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History of Western Music II 01/15/2015

  Schumann Genoveva (1850)

• Schumann claim to fame marrie! to virtuoso "ianist #lara

Schumann

$uther intro!uce! the #horal

%"era &otes

• %r'an

•  #hurch li*e choral arran'ements

• +ery ,ramatic #horal accom"animent

• S"ea*in' of -ast vs. -resent motions

• #haracters

o -retty Wife

o 'ly #areta*er

o Secon! han! man to lea!er

o $ea!er ($or!) (i'"hree!)

• Secon! han! lusts for the ife

• 'ly #areta*er* is "lannin' to se!uce an! *ee" secon! han! lea!er3

hile secon! han! lea!er is "lannin' to use her to 'et to ife.

 

I'or Stravins*y

• 4he many ISMS of I'or Stravins*y

o oticism

4he 6ire7ir!

o &ationalism

-etrush*ao -rimitivism

4he ite of S"rin'

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o &eoclassicism

%ctet

• Wait 9allet:

o 9allet !urin' the 1;th century as mainly in ussia

(4chai*ovs*y)

o &ationalism -etrush*a (1;11)

<lso commissione! for the 9allet usses

Heavy use of fol* an! "o"ular music =uotation3

es"ecially in the o"enin' scene.

o -rimitivism

<rtists turne! increasin'ly to nonWestern less

!evelo"e! cultures for ins"iration <rtists such as -aul Gau'in an! -a7lo -icasso

6ocuse! on sim"le i!eas3 !rivin' rhythms3 an! narro

ran'esou'ht to e"ress ra human emotions3 7ut in a

more !irect ay than e"ressionism. Stravins*y focuses so much on rhythm hen usin'

"rimitivism 7ecause it is the most 7asic form of music

hen it comes to usin' this form.

o 4he ite of S"rin'

I'or Stravins*y (1;1>)

9allet in to "arts for the 9allet usses

Sensual an! Sava'e

,ance of the <!olescents

Sacrificial ,ance

&eoclassicism < return to anythin' 7efore romantic

9roa! Movement in the first half of the tentieth

century < return to a7stract a7solute music

eferences to ol!er com"osers or styles

Heavily influence 7y the early ei'hteenth century

o 4he a*e?s -ro'ress (1;51)

%"era in > acts

In the style of Mo@art %"era 7uffa