Angela Yarnell

COND 822
J.P. Johnson
July 1, 2006

Final Exam

1. Characteristics of Baroque Choral Music (1600-1750)

a. Rhythm
i. Meter and rhythm were tied to affection composer wished to evoke
ii. Some works improvisatory with flexible rhythms
iii. Two types were often paired to provide contrast
b. Tuning
i. Continuous modulation of the recitatives
ii. Fluctuating keys in operas and masses
iii. Inconsistent modulatory schemes in the concertos
c. Melody
i. Opera seria – more natural melodies
ii. Moments of great intensity in oratorios marked by arioso with
affective melody
iii. Word painting common
d. Harmony
i. Basso continuo – composers notated only treble and bass lines
ii. Keyboard or lute player realized the chords using figured bass
iii. Chromaticism was used for expression purposes and to govern
harmony
e. Instrumentation/Voicing
i. Idiomatic writing – composers adapted writing to the medium used
ii. Instrumental textures are used to precise emotional and dramatic effect
iii. Juxtaposition of choral and instrumental sections
f. Use of the Voice
i. Introduction of recitative to convey plot/text simply and quickly
ii. Increasing hierarchy of voices, emphasizing soprano and bass
iii. New emphasis on solo singing in oratorios
g. Use of Music
i. Church music – Venetian church music was independent of Roman
rules
ii. Lutheran church music – chorales continued, concertos for few voices
written for German churches
iii. Noble and royal courts supported music and churches had less of a role
Characteristics of Classical Choral Music
h. Rhythm
i. Harmonic rhythm was important
ii. Folk or folk like dance rhythms and drones
iii. Rhythm as important as melody, especially in developmental sections
i. Tuning
 i. Tonality was established clearly at beginning and end of modulations
ii. Increased use of secondary dominant chords
iii. Major tonalities predominate
j. Melody
i. Shorter melodies with clear phrases
ii. Emphasis on beauty, elegance, and balance
iii. Instrumental melodies frequently resemble operatic arias
k. Harmony
i. Less complicated texture than Baroque (more homophonic)
ii. Clearly marked cadences
iii. More variety and contrast within a work
l. Instrumentation/Voicing
i. Larger orchestras
ii. Harpsichord fades out of use; piano takes over
iii. Woodwinds become self-contained section
m. Use of the Voice
i. Instrumental writing for voices (i.e.: Beethoven’s Symphony No. 9)
ii. Instrumental music overshadowed vocal music
iii. Haydn was the primary composer of vocal music
n. Use of Music
i. Music was appreciated and supported increasingly by the middle-class
(lessons, tutors, paid concert attendance)
ii. More individuals commissioned works of music
iii. Church remained important patron; secular court support waned

2. Recording Recommendations
a. Bach Magnificat / Handel Dixit Dominus
Choir Taverner Consort & Players
Capitol ASIN: B00000DNSZ
What makes these selections great: Bach’s Magnificat is one of
his most often performed works requiring five soloists and a five part choir. The
ten verses and the Gloria form a homogenous whole, with each verse receiving
extended treatment. Instrumental treatment of voices leads to melismatic
passages. This work has an astounding symmetrical key and form scheme.
Handel’s Dixit Dominus is simply musically amazing. It is a masterpiece with its
extended use of chromaticism, vocal virtuosity, and driving energy.

b. Beethoven: Symphony No. 9 / Karajan, Berlin Philharmonic Orchestra

Deutsche Grammophon
ASIN: B000001GPY
This is the first time that a choir was successfully added to a
symphony, and with astounding effect. The final movement, where the choir
enters) is a symphony within a symphony, matching the form of the entire work in
just one movement. It has vast musical contrasts and Beethoven develops
thematic material to exhaustion.
 c. Vivaldi: Gloria; Bach: Magnificat /Robert Shaw, Atlantic Symphony & Chorus
Telarc
ASIN: B000003CVK
Vivaldi’s Gloria is one of the most accessible masterworks for high
school. It is an excellent model for solo, duet, soli, and chorus singing. Another
recording of the Bach Magnificat will allow for comparison with Taverner for
interpretation and choral tone. This Robert Shaw recording has a warmer and
more diffused choral tone, while the Taverner recording features pure and clear
tone. The articulations and expressiveness are also markedly different.

d. Mozart: Requiem / McNair, Watkinson, Araiza, Lloyd; Marriner

Academy of St. Martin-in-the-Fields
Philips
ASIN: B000004137
Every choral student has heard myths about the Mozart Requiem.
The intense and meditative qualities are captured on this recording. Again, the
four soloists and chorus are models for musicality and tone. This is an important
work to include because it often inspires students to delve deeper into Mozart’s
life and works.

e. Monteverdi: L'Orfeo
London Baroque
Angel
ASIN: B0007DHQ5M
L’Orfeo was the first dramatically viable opera and is still
considered to have dramatic power and lively orchestration. This recording
demonstrates these qualities with vibrant articulations and dynamic contrasts.
The setting of the text conveys emotions by creating striking musical images.

Any student interested in these masterworks should first listen to them one by
one, alone and uninterrupted. On the first listening, they should jaunt down any
ideas that come to mind. I think it is then helpful to learn about the composer by
discussing meaningful contributions and by isolating what makes this music
different. On the second listening, the student should write responses on a
listening log that enumerates the various musical elements of the piece. More
discussion should follow with the teacher. If a student is willing, they could gain
much on their own with appropriate guidance.

3. Selected Composer: Ludwig van Beethoven

If I could travel freely without regard for time or money, I would spend several
months in Vienna, Austria. I would tour Bonn and Vienna and stay long enough to
become more immersed in the culture. Beethoven lived in some sixty-five homes in
Vienna, so I would at least try to see some of them. A visit to Hotel Sacher, the site of
Karntnertor Theatre where his Symphony No. 9 premiered would be very interesting and
perhaps moving. The Vienna Boys Choir performs Beethoven’s works frequently at The
Musikverein. I would try to attend performances and see if I might gain admittance to a
rehearsal. It would be important to plan my trip in May so I could attend the
International Music Festival and the Vienna Festival. Hopefully, once in Vienna, I could
seek out primary sources. These adventures would inevitably lead me to several schools
and conductors that I could apply to study with at a more in-depth level.

Final Project

I chose to organize my music library single file copies by historical period and
voicing. Hopefully, this will enable me to select music from varied styles and periods
easily. I found that I have much more Romantic and Baroque music than other periods
except for, of course, Contemporary. I need to use this knowledge to seek out more
accessible works from other eras and composers. I will use the Texas Required Music
List and the Choral Public Domain Library to start this venture. My goal is to amass
accessible and exciting literature throughout the eras. My file copies alone took two file
cabinets, so I am hoping this description is permissible. I have not yet entered my single
copies into a database, although my choral library database does list historical period.