Questions/Outline for your paper Length: 6-7 pages. Use a minimum of four to five sources. Include text citations and bibliography. Biography Questions: (This portion should be 2-3 pages long, please do not discuss pieces here) 1. When and when was he born? 2. Who were his parents and what did they do for a living? 3. How many siblings did he have, were they musical? 4. Who were his teachers and musical influences? 5. What was his religion? 6. Did religion influence his music? 7. Where did he go to school? 8. Where did he work and for whom? 9. Was he married and to whom? 10. Did he and his wife have children? 11. Did her children study music and with whom did they study music? 12. Did he have psychological disorders or illnesses? 13. If so, how were they treated? 14. What were some interesting things about his life or events that happened in his life that are unique? 15. Where and when did he die and how? 16. Where is he buried? 17. Who did he influence or who were some of his most famous pupils? Music Period, Genres, and Characteristics of his Style: (1-2 pages, please use your book upon which I base my lectures for this portion of the paper) • In which period did he live including dates from the period? (Medieval, Renaissance, Baroque, or Classical) • What was the historical context of this period (write one paragraph on this) • What were the musical characteristics of this period. (write one paragraph on these characteristics) (see the pictures attached please for reference) • What types of genres did he compose (provide a list) For example, Beethoven composed 9 Symphonies, 1 Opera, 1 Mass, 32 Piano Sonatas, 5 Piano Concertos and 1 violin concerto. Your Own Analysis (1-2 pages, please do not use 1st person) • Choose one or two pieces by your composer which you like. (choose one of these: Don Giovanni, Symphony No. 40, Piano Concerto No. 23) • Define the Genre of the piece you chose. • Describe the pieces including instrumentation, number of movements, form of each movement discussing one movement at a time. • Give some of your own thoughts but do not use the 1st person. (For example, you could say: “The piece has lively rhythms.” Rather than saying: “I like the lively rhythms of this piece.”). Concluding Paragraph Please write a concluding paragraph. Please use 4-5 Sources and cite them in your paper. Also, include a bibliography. mony. Carl Philipp as "dry and despicable pieces of pedantry. tained their listeners with music offering contrasts of mood and theme. The term style galant (gallant style) was applied to this light, graceful music. The style galant in music is comparable to the rococo style in art. The term classical is confusing because it has so many different meanings. It refer to Greek or Roman antiquity , or it may be used for any supreme accomplishment to mean anything that is not rock, jazz, folk, or popular music. may of lasting appeal (as in the expression movie classic). Many people take classical music appropriate. The painting, sculpture, and architecture of the late eighteenth century Music historians have borrowed the term classical from art history, where it is more and the early nineteenth century were often influenced by Greek and Roman models But the music of this period shows little direct relation to antiquity . The significant parallel between “classical” music and “neoclassical” art is a common stress on bal- ance and clarity of structure. These traits can be found in the fully developed classical style in music, which we will focus on. That style flourished from about 1770 to 1820, and its master composers were Joseph Haydn (1732-1809), Wolfgang Amadeus Mozart (1756-1791), and Ludwig van Beethoven (1770-1827). First, we'll study the character- istics of their work. Characteristics of the Classical Styl Contrast of Mood Great variety and contrast of mood received new emphasis in classical music. Whereas a late baroque piece may convey a single emotion, a classical composition will fluctuate in mood. Dramatic, turbulent music might lead into a care- free dance tune. Not only are there contrasting themes within a movement, but there may also be striking contrasts within a single theme. Mood in classical music may change gradually or suddenly, expressing conflicting surges of elation and depression. But such conflict and contrast are under the firm control of the classical composer. Masters like Haydn, Mozart, and Beethoven were able to impart unity and logic to music of wide emotional range. Rhythm Flexibility of rhythm adds variety to classical music. A classical composi- tion has a wealth of rhythmic patterns, whereas a baroque piece contains a few par terns that are reiterated throughout. Baroque works convey a sense of continuity and perpetual motion, so that after the first few bars one can predict pretty well the rhyth; pauses, syncopations, and frequent changes from long notes to shorter notes. And the mic character of an entire movement. But the classical style also includes unexpected change from one pattern of note lengths to another may be either sudden or gradual. 189 1 | The Classical Style Textur In contrast to the polyphonic texture of late baroque music, classical music is basically homophonic. However, texture is treated as flexibly as rhythm. Pieces shift smoothly or suddenly from one texture to another. A work may begin homophonically with a melody and simple accompaniment but then change to a more complex poly- phonic texture that features two simultaneous melodies or melodic fragments imitated among the various instruments. Melody Classical melodies are among the most tuneful and easiest to remember. The themes of even highly sophisticated compositions may have a folk or popular flavor. Occasionally, composers simply borrowed popular tunes. (Mozart did, in his variations on the French song Ah, vous dirai-je, maman, which we know as Twinkle, Twinkle, Little Star.) More often, however, they wrote original themes with a popular character. Classical melodies tend to sound balanced and symmetrical because they are frequently made up of two phrases of the same length. The second phrase in such melodies may begin like the first, but it ends more conclusively. Such a melodic type, which may be diagrammed a a', is easy to sing. (It is frequently found in nursery tunes such as Mary Had a Little Lamb.) Baroque melodies, on the contrary, tend to be less symmetrical, more elaborate, and harder to sing. Dynamics and the Piano Classical composers' interest in expressing shades of emotion led to the widespread use of gradual dynamic change-crescendo and decre- scendo. These composers did not restrict themselves to the terraced dynamics (abrupt shifts from loud to soft) characteristic of baroque music. Crescendos and decrescendos were an electrifying novelty; audiences sometimes rose excitedly from their seats. During the classical period, the desire for gradual dynamic change led to the re- placement of the harpsichord by the piano. By varying the finger pressure on the keys, a pianist can play more loudly or softly. Although the piano was invented around 1700, it began to replace the harpsichord only around 1775. Most of the mature keyboard compositions of Haydn, Mozart, and Beethoven were written for the piano, rather than for harpsichord, clavichord, and organ, which had been featured in baroque music. The late eighteenth-century piano-called a fortepiano-weighed much less than the modern piano and had thinner strings held by a frame made of wood rather than metal. Its pitch range was smaller, and its tone was smaller and lasted a shorter time. The End of the Basso Continuo The basso continuo was gradually abandoned during the classical period. In Haydn's or Mozart's works, a harpsichordist did not need to improvise an accompaniment. One reason why the basso continuo became ob- solete was that more and more music was written for amateurs, who could not master the difficult art of improvising from a figured bass. Also, classical composers wanted more control; they preferred to specify an accompaniment rather than trust the judg- ment of improvisers.
Purchase answer to see full attachment