Expert answer:HUM 112 World Cultures help needed for Week 4 Disc
Answer & Explanation:Week 4 Discussion”Beethoven; Art and Protest in the 1800s” Please respond to one (1) of the following, using sources under the Explore heading as the basis of your response:Listen to one (1) composition (i.e., for a symphony) by Beethoven, a transitional figure between classical and romantic music. Identify the composition that you listened to, and determine whether you would characterize the chosen composition as either the Classical or Romantic style of music. Explain the key features that lead you to your conclusion. Identify one (1) modern musician who you believe was great at one type of music yet pioneered another.Select one (1) example of a literary work or a work of visual art from the 1800s—either Romantic or Realist in style—that responds in some way to the Industrial Revolution. Identify the work and the artist or writer, describe its features and style, and explain the manner in which it responds to the Industrial Revolution. Identify one (1) specific literary or artistic work of our day that effectively protests a social injustice.Explore:BeethovenChapter 27 (pp. 907-914), Beethoven, qualities of the Romantic style in music (classical style was on pp. 826-832); review Week 4 “Music Folder”The Beethoven-Haus Website at http://www.beethoven-haus-bonn.de/sixcms/detail.php?template=portal_en (Note: Click on Digital Archives > Works by Ludwig von Beethoven; then find one [1] of his symphonies and listen to a clip.)Beethoven’s Eroica at http://www.youtube.com/watch?v=9XL2ha18i5w and http://www.youtube.com/watch?v=8RFG5rGVL1sArt Reacting to the Industrial RevolutionChapter 28 ( 920-944), art and literature in Industrial RevolutionThe Museum of Fine Art in Ghent, Belgium (MSK Gent) – Romantic and Realist Art of the 1800s at http://www.mskgent.be/en/collection/1820-romanticism-and-realism/romanticism-and-realismNew York’s Metropolitan Museum of Art – French Realist Art of the 1800s at http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htmhum112_music_clips_for_week_4.docx
hum112_music_clips_for_week_4.docx
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HUM112 Music Clips for Week 4
This week’s eight music selections all relate to chapter 27, pp. 907-913.
1 Ludwig van Beethoven’s Eroica: In this week’s readings (chaps. 27-28), we
encounter a number of musical pieces, all of them covered in chapter
27, pp. 907-913. On pp. 907 and 909, there is a brief discussion of
Beethoven’s Eroica (Italian for “Heroic”), formally called Symphony No.
3 in E-Flat. This was first performed in 1804 and was composed in the
2 or 3 years leading up to that, a time when he was wrestling with
increasing deafness and depression (pp. 908-909). Beethoven
personally embraced the ideals of the French Revolution and at some
point seemed to admire Napoleon greatly. So much so that at some
point Napoleon’s name was in the title of this work and the work’s
dedication was to him. But, Beethoven changed this and renamed it
Eroica and removed the dedication to Napoleon. One account says
this was because of his disenchantment with Napoleon’s autocratic
drift, as especially revealed when Napoleon finally proclaimed himself
“Emperor”, a move Beethoven
despised. See http://www.beethovenseroica.com/Pg1_why/whyeroic
a.htm and http://www.beethovenseroica.com/Pg2_hist/history.html .
Perhaps Beethoven’s reasons for the change were more pragmatic. In
any case, the result was this masterpiece, which changed the direction
of music forever. This work is considered transitional from the
CLASSICAL style of music perfected by Haydn and Mozart in the late
1700s to the ROMANTIC style of music that would prevail for most of
the 1800s.
The first clip below is a 10-minute clip of the first movement. The second is
a clip of the second movement which shows short clips of it in three different
versions. Note: Beethoven composed this for a bigger symphony orchestra
and made it a much longer work than anything done by Haydn and Mozart.
His work is also much more charged with emotion and drama and
change. Enjoy the following links
Beethoven: Symphony No. 3 (“Eroica”), 1st Movement
•
Beethoven: Symphony No. 3 (“Eroica”), 2nd Movement
•
————————–2 Beethoven’s Fifth Symphony: On pp. 909-910 (chap. 27), we encounter a
discussion of Beethoven’s famous Fifth Symphony, first performed in
1808. Read the description carefully and give this a listen:
Beethoven: Symphony No. 5, 1st Movement
•
https://www.youtube.com/watch?v=zM3y09RjKLs&feature=youtu.be
————————-3 Beethoven’s Piano Sonata No. 30, E major, Op. 109 : Read about this beautiful
piano composition on p. 910. Then, give this a listen:
Beethoven: Sonata No. 30, E Major, Op. 109, 1st Movement
•
—————————4 Beethoven’s Ninth Symphony, Ode to Joy: On pp. 910-911 (in chap. 27), there
is a fine discussion of Beethoven’s crowning work, his Ninth Symphony,
first performed in 1824. (Beethoven died in 1827). Note his innovation
of combining a vocal chorus as part of this symphonic work.
In the YouTube below, Leonard Bernstein introduces Beethoven and this
particular work. If you wish to get right to the music, fast forward (click and
drag) to the 3:37 mark. Bernstein is conducting the Vienna
Philharmonic. Give this a listen:
Beethoven: Symphony No. 9, in D Minor, Ode to Joy
•
http://www.youtube.com/watch?v=nZJ1Tgf4JL8 (Start music at 3:37
mark) For German lyrics and English translation, see
http://www.andrerieutranslations.com/Lyrics/Ode-to-Joy.html .
————————-5 Hector Berlioz, Symphony Fantastique: This is discussed on pp. 911-912 (in
chap. 27). This grand work is often presented as the great example of
the ROMANTIC style of music in the 1800s, a style that is emotional
and given to drama. It was composed in 1830. Berlioz did this in a
grandiose manner. Read carefully pp. 911-912 about “program music”
and the idée fixe (“fixed idea”) as they relate to this work. You realize
that a dramatic story is being told, not just a change of mood. Listen to
the following clips.
Berlioz: Symphony Fantastique, 1st Movement
•
Berlioz: Symphony Fantastique, 4th Movement (March to the Scaffold; artist
hallucinates)
•
Berlioz: Symphony Fantastique, 5th Movement (Dream of a Witches Sabbath)
•
————————6 Felix Mendelssohn, Concerto in E Minor for Violin: This work was composed
in 1844. Read carefully p. 912 (in chap. 27) and note the skill required
on the part of a violinist to play this. Sarah Chang will do this in the
YouTube below. Then, give this a listen:
Mendelssohn: Concerto in E minor for Violin
•
http://www.youtube.com/watch?v=CCLxso5XDN4 (You can start at
1:00 if you like.)
——————————–7 Robert Schumann, Widmung (=Dedication): This is an example of a lied
(plural= lieder ) of the Romantic style in the mid-1800s, which were
normally songs for a solo voice with a piano. Read carefully pp. 912913 (in chap. 27). Schumann composed the music for this in 1840 to
celebrate his wedding. His wife, Clara Schumann, not only inspired
some great compositions, she became a well known piano
virtuoso. One of the links below has the German lyric and
translation. Watch and listen to the great Jessye Norman sing this in
German:
Robert Schumann: Widmung (Dedication) sung by Jessye Norman
•
http://www.youtube.com/watch?v=fHq4FKsLFsQ For the German
lyric and translation
see http://classicalplus.gmn.com/classical/work.asp?id=644¬es=
true&webcast=true .
————————8 Frederic Chopin, Fantasie Impromptu: Chopin (pronounce SHOH-pan)
composed this Romantic style work for the piano. Read carefully p.
913 (in chap. 27) about this work and how it exemplifies Romantic style
musicianship. Note the tempo changes. Then, give this a listen:
Chopin: Fantasie Impromtu
http://www.youtube.com/watch?v=x93pwAvUkAA and https://www.youtube.c
om/watch?v=B-HosIOod_A
…
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