Quiz – Friday, Nov. 15 Tuesday, Nov. 19th

beau

UPDATE:  

Dear all,
With apologies, I’m postponing our quiz due some logistical difficulties.  We will take the quiz on Tuesday, Nov. 19.  Class on Friday is cancelled with my apologies, and we will be back on track next week.

Best,

Beau

Quiz 2 Study Sheet – Nov 15

As you are studying, feel free to ask questions of your classmates in the comments below. Students who provide (correct) answers will receive a 1% bump on the quiz, up to a maximum of 3&.

Listening after the jump.


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11 thoughts on “Quiz – Friday, Nov. 15 Tuesday, Nov. 19th”

  1. Michael Chiarello

    In referring to “Lieder Year” on the study guide, are we meant to focus in on Schumann’s “Year of Song” in 1840? Or another composer’s lieder year?

    November 18, 2013 at 9:14 pm
    Reply
    1. Luke Celenza

      Hi Michael,

      I think “Lieder Year” is referring to the fact that Schumann had periods of writing where he focused on a specific genre only, and Lieder Year is an example of one of those periods. But it could be referring to something specific like you said as well. Hope this helps.

      November 19, 2013 at 12:40 am
      Reply
    2. David "Chase" Baird

      Given Schumann’s prolific output in 1840 (he composed over 120 songs) the year is notoriously referred as his “Year of Song.” Although the only person who could officially answer your question for the purposes of the test would be Dr. Bothwell, I would say it’s incredibly unlikely it refers to anyone other than Schumann. See page 613 in “History of Western Music.”

      November 19, 2013 at 4:27 am
      Reply
  2. David "Chase" Baird

    Can someone please outline the significance of Russian revolutionary Mikhail Bakunin as it relates to nineteenth-century music?

    November 19, 2013 at 4:29 am
    Reply
    1. Alex Kinmonth

      he was part of the 1848 revolutions, specifically the czech rebellion. he was also a leader in russian nationalism before his thinking became more anarchistic

      November 19, 2013 at 8:48 am
      Reply
      1. Alex Kinmonth

        he had more effects on politics and influenced the school of thought that brought about the new german school and other nationalistic composers (tchaikovsky, sebelius, mussorgsky)

        November 19, 2013 at 8:56 am
        Reply
  3. David "Chase" Baird

    Three more questions:

    1) Could someone please discuss the subject and and significance of “chorale festivals” as it relates to what we’re currently studying?

    2) Significance and difference between (the) Grand Opera and (the) Opera Comique

    3) Clara Schumann (Wieck) and her significance in the development of the piano recital

    November 19, 2013 at 4:33 am
    Reply
  4. Robin Giesbrecht

    I also would like to know Bakunin’s relation to our studies, as well as the chorale festivals.
    To answer a couple questions: The main difference between Grand Opera and Opera Comique (at least from what I know) is that Opera comique is much smaller in size, as the Grand Opera is about huge orchestras expensive staging and great in length, and also that Opera comique includes actual spoken dialogues where they don’t sing. When we talked about the piano recital last class, we talked about that Liszt was the first to use the word “recital” and Clara Schumann was the one playing smaller recitals where she would combine music from all genres and different composers, where Liszt would focus on bravura pieces.

    Hope that helps somewhat.

    November 19, 2013 at 5:02 am
    Reply
  5. Robin Giesbrecht

    Also, I can’t find anything in the book on George Sand. What’s her role (except for the affair with Chopin) ?

    November 19, 2013 at 5:09 am
    Reply
  6. Danny Chang

    Can anyone briefly explains the importance of F. Hegel in relation to our studies?

    November 19, 2013 at 5:40 am
    Reply
    1. David "Chase" Baird

      Hegel was a German philosopher who championed the notion of history as progress. Hegel claimed that all historical change and development was the outcome of the thesis-antithesis-synthesis dialectic. This essentially means that you have two opposing forces who, through their interaction, create a compromise or new state of affairs. Hegel’s view is inherently teleological, namely that it presupposed a trajectory towards progress and meaning.

      For example, if two political interests are opposed (say peasants and aristocracy) they will have a high degree of friction and entropy as they interact. Eventually, the problems inherent in their class differences will cause them to come to a resolution (political revolution) in which things can be restructured for greater sociopolitical equality and opportunity for all.

      The musicologist Franz Brendel (known as a contributor and editor of the Neue Zeitschrift fur Musik after Schumann left his post) particularly embraced and advocated a Hegelian view of music. He was the first to use the term “New German school” to refer to those composers (Liszt, Berlioz, Wagner) who he felt directly inherited the tradition of Beethoven and believed that “the artwork of the future” would be music linked to the others arts. Contrarily, the opposing school of absolute music (espoused by music critic Eduard Hanslick and Brahms) felt that progress in music could and should be whole in and need not refer to anything other than itself. Thus, the thesis (gesamtkunstwerk or program music) and antithesis (absolute music) interacted to form a synthesis and ultimate outcome.

      November 19, 2013 at 3:24 pm
      Reply

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