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Songs from Music 27


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Vere Dignum
Anonymous; Gregorian plainchant (monophony)
In Paradisum
Anonymous; Gregorian antiphon (homophony)
Columba Aspexit
Hildegard of Bingen; plainchant with sequence and drone
La Dousa Votz
Bernardt de Ventadorn; troubadour from Southern France, in Provencal, secular
Alleluia, Diffusa est Gratia
Perotin; from Cathedral Notre Dame in Paris; melismatic organum
Quant en Moi
Guillaume de Machaut; Ars Nova; isorhythmic polyphony with hockets
Pange Lingua Mass, Kyrie
Josquin Desprez; point of imitation
Pange Lingua Mass, Gloria
Josquin Desprez
Ave Maris Stella
Guillaume Dufay; hymn, homophony, paraphrase
Pope Marcellus Mass, Gloria
(Giovanni Pierluigi de) Palestrina; Counter-Reformation
As Vesta Was from Latmos Hill Descending
Thomas Weelkes; English madrigal (inspired by Spanish); for Queen Elizabeth I in The Triumphs of Oriana; declamation and word-painting
Anonymous; instrumental, early violin ensemble; galliard (formal dance)
Kemp's Jig
Anonymous; instrumental; named for Will Kemp, associate of William Shakespeare
O Magnum Mysterium
Giovanni Gabrieli; St. Mark's Cathedral, Venice; Early Baroque; Hallelujah = last word
The Coronation of Poppea
Claudio Monteverdi; opera from Venice; 2 female singers playing Nero/Poppea
Dido and Aeneas
Henry Purcell; opera from English Restoration Period (restoration of Charles II/monarchy); no other great English composers; written for an all-girls' school; Dido lamenting before she kills herself
Suite -- Canzona, Balleto, Corrente, Passacaglia
Girolame Frescobaldi; Canzona=fugue-like; Balleto=simple; Corrente=frequent stops; Passacaglia=ground bass/chaconne
Violin Concerto in G, 1st movement
Antonio Vivaldi; ritornello form
Violin Concerto in G, 2nd movement
Antonio Vivaldi; passacaglia
Brandenburg Concerto #5, 1st movement
Johann Sebastian Bach; 6 concertros for Margrave of Brandenburg, who never received them; 1st movement=ritornello
The Art of Fugue, Contrapunctus 4
J.S. Bach; form=fugue (subject, counter-subject, exposition, episode, devices=stretto, augmentation, inversion, diminution, retrograde); work of his old age, living in Leipzig
Orchestral Suite No. 3 in D, Air/Gavotte
J.S. Bach; trio; dance form = |:A:|:B:| |:C:|:D:| AB; four required dances = Allemande Courante Sarabande Gigue; optional = minuet, air, bouree (single upbeat), gavotte (double upbeat), passapied, forlane
Symphony No. 40 in G minor, K550, 1st movement
Wolfgang Amadeus Mozart; Sonata Form (exposition, development, recapitulation); fragmentation, retransition, coda
Symphony No. 95 in C minor, I
Joseph Haydn; Sonata Form
Symphony No. 95 in C minor, II
Haydn; Theme & Variations |:a:|:b:|
Symphony No. 95 in C minor, III
Haydn; Minuet & Trio; ternary form A|:a:|:ba:| B|:c:|:dc:|; triple-meter, ballroom dance to solo cello country romp
Symphony No. 95 in C minor, IV
Haydn; Rondo (with fugal interludes); stormy section and musical jokes
Piano Sonata in B-flat, 3rd movement, K570
Mozart; Rondo form in sonata genre (1 or 2 instruments -- piano=1 [solo piano], violin=2 [violin+piano])
Don Giovanni, Act I, scene iii
Mozart; Opera Buffa; librettist Lorenzo da Ponte (ended up running a grocery store in New Jersey)
Piano Concerto in A, K488, 1st movement
Mozart; Double Exposition; concerto=contest between soloist/orchestra
Symphony No. 5 in C Minor, I
Ludwig van Beethoven; Allegro con Brio; famous four-note motive
Symphony No. 5 in C Minor, II
Beethoven; Double Theme & Variations (primary & secondary themes)
Symphony No. 5 in C Minor, III
Beethoven; Scherzo (in place of minuet), but same approximate form |:a:|:ba':| (rounded binary); transition to 4th movement
Symphony No. 5 in C Minor, IV
Beethoven; Sonata (primary, bridge, secondary, closing themes, retransition, coda)
Der Erlkonig
Franz Schubert; German lied (voice+piano); based on piece of poetry; elf-king sings to boy and kills him
Carnavale, Eusebius and Florestan
Robert Schumann; stream-of-consciousness; extremely bipolar, institutionalized; Eusebius=poet/dreamer, vague form; Florestan=impulsive, sudden ending
Nocturne in F-sharp, Op. 15, No. 2
Frederic Chopin; character piece (lieder w/o words); simple ABA form; disliked descriptive titles for pieces
Fantastic Symphony, 5th movement
Hector Berlioz; idee fixe and dies irae; revenge for Harriet Smithson; witches' sabbath
Violin Concerto in D, 3rd movement
Johannes Brahms; Rondo; return of Viennese Classicism (conservative); written for Joachim, virtuoso violinist
Symphony No. 1, 3rd movement (Funeral March)
Gustav Mahler; uses "Frere Jacques"; free, episodic form
Romeo and Juliet
Tchaikovsky; Symphonic tone poem; Sonata Form; Hymn, Vendetta, Sighing, Love themes; patron was Nadezhda von Meck
The Barber of Seville, Act I Finale
Giachino Rossini; Bel Canto Opera Buffa; retired early
Clouds (Nuages)
Claude Debussy; 1st modernist piece; synesthesia; English horn motive, parallel chords, pentatonic scale
The Rite of Spring (Part 1: The Adoration of the Earth)
Igor Stravinsky; ballet with George Balanchine; caused a riot on opening night; about primitive Russian human sacrifice; Dance of the Adolescents=opening
Piano Concerto in G, 1st movement
Maurice Ravel; from South France (near Spain) and despised Germans; visited America -- his tribute to jazz; died of rare brain disease
Music for Strings, Percussion, and Celesta, 2nd movement (allegro)
Bela Bartok; Sonata Form (primary, bridge, secondary themes); Hungarian composer, piano teacher, pianist, ethnomusicologist, etc.; died of leukemia
Prelude No. 1
George Gershwin; ABA' form with blues scale; born in New York; songwriter and Broadway composer; Ida Gershwin (brother) wrote lyrics; Swanee=1st big hit, Rhapsody in Blue; went to Hollywood; died of brain tumor at age 38
Appalachian Spring
Aaron Copland; ballet written in 1945 to celebrate end of WWII; still, static passage; bride-to-be, square dance; variations on "Simple Gifts" (Shaker melody); quiet, landscape finale; had Modernist and Populist kinds of compositions
"If You Ever Been Down" Blues
Sippie Wallace; 12-bar blues (a a' b) with improvised sections; young Louis Armstrong on trumpet
Conga Brava
Duke Ellington; Swing/Big Band; less improvisation, more for dancing; dance of Afro-Cuban origin because Americans were afraid Nazis would take over South America

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