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Music History Study Guide - Romantic Opera

The document provides summaries and descriptions related to classical music history. It includes short answers about: 1) How the character of Samiel is expressed musically in Weber's Der Freischutz. 2) Wagner's musical philosophy of unifying music, drama, and stagework in opera. 3) How Tristan und Isolde exemplifies Wagner's innovations through its prelude and use of leitmotifs. It also names the operas in Der Ring des Nibelungen, describes the Italian Bel Canto tradition and composers, and analyzes musical elements in works by Rossini, Puccini, and others. The document concludes with brief descriptions of listening examples from

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Brody
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102 views

Music History Study Guide - Romantic Opera

The document provides summaries and descriptions related to classical music history. It includes short answers about: 1) How the character of Samiel is expressed musically in Weber's Der Freischutz. 2) Wagner's musical philosophy of unifying music, drama, and stagework in opera. 3) How Tristan und Isolde exemplifies Wagner's innovations through its prelude and use of leitmotifs. It also names the operas in Der Ring des Nibelungen, describes the Italian Bel Canto tradition and composers, and analyzes musical elements in works by Rossini, Puccini, and others. The document concludes with brief descriptions of listening examples from

Uploaded by

Brody
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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History Short Answers (39 points)

1) In Webers Der Freishutz, how is the character of Samiel expressed and


integrated musically into the Wolfs Glen Scene? (4)
Samiel does not sing but only speaks his part. This is because Samiel as
the devil is not seen as being able to sing. A call back to Hildegard from
the renaissance
This scene begins in F# minor and, at Samiels entrance, it modulates to C
minor, which is a tritone away from from F# minor. This tritone
relationship between these two keys was known as the devil interval in
medieval times, making it very fitting for this scene
There is the Samiel chord, a F# fully diminished seventh chord, that can
be heard throughout the scene such as when Casper is calling for Samiel.
This particular chord is associated with Samiel throughout the scene as
well as creates a supernatural experience in the spirit of Samiel.
The creepiness of Samiel is shown at the beginning of the scene through
the soft tremolos as well as the chromatic descent in the bass and the
cello. (What about the high woodwind chords? I dont ahve my anthology
with me, but wasnt that a callback to something?) I didnt have anything in
mine does anyone else? I have a callback to Medhellson with the high
WW chords. Thats all I have written though. - Brody
2) Briefly describe Wagners musical philosophy. (4)
Wagner saw Beethovens 9th Symphony as the human gospel of the art
of the future since Beethoven had joined music to words. Wagner saw
himself as Beethovens successor.
Wagner saw that the music, stagework, and drama of opera should be
seen as one. Thus, he worked towards making opera a more unified art
form.
Wagner thought that words and music could not have an equal status for
expression and that music is what had to be the driving force for
expression
Wagner thought that the words needed to be crafted in a way so that they
fit with the music. He used leitmotives as well as wrote his own libretti so
that the words were crafted to fit with the music.
3) Describe how Tristan Und Isolde exemplifies Wagners musical innovations,
drawing on the Prelude and Conclusion to Act 1. (5)
Wagner uses his Lietmotives in the opera, one of the most famous being
the Tristan Chord from the prelude which is very harmonically
ambiguous and symbolizes the longing between Tristan and Isolde
Wagners music treats the voice as an instrument throughout the opera
rather than the Italian Bel Canto style.
Tristan has an Endless Melody to it which is created by a lack of
authentic cadences in the music.
The orchestra is descriptive and invokes the internal psychology of the
characters
Wagner got rid of spoken dialogue in his operas. In the conclusion to act
1, the vocal lines are almost entirely syllabic with no recitative and no
embellishments
4) Name the operas contained in Der Ring des Nibelungen. (4)
Das Rheingold (The Rhinegold)
Die Walkure (The Valkyrie)
Siegfried
Gotterdammerung (Twilight of the Gods)
5) What is the Italian Bel Canto Tradition? (3) Name three prominent Italian
composers associated with it. (3)
Beautiful singing that included:
i) effortless technique
ii) Better tone throughout the range
iii) Fluid embellishments with improvisation
Prominent composers
i) Gioachino Rossini
ii) Vincenzo Bellini
iii) Gaetano Donizetti
6) Describe musical and formal characteristics in Rossinis Barber of Seville. (5)
When singer comes in, there is sparse orchestration which provides a light
accompaniment for the singer
Contains Rossini crescendo, which is a repeating phrase several times,
getting louder and sometimes higher in pitch. Example: in Act 1, No. 7,
the section starting at m. 66 is repeated again starting at m. 90.
Most scenes take the structure of recitative, cantabile, tempo di mezzo (an
interruption by another character), and cabaletta
In Act 1, No. 7, there is an orchestral introduction followed by an aria in
two parts: a slow cantabile and a faster cabaletta. Since this only
contains these two parts of the scene structure, it is a cavatina, which is
an entrance aria of the character (Rosina)
In the text during Act 1, No. 7, Rosina says that she is docile, obedient,
and easily guided. However, the orchestra plays music that shows more
of a whirlwind. (orchestra contradicts what she is saying)
7) Describe the musical exoticism in the Marriage Scene from Puccinis Madama
Butterfly. (4)
Incorporation of Japanese melodies such as Ha-Uta and Sakura
Use of an unharmonized melody in Japanese style under a drone when
Butterfly shows Pinkerton the knife that her father committed suicide with.
The use of the drone shows that suicide is a dark & barbaric aspect of
Japanese culture
When Butterfly tells Pinkerton that she has converted to his religion, there
are parallel triads that are presented in a mysterious way
During the marriage ceremony, Puccini breaks style for allusion to
Pinkertons native United States through a quotation of the Star Spangled
Banner for two measures
8) Name the opera/composer for each heroine: (7)
Rosina - The Barber of Seville / Rossini
Norma - Norma / Bellini
Lucia - Lucia Di Lammermoor / Donizetti
Violetta - La Traviata / Verdi
Brunnhilde - The Ring Cycle / Wagner
Butterfly - Madama Butterfly / Puccini
Mimi - La Boheme / Puccini

Listening:
145 - Barber of Seville - Una Voce Poco Fa
- Gioachino Rossini
- Comic Opera
- 1816
146 - Norma - Casta Diva
- Vincenzo Bellini
- Opera
- 1831
148 a - Der Freischutz
- Carl Maria Von Weber
- Opera
- 1817-1821
149 - Tristan und Isolde -
- Wagner
- Opera
- 1857-1859
150 - La Traviata
- Giuseppi Verdi
- Opera
- 1853
151 - Madama Butterfly - Marriage Scene
- Giacomo Puccini
- Opera
- 1904
Madama Butterfly - Un Bel Di
- Giacomo Puccini
- Opera
- 1904
152 - Carmen - Seguidilla and Duet
- Georges Bizet
- Opera
- 1873-1874
Siegfrieds Funeral Music - Gotterdammerung
- Richard Wagner
- Opera
- 1876

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