Music, Drugs, and Inspired Madness Berlioz and 音乐毒品和灵感的柏辽兹和疯狂.pptVIP

* * * * * * * * * * . . . as useless and dangerous for another will to oppose mine . . . as it is to try to keep gunpowder from exploding Self-sufficient, abstract play with sound pattern? Narrative in tones? Program (plot, title, extra-musical association): Increase music’s expressive power? Or limit it? The Aesthetic Problem of Program Music: Hector Berlioz, Symphonie Fantastique (1830), Basics: ?genre = program symphony ?full program (not just programmatic title) ?idée fixe ?5 movements instead of conventional 4 (Likely modeled on Beethoven’s 6th or “Pastorale Symphony”) Main melody for Berlioz Symph. Fantastique Returns (often varied) in all 5 movements (thematic unity) Autobiographical: represents Berlioz’s beloved Harriet Smithson Symphonie Fantastique, 1st movement: Daydreams-Passions A. Biography in musical tones? or . . . B. Movement in Sonata Form? Idée fixe = first theme Idée fixe varied =second theme (on dominant) Idée fixe varied (development) Idée fixe returns (recapitulation) Idée fixe recalled in slow tempo at end (coda) Symphonie Fantastique, 2nd movement: A Ball A. 2nd Movement = Waltz (instead of Minuet or Scherzo) 1. Takes place of symphonic dance movement 2. Programmatic function as musical portrayal of a masked ball He encounters the loved one at a dance in the midst of the tumult of a brilliant party. The beloved image appears before him and troubles his peace of mind. Symphonie Fantastique, 2nd movement: A Ball A. 2nd Movement = Waltz (instead of Minuet or Scherzo) B. Berlioz as Master of Orchestration Great Treatise on Modern Instrumentation and Orchestration (1843) C. Idée fixe: thematic unity or “the image of the beloved”?? 1. Takes place of symphonic dance movement 2. Programmatic function as musical portrayal of a masked ball Symphonie Fantastique, 3rd movement: Scene in a Meadow (functions as slow movement) Having become convinced that his love is not returned, he poisons himself with opium; he