Sunday, October 11, 2015

Some Music Theory Terms in German

I am giving you a partial list of the German words that you will face when you read a music theory article or book from such German music theorists like Schenker (you probably know him with his
invention of Schenkerian Analysis).

This is not a complete list but I am trying to save time for some of you who are majoring in music theory at a college, university, or a conservatory.

altertieren--to alter

Anschaungskraft--perceptive power

aufgehobene Tonaität--roving harmony

aus Grunden--although(or by)reasoning

bis auf Anfang und Schluss--except at the beginning and end

Consonanz--consonance

Dissonanz--dissonance

Drittel--third

Einfall--idea

Geschlossenheit--completeness

Gestalten--forms

Gliederung--articulation

Kadenzschluss--perfect cadence

kaschiert--hidden

Klang--musical sound

Klangemfindungen--accostical sensation

Klangfarbe--tone color

kombinieren--systematizing; to systematize

die Kunstklang--The Art of Musical Sound(1960), a book by Rober

     Mayrhofer

Manier--motive

Mehrstimmigkeit--polyphony

Mehrstufigkeit--subdivision of the octave

Naturstimmung--nature's voice

Orchesterlied--orchestra song

Ornamentierer--decorator

Schlusse--cadences

schwebende Tonalität--suspended harmony

Stufenreichum--degrees(each one of the degrees)

Terz--third(interval of a third)

Tonalität--tonality

Tonart--tonality

Tonikalisierungprozess--tonicalization process

die Tonreihen--scales; tone-rows

Umtauschen--exchange

Ursachen--elemental sources

Vereindominante--a deceptive dominant, one that executes a deceptive

    progression, such as II-I

Vernunft--reason

Verstand--intellect

Werden--growth

Weschelnote--change line

das Zeitmass--timing

Zusammenklangen--foreign harmonies

Monday, September 21, 2015

A Sample Western Music History Study Guide (Part 1)

BOULANGER, NADIA (1887-1979)
--In her whole life, she approached music with an almost
  religious intensity and devotion.
--She began teaching at the American Conservatory at
  Fontainebleau near Paris in 1921 (just as a new
  generation of Americans were arriving in Europoe
  to study music.
--During WWII, she taught at a number of distinguished
  schools in the United States.

BUUS, JACQUES
He was the Italian composer who wrote these organ pieces:
Intabolatura d'organo di ricecari di libro primo, 1549
Ricercari terzo e quarto dell'intabolatura diorgano,  1549

CANARIE
In Louis Couperin's time, it was similar to the quique.

CAPULET, ANDRÉ (1878-1929)
He was a younger composer than Debussy, and also a close
friend of him. He graduated at the Conservatoire, was a good conductor and not a radical.

CIRCULAR CANON
A canon closing in the key a semitone above that in which in begins. The repetitions would thus carry it through the
"circle" of 12 keys.

CHANDOS ANTHEMS
An anthem for soloist, chorus, and orchestra composed by
Handel (1717-1718), for Jars Brydges, later John of Chandos. Included is a Te Deum and a Jubilate.

CIBELL(CIBELL)
An English harpsichord or ensemble piece ca. 1680-1710 in imitation of the gavotte "Descente de Cybelle" in Jean-
Baptiste Lully's opera Alys (1670), act 1. Henry Purcell's
version (or "old Cibell") was itself imitated, creating a
second generation of the genre.

CONCORD SONATA
Charles Ives' 2nd piano sonata, composed in 1910-1915. Its
complete title is Concord, Massachusetts, 1840-1860, and
its four movements are titled, respectively: "Emerson",
"Hawthorne", "The Alcotts", and "Thoreau."  The last movement includes an optional part for flute.

CREATION
An oratorio by Joseph Haydn, which has three parts
Part 1--The First 3 Days
Part 2--The First 4 Days
Part 3--The Garden of Eden

EDGAR
This was Puccini's second opera, which was more of a flop
than the first opera, Le Villi, and he slipped more into
poverty before he made good success on his next opera,
Manon Lescaut.

EUCHORICS
The name given in Britain (apparently from the 1930s) to the art of verse-speaking in chorus, an art successfully produced in various countries.

FRENCH ORGAN COMPOSERS
The common French Baroque organ composers in the period
were:

Louis Daquin (1694-1772)
Nichlas Gigault (1627-1707)
Nicolas Lèbegue (1631-1702)
Louis Marchand (1669-1732
Henri Du Mont (1610-1681)
Guillamue Nivers (1632-1714)
André Raison (1650-1719)
Jean Titelouze (1563-1633)


GAULTIER, DENIS(1603-1672)
He was the principal Fench composer of the Baroque period.

GRACIEUSE, LA
Chopin's Ballad in F major (A minor), op. 38.

GREGORIAN CHANT
Variously referred to us plainsong or plainchant; it was the principal religious music of the Roman Catholic Church
from about the first 1000 years. It constitutes the largest and oldest single body of Christian music. Gregorian chant
is imporant because it was the source of religious polyphony
in the Middle Ages and Renaissance.

HEXENMENUET
The 3rd movement of the String Quartet in D minor,  op.
70, no. 2, by Haydn.

I HATE MUSIC
--In F major, this piece by Leonard Bernstein, with some
  5/8 meter in some cases.

INTERDETERMINACY
The intentional utilization of some degree of chance in composition or performance, in which John Cage was the
main composer.

KIRNGERGER, JOHANN PHILIPP (1721-1783)

He was a pupil of Bach, a violinist, composer, and theorist. He left a variety of compositions, and
(especially) many theoretical works.

LANGSAM, MIT INNIGEM AUSDRUCK
Tempo indication of the 6th song from Schumann's Frauenliebe und Leben,  which is in C major, and in 4/4/ time.

LIÈGE, JACQUES DE(1260-1330?)
French music composer who composed the treatist Speculum
musicae, the largest surviving Medieval treatise on music.

MELODIA
Zarlino's form for a polyphonic vocal composition, which has the three parts:
--Harmony
--Rhythm
--Text

MINNESINGER
German Medieval musicians who sang of courtly love.

OPEN FORM
A musical form that does not end with a conclusive ending formula or cadence.

OPEN HARMONY
In 4-part harmony, an arrangement of voices such that the
3 upper voices have a total range of more than an octave.

PACHELBEL, WILHELM (1685-1764)
This composer followed his father as organist at Nürnberg. He was a virtuoso-type who transferred his virtuosic style in most of his own compositions, with usu. involves double
trills in thirds.

PANTOMINE
Synonym for atonality. Schönberg preferred this term indi-
cating the combination of all keys rather than the absence
of any.

PASSAMEZZO
An old Italian dance in duple time, like the Pavane, but
faster.

PHILOSOPHIC, THE
Popular name for the Symphony no. 6 in A major by Bruckner.

RAVEL, MAURICE (1875-1937)
--What makes Ravel music different from Debussy that it is 
  more classical, almost always, although Debussy
  experimented in form.
--Also, pedaling was marked more in Ravel, and he does not
  usually use copious musical instructions. yet, he seems
  clear on what the performer expected. His piano style
  had some influence on Debussy, when Ravel wrote his
  Jeux d'eau.
--In general, Debussy was a devotée of Chopin, but Ravel
  seems to have a pianistic style similar to Liszt.
--Like Debussy, Ravel likes to make the piano sound like an
  orchestra.

RONDEAU
This means "round" in French. It refers to Couperin's
ordres; in this piece, the musical form "rondeau" would have an A section, and each new part (B, C, D) would be called a couplet. Soon, rondeaux was passed on to some of
the Baroque keyboard suiets (esp. Bach's Partita in C minor, which has an ABACADA pattern.)

QUODLIBET
A musical medley; potpourri; Dutch concert. Originally,
a piece employing several well-known tunes from various
sources.

RAMEAU, JEAN-PHILIPPE
He was the most important French composer of harpsichord
music.

SCARLATTI, DOMENICO (1685-1757)
He was the son of Alessandro Scarlatti. Domenico moved
to Portugal to play for Princess Maria Barbara. He then got
married and spent the rest of his 28 years (ca. 1729) in
Spain. Domenico had 9 children and 2 wives; he wrote over
500 sonatas.

STATISTICAL MUSIC
This is music that depends only as approximate orientation.

STEIBELT, DANIEL (1765-1823)
He was a famous pianist at the showy stomp, and a composer of operas and other works now forgotten-though occasional piano pieces come the way of the practice pianist.

SUSANNA
This is an American opera written in the 20th century, with music by Carlisle Floyd. Setting: in a Tennesee village.

VERGEBLICHES STAENDCHEN
This art song by Johannes Brahms is in 4 parts in the key of A major, but the third part is briefly in A minor

VISIONS FUGITIVES (FLEETING VISIONS)
Sergei's Prokoviev's title for a series of 20 piano pieces in a vareity of moods, suggested by a poem of the Russian
poet Balmont:

"In every fleeting vision I see worlds full of the changing play of rainbow hues."

ZARLINO
A musical theorist from Italy. He used these Italian/Greek
terms
Diastemata--Spaces or intervals
Maniere--Styles
Systemata--Composers or ordered compounds
Trihemitone--A minor third
Enharmonic by two dieses and a ditone--A major third

ZOPF STIL

A pejorative term used in the 19th century to refer to music by then out of date, from the period of pigtails and powdered wigs of the 18th century.

Friday, September 4, 2015

How To Make a Traditional Piano Master Class Better?

The usual way most piano master classes are done:

* A student comes up to the piano while the master teacher sits at a moderate distance from the piano, as the student gives the score to the teacher.
* The student plays the piece all the way through.
* Afterwards, after a short applause (which doesn't happen in all occasions), the master teacher comes up to the student to make comments to the student.
* Often, the comments are made more to the student and much less to the observers or audience

The overall result of this traditional piano master class method is that often the class ends up rather boring.

First Interesting Way To Hold a Piano Master Class--"The PowerPoint Method"

1. PowerPoint Presentation of the score performed by a master class student, for watchers/observers to see the score--not just the master teacher watching the score alone.

2. The only drawback is that this method requires a PowerPoint slide show operator who is well-versed in piano repertory and can sight-read well, with page turning experience a plus

3. Creates a stronger visual element for people who, for unforeseen reasons, cannot bring the piano score of the piece or pieces played at the master class

Second Interesting Way to Hold a Piano Master Class: The "Appreciation" Method

* In addition to making comments to the master class student, the master teacher can ask questions to the audience to audience or even comment to them about the piece or pieces.
For instance, say a student is playing the "Razocky March" (Hungarian Rhapsody no. 15) by Liszt. The teacher would say things like
"This piece is actually an operatic transcription based on a devilish operatic character used by Hector Berlioz, one of Liszt's friends, as well as Arrigo Boito and Charles Gounod. Who is that character?" The audience tries to answer. If they fail, the teacher would say..."If you had said Faust, then you are exactly right..."

This method helps to reinforce music appreciation of piano repertory.