Assignment: Grout and Palisca, Chapter
13
Read: 439-457
Skim: 457-460
Read: 461-466
Skim: 466-469
Read: 469-477
Skim: 477-478
Read: 478-479
Study Questions:
2. In what respects did the internationalization
of late 18th-century life and thought
influence the music
of the period?--p. 441-442
3. In what ways did the rise of the middle class
lead to greater popularization of
music?--p. 443-444*
4. What kind of music did the late 18th-century audience desire?--p. 444
5. What are the inherent problems with the concept
of a "Classic" period or a
"Viennese" school
or style?--p. 445
6. What is rococo?--p. 445-446 galant
style?--p. 446 Empfindsamkeit?--p.
446-447
7. How did the syntax of phrase structure change
in the new style of the late 18th
century?--p. 447
8. How did harmonic movement change in the late 18th
century? What is an Alberti
bass?--p. 447-448
9.What happened to the Baroque concept of the "single
affection" in the late 18th
century?--p. 448-449
10. What are the charactreristics of early opera
buffa?--p. 451-452 of the inter-
mezzo?--p.
452-453
11. What are the characteristics of the opera
seria as devised by Metastasio?--p.
455-456**
12. How did Italian da capo aria style change during
the 18th century? How did it
incorporate structural
methods of instrumental music?--p. 456-457***
13. What is the historical significance of the development of comic opera?--p. 461
14. How did comic opera in Italy change after the
middle of the 18th century? What
is an intermezzo?
a drama giocoso? an ensemble finale?--p. 461
15. What are the characteristics of French opéra
comique?--p. 462 of English bal-
lad opera?--p.
462-463 of German Singspiel?--p. 463 How did Singspiel dif-
fer in northern and
southern Germany?--p. 463
16. What are the elements of the reform operas of
Jommelli and Traetta?--p.
463-464
17. What are the features of Gluck’s reform style?--p. 464-465
18. What was the Querelle (guerre) des bouffons?--p.
465-466 What role did
Gluck play in this
controversy?--p. 466****
19. How did Scarlatti organize his sonatas? What
are the details of the resulting
form?--p. 469-470
(and NAWM 92)
20. Review the elements of sonata form--p. 471—472*****
21. How is the early Italian symphony related to
the Italian opera overture?--p. 472
What is the structure
of the first movement of Sammartini’s Symphony No.
32?--p. 472 (and
NAWM 93)
22. What elements of the empfindsamer Stil
are found in C.P.E. Bach’s works?--p.
472-475 How does
he employ ornamentation?--p. 475
23. What are the different characteristics of the
Mannheim, Viennese, and Berlin
schools?--p. 475-476******
24. What is significant about J.C. Bach’s keyboard
concertos?--p. 476 How are
elements of ritornello
and sonata form reconciled?--p. 476-477
25. How did the composition of the symphony orchestra
change during the late 18th
century?--p. 478-479
**Note that he was a poet (librettist), not a composer.
***Some of this material was covered
in class under the late Baroque, especially with reference to Mar-
cello’s
satire and Handel’s operas.
****This matter also was covered in
class under the late Baroque, especially with reference to Rameau’s
operas.
*****Note that it is a 19th-century abstraction which individual works may not always reflect precisely.
******Note that Stamitz is the first
composer to use contrasting ideas in the tonic and relative key sections
of
a sonata form, a feature adapted by Viennese composers. Berlin composers,
on the other hand, were
more
conservative and avoided thematic contrasts