite of Spring), Part I (pp. 395-396).
These pieces are VERY different in their content and orchestration. Describe how their differences help to give a clear picture of the two storylines. What is in the Prelude that gives us the feel of being in the forest in the middle of the afternoon with a mythical creature? What in the Part I Spring gives us the wild feel of an erotic ceremonial dance? How are these pieces alike, however?
B. Listen to Schoenberg’s Survivor from Warsaw
, and talk about your reactions to this expressionistic masterpiece. Describe each element, (orchestra, choir, narrator, etc.), and how these each contribute to
portray the terror involved in this situation. How are you emotionally left at the end?
C. Listen to these three pieces: Bartok’s Concerto for Orchestra pp. 418-419; Copland’s Appalachian Spring, section 7
; and Edgar Varese’s Poeme Electronique
, pp. 457-458).
What makes them so distinctly different? With the Bartok and the Copland, what about them makes them examples of Nationalism? Why is the Varese Poeme so very unique for its time? Is this unique to us today? What or why not? Include both your book’s description, and your own opinions in your answer.
B. Listen to the end of Act 1 of Puccini’s “
La Boheme”
, (pp. 343-350), and the end of the Act 1 love scene
of Wagner’s “
Die Walküre”
, (pp. 354- 357). Puccini’s “La Boheme” is described as “Verismo” or “true-to-Life” Opera. How is this very conversational
scene portrayed as if it could happen in real life?
All of Wagner’s operas are very large grand works, sometimes very long and involved stories of Norse mythology. How is this shown in the setting, orchestration, and vocal use in Die Walküre”
How do the differences in these two settings show the relationships that lead to “romantic love”.
The scene opens with Rodolfo at home trying to write, only to be interrupted by a knock at the door. It’s late and he doesn’t want to be bothered. Of course, the person knocking turns out to be his impending love interest. The hesitation on Mimi’s part and the insistence from Rodolfo bring a reality to the scene. She doesn’t want to be a burden; she wants to hide her illness. The awkward losing of the key
and extinguishing of the candles conveniently but realistically add to the romance to the encounter.
Die Walkure is part of the larger Der Ring des Nibelungen. The continuous musical flow combined with fluctuating vocal lines from speech to melody set the scene for this mythical, magical, dramatic encounter between twins completely taken by each other. Wagner’s use of leitmotifs in regard to the words sword, love, and spring, combined with Wagner’s use of dissonance and shifting keys emphasize and reinforce the passion of these two lovers. Wagner was an icon of nationalistic music frequently using mythology as inspiration. A huge trait found in romantic music.
The realism in La Boheme, the damsel in distress (Mimi needing help with her candle and her tuberculosis coughing fit) fit very well in the parameters of the characteristics of romantic music. The fluctuations in tempo, the orchestra softening to imitate the fragility of Mimi are all technical aspects of romantic music. The themes in Die Walkure are more of a forbidden fruit type of romance, the taboo of two long separated siblings initially attracted by their similar appearances, the irresistible draw of recognition mistaken for perhaps love at first sight, giving way to the realization that they are brother and sister. Despite this they are undeterred and consummate their love for each other. Wagner was an icon of nationalistic music frequently using mythology as inspiration, these were huge traits found in romantic music. C. Listen to
and compare these three pieces: Tchaikovsky’s “
Romeo and Juliet Overture
” (pp. 311-313)
Smetana’s “
Moldau
” tone poem (pp. 314-315) Hector Berlioz’,
“
March to the Scaffold
” from the
“Symphonie Fantastique”
(pp. 301-302)
All three pieces are what is known as “Program Music”, which is instrumental music that tells a story or “program”.What are the differences and similarities in these three pieces and how they are set? Use all the elements of music you have learned in this question. As you answer, explain how different parts within the pieces give a distinct picture in our minds of the events they are illustrating. (Hint: A guillotine, a sword fight, the rapids of a river…..)
The story of Romeo and Juliet is one of passionate love and crushing tragedy, this is expressed with the use of the solemn Friar Laurence theme. Romeo and Juliet also contain the theme of long feuding families expressed in the exposition. The drama is set with the clash of cymbals and soaring strings, imitating the rush of a battle and clashing swords. Horns and woodwinds soften into the universally recognizable love theme. Rushing notes and use of string continue the motif of the feud. The recapitulation of the love theme is more agitated and intense, suggesting the lovers may not have much more time together. The coda draws it all to a close, informing us of the lover’s demise, a funeral march to mark their tragic end. Smetana’s tribute to nature in The Moldau, allows the use of running notes and strings to symbolize the swift movement of the running water of the river. Trumpets and horns evoke the excitement of the hunt along the riverbank. He manages to relate the beauty and majesty of the river to varying folk themes such as hunting, and a wedding dance inspired by polka. Staccato chords, strings and woodwinds invite the listener to experience the dance of the nymphs, we return to the river theme which unites this symphonic poem this time suggesting turbulent rapids employing the full orchestra, fortissimo, leading to the increased tempo with the river theme in major key. The trip down the river ends at Vysehrad, the castle, signifying the end of the adventure.
A young man’s tale of being driven to distraction by unrequited love is unveiled in Symphonie fantastique. Four movements detail his journey of passion culminating in the fourth movement the March to the Scaffold, a result of a dream of murdering the idee fixe, perhaps to bring an end to his haunting obsession with her that is driving him mad. His actions even in a dream have consequences. The solemn pounding of the timpani calls to mind the heavy steps of the condemned as he makes his way to his fate. The rushing notes of the strings possibly mimicking his rapidly beating heart, the motif of
the idee fixe brought in by the clarinet as a reminder of the obsession that once was, and then the sudden orchestral chord signifying the drop of the guillotine as the fixation comes to an end.
All three pieces differ in their respective themes. The tragic lovers, the raging river with it’s relationship to local tradition, the tale of unrequited love and obsession. Each composer used tempo, tone and variation in pitch to tell a story through music. Each story takes the listener through their different emotions, whether it was Tchaikovsky creating tension with his slow solemn opening, Smetna creating the rushing water and thrilling rapids with increased tempo and pitch of his full orchestra, or Berlioz suggesting that he was literally losing his head over a girl with a sudden dramatic chord. These masters invited us into a world of varied fantasy and told us stories without saying a word.
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