ࡱ> 3 ,jbjb^^ %jh<h<l8* 6<@2"6 6 L L L L L L 1111111,b3 52+2L L L L L +2P L L 6 P P P L LL L 1P   L 1P P H.1rM /"1@2@2/6P 61P THE MUSIC ARTS SERIES BOOK IV MUSIC HISTORY Designed as an enrichment to High School Band Orchestra, and Choral Programs By David Schanke Copyright 1967 Music Arts Publishing Company Ripon, WI 54971 Edition 1990 NAME ______________________________________ CONTENTS LESSONS PAGE SCORE LESSON ONE 3 ASSIGNMENT 1 9 LESSON TWO 11 ASSIGNMENT 2 19 LESSON THREE 21 ASSIGNMENT 3 28 LESSON FOUR 30 ASSIGNMENT 4 LESSON FIVE ASSIGNMENT 5 LESSON SIX ASSIGNMENT 6 LESSON ONE A. The Romantic Era (1820-1900) Most music heard and performed today was either written during the Romantic period or directly influenced by it. The dictionary defines the term ROMANTIC as originally pertaining to the literature and art of the middle ages. Fanciful tales dealing with the infallible hero in pursuit of the ideal characterizes it. Romantic art additionally emphasizes freedom of individual thought, passion, emotion, and mystery. In this sense, it is in direct opposition to the controls of Classicism. The return of music at this time (1820) to the concepts of Romanticism spread rapidly throughout Europe and to America. The student must be aware that all dates listed regarding historical periods are merely approximate as it is impossible to set an exact beginning or ending for any era. B. Musical Characteristics Because of the ideals of Romanticism could best be experienced by instrumental music, many improvements in keyboard, wind, and brass instruments were made. The personality of the composer became a part of his music as he attempted to create moods and relate stories through music. The old system of harmony was retained but greatly expanded through the use of seventh and ninth chords as well as all types of altered chords. Chromaticism became very common, and frequently modulation, often to remote keys for the purpose of effect, was a much-used technique. Melodies were very romantic and warm. Nationalism was also apparent in much of the music of this era. C. New Developments Orchestra The orchestra increased in size principally because of the addition of more brass, woodwind, and percussion instruments to the total instrumentation. Woodwinds were greatly improved through the efforts of Theobald Bhm who perfected a system of fingering still in use today. Brass instruments were given valves and the percussion section grew to include many more instruments than the pair of tympani common to the classical orchestra. With the many instruments now included in the orchestra, a composers excellence was not only determined by his musical ideas, but also determined by his ability to employ these instruments in creating a great variety of tonal colors and sonorities. Knowledge of the techniques of ORCHESTRATION became very necessary to the composer. Because of the increased size of the orchestra and the simultaneous demand by composers for musical interpretation, the role of the conductor became very important. The great orchestral conductor as well as the piano and violin virtuoso is the products of the Romantic period. They became specialists dedicated in study and purpose to an extremely high level of performance of the music of all composers. In the past it had often been necessary for the composer to conduct or perform his own works in order to experience a satisfactory result. 2, NEW FORMS The controls of Classicism were in conflict with the Romantic composers need for freedom and lack of restraint. For this reason many less conflicting musical forms became necessary. Beethoven, therefore, greatly enlarged the old classical symphonic form; but, as the period progressed, composers felt the need for a new form that would allow even greater freedom to musically describe a mood or story. This important new form is called the SYMPHONIC POEM and became very popular with Romantic composers. 3. OPERA The opera and music drama of the German composer, Richard Wagner, is by far the most important of this era. The music of Wagner marks the high point of the Romantic era. French and Italian composers also wrote many popular operas during this era; Nationalism is often very evident. 4. KEY BOARD The many mechanical improvements made to instruments during this era also included the piano. With an increased range and vastly improved mechanism, the piano in the hands of the virtuoso was capable of great dynamic change and technical facility. It, therefore, became the most preferred keyboard instrument of the solo performer. Because of this new role for the piano, many new forms, which would allow greater freedom for the performer, came into existence. Some of the forms in this category are the BALLAD, NOCTURNE, FANTASY, and ROMANIA. D. DEFINITIONS SEVENTH CHORD  a chord made up of four different tones, 2. NINTH CHORD  a chord made up of five different tones, 3. CHROMATICISM  music proceeding by half steps employing altered tones that are foreign to a given key. 4. MODULATION  a compositional technique resulting in a change too a new key, 5. NATIONALISM  music composed with the intent to identify a certain nationality. 6. ORCHESTRATION  the craft of writing a piece of music for each instrument of the orchestra. 7. SYMPHONIC POEM  a large orchestral work in one movement of indefinite form, portraying a poem, scene, or idea often identifiable by the title. 8. VIRTUOSO  one who exhibits great technical skill in playing a musical instrument. 9. BALLAD  a simple songoften a poem set to music. 10. NOCTURNE  a short melodic composition referring to the romantic beauty of the night. FANTASY  a composition characterized by freedom without special form, 12. ROMANIA  a short piece of a romantic natureusually in three-part form. E. COMPOSERS A few of the more important composers of the Romantic era are listed below with information regarding date of birth, death, nationality, and type of music for which they are best known. The scope of this work text prevents discussing each composer in detail; however, emphasis will be given to Ludwig Van Beethoven, Richard Wagner, and Johannes Brahms in the succeeding chapters. Beethoven represents the beginning, while Wagner and Brahms represent the high point of the Rom era. 1. BEETHOVEN LUDWIG VAN 1770  1827 A German composer of symphonies, piano sonatas, concertos, and overtures. 2. WEBER, CARL MARIA VON 1786  1826 A German composer of operas. '3. ROSSINI, GIOACCHINO 1792  1868 An Italian composer of operas. 4. SCHUBERT, FRANZ 1797  1828 A German composer of art songs, symphonies, string quartets, and piano music. 5. BERLIOZ, HECTOR 1803  1869 A French composer of symphonies, operas, and choral works. 6. MENDELSSOHN, FELIX 1809  1847 A German composer of oratorio, concert overtures, piano music, chamber music; and songs. 7. SCHUMANN, ROBERT 1810  1856 A German composer of piano music, songs, symphonies, and chamber music. 8. CHOPIN, FREDERIC 1810  1849 A Polish born Composer piano music who spent the latter half of his life in France. 9. LISZT, FRANZ 1811  1886 A Hungarian born composer of symphonic poems and piano music. 10. VERDI, GIUSEPPE 1813  1901 The most important composer of Italian opera during the nineteenth century. 1l. WAGNER, RICHARD 1813  1883 The most important composer of German opera and music drama during the ninth and tenth century. 12. BRAHMS, JOHANNES 1833  1897 A German composer of symphonies, concertos, songs, and piano music. 13. RIMSKY-KORSAKOV, NICHOLAS 1844  1908 A Russian composer of opera and symphonic poems. 14. TCHAIKOVSKY, PETER ILITCH 1840  1893 A Russian composer of symphonies, operas, and songs. F. GROUP LISTENING (selected by instructor) Recordings of Romantic music are too numerous to list. Record catalogs listing hundreds of titles make proper selection quite easy. Selections should include examples of nationalism, Italian and German opera, tone poems, and piano pieces. G. OPTIONAL ACTIVITIES 1. Student oral reports before class on lives and music of composers listed in Paragraph E. 2. Group rehearsal of music written by composers listed in Paragraph E. ASSIGNMENT 1 Complete the following sentences: a. The__________________ ___________________ was the most important new musical form to be developed during the Romantic Era. b. A new system of fingering woodwind instruments was developed by_____________ _______________. c. The span of 80 years beginning about ________________ and extending to approximately ____________ is known as the Romantic Era. d. ________________________ is a term used to describe music that proceeds in half steps. e. Music that identifies the people of a certain country or geographical area is said to be ________________________. f. The _________________________, ________________________ and ____________________________ are several of the musical forms that were developed to give the piano virtuoso a better vehicle to demonstrate his skill. True or False: a. Seventh and Ninth chords were rarely used by the composers of the Romantic Era. ___________ b. As the orchestra grew in numbers and its music became more complex, the need for skilled conductors became very apparent. ____________ c. The instrumental music of this era best demonstrates the ideals of Romanticism. _______________ d. An improved mechanism and increased range helped the piano to become the favorite of all keyboard instruments. _______________ 3. List several terms you would use to describe the ideals of Romanticism. 4. Describe the difference between the terms "composition" and "orchestration." 5. Place the correct composer's name in the blanks provided. a. _____________________ and ________________ are two of the most important composers of German opera during this era. b. __________________________, _________________________, ________________, and ______________________________ are four of the more important German composers of symphonies. c. _________________________ and ______________________ are the two important composers o Italian opera. d. The Polish composer, _____________________________, wrote only music for _________________________. e. _____________________________ and _________________________ are two of the most important Russian composers of this era. b. This space is provided for those questions a teacher may wish to ask about Paragraphs F and G. LESSON TWO A. LUDWIG VAN BEETHOVEN (1770 - 1827) Beethoven, as is so often true of many gifted composers, was born to a family of musicians. The year was 1770 and the place was Bonn, Germany. Both his grandfather and father were musicians, and when young Ludwig exhibited an aptitude for music, his father gave him instruction on piano and violin. As a boy his life was filled with long hours of practice and composing. At the age of seventeen Beethoven traveled to Vienna and had the good fortune to meet Mozart who was very impressed with Beethoven's capabilities. Illness in the family caused his early return home. In 1792 Beethoven returned to Vienna where he lived for the remainder of his life. Franz Joseph Haydn, with whom he studied for about two years, accepted him as a pupil. He also studied composition with several other noted teachers after his association with Haydn was discontinued. Vienna was a very happy place for Ludwig Van Beethoven. The aristocracy immediately recognized his ability as a pianist, and his fame spread rapidly. However, his greatest talent, composition, was as yet unrecognized. Scholars have grouped his compositions into three style periods. The first period includes the music Beethoven composed during the years 1795 to 1803. Compositions of this period show his classical background and the influence of Mozart and Haydn. The second style period includes the music written during the years 1803 to 1815. The music of this period departed completely from the ideals of classical music, and audiences began to hear musical sounds that had never been heard before. His music became very passionate, dynamic, accented, and startlingly dissonant. Beethoven's most popular and best-known compositions are products of his second period. The third style period includes the music written during the years 1815 to 1827. By the year 1814 his deafness had caused him to discontinue his appearances as a piano soloist, and he began to retreat further and further from society. Disappointment with an adopted nephew also added to his suffering. In spite of his personal problems he continued to compose music that he would never be able to hear-only imagine in his mind. It is not surprising, therefore, to find that the music of this period is much more abstract and reflective. Audiences were not ready for this music, and at the time they felt it to be inferior to his earlier music. Today it is realized that his greatest music is a product of his third period. Beethoven died in 1827 without ever having been married. Beethoven's total musical output was for less than Haydn's or Mozart's. He found it necessary to rewrite and polish compositions many times before obtaining a satisfactory finished product. The importance of his contributions to music clearly ranks him with the very greatest. While his early works are masterpieces in classical style, his later works illustrate the beginning of the Romantic era. B. TYPES OF MUSIC Ludwig Van Beethoven's most important compositions were written for orchestra, piano, or small chamber groups. His vocal works, while less numerous, are still very great. A partial listing of Beethoven's musical works includes: 1. ORCHESTRAL MUSIC Symphonies 9 Overtures Piano Concertos 5 2. PIANO MUSIC a. Sonatas 30 b. Variations 3. CHAMBER MUSIC a. String Quartets 16 b. Piano Trios 9 c. Violin Sonatas 10 4. VOCAL MUSIC a. Opera 1 b. Oratorio 1 c. Masses 2 d. Songs C. BEST KNOWN WORKS (by periods) . First Period (1795-1803) a. SYMPHONY NO. 1 IN C MAJOR b. SYMPHONY NO. 2 IN D MAJOR c. STRING QUARTETS OP. 18 d. MOONLIGHT SONATA-piano 2. Second Period (1803-1815) a. SYMPHONY NO. 3 IN E FLAT MAJOR (EROICA) b. SYMPHONY NO. 4 IN B FLAT MAJOR c. SYMPHONY NO. 5 IN C MINOR SYMPHONY NO. 6 IN F MAJOR (PASTORAL) SYMPHONY NO. 7 IN A MAJOR SYMPHONY NO. 8 IN F MAJOR FIDELIO (opera) PIANO CONCERTO NO. 5 STRING QUARTETS OP. 59 3. Third Period (1815-1827) SYMPHONY NO. 9 IN D MAJOR b. MISSA SOLEMNIS (mass) c. STRING QUARTETS OP. 127 to OP. 135 d. PIANO SONATA IN A MAJOR OP. 101 D. DEFINITIONS 1. SYMPHONY -- a lengthy composition for full orchestra in sonata form. 2. STRING QUARTET -- a composition for four stringed instruments, usually two violins, viola, and cello. 3. MASS -- a musical setting of the church mass for orchestra, soloists, and chorus. E. PERFORMANCE The following graded selections are listed as suggestions for group rehearsal and possible performance. Other appropriate selections already in the school's music library may be substituted. ORCHESTRA PERFORMANCE a. SYMPHONY NO. 3 (EROICA), Beethoven-Moses Carl Fischer (D) b. MARCH FROM FIDELIO, Beethoven -Tolmage . Staff (M) c. HYMN OF JOY FROM SYMPHONY NO. 9, Beethoven-Benoy .Oxford (E) 2. CHORUS PERFORMANCE a. HALLELUJAH From MOUNT OF OLIVES, Beethoven .Carl Fischer (D) b. JOYFUL, JOYFUL, WE ADORE THEE, Beethoven Shawnee Press (M) (with organ or optional brass and tympani) c. THE HEAVENS RESOUND, Beethoven ..Augsburg (E) 3. BAND PERFORMANCE a. EGMONT OVERTURE, Beethoven -Winterbottom Boosey & Hawkes (D) b. OVERTURE EROI CA, Beethoven -Skornicka .. Belwin (M) c. THE THREE B'S, Beethoven -Erickson .. Bourne (E) (Bach -Beethoven-Brahms) F. OPTIONAL ACTIVITIES A graded listing of solo-ensemble material from which selection can be made for student presentation before the class follows: INSTRUMENTAL SOLOS LITTLE RONDO, Beethoven . . . . . . . . . . . . . . G. Schirmer French horn solo (E) GERMAN DANCE IN C MAJOR, Beethoven piano solo (M) RONDO, Beethoven . viola solo (M) SONATE, OP. 17, Beethoven French horn solo (D) ALLEGRO From SONATA PATHETIQUE, Beethoven alto or baritone saxophone solo (D) ADAGIO CANTABILE, Beethoven-Stouffer . Bb clarinet solo (M) TURKISH MARCH MUSIC, Beethoven -Herfurth violin solo (E) SONATA NO. 5, OP. 24, Beethoven violin solo (D) MINUETTO, Beethoven-Stouffer cornet solo (E) 2. INSTRUMENTAL ENSEMBLES MOUNT OF OLIVES, Beethoven -Ostrander trombone trio (D) MINUET IN G, Beethoven -Froker cornet quartet (E) ALLEGRETTO From SYMPHONY VII, Beethoven-King brass choir (D) MINUET IN G, Beethoven . alto saxophone duet (E) THREE DUETS, Beethoven . . . . Jack Spratt flute, clarinet duet (D) GRAND TRIO OP. 87, Beethoven ..Kendor flute trio (D) THREE BAGATELLES, Beethoven . ..Edition Musicus Bb clarinet quartet (M) h. MINUET IN G, Beethoven Barnhouse violin duet (E) i. RONDO IN D, Beethoven-Wemer . string trio (violin, cello, piano) (D) QUARTET OP. 18, NO. 5, Beethoven . string quartet (D) ADAGIO CANTABILE, Beethoven-Sacci clarinet choir (M) 3. VOCAL SOLOS a. INQUESTA TOMBA, Beethoven baritone solo (M) b. IN THIS SEPULCHRAL DARKNESS, Beethoven bass solo (D) c. LOVE THEE, Beethoven . baritone solo (E) d. INQUESTA TOMBA, Beethoven -Woodside . . . . . .Boston Music Co. soprano solo (D) (SEVEN CENTURIES OF SOLO SONG) e. THE KISS, Beethoven -Woodside . . . . . . . . . . Boston Music Co. soprano solo (M) (SEVEN CENTURIES OF SOLO SONG) f. FIVE SACRED SONGS, Beethoven-Kugel soprano solo (E) 4. VOCAL ENSEMBLES a. TO THEE, OH LORD, Beethoven-Ebert girls' duet (M) LOVE YOU, Beethoven-Kraft . . . . . . Schmitt, Hell & McCreary girls' trio (E) c. HYMN TO COURAGE, Beethoven-Gibb boys' quartet (M) d. FREEMEN ARE WE ALL, Beethoven-Gibb boys' quartet (E) 5. RECORDINGS (selected by instructor) See Paragraph C. 6. FILMS (selected by instructor) Any number of appropriate films are listed in film company catalogs. Film use is determined by time and budget. ASSIGNMENT II I. Complete the following sentences: a. Beethoven first gained recognition in Vienna as a____________________ b. On his first visit to Vienna, Beethoven had an opportunity to perform before the famous composer,_______________________________________. c. Beethoven's early works show the classical influence because of his association as a student with the composer,______________________________. d. A symphony is a long orchestral work written in ___________________ form. e. Beethoven composed a total of ______________ symphonies. 2. True or False: a. Beethoven's lasting fame was gained as a composer of opera and oratorio. _______ b. Dissonant, accented, and passionate are several terms that might be used in describing Romantic music. _______ c. Beethoven's most important contributions were made in the area of instrumental I music. _______ d. Because composition came easy for Beethoven, his total musical output surpasses that of Mozart and Haydn. _______ e. Beethoven's best-known works are products of his second style period. _______ 3. Why is Beethoven considered a transitional composer? 4. Beethoven's music is divided into style periods. Describe each. 5. This space is provided for those additional questions that the instructor may wish to ask about Paragraph F. (Optional Activities) LESSON THREE A. RICHARD WAGNER (1813 - 1883) Because the purpose of this text is to place emphasis only on those composers who exemplify culmination of an era, it is necessary to by-pass many important composers and proceed directly Beethoven to Wagner. (See Lesson I, Paragraph E.) The Romantic period beginning with Beethoven reached its zenith approximately one-half cent later with the operas and music dramas of Richard Wagner. In accomplishing this feat Wagner so the thoroughly exhausted all possibilities of tonality that, in order to be different, composers had to begin experimentation with new systems of harmony. These new systems of harmony are very evident in much of the new music we hear today. Richard Wagner was born in 1813. As a youth he was most interested in literature. It was until 1827 that he exhibited an interest in music and in 1831 enrolled at the University of Leipzig as a music student. The six months he spent at the university essentially represent the sum total of his form musical training. During the next several years, Wagner held positions with a number of opera houses in various cities in Germany. The experiences thus gained were invaluable when he began to compose opera. At the age of twenty-three he married and moved to the Russian city of Riga. It was here that began work on his first important opera, RIENZI. Plagued by insolvency he was soon forced to leave and fled to England by the way of the North Sea. The weather during the trip was stormy and caused the ship to be blown far off course; this experience influenced Wagner to write his second major opera, THE FLYING DUTCHMAN. In a short time he moved to Paris where he completed the operas mentioned previously. The years were extremely trying for Wagner. He continually lived beyond his means-a habit he was never able to break. The turning point in Wagner's life occurred in 1842 when his opera, RIENZI, was accepted for performance at the opera house in Dresden. Its success soon led to the production in 1843 of his Second opera, THE FLYING DUTCHMAN. During this time he had moved to Dresden and accepted a position as a conductor at the theater. While in Dresden he composed the operas, TANNHAUSER al LOHENGRIN. Throughout the 1840's Wagner was an extreme radical in political activities. Due to his involvement in the unsuccessful revolution of 1849 in Dresden, a warrant was issued for his arrest; and he was obliged to flee to Switzerland. He remained an exile eleven years. These eleven years were spent in study and writing a number of books, the most important of which was his treatise, OPERA AND DRAMA. This was completed in 1851 and described his theories concerning dramatic expression. Wagner's banishment finally ended in 1864 when Ludwig II ascended to the throne of Bavaria and invited Wagner to return to Germany. Wagner moved to Munich in 1865 and completed the opera, TRISTAN AND ISOLDE, which had been inspired during his stay in Switzerland. He had also begun his gigantic cycle of four related operas THE RING OF THE NIBELUNG, while in Switzerland. The first opera in the cycle, DAS RHEINGOLD was finished in 1854 and the second, DIE WALKURE, was completed in 1856. He completed the third opera, SIEGFRIED, in 1871; and finally, in 1874, he completed the fourth and last opera in the cycle, GOTTERDAMMERUNG. While some of the operas in the cycle had been produced individually, it was not until 1876 that the entire tetralogy of four operas was given in proper sequence in a theater, which Wagner planned and built for the production of his operas. This theater was located in Bayreuth, a city in Germany, which to this day periodically sponsors performances of Wagner's works. His opera, THE MASTERS INGERS OF NURNEBURG, was completed in 1867. This opera was written before he had completed the last two RING operas. His final opera, PARSIFAL, was completed in 1882 and produced in Bayreuth during the same year. Richard Wagner died in 1883 not quite attaining the age of seventy, and he was buried in his beloved city of Bayreuth. While Wagner's early operas were traditional in concept, his later works, beginning with the RING OF THE NIBELUNGS, are examples of music dramas. Wagner conceived his music dramas as being a fusion of the orchestra, singers, and stage action into a whole. His use of the LEITMOTIF helped him to gain this goal of fusing music and drama into one. For this reason his music dramas are not divided into arias or scenes. Wagner, also wrote the LIBRETTOS for his operas, all taken from mythology or folklore. He believed the orchestra was to function solely as a vehicle for the expression of any mood or emotion he wished to portray. Therefore, Wagner enlarged his orchestra, especially adding more woodwinds and brass, in order to achieve a greater variety of instrumental colors. Wagner is, without a doubt, the greatest composer of the nineteenth century. His operas are regularly performed to this day, and the overtures are often performed at concerts. B. TYPES OF MUSIC The operas of Wagner constitute the great majority of his musical output. He did, however, compose several songs and an orchestral piece. Except for the opera, THE MASTERSINGERS OF NURNEBERG, he wrote very little for chorus. C. BEST KNOWN WORKS EARLY OPERAS RIENZI - 1840 THE FLYING DUTCHMAN - 1841 TANNHAUSER - 1845 d. LOHENGRIN - 1845 2. MUSIC DRAMAS a. RING OF THE NIBELUNG 1. DAS RHEINGOLD - 1854 2. DIE WALKURE - 1856 3. SIEGFRIED - 1871 4. GOTTERDAMMERUNG - 1874 b. TRISTAN AND ISOLDE - 1859 c. MASTERSINGERS OF NURNEBERG - 1867 d. PARSIFAL - 1882 D. DEFINITIONS 1. LIBRETTO -- the text (actual words) of an opera. 2. LEITMOTIF -- the use of short musical themes to identify a person, emotion, or thing that is important to the story of the opera. 3. MYTHOLOGY -- a collection of legends depicting the gods and heroes of a people. 4. TETRALOGY -- a series of four related works, -E. PERFORMANCE The following graded selections are listed as suggestions for group rehearsal and possible performance. Other appropriate selections already in the school's music library may be substituted. 1. ORCHESTRA PERFORMANCE a. RIENZI OVERTURE, Wagner-Moses . . . . . . . . . Carl Fischer (D) b. INTRODUCTION TO ACT III, LOHENGRIN, Wagner-Weaver . Mills (M) c. MARCH OF THE MEISTERSINGERS, Wagner-Herfurth . .Carl Fischer (E) 2. CHORUS PERFORMANCE a. PILGRIMS' CHORUS, Wagner-Aliferis . . . . . . . . Paul Schmidt (D) b. CHORALE AND FINALE FROM "DIE MEISTERSINGER," Wagner Duetzmann . . . . . . . . . . . . . . . . Carl Fischer (M) c. AWAKE, Wagner-O.C.C. . . . . . . . . . . . . . Kjos (M) 3. BAND PERFORMANCE a. RIENZI OVERTURE, Wagner-Grabel . . . . . Barnhouse (D) b. LOHENGRIN..Excerpts. Wagner-Osteriing . . . . . . . . Ludwig (M) c. AWAKE (Chorale from Act 111, DIE MEISTERSINGER), Wagner- Houseknecht . . K jos (E) (Optional SATE) F. OPTIONAL ACTIVITIES A graded listing of solo-ensemble material from which selection can be made for student presentation before the class follows: INSTRUMENTAL SOLOS a. ALBUM LEAF, Wagner-Hass . flute solo (E). . Rubank b. WALTHER'S PRIZE SONG, Wagner . . . . . . . . . . . . . . Kjos comet solo (M) c. SONG TO THE EVENING STAR, Wagner-Roberts . . . . Carl Fischer trombone solo (E) d. SONG TO THE EVENING STAR, Wagner . . . . . . . . Carl Fischer viola solo (E) e. WALTHER'S PRIZE SONG, Wagner . French horn solo (M) F. SONG TO THE EVENING STAR, Wagner-Roberts alto saxophone solo (E) g. DIE MEISTERSINGER, Wagner-Isaac . string bass solo (D) h. WALTHER'S PRIZE SONG, Wagner-Buchtel . . oboe solo (M) 2. INSTRUMENTAL ENSEMBLES a. TANNHAUSER QUARTET, Wagner-Pottag French horn quartet (D) b. MARCH FROM TANNHAUSER, Wagner-Gordon . . . . . . . . Kjos saxophone quartet (M) c. PRIZE SONG, Wagner-Trinkhaus . . . . . . brass sextet (E) d. PRELUDE TO LOHENGRIN, Wagner . . . . . . 2 violins, viola, cello, and piano (D) e. WALTHER'S PRIZE SONG, Wagner-Zamecnik . . , French horn quartet (E) F. THE KING'S PRAYER AND FINALE, Wagner-Schafer . . Assoc. Music brass sextet (D) 3. VOCAL SOLOS O, STAR OF EVE (TANNHAUSER), Wagner baritone solo (D) presser b. DREAMS, Wagner . . . . . . . . . . . . . Music Pub. Hold. Corp. alto solo (D) (ARTISTIC CONTRALTO COLL.) 4. VOCAL ENSEMBLES a. CONSECRATION, Wagner-Douty . . . . . . . . . . . . . . Ditson girls' quartet (M) b. PILGRIMS' CHORUS, Wagner-Scholen . . . . . . . . . . . . Belwin mixed quartet (M) c. DREAMING, Wagner . . . . . . . . . . . . . . . . . . . .Church girls' quartet (D) 5. RECORDINGS (selected by instructor) 6. FILMS (selected by instructor) Any number of appropriate films are listed in film company catalogs. Use is determined by time and budget. ASSIGNMENT III 1. Complete the following sentences: The titles of the four RING operas are____________________________, _________________________________, ________________________________ and ____________________________________________. b. The term ______________ is used to describe a group of four related artistic works. c. Wagner's first successful opera was titled __________________________. d. Because of a stormy sea voyage, Wagner was inspired to write his opera __________________________________________________. e. The text, or actual words, of any opera are known as the____________________. f. A short musical theme used to identify a certain person in an opera is called a ___________________. g. _______________________ is the name of the German city where Wagner built his theater. 2. True or False a. As a young man, literature was Wagner's first interest. _______ b. Wagner's lasting fame was gained as a composer of songs and oratorio. _______ c. Wagner was largely a self-taught composer. _______ d. All of Wagner's operas are based on mythology. _______ e. Wagner so thoroughly exhausted the possibilities of tonality that composers began to experiment and develop new systems of harmony. _______ 3. Describe the difference in concept between Wagner's early operas and his later Music Dramas. 4. In a few words describe why the music of Wagner is considered the culmination of this era. LESSON FOUR A. JOHANNES BRAHMS (1833 - 1897) The position of Johannes Brahms at this particular place in music history is somewhat of an enigma. Logically, it would seem that the symphonies he wrote are a continuation of the symphonies of Beethoven. At the same time as Brahms was continuing his work along lines established by Beethoven, Richard Wagner was receiving much acclaim for his new concepts of music drama. By comparison, one finds that Brahms was very staid and conventional while Wagner was verbose and egotistical, especially about his musical accomplishments. While at the time it was difficult for Brahms and Wagner to live side by side in the artistic community of Germany and Europe without confrontation, it can now be seen that both composers pursued different goals. In the case of Brahms, his position is unique in that his music is a combination of the strong classical influence inherent from his early schooling and the Romanticism of the period in which he lived. As many composers before him, Brahms, too, was born to a musical family in Hamburg, Germany, in 1833. His early training on violin, cello, and horn was with his father. At the age of seven he began the study of piano with a local teacher; and, as might be expected, he made very rapid progress. Being also interested in composition, he studied with a theorist by the name of Edward Marxsen. Brahms' classicist influence stems from this association. The turning point in Brahms' life occurred when he decided to go on tour as piano accompanist with the noted violinist, Edward Remenyi. On tour he met many influential people, especially the noted composer, Robert Schumann. Schumann was impressed; and as a consequence, he wrote a magazine article extolling the compositional talents of Brahms. As a result Brahms began to gain a reputation as a composer from whom one could expect great things. In 1857 Brahms accepted a position as music director at the court in Detmold. Later, in 1859 he appeared as soloist with his composition, PIANO CONCERTO IN D MINOR; however, this was not well received. Finally in 1863 Brahms moved to Vienna where he felt he would be able to improve himself. As the course of future events would reveal, Brahms did remain in Vienna for the remainder of his life. In Vienna he held several directorships but finally gave them up to devote his entire time to composition. An important event in his musical career occurred in 1868. This year saw the very successful performance of his GERMAN REQUIEM, a choral work, in Bremen. Until this time he was chiefly recognized as a composer of piano and choral literature. It was not until 1876, when Brahms was forty-three years old, that his first symphony was introduced. His second symphony followed in 1877; this was followed by several more symphonies and concertos for violin and piano. The University of Breslau recognized his compositional attainments with the awarding of an honorary doctorate in 1879. As a gesture of appreciation, he composed ACADEMIC OVERTURE the following year. Brahms, like Beethoven, did not care for public adulation. He wanted to be left alone and stay out of the limelight in order that he might live his personal life as he wished. His appearance and mannerisms might have seemed crude to strangers, but with friends he was said to be very witty and charming. Also, like Beethoven, he never married. His death in 1897 occurred at the height of his fame B. TYPES OF MUSIC Brahms placed controls on himself regarding structure and harmonies that were more in with the ideals of Classicism than the Romantic emphasis on chromaticism and tone color so in vogue during his lifetime. On the other hand, the Romantic influence is evident in the emotional aspect of his music. Brahms' fame lies in the fact that he was able to combine the elements of Classicism and Romanticism. Brahms' melodies are diatonic and often reveal a folk influence. His modulations are always logical and not just for the sake of effect. In addition he was very much a craftsman with regard to structure and form. His greatest claim to fame rests with his symphonies, songs, and piano music. He did not write opera. A partial listing of Brahms' musical output follows: ORCHESTRAL MUSIC Symphonies-4 Symphonic Overtures-2 Concertos (piano and violin) Symphonic variations VOCAL MUSIC REQUIEM (chorus and orchestra) b. Songs (about 200) PIANO MUSIC Ballads Sonatas Variations d. Rhapsodies CHAMBER MUSIC String quartets String quintets Piano trios, quartets, and quintets Clarinet sonatas Sonatas (piano and violin) C: BEST KNOWN WORKS 1. SYMPHONY NO. 1 1N C MINOR (1876) 2. SYMPHONY NO. 2 IN D MAJOR (1877) 3. SYMPHONY NO. 3 IN F MAJOR (1883) 4. SYMPHONY NO. 4 IN E MINOR (1885) 5. ACADEMIC FESTIVAL OVERTURE (1880) 6. TRAGIC OVERTURE (1881) 7. GERMAN REQUIEM (1868) D. DEFINITIONS 1. DIATONIC -- melody and harmony based on the eight tones that constitute a major or minor scale-not chromatic. 2. VARIATION -- the repetition of a melody that has been modified in regard to tune, harmony, and rhythm, but always identifiable to the original. 3. REQUIEM -- a musical church service in honor of the dead. E. PERFORMANCE The following graded selections are listed as suggestions for group rehearsal and possible performance. Other appropriate selections already in the school's music library may be substituted. 1. ORCHESTRA PERFORMANCE a. TRAGIC OVERTURE, Brahms-Muller . . . . . . . . b. ACADEMIC OVERTURE, Brahms-Muller c. THEME AND FINALE, Brahms-Jurey 2. BAND PERFORMANCE a. THIRD MOVEMENT, SYMPHONY NO. 2, -Brahms-Hibbert Boosey & Hawkes (D) b. BRAHMS' BREVITIES, Brahms-Vitto . c. SYMPHONY NO. 3 (excerpts), Brahms-Eyman 3. CHORUS PERFORMANCE a. SING PRAISE TO GOD WHO REIGNS, Brahms-Satern b. THREE GYPSY SONGS, Brahms-Hirt . c. WONDROUS COOL, THOU WOODLAND QUIET, Brahms-Wagner. Schirmer (E) F. OPTIONAL ACTIVITIES A graded listing of solo-ensemble material from which selection can be made for student presentation before the class is as follows: 1. INSTRUMENTAL SOLOS a. RHAPSODY IN G MINOR, Brahms piano solo (D) G. Schirmer b. FIRST SONATA FOR CLARINET, Brahms . . . . . . . . G. Schirmer clarinet solo (D) (MASTER WORKS FOR CLARINET) c. HUNGARIAN DANCE, Brahms-Lesinsky . . . . . . . . . . . Belwin string bass solo (M) (34 STRING BASS SOLOS) d. WE WANDERED, Brahms-Tertis . . . . . . . . . . . Boosey & Hawkes cello solo (M) n e. BRAHMS WITH VARIATIONS, Brahms-Goldberg . . . . . . . .Belwin bass clarinet solo (E) f. SOFT STRINGS OF MUSIC DRIFTING, Brahms-Primrose . Carl Fischer viola solo (D) 2. INSTRUMENTAL ENSEMBLES a. ES IST EIN ROS' ENTSPRUNGEN, Brahms-Niven . . . . Robert King brass quintet (E) b. NIGHT WATCH NO. 2, Brahms-Voxman . . . . . . . . . . Rubank brass choir (E) (CONCERT REPERTOIRE FOR BRASS CHOIR) c. FINALE, Brahms-Wilcox . . . . . . . . . . . . . . . . . . Belwin French horn quartet (D) d. THE FAMOUS WALTZ, Brahms. alto saxophone duet (E) e. HUNGARIAN DANCE NO. 5, Brahms flute, clarinet duet (M) f. ALLEGRETTO GRAZ10S0, Brahms . . . . . . . . . clarinet quartet (M) g. CRADLE SONG OP. 49, NO. 4, Brahms-deJesu mixed clarinet quintet (E) h. HUNTING SONG, Brahms-Gerhart . . . . . . . . . . Shawnee Press trombone quartet (M) (SESSIONS COLL.) i. ALLEGRO GRAZIOSO FROM SECOND SYMPHONY, Brahms-Clemens Concord Music violin quartet j. HUNGARIAN DANCE NO. b, Brahms . string trio (D) (piano, violin, and cello) k. HUNGARIAN DANCE NO. 1, Brahms . string trio (D) (piano, violin, and cello) 3. VOCAL SOLOS a. SERENADE, Brahms alto solo (D) b. SAPPHIC ODE, Brahms . alto solo (M) c. MY LOVE IS GREEN, Brahms. soprano solo (D) d. THE DISAPPOINTED SERENADER, Brahms soprano solo (M) e. LITTLE DUSTMAN, Brahms. mezzo soprano solo (E) f. SERENADE, Brahms . baritone solo (D) g. IN THE CHURCHYARD, Brahms . baritone solo (M) 4. VOCAL ENSEMBLES a. CRADLE SONG, Brahms girls' duet (E) b. SO CLEAR THINE EYES, Brahms. girls' duet (M) c. ODE TO STARLIGHT, Brahms-Hoggard girls' trio (D) d. A NIGHT IN JUNE, Brahms-Wick girls' trio (M) e. CRADLE SONG, Brahms girls' trio (E) f. THE LITTLE DUSTMAN, Brahms . . . girls' quartet (E) g. SIX FOLK SONGS, Brahms . . mixed quartet (E) j. HUNGARIAN DANCE NO. b, Brahms. string trio (D) (piano, violin, and cello) k. HUNGARIAN DANCE NO. 1, Brahms . string trio (D) (piano, violin, and cello) 3. VOCAL SOLOS a. SERENADE, Brahms . alto solo (D) b. SAPPHIC ODE, Brahms . alto solo (M) c. MY LOVE IS GREEN, Brahms . soprano solo (D) d. THE DISAPPOINTED SERENADER, Brahms soprano solo (M) e. LITTLE DUSTMAN, Brahms . mezzo soprano solo (E) f. SERENADE, Brahms . baritone solo (D) g. IN THE CHURCHYARD, Brahms . baritone solo (M) 4. VOCAL ENSEMBLES a. CRADLE SONG, Brahms girls' duet (E) b. SO CLEAR THINE EYES, Brahms . girls' duet (M) c. ODE TO STARLIGHT, Brnhms-Hoggard girls' trio (D) d. A NIGHT IN JUNE, Brahms-Wick girls' trio (M) e. CRADLE SONG, Brahms girls' trio (E) f. THE LITTLE DUSTMAN, Brahms . . . girls' quartet (E) g. SIX FOLK SONGS, Brahms . . mixed quartet (E) ASSIGNMENT IV 1. Complete the following sentences: a. A musical service in honor of the dead is called a ________________. b. Brahms completed his first symphony during the year __________. c. Music that does not employ accidentals is said to be _________________. d. Brahms and ____________________ are the two best known composers of symphonies during the nineteenth century. e. The Classicist influence was imparted to Brahms by his teacher, _______________________. f. The composer __________________________ was the first person to publicly extol the compositional talents of Brahms. 2. True or False Brahms first gained fame as a composer of songs and piano music. _______ The operas of Brahms are his best-loved compositions. _______ The chamber music of Brahms includes four symphonies. _______ Brahms' early musical training was with his father as his teacher. _______ Wagner and Brahms often spoke highly of each other's musical accomplishments. _______ f. Brahms was a shy and retiring individual who avoided public attention as much as possible. _______ 3. What aspects of Brahms' music are identifiable to Classicism? Explain. LESSON FIVE A. THE TWENTIETH CENTURY (1900 - 2000) Near the beginning of the new century a revolution in music began that continues to this day. Wagner's complete saturation of tonality caused some composers to devote their efforts and talents to experimentation with other systems of tonality. As could be expected, some composers continued the traditions of Romanticism by writing lengthy symphonies. They even further increased the size of the orchestra. These composers are called NEOROMANTICISTS. Another small group of composers adopted the artistic ideals of a group of French painters. In so doing, they attempted through their music to evoke moods and vague impressions by creating subtle and delicate nuances with muted instruments, rich delicate harmonies, and misty melodies. This group is called IMPRESSIONISTS. They are essentially Romanticists but their art is very restrained, delicate, and refined. Still another group of composers returned to the ideals of eighteenth century Classicism in the pursuit of their art and have, therefore, been labeled NEO-CLASSICISTS. The revolution against tonality became most evident in the work of the EXPRESSIONISTS during the 1920's. They wrote ATONAL music, which can be readily recognized by its complete lack of tonality. Upon hearing atonal music for the first time, the listener will be shocked by its harsh dissonances and disjointed melodies. Today, the AVANT-GARDE in music compose in electronic music studios using complex equipment to create electronically and naturally produced sounds. These sounds are recorded on tape and arranged by the composer into sequences and rhythmic patterns thereby creating a work of art. B. MUSICAL CHARACTERISTICS This century has seen the growth of music into a vast subject area. Because of the large numbers of performing groups (choirs, bands, orchestras, dance bands) and new medics (radio, television, movies, recordings) readily available, more composers are writing music, more music is being performed, and more music is being listened to than ever before. Unlike his counterpart of a century ago, the composer today is immediately aware of new techniques in his field and more affected by the affairs of the world; these influences cannot help but be reflected in his art. The experimentation of this century is most evident in instrumental music. Choral music remains largely unchanged. C. NEW DEVELOPMENTS 1. HARMONY Chords are traditionally constructed by intervals of a third. By following this technique even further, chords of a more complex nature (11th and 13th chords) have become common. The practice of adding tones to a chord has also become commonplace. 2. QUARTAL HARMONY This system of harmony is very popular today and is based on a technique of constructing chords by intervals of a fourth. 3. POLYTONALITY As the name implies, polytonality results when two or more keys or tonalities are being sounded at the same time . . . very much in vogue during the early part of the century by the Neo-Classicists. 4. ATONALITY A complete departure from the concept of tonality whereby melodies are no longer a series of tones related to a key center, but are instead a predetermined grouping of the twelve tones of a chromatic scale. As techniques were perfected, the twelve tones of the chromatic scale were grouped according a preconceived plan called a TONE ROW. The order of these tones must be such that when played there would be no hint or suggestion of forming or producing a conventional chord. The notes of the tone can be assigned varying values according to the composer's plan and altered by techniques of transposition or retrograde. All twelve tones of the tone row must be sounded in a predetermined sequence be any of the tones can be repeated. Music written in this manner is also known as DODECAPHOI MUSIC. 5. ELECTRONIC MUSIC Electronic music in this country is less than twenty years old. A large percentage of the pub never having heard electronic music is as yet largely unaware of its existence or of the growing power of this movement. The composition of electronic music is a study in sound. The sounds may be produced naturally or electronically as they are recorded on tape according to the composer's plan. Tape speed may be varied, sound may be distorted or reverberated, or any of an infinite number of recording techniques may be employed to obtain the desired artistic result. D. DEFINITIONS 1. TONALITY -- the relationship of tones that identify a composition as being in a certain key. 2. NEO -- a combining word meaning new. 3. AVANT GARDE -- a group considered to be ahead of their time because of their unorthodox and experimental work in a given field. 4. ELEVENTH CHORD -- a chord common to modern music built in thirds and containing six different tones. 5. THIRTEENTH CHORD -- another chord common to modem music built in thirds and containing seven different tones. 6. TRANSPOSITION -- a technique whereby a piece of music can be moved to a relative position by raising or lowering each note by a specific interval. 7. RETROGRADE -- the technique of writing a given section of music backward. 8. DODECAPHONIC -- a method of musical composition that employs the twelve-tone technique. E. COMPOSERS A number of the more important composers of types of music listed in Paragraph A follows wit information regarding date of birth, death, nationality, and type of music for which they are best known 1. NEO-ROMANTIC COMPOSERS a. STRAUSS, RICHARD (1864 - 1949) A German composer of symphonic poems and operas. b. MAHLER, GUSTAV (1860 - 1911) A German composer of lengthy symphonies. 2. NEO-CLASSIC COMPOSERS a. STRAVINSKY, IGOR (1882 - 1971) A Russian by birth, he later lived in Switzerland, France, and the United States. A composer of symphonies, operas, and chamber music. He is best known for his ballet music. b. HINDEMITH, PAUL (1895 - 1963) A German composer of many types of music including symphonies, operas, chamber music, and choral music. 3. IMPRESSIONISTIC COMPOSERS a. DEBUSSY, CLAUDE (1862 - 1918) A French composer especially noted for his piano music. b. RAVEL, MAURICE (1875 - 1937) A French composer noted mostly for his orchestral and piano music. 4. EXPRESSIONISTIC COMPOSERS a. SCHOENBERG, ARNOLD (1874 - 1951) An Austrian composer who later became an American citizen. He is best known for his atonal system of composition. b. BERG, ALBAN (1885 - 1935) An Austrian composer of atonal music who was a student of Schoen- berg. . . best known for his operas. 5. ELECTRONIC COMPOSERS a. CAGE, JOHN (1912-1992) An American composer of percussion and electronic piano music. b. BABBITT, MILTON (1916 - ) An American composer noted for his creations on the synthesizer. F. GROUP LISTENING .(selected by instructor) 1 . Recordings of Neo Romantic Music. 2. Recordings of Neo Classical Music. 3. Recordings of Impressionistic Music. 4. Recordings of Expressionistic Music. 5. Recordings of Electronic Music. G. OPTIONAL ACTIVITIES 1. Individual student reports before class on: a. lives and music of composers listed in Paragraph E b. similar reports of additional composers of interest not listed in Paragraph E. 2. Student volunteers to compose and create their own electronic composition using two or more tape recorders. ASSIGNMENT V 1. Complete the following sentences: a __________________________ and _____________________ are two noted composers of impressionistic music. b. The opposite of tonality is _______________________. C. ________________________________ is the name given to the technique of writing music backward. d. Harmony is called __________________________ when built in intervals of a fourth. e- _____________________________ and _________________________ are two of the many noted composers of Classics music. 2. True or False a. Atonal music has always been extremely popular with audiences. _______ b. A tone row contains the twelve tones of the chromatic scale. _______ c. Richard Strauss is one of the more noted composers of electronic music. _______ d. Dodecaphonic is a term that refers to atonal music. _______ e. Alban Berg belongs to the Expressionistic school of composition. _______ LESSON SIX THE BAND ERA In summarizing the development of music through the course of history, it becomes very apparent higher degrees of musical accomplishment were made possible as man gained in knowledge and achievement. The human voice, quite naturally, was man's first musical instrument. Vocal music maintained this position of importance unchallenged until the close of the Baroque era. During this period (1600 -1750) some types of instruments reached a level of perfection that encouraged composers to write for them; and thus, as the era passed, instrumental music finally came to occupy a position of equal importance with vocal music. Instrumental music of this period was written primarily for keyboard instruments and/or various types of stringed instruments. The Classical period (1750 - 1820) saw further improvement in keyboard and stringed instruments. Of special significance was the level of perfection attained in the construction and playing of the stringed instruments of the violin family and Haydn's subsequent adoption of these instruments as the backbone of the orchestra. In comparison to stringed instruments, the quality of the brass and woodwind instruments of this period was very inferior. Not until the middle of the Romantic period (1825 - 1900) did artisans achieve enough skill to improve the fingering system and musical facility of the woodwind and brass instruments. Therefore, Romantic composers, in their efforts to increase the tonal colors of the orchestra, wrote much music that assigned important parts to the woodwinds and brasses. This practice greatly increased the size of the orchestra. A revolutionary movement occurred near the turn of the century when some composers tired of Romanticism and tonality. Atonal and polytonal music emerged as products of this period, and experimentation still continues as evidenced by the work of today's composer of electronic music. Into this revolutionary environment, a new movement, which at first hardly attracted attention, was introduced into the public school system of America during the 1920's. Known as the wind band program, its popularity with parents and students was immediate, and it rapidly spread from the Midwest throughout the country. The amazing growth of this program continues and will undoubtedly continue well into the future. Recent polls indicate that there are over 55,000 functioning bands in the schools, colleges, and communities of the nation. This phenomenal growth can only be interpreted to mean that bands, as we know them in this country, are a direct product of the American culture; and as such the band may well be the vehicle of expression to give direction to musical development of the future. B. THE BAND'S INSTRUMENTS From a technological standpoint, the band could not have emerged as a full-fledged concert vehicle until this century. The scientific knowledge and skills so necessary to the manufacture of high quality woodwind and-brass instruments were beyond the capabilities of earlier day instrument builders. In this sense, the band was only possible because of the modem scientific achievement of this century. Consequently, much of the band's success is due to the efforts of the manufacturers of band instruments. The manufacturers have endeavored to continually improve the quality of their products. Through intensive research they have succeeded in developing new instruments that were unknown to the band of twenty-five years ago . . .for example, the contra bass clarinets that have so greatly improved the instrumentation. The instruments of the band are divided into three families: woodwinds, brass, and percussion. 1. WOODWIND INSTRUMENTS a. Piccolo b. Flute c. Oboe d. English horn e. E flat clarinet f. B flat clarinet g. E flat alto clarinet B flat bass clarinet E flat contra bass clarinet B flat contra bass clarinet Bassoon E flat alto saxophone B flat tenor saxophone E flat baritone saxophone 2. BRASS INSTRUMENTS a. Comet b. Trumpet c. French horn d. Tenor trombone e. Bass trombone f. Baritone horn g. Tuba (E flat & BB flat) 3. PERCUSSION a. Marimba b. Xylophone c. Chimes d. Tympani e. Bells Snare drum Bass drum h. Cymbals Assorted traps too numerous to list 4. ADDITIONAL INSTRUMENTS Instruments that are sometimes used but not ordinarily included as part of the band's instrumentation are: a. G alto flute b. B flat bass flute c. Contra bassoon d. B flat bass saxophone e. String bass f. Flugelhorn C. THE BAND'S MUSIC The band's early association with the military will always be a proud aspect of its heritage. For this reason, marching music and parades have continued to be a colorful part of the band's function. However, an even more important function has become apparent in recent years with the emergence of an excellent new concert literature written expressly for the band. During its infancy the band had very little literature of its own, and it often was necessary to adopt orchestral literature for the concert band . . .a practice frowned upon by many musicians. Near the time of World War II an entirely new literature written for band began to appear. Composers realized that the large number of bands in the country offered unlimited opportunity for the performance of their works, and so devoted a great deal of their compositional effort to writing for band. As the band program grew, many outstanding and well-known composers began and still continue to write for band. A growing number of young composers, many themselves products of the band movement, Are writing for band; and they will, no doubt, make many more important contributions to the band's literature. It, therefore, must be recognized that among the most noteworthy achievements of the band movement has been the development of an excellent new literature within a relatively short period of time. Significantly, the number of bands and the quality and quantity of band music continues to rapidly increase, indicating that the movement is still very young and has yet to attain its full momentum. It is the author's opinion that future historians will recognize the band's new literature as being among the most important musical achievements of the century. PERFORMANCE (BAND) A graded listing of representative selections from recent band literature follows: I. CHORALE PRELUDE: SO PURE THE STAR, Vincent Persichetti (ME) . . . Elkan-Yogel, 1963 2. SERENADE FOR BAND, Vincent Persichetti (M) 3. PSALM FOR BAND, Vincent Persichetti (D) 4. CHORALE, Vaclav Nelhybel (M), 5. FESTIVO, Vaclav Nelhybel (M) . . . . . . . . . . . Fronko Columba, 6. PRELUDE AND FUGUE, Vaclav Nehybel (D) . . . . Frank Music Co., 7. DODECAPHONIC SET, William Latham (M) (Twelve-tone music) 8. SPECTRUM, Herbert Bielawa (M) . . , , , (Electronic tape and band) GROUP LISTENING (selected by instructor) 1. Recordings representative of the band's new literature. 2. Attendance at a band rehearsal or concert made up of recent band literature. . OPTIONAL ACTIVITIES Student reports on lives and activities of living composers of music for band. ASSIGNMENT VI Complete the following sentences: a. An instrument nearly related to the piccolo is the_________________________. b. An instrument nearly related to the English horn is the _______________________. c. The most common stringed instrument regularly included in the band's instrumentation is the _____________________________________________. d. The three types of saxophones found in the band's instrumentation are the ____________________________, ____________________________, and ____________________________. 2. List six different instruments that are members of the clarinet family. a. d. b. e. c. f. 3. List the names of four different double reed instruments that are sometimes included in the band's instrumentation. a. c. b. d. 4. List four instruments included in the percussion section that are capable of playing all the pitches of a chromatic scale. a. c. b. d. 5. List at least five different instruments commonly included in the brass section of the band. a. d. b. e. c. 6. List at least four different instruments of the percussion family that are not capable of playing melodies. o. c. b. d. t the names of at least two additional composers of band music not identified in Paragraph D. a. b. 8. This space is provided for those questions an instructor may wish to ask about Paragraphs E and F. Page  PAGE 2 /k[Q6=u|%&'(,0JmH j0JU0JPJ>*,yz{|}~  /BW d !$dha$$dha$,yz{|}~  /BWk./  8 9 T U   12?efBC^_hiy  *OPm.*GHm Y Z } A!B!d!!!!""9"""""dh"# #,#p#q#####,$-$Y$H%I%J%a%b%%%&&&8&&'''j(A)dhY$H%I%J%a%b%%%&&&8&&'''j(A)B)Q)R)))<*=***#+n+o+p+q+++++,,y,'---s.t.u...~{xu"#$p&'()tZ[EFUV-_56MNO>.A)B)Q)R)))<*=***#+n+o+p+q+++++,,y,'---s.t.u..dh... / /~00F1G1b2c2=3>364745588k:l:m:::+;,;e;f;{;dh$dha$.. / /~00F1G1b2c2=3>364745588k:l:m:::+;,;e;f;{;;;;;;;;;;;<#<$<4<@<N<}zwtqWcst      12kl*+,`aYZ45PQ+{;;;;;;;;;;;<#<$<4<@<N<[<d<e<f<i<<<<<<<=dh & FdhN<[<d<e<f<i<<<<<<<==6=b=====>>'>>>?>\>w>>>>>>>4?5????ļxurolifc`bc        ; XYp            5a.123<I%==6=b=====>>'>>>?>\>w>>>>>>>4?5????? & Fdh & Fdhhdh^hdh???@@@@@@A A^A_AAAAAAA@BkBlBBBBBCCFCGCCCCCCC:D;DNDDDDDD|yq     I \]PQ+,W89wx+??@@@@@@A A^A_AAAAAAA@BkBlBBBBBCCFCGCCdhCCCCCC:D;DNDDDDDDDE)ETExEEEEEFF=FMF 8hdh^8`h & F dhdhDDE)ETExEEEEEFF=FMFNFhFFFFFGG,GDGEGuGGGGGH>HNHpHHŽ|tqifc`]Z'IYп  ߿   "R  Sk       / IJZx        Cn    "MFNFhFFFFFGG,GDGEGuGGGGGH>HNHpHHHH & F dh dh^`hdh^h 8hdh^8`h & F dhdhHHHHIII1IEIpI~IIIIJfJJJJJJKKXKhKKKKKKKLL3LLLLLLL.MMQNN¿}zwtqFٹiغߺdһ /?  ɼʼۼ1x'Rfɾ  ܾ  +HHIII1IEIpI~IIIIJfJJJJJJKKXKhKK & F dh dh^`hdh^hdh 8hdh^8`h & F dhKKKKKKLL3LLLLLLL.MMQNNNNBOOOPPP dh^`hdh^hdhNNNBOOOPPPPPPPQQQQQ]Q^Q_Q`QaQbQcQdQeQfQQQQQRRR S STTUUVVEWFWXXYX~{xu?QRݲ޲yz{123456789:}~¶ U.PPPPPQQQQQ]Q^Q_Q`QaQbQcQdQeQfQQQQQRRR S S$dha$dh STTUUVVEWFWXXYX%Y&YZZ[[]]z`{`gahaaaddeeedhYX%Y&YZZ[[]]z`{`gahaaaddeeeeffffffffffg gg2gKgbgwgggggg}zwtqnß 5Le}  Ҡ      /0qr>*eeffffffffffg gg2gKgbgwgggggggdh^8dh^8 & F dh & Fdh^ dhggg,hhi4i5iEijjjbjjjjjjDk{kkkklAllllllmmmmmnqnnn$o=owooooo p~{xu˗ Zs֘&yəVS5yRbck.gg,hhi4i5iEijjjbjjjjjjDk{kkkklAllllllmdhmmmmmnqnnn$o=owooooo p]ppp4qqqqqq@rArTrrdh p]ppp4qqqqqq@rArTrrrRsSs{ss t ttAtttRuuuvvlvv.w/w@wAw|wwwwx x=xExxx~{xuˎRZʏVWhiÐ+|}E V {DECVWÕ˕c:-rrRsSs{ss t ttAtttRuuuvvlvv.w/w@wAw|wwwwxdh^ & F dhdhx x=xExxxx5y6y7y8y9y:y;yy?yyyyyyy{{}}*~$dha$dhxx5y6y7y8y9y:y;yy?yyyyyyy{{}}*~+~CD́΁̄̈́"#$67LjȈ~{xu~~`astuʂ˂ɅʅSTlmɍʍXYZ[\]^_`abŽÎ.*~+~CD́΁̄̈́"#$67LjȈ9:L & Fdhdh9:LZqҊ"#2CTy}zri]QE|   (C|   MT|   ^e|  ot|  u|||   `|   h|  q|  |||  q|  |}   )&}   G=}   ^K}  l ]} ^}}}LZqҊ"#2CTy8dh^8 & Fdhdh & Fdh*Ns(ǎȎ7YZnڏLpː̐QRh|yvs/vEvFvvvvv'wKw{wwwww)x=x>x`xxxxxyyyyozzzzz {${I{m{{{{{{{{{ |   ,*Ns(ǎȎ7YZnڏLdhLpː̐QRh~Ԓ,}~_*puÖdh~Ԓ,}~_*puÖ"Elї+\]pǘ+RTUdޚH~{xulllm3mBmCmmmnEnlnnno'o:o;oloooo+pRpuppppp"qxqq'rmrrr8sssttkttuuu."Elї+\]pǘ+RTUdޚHpdhHpܛ AqϜ;ȝ\]n+3v~̠Ԡ2:;~{xuybddddeefff\f]fefffg!gdglggggg)h:h;hhiiij\jjjjjj&kVkkkkkk'lOl.ܛ AqϜ;ȝ\]n+3v~̠ԠdhԠ2:;ǥȥ "#>?yz$dha$dhǥȥ "#>?yzlmzST|}ij۴ܴrs~{xu$R%RRR-S.SSSTTCTDTTTTTVVVZ*Z+ZZ[[}[[[\\\\\]]]]X_Y_t_u_``aaxb.lmzST|}ij۴ܴdhܴrs+, 0abŷƷ !>dh+, 0abŷƷ !>?`?}Ϻ67OPj~{xuGLHL`LaLLLLLMXM|M}MMMMMM7NXNYNvNwNNNOOOOOOOP5P6PgPPPPPkQlQyQzQ{QQQ.>?`?}Ϻ67OPjȻ 78^_dhjȻ 78^_׼ؼEF|}Ͻн?@NOt޾߾zϿпFGXY|yvFF>G?GPGQGGGHHHH#IHIIIWIXIIIJJQJRJJJJJJJJJJJKK8K9K_K`KKKKKK-L-_׼ؼEF|}Ͻн?@NOt޾߾zϿ dh !dhϿпFGXY6>u}67$dha$dh6>u}67RSxyz+CNW_owo6  6  6  77(787@7I7T7l777;;;;;<<D>E>`?a?AABBDDEEEEEEEF"FYFaFFF+7RSxyz+CNW_o5OP & F dhdh5OPeny'2>cd~ 9HVWl./BY5   ce5   op5   z{5   555555555566)626G6H6b6  z6  6  6  2Peny'2>cd~ 9HV & FdhdhVWl./BFg+qr&'(dhFg+qr&'(>f %&23?@/0<=IJ)+C(>f %&23dh3?@/0<=IJ)*+dh#0P/ =!"#$% i4@4NormalCJOJPJQJmH 6`6 Heading 1$d@&>*<A@<Default Paragraph Font@O@ OmniPage #1dCJOJPJQJ@O@ OmniPage #3dCJOJPJQJ@O@ OmniPage #4dCJOJPJQJ@O"@ OmniPage #5d CJOJPJQJ0Z@20 Plain TextOJQJ,@B,Header  !, @R,Footer  !&)@a& Page Number.>`r.Title$dha$CJH,j4 z z z z z z z z z z z z z z z z z z z z z z z z z z z z z z z z !z "z #z $z %z &z 'z (z )z *z +z ,z -z .z /z 0z 1z 2z 3z 4z : n%(1/57;>AhEFKKQY`EchSm nrsz$#Lj,p#mƱA˻+(?,, T    #C dS(` m !Q"'#$ %& 'h(")* + ,s-. /0123,uW*"A).{;=?CMFHKP Segmrx*~LLԠܴ>_Ͽ7PV(3+vxy{}~?Y$.N<?DHNYXg pxHj+wz| !,4-Ӌ֋GJ/0;<9:EF-Paula<Macintosh HD:Temporary Items:AutoRecovery save of Music IndSAlbert BOUCHARD=Macintosh HD:Documents:Teacher'sFiles:MusicClass:Music IndStuAlbert BOUCHARD<Macintosh HD:Temporary Items:AutoRecovery save of Music IndSAlbert BOUCHARD<Macintosh HD:Temporary Items:AutoRecovery save of Music IndSAlbert BOUCHARD<Macintosh HD:Temporary Items:AutoRecovery save of Music IndSAlbert BOUCHARD<Macintosh HD:Temporary Items:AutoRecovery save of Music IndSAlbert BOUCHARD<Macintosh HD:Temporary Items:AutoRecovery save of Music IndSAlbert BOUCHARD<Macintosh HD:Temporary Items:AutoRecovery save of Music IndSAlbert BOUCHARD<Macintosh HD:Temporary Items:AutoRecovery save of Music IndSAlbert BOUCHARD<Macintosh HD:Temporary Items:AutoRecovery save of Music IndS2 [ "0:d?F*<?(<&Vph*FJ,f d8JCW?!j0HP0H7+TȒyYP'Z \T9@%fl^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`o(.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`o(.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.pp^p`.@ L@ ^@ `L.^`.^`.L^`L.^`.PP^P`. L ^ `L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.^`o(.^`.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.88^8`o(.^`. L ^ `L.  ^ `.xx^x`.HLH^H`L.^`.^`.L^`L.^`o(.^`o(.pLp^p`L.@ @ ^@ `.^`.L^`L.^`.^`.PLP^P`L.?d80:<&*h*@%fFJ,2 [ yY7+T0HPZ \W?                                                                          u        \                          X7         @n       (-@$>,` @GTimes New Roman5Symbol3 Arial3Times7Courier hl:qFiqNd 4]4Y#xxd @pMost music heard and perform ed today was either written during the Romantic period or directly influenced by itPaulaAlbert BOUCHARD Oh+'0 (4D \h   'qMost music heard and perform ed today was either written during the Romantic period or directly influenced by itinostPaulausaulNormalsAlbert BOUCHARD78eMicrosoft Word 9.0d@X1@x6[@&s64  ՜.+,0| hp  ]'(Edward A Reynolds West Side High School] qMost music heard and perform ed today was either written during the Romantic period or directly influenced by it Title  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~Root Entry F~ 1Table6WordDocument%jSummaryInformation(DocumentSummaryInformation8CompObjX FMicrosoft Word DocumentNB6WWord.Document.8