SUMMER INTENSIVE MUSIC THEORY AND AURAL

WORKSHOP

AURAL
CLASS MATERIALS

Instructors:
Dr Julie Kirchhubel
Dr Josephine Jin

This copy was made for the purpose of research or study

under Part 5B of the Copyright Act on 21/01/21
This booklet consists of material compiled from the following sources,
as well as original materials:

Bennett, R. History of Music. Cambridge University Press, 1987.

Bowman, D. and P. Terry. Aural matters: A student’s guide to aural perception

at advanced level. Schott, 1993.

Ghezzo, M.A. Solfege, ear training, rhythm dictation, and music theory: A
comprehensive course. 3rd ed. University of Alabama, 2005.

Holland, D. Aural training for music students. EMI Music Publishing, n.d.
Horvit, M. et al. Music for ear training. 4th ed. Schirmer, 2013.

Karpinski, G. and R. Kram. Anthology for Sight Singing. Norton, 2007.

Kraft, L. A new approach to ear training: A programmed course in melodic and

harmonic dictation, 2nd ed. Norton, 1999.

Ottman, R. Music for sight-singing, 5th ed. Prentice-Hall, 2001.

Phillips, J. et al. The musician’s guide to aural skills: Sight-singing, rhythm-

reading, improvisation, and keyboard skills. Norton, 2011.

Phillips, P. The rhythm book: Studies in rhythmic reading and principles.

Dover, 1995.

Prosser, S. Essential Ear Training for Today’s Musician. Berklee, 2000.

Starer, R. Basic rhythmic training. MCA, 1986.

Thackray, R. The Seeing Ear: Student’s Book, rev. ed. Callaway International
Resource Centre for Music Education (CIRCME), 1995.
 CONTENTS

INTERVALS
Recognising intervals by ear .................................................................................................... 1
Interval Quizzes ........................................................................................................................ 2

SCALES
Scale Degree Numbers (Drills) ................................................................................................. 4
Chromatic Solfege Syllables (Grids)......................................................................................... 5
Identifying Scales in Passages ................................................................................................. 9

RHYTHM
Glossary of Time Names ........................................................................................................ 10
Simple Meter Patterns ............................................................................................................ 11
Conductor’s Beat Patterns ...................................................................................................... 13
Drills (Simple Duple) ............................................................................................................... 14
Drills (Simple Triple) ............................................................................................................... 17
Drills (Simple Quadruple) ....................................................................................................... 18
Drills (Compound Duple) ........................................................................................................ 19
Syncopation ............................................................................................................................ 20

CHORDS
Major and Minor ...................................................................................................................... 21
Diminished .............................................................................................................................. 22
Augmented ............................................................................................................................. 23

CHORD PROGRESSIONS
Common Chord Progressions .................................................................................................. 24

CADENCES
Musical Passages ending with Cadences .............................................................................. 26
Recognising Harmonic Cadences by Ear ............................................................................... 27

MELODIC DICTATION
Melodic Contour...................................................................................................................... 28
High Points/Low Points ........................................................................................................... 29
Triads and Scales ................................................................................................................... 30
Outlining Triads....................................................................................................................... 31
Passing Tones, Neighbour Tones, Double Neighbours ......................................................... 32
Melodic Dictation Strategies ................................................................................................... 33
Worksheets ............................................................................................................................. 34
Hearing Differences ................................................................................................................ 36

TWO-PART DICTATION
Two-Part Dictation Skeleton Passages .................................................................................. 38

RHYTHM DICTATION
Rhythm Dictation Quizzes ...................................................................................................... 40

SIGHT SINGING
Chromatic Solfege Syllables ................................................................................................... 43
Solo Melodies ......................................................................................................................... 44
Two-Part Passages ................................................................................................................ 48

AURAL ANALYSIS
Medieval Music ....................................................................................................................... 49
Renaissance Music ................................................................................................................ 50
Baroque Music ........................................................................................................................ 51
Classical Music ....................................................................................................................... 52
Romantic Music ...................................................................................................................... 53
Twentieth-Century Music ........................................................................................................ 54

Working Manuscript ............................................................................................................. 55

 Recommended Aural Training Resources

Software

Auralia 6 (Cloud edition)

https://www.risingsoftware.com/auralia

Digital Resources (eBooks)

Horvit, M, et al. Music for ear training. 4th ed. Boston: Schirmer Cengage
Learning, 2020 (audio digital content: MindTap)

https://au.cengage.com/c/music-for-ear-training-with-mindtap-printed-access-card-44-4th-
edition-4e-horvit-nelson-koozin/9780357106846/

Unit Headings (Units 1-10 only)

Unit 1: Intervals, Triads, and Scales

Unit 2: Rhythm Dictation: Simple Meters; Melodic Dictation: 2nds, 3rds, and 4ths

Unit 3: Melodic Dictation: 5ths, 6ths, and 8ves; Harmonic Dictation: 4-part settings of the
Tonic Triad

Unit 4: Rhythmic Dictation: 2:1 Subdivisions of the Beat; Melodic Dictation: The Tonic
Triad and Dominant 7th; Harmonic Dictation: The Tonic Triad and Dominant 7th

Unit 5: Rhythmic Dictation: 4:1 Subdivision of the Beat; Anacrusis; Melodic

Dictation: Primary Triads and the Dominant 7th; Cadential Tonic Six-Four

Unit 6: Rhythmic Dictation: Dots and Ties; Melodic Dictation: Minor Mode;
Harmonic Dictation: Minor Mode; 1st Inversion of Triads

Unit 7: The Supertonic Triad; Harmonic Dictation: The Supertonic Triad; Inversions of V7

Unit 8: Rhythmic Dictation: Compound Meter; Melodic Dictation: All Diatonic Triads;
Harmonic Dictation: All Diatonic Triads

Unit 9: Rhythmic Dictation: Triplets and Duplets; Melodic Dictation: Supertonic and
Leading Tone 7ths; Harmonic Dictation: Supertonic and Leading Tone 7ths

Unit 10: Examples from Music Literature

Benjamin, T, et al. Music for sight singing. 6th ed. Boston: Schirmer Cengage
Learning, 2013

https://www.vitalsource.com/products/music-for-sight-singing-thomas-e-benjamin-
v9781133712282
 Recognising Intervals by Ear

“Smooth” “Hollow” “Harsh”

concords perfect discords

m3 P1 m2

M3 P8 M2

m6 P5 m7

M6 P4 M7

Tritone

11
Adapted from Bowman and Terry, p. 14
 QUIZ NO. 1

2
Horvit et al., p. 15
 QUIZ NO. 2

33
Horvit et al., p. 16
SCALE DEGREE NUMBERS (DRILLS)

4
4
P. Phillips, p. 181
SCALE DEGREE NUMBERS (DRILLS)

5
P. Phillips, p. 180
6 Simmonds
7 Simmonds
8 Simmonds
9
 Thackray, p. 48
10
11 J. Phillips et al
12 J. Phillips et al
 Ottman

13 Prosser
DRILLS (SIMPLE DUPLE)

Ghezzo, pp. 27, 30, 35

14
DRILLS (SIMPLE DUPLE)

Ghezzo, pp. 39, 40, 43, 47, 52

15
DRILLS

16 J. Phillips, p. 84
DRILLS

J. Phillips et al., p. 87
17
DRILLS

18 J. Phillips et al., p. 85
DRILLS

19 J. Phillips et al., pp. 93-4

20
21 Horvit et al., p. 17
22 Horvit et al., p. 19
23 Horvit et al., p. 21
 COMMON CHORD PROGRESSIONS

Phrase-Length Exercises

These exercises present all the primary triads and introduce the cadentiaJ six-four chord. As before, you
should drill on the preliminary exercises. Then, listen to each phrase-length exercise, concentrating on
the cadential progression. Do you hear an authentic cadence or a half cadence? Establish the goal chord
and work backwards. What are the most likely chords to occur at the cadence? Is a dominant preparation
(pre-dominant) chord used? A cadential six-four?

1.
"
le

'
..
V
I
.,
II
.u --I ,, ,
,
I -
r,
I -J
r1
--
I I
-..
tJ I I I I I I

,
.. �r ., .,
,.J
T
J,.. j J J
-
r1
J a•
' I

El, : I IV v7 I IV I

- j\
... -I
- I
-I �I -J I -
..
_,.
- -
r
'_j
"
2.
' " u ,,
tJ I I I I I

----.:-:: ...
� "
--J J- J ,J 1 J
-
r
, .. " ,.;,
r1
I I I I I
D: I V I IV [12] v1 I
,
-..' - - -J- I -- I
-...,
I
-
I I

-r
" ,,

r
3. " _,. r1
" " - T
n
�) I I I I u

- - 1 ,J ,.J -J
-
I
-I
. -- --
......
•• -u.
tl
-

r
,,
-
..., � Tl
Tl I ' I
r I

B: I IV I V I y7 I

-- --
JI\»½! I I
Y' ..u - I
4. n
-
I<

' .,.,
'><!
� ,..
I
tJ I I

....
,
-· .
••

n"
- 11.

-
,,
.,
-
r,

I I

E: I IV I I [12] v7 I

110 UnitS

24
Horvit et al., p. 110
 COMMON CHORD PROGRESSIONS

.... I
.-. ..-
..
I I
"' ,_UTI �
5. u -
-�
••
r�

r I r
11

r r -
r
I,
�-
- -
t.J

.... d
... -- -...... -J -J -J ..
,1 - -e- -e-

I
,
-
,,
I I
I

I ..
A: I IV I V V7 I [12) v1 I

6.
I
- .,,
I I
-I - ..
r r r
"'
n "" r� r�
I
r:
I I

-·.. ......J ; J d ;
...-
J
�
V
., r ...
.,._

I I

F: I V I I IV v1 I

- I
... _,I _,I I

r-
.., I
-�
I I I
�r, ...

-
7. -
r
V �
" y ., r,
,,
�
I
'' ,, ,,
._J I I I I I '-JU'

j J
.. "" -.� -J -J -J -
j -J I
-
-
r- -r
"
., � I
/ ,-
r ,-
., r�
I
"
I I I I I
Db: I v1 I I IV IV [12) V7 I
' .. .... ....
-.. ....
J i. I
8. I,

t.J
-
�
t,
--
r;
-
�
t, V
-
�
t, V
r
r
-6
-
-tf:

... -- �..... I r - r
-
- -I
-
/

-
-
G: I IV I V I v1 v7 I

Harmonic Dictation: Primary Triads and the Dominant Seventh; Cadential Tonic Six-Four 111

Horvit et al., p. 111

25
MUSICAL PASSAGES ENDING WITH CADENCES

26 Holland, p. 38
 Recognising Harmonic Cadences by Ear

Phrase returns Phrase ends on something

to the Tonic Chord other than the Tonic Chord

“conclusive cadence” “progressive cadence”

. ?

Authentic Cadence (AC) Deceptive Cadence (DC)

aka Perfect aka Interrupted

Listen for: LN – Tonic Listen for: LN – Tonic and Bass

Step Up
V–I
V–i
(or V7) V-vi
V-VI
(or V7)
Perfect Authentic (PAC) Root position chords AND
Sc deg. 1 in sop over I or i

Imperfect Authentic (IAC) Like PAC but sc deg. 3 or

5 in sop over I or i OR with either or both of chords
inverted

,
Plagal Cadence (PC) Half Cadence (HC)
“Amen” aka Imperfect

Listen for: Tonic – Tonic

Listen for: LN in last chord
IV – I
I/i
iv – i
ii / ii○
IV / iv
vi / VI
or chromatic chords
to V

27 Simmonds
 Kraft, p. 41
28
 Kraft, p. 43
29
30 Kraft, p. 45
 Kraft, p. 47
31
32 Kraft, p. 49
 Adapted from Karpinski, p. 45
33
MELODIC DICTATION - I

34 Kraft, p. 51
MELODIC DICTATION - II

35
Kraft, p. 95
 Kraft, p. 133
36
37 Kraft, p. 137
 Bowman and Terry, pp. 14-5
38
 Bowman and Terry, p. 16
39
 QUIZ NO. 1

40 Horvit et al., p. 59
 QUIZ NO. 2

Horvit et al., p. 93

41
 QUIZ NO. 3

42 Horvit et al., p. 95
43
SIGHT SINGING - SOLO MELODIES

Ottman, p. 16
44
 Ottman, p. 17
45
46 Ottman, p. 19
 Ottman, p. 20
47
SIGHT SINGING - TWO-PART PASSAGES

48 Holland, p. 40
Listen to the excerpts below and answer the questions that follow.

(1) Bob Marley, ‘No woman no cry’, :00 to :12

• Identify the bass notes using scale degrees

• Notate the rhythm of the bass part

• Identify the harmony using Roman numerals. (Note that the root of the chord
may not always be in the bass voice.)

(2) four-bar chord progression

• Identify the bass notes using scale degrees

• Identify the harmony using Roman numerals

• This excerpt is in Bb major. Identify the chords using letter names and
indicate the quality (major or minor) of each chord.

(3) Nina Simone, ‘To love somebody’, :08 to :30

• Identify the ‘main’ bass note in each bar using scale degrees (the note that
sounds to your ear like the chord root)

• Identify the harmony using Roman numerals

(4) Nat ‘King’ Cole, ‘Mona Lisa’

• For the first two phrases, identify melody notes using scale degrees OR note
names (the excerpt is in Db major)

• Describe using your own descriptive language how the third phrase derives
from what you’ve already heard.

• Identify melody notes in the fourth phrase, as you did for the first two.

Singing seventh-chords with voice leading, using scale degree numbers

(1) ii–V–I progressions

• 2–4–6–1 2–4–5–7 1–3–5–7–5–3–1–– <repeat>

• (the instructor will then play a new starting chord to repeat this sequence in a
new key)

(2) singing around the circle of fifths

• sing: 1–3–5–7–5–3–1, then 1–3–5–‘flat’–5–3–1 (say the word ‘flat’ and sing the
flat seventh’; you’ll practice this a few times with your instructor)

• the second chord is V7 of where you’re going next: repeat this process in the
new key

• continue around the circle…

MEDIEVAL MUSIC 800-1400

The main characteristics of Medieval music:

1. Use of modes
2. Monophonic textures: plainsong – free-flowing unaccompanied melody; secular
songs and brightly rhythmic dances.
3. Polyphonic textures: organum – elaboration of existing plainchants; motets –
composed by adding successive layers of melody and words one above another,
sometimes clashing to form strong discords.
4. Many compositions based on a cantus firmus borrowed from plainsong, but some
pieces freely composed (for example, conductus).
5. Ars Antiqua rhythms based on regular patterns borrowed from poetry; but Ars
Nova rhythms more flexible and adventurous.
6. A tendency to contrast sounds, rather than blend them together.
7. The distinctive timbres (tone-qualities) of Medieval instruments.
8. Harmonic intervals most frequently heard: unison, 4th, 5th, octave; but 3rds and 6ths
more noticeable later in the Medieval period.

Composers:
• Ars Antiqua to 1300 AD
• Ars Nova from 1300 AD
• Plainchant to 900 AD but continued also
• Organum 850-1230 AD – incl. parallel, free, melismatic, Notre Dame composers
• Hildegard of Bingen (1098-1179) (Germany)
• Léonin (bc1135; d1201 or shortly after) (France)
• Pérotin (c1160–1205 or 1225) (France)
• Trouvères 1150-1310
• Troubadours 1100-1270
• Guillaume de Machaut (1300-1377) (France)
• Guillaume Dufay (1400-1474) (France)
• John Dunstable (c1390-1453) (England)

Instruments:
Pipe and tabor A pipe and a two-headed drum, played by one person.
Shawm Double-reed instrument, ancestor of the oboe; powerful tone.
Cornett Of ivory or wood bound with leather; it had a trumpet-like mouthpiece,
but finger holes like a recorder.
Organ Besides the church organ there was also the portative organ, small,
with few notes, and able to be carried as it was played.
Chime bells Graded in size and pitch; struck with metal hammers.
Citole Its four brass strings were plucked.
Harp Smaller than the modern harp and with far fewer strings.
Fiddle or vielle Slightly larger than the modern viola; a flatter bridge allowed more
than one string to be played at once.
Rebec Pear-shaped bowed instrument with usually three strings.
Hurdy-gurdy The strings, ‘stopped’ by sliders pressed down by the fingers, were
vibrated by a rotating wheel turned by a handle.
Psaltery The strings were plucked with quills, one in each hand.
Also: Recorders of various sizes; the soft-voiced Medieval flute; the long,
straight Medieval trumpet; lute; bagpipes; and percussion
instruments such as cymbals, triangle, and various kinds of drum.
Bennett (adapted)
RENAISSANCE MUSIC 1450-1600

The main characteristics of Renaissance music:

1. Music still based on modes, but these gradually treated with more freedom as more
‘accidentals’ creep in.
2. Richer, fuller texture, in four or more voice-parts; bass voice part now added below
tenor.
3. Blending, rather than contrasting, strands in the musical texture.
4. Harmony: a greater concern with the flow and progression of chords; a smoother
treatment of discords.
5. Church music: some pieces intended for a cappella performance, mainly
contrapuntal, with much imitation dovetailing and weaving the strands to create a
continuously flowing, seamless texture; other church music accompanied by
instruments – for example, polychoral pieces in antiphonal (‘stereophonic’) style,
often involving strong musical contrasts.
6. Secular music: a rich variety of vocal pieces; dances, and also instrumental pieces –
many copying vocal style but others truly suited to instruments rather than voices.
7. The characteristic timbres of Renaissance instruments – many forming families (the
same instrument made in various sizes and pitches).

Composers:
• Josquin des Prez (bc1450-1521) (France-Flanders)
• Orlande Lassus (1532-1594) (France-Flanders)
• Thomas Tallis (c1505-1585) (England)
• Maddalena Casulana (c1540–90) (Italy)
• William Byrd (c1540-1623) (England)
• Thomas Morley (c1557-1602) (England)
• John Bull (c1562-1628) (England)
• John Dowland (1563-1626) (England)
• Thomas Weelkes (c1576-1623) (England)
• Orlando Gibbons (1583-1625) (England)
• Giovanni Pierluigi da Palestrina (c1525-1594) (Italy)
• Giovanni Gabrieli (c1555-1612) (Italy)
• Claudio Monteverdi (1567-1643) (Italy)

Instruments:
Lute The neck of the Renaissance lute was bent back; the strings were tuned in
pairs, called ‘courses’, and the fingerboard had ‘frets’ (like a guitar)
indicating where to press down the strings.
Viols Had sloping shoulders and flat backs; six strings, with a fretted fingerboard;
viols were held upright in front of the player rather than tucked under the
chin.
Crumhorn A wooden cap enclosed the double reed, giving a rather soft but very reedy
tone.
Rackett A low-pitched double-reed instrument; its great length of tube was coiled
inside a cylinder which was only a foot high.
Sackbut A name given by the English to the early kind of trombone; the bell was
less flared, giving a rounder, more mellow tone.
Trumpet The tube was now folded to make it more manageable; until the valve
system was invented in the 19th century, the limited notes available could
only be obtained by varying lip-pressure.
Percussion Included tambourine, tabor, kettle drums, side drum, triangle and cymbals.
instruments

Bennett (adapted)
BAROQUE MUSIC 1600-1750

The main characteristics of Baroque music:

1. At first, a switch to a lighter, homophonic texture: melody supported by simple

chords; but polyphonic textures soon return.
2. The basso continuo, or figured bass, becomes the foundation for most types of
Baroque music – providing a purposeful bass-line which causes the music to
press steadily forward from beginning to end.
3. One “affection” (affekt) or mood usually persists throughout an entire piece
[“monomood”].
4. Viols gradually replaced by the violin family; the string section becomes the basis
of the Baroque orchestra, always with keyboard continuo (harpsichord or organ)
filling out the harmonies above the figured bass and decorating the textures.
5. By the end of the 17th century, the system of modes replaced by the major-minor
key system.
6. Main forms used: binary, ternary (da capo aria), rondeau, variations (including
ground bass, chaconne, passacaglia), ritornello, fugue.
7. Main types of music: chorale, recitative and aria, opera, oratorio, cantata, Italian
overture, French overture, toccata, prelude, chorale prelude, dance suite, sonata
da camera, sonata da chiesa, concerto grosso, solo concerto.
8. Often, an exuberance in the music: energetic rhythms drive the music forward;
melodies often spun out into long, flowing lines with many ornaments (such as
trills); contrasts (especially in concertos) of instrumental timbres, of few
instruments against many, and of loud against soft (“terraced dynamics”,
sometimes echo effects).

Composers:
• Claudio Monteverdi (1567-1643) (Italy)
• Francesca Caccini (1587-after 1641) (Italy)
• Barbara Strozzi (1619-1677) (Italy)
• Isabella Leonarda (1620-1704) (Italy)
• Arcangelo Corelli (1653-1713) (Italy)
• Alessandro Scarlatti (1660-1725) (Italy)
• Élisabeth-Claude Jacquet de La Guerre (1665-1729) (France)
• Antonio Vivaldi (1678-1741) (Italy)
• Domenico Scarlatti (1685-1757) (Italy)
• Heinrich Schütz (1585-1672) (Germany)
• Johann Sebastian Bach (1685-1750) (Germany)
• Georg Friedrich Händel (1685-1759) (Germany)
• Jean-Baptiste Lully (1632-1687) (France)
• François Couperin (1668-1733) (France)
• Jean-Philippe Rameau (1683-1764) (France)
• Henry Purcell (1659-1695) (England)

Other:
• Driving rhythm
• Small cells expanded
• Figured bass (rapid change of harmony)
• Circle of 5ths
• Emphasis placed on vocal music

Bennett (adapted)
CLASSICAL MUSIC 1750-1810

The main characteristics of Classical music:

1. Lighter, clearer texture than Baroque, less complicated; mainly homophonic –

melody above chordal accompaniment (but counterpoint by no means forgotten).
2. An emphasis on grace and beauty of melody and form, proportion and balance,
moderation and control; polished and elegant in character with expressiveness
and formal structure held in perfect balance.
3. More variety and contrast within a piece: of keys, tunes, rhythms and dynamics
(now using crescendo and sforzando); frequent changes of mood and timbre.
4. Melodies tend to be shorter than those of Baroque, with clear-cut phrases and
clearly marked cadences.
5. Orchestra increases in size and range; harpsichord continuo falls out of use;
woodwind becomes a self-contained section [with development of the clarinet].
6. Harpsichord replaced by the piano: early piano music thinnish in texture, often
with ‘Alberti bass’ accompaniment (Haydn and Mozart) but later becoming richer,
more sonorous and powerful (Beethoven).
7. Importance given to instrumental music – main kinds: sonata, trio, string quartet,
symphony, concerto, serenade, divertimento.
8. Sonata form the most important design – used to build up the first movement of
the most large-scale works, but also other movements, and single pieces (such
as overtures).

Composers:
• Johann Stamitz (1717-1757) (Bohemia)
• Christoph Willibald Gluck (1714-1787) (Germany)
• Carl Philipp Emanuel Bach (1714-1788) (Germany)
• Anna Amalia (1723–1787) (Germany)
• Joseph Haydn (1732-1809) (Austria)
• Johann Christian Bach (1735-1782) (Germany)
• Marianne von Martínez (1744-1812) (Austria)
• Wolfgang Amadeus Mozart (1756-1791) (Austria)
• Maria Theresia von Paradis (1759-1824) (Austria)
• Ludwig van Beethoven (1770-1827) (Germany)

Other:
• Absolute music (no story line).

Bennett (adapted)
 ROMANTIC MUSIC 1810-1910

The main characteristics of Romantic music:

1. A greater freedom in form and design; a more intense and personal expression of
emotion in which fantasy, imagination and a quest for adventure play an important
part.
2. Emphasis on lyrical, songlike melodies; adventurous modulations; richer harmonies,
often chromatic, with striking use of discords.
3. Denser, weightier textures with bold dramatic contrasts, exploring a wider range of pitch,
dynamics and tone-colours.
4. Expansion of the orchestra, sometimes to gigantic proportions; the invention of the
valve system leads to development of the brass section whose weight and power
often dominate the texture.
5. Rich variety of types of piece, ranging from songs and fairly short piano pieces to huge
musical canvasses with lengthy time-span structured with spectacular dramatic and
dynamic climaxes.
6. Closer links with other arts lead to a keener interest in programme music (programme
symphony, symphonic poem, concert overture).
7. Shape and unity brought to lengthy works by use of recurring themes (sometimes
transformed/developed): idée fixe (Berlioz), thematic transformation (Liszt), leading-
motive (Wagner), motto theme.
8. Greater technical virtuosity – especially from pianists [Liszt] and violinists [Paganini].
9. Nationalism: reaction against German influences by composers of other countries
(especially Russia, Bohemia, Norway). [* below and Borodin in Russia]

Composers:
• Beethoven 1770-1827 • Liszt 1811-1886 (Hungary) • Grieg 1843-1907 (Norway)
(Germany) • Wagner 1813-1883 • Rimsky-Korsakov 1844-
• Weber 1786-1826 (Germany) 1908 (Russia)
(Germany) • Verdi 1813-1901 (Italy) • Cécile Chaminade 1857-
• Schubert 1797-1828 • Clara Schumann née 1944 (France)
(Austria) Wieck 1819-1896 • Elgar 1857-1934 (England)
• Berlioz 1803-1869 (France) (Germany) • Ethel Smyth 1858-1944
• Fanny Mendelssohn- • Smetana 1824-1884 (England)
Hensel 1805-1847 (Bohemia) * • Albeniz 1860-1909 (Spain)
(Germany) • Brahms 1833-1897 • Mahler 1860-1911 (Austria)
• Mendelssohn 1809-1847 (Germany) • R. Strauss 1864-1949
(Germany) • Tchaikovsky 1840-1893 (Germany)
• Chopin 1810-1849 (Poland) (Russia) *
• Schumann 1810-1856 • Dvorak 1841-1904
(Germany) (Bohemia) *

Other:
• Tiny works (e.g. lied, 1-2 minutes) to large symphonies (1.5 hours)
• Choral works, opera, chamber music, songs, piano music
• Exoticism: using other nation’s ideas/influences, e.g. Bizet’s Carmen set in Spain
• Bruckner, Schubert, Schumann, Brahms, Mendelssohn – traditional, used the
symphony
• Berlioz, Liszt, Wagner (Tristan und Isolde 1859) – innovators
• Programmatic Symphony – follows story – literary influence or several movements with
titles (e.g. Pictures at an Exhibition)
• Symphonic Poem – Don Juan (Richard Strauss)
• Concert Overture – Romeo and Juliet (Tchaikovsky)

Bennett (adapted)
TWENTIETH-CENTURY MUSIC

The main characteristics of Twentieth-century music:

1. Melodies which are likely to include wide leaps, and comprise chromatic and
dissonant intervals. These are frequently angular and spiky, short and fragmentary.
In some instances, the element of melody may be lacking altogether.
2. Extremely dissonant harmonies, and more discords than concords. Note clusters
may be used.
3. Rhythm which are vigorous and dynamic, and including much syncopation. Irregular
meters, changing meters, polyrhythms, use of ostinati and also energetic motor
rhythms.
4. Greater concern with timbres, and inclusion of strange, intriguing, exotic sounds;
bold contrasts. Expansion of the percussion section, unfamiliar sounds from familiar
instruments (for example, extreme registers, muted brass, new string effects, non-
acoustic sounds).

Composers:

• Debussy 1862-1918 (France) • Germaine Tailleferre 1892-1983

• Sibelius 1865-1957 (Finland) (France)
• Amy Beach 1867-1944 (USA) • Copland 1900-1990 (USA)
• Vaughan Williams 1872-1958 • Shostakovich 1906-1975 (Russia)
(England) • Elizabeth Maconchy 1907-1994
• Schoenberg 1874-1951 (Austria) (England)
• Alma (Maria) Mahler-Werfel • Messiaen 1908-1992 (France)
1879-1964 (Austria) • Peggy Glanville-Hicks 1912-1990
• Bartok 1881-1945 (Hungary) (Australia)
• Stravinsky 1882-1971 (Russia) • Cage 1912-1992 (USA)
• Webern 1883-1945 (Austria) • Miriam Hyde 1913-2005 (Australia)
• Berg 1885-1935 (Austria) • Britten 1913-1976 (England)
• Prokofiev 1891-1953 (Russia) • Stockhausen 1928-2007 (Germany)
• Penderecki 1933-2020 (Poland)

Important trains and techniques:

Impressionism Expressionism Music Concrete

20th c. Nationalism Pointillism Electronic Music
Jazz influences Serialism/Total Serialism Aleatory music
Polytonality Neoclassicism
Atonality Microtonality

Bennett (adapted)
55
56