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The Symphony Orchestra Percussion Harp 2nd Violins 1st Violins Figure 5 The Orchestra Symphony orchestra—Las Vegas Philharmonic Brass Woodwinds Conductor Musical Instruments 21 The typical symphony orchestra is a group of approximately 70–80 musicians. The instrumentation is fairly consistent for orchestras everywhere; that is, one will find roughly the same numbers of violins, violas, cellos, string basses, and other instruments no matter what orchestra one might see or hear. This standardized instrumentation did not occur by accident. Rather, many decades of experimentation by composers through the Baroque, Classical, and Romantic eras produced the grouping of instruments that we still use today. Notice in Figure 5 the locations of the various instrumental families. From the viewpoint of the audience, the strings are closest, with the woodwinds in the center of the stage. To the rear of the orchestra is the brass section, with the percussion most commonly to the side, or also in the rear. The placement of instruments is done for acoustic and balance purposes, not for appearance. If the brass or percussion were closest to the audience, the strings would not be heard well enough. Viola Cello String Bass
22 Chapter 2 Summary It’s fascinating to note that, although orchestras have been around for at least two hundred years, they are still incredibly popular throughout the world. Literally hundreds of orchestras are active in the United States alone; around the world, professional orchestras number in the thousands. In addition, the music of the great masters is not the only music that orchestras routinely perform; most modern film scores are performed and recorded by orchestras very similar to the type that Beethoven used. Other Ensembles Almost any grouping of instruments, whether or not they come from the same family, can get together and make music. Certain types of groups have shown particular popularity over the years, however. Bands, such as concert bands and marching bands, are familiar and loved throughout the world, especially in Europe and North America. Essentially, bands use the woodwind, brass, and percussion instruments of an orchestra, but have no strings. Jazz bands, such as those made popular during the 1930s Swing era, use saxophones, trumpets, trombones, string bass, guitar, piano, and drums. All bands are widely used in schools as educational ensembles, but have remained popular in the professional world as well. Chamber music is performed by smaller ensembles, often using just two to five musicians. String quartets, woodwind quintets, brass quintets, and other small groups have been very popular, especially in the eighteenth and nineteenth centuries. These groups would perform compositions written especially for that instrumentation, when the composer knew that the performance would be in a smaller location than could be served by an orchestra. Instruments developed simultaneously in many cultures, and have been shared among civilizations for many hundreds of years. It is interesting to note that people tend to welcome new or unusual instruments, and assimilate them into their own types of music. The same is true for musical styles. The more a cultural group is exposed to new or different musical trends, the more likely it is they will use aspects of those trends and make them their own. Music is a very personal art, and historically, the instruments used to produce music are among the most prized of all cultural artifacts. Key Terms bore—cylindrical and conical keyboard family—know the instruments brass family—know the instruments percussion family—know the instruments consort single reed divided air column string family—know the instruments double reed woodwind family—know the instruments
Page 2 and 3: Track Title/Composer/Performer Musi
Page 4 and 5: M usic to Your Ears An Introduction
Page 6 and 7: Contents Preface vii 1 What Is Musi
Page 8 and 9: 7 Beethoven and the Transition to R
Page 10: Preface The purpose of this book is
Page 13 and 14: 2 Chapter 1 that might have puzzled
Page 15 and 16: 4 Chapter 1 Writings from the Greek
Page 17 and 18: 6 Chapter 1 Figure 2 The treble cle
Page 19 and 20: 8 Chapter 1 Often a musician will f
Page 21 and 22: 10 Chapter 1 Key Terms adagio mezzo
Page 24 and 25: 2 Musical Instruments Evidence exis
Page 26 and 27: saxophone Musical Instruments 15 ho
Page 28 and 29: Musical Instruments 17 musician to
Page 30 and 31: The Percussion Family timpani Music
Page 34: Name Date Chapter 2 Review Musical
Page 37 and 38: 26 Chapter 3 Gregorian Chant Gregor
Page 39 and 40: 28 Chapter 3 requirements of the Ch
Page 41 and 42: 30 Chapter 3 Summary residences at
Page 44 and 45: 4 The Renaissance Music History Tim
Page 46 and 47: The Mass The Renaissance 35 Since b
Page 48 and 49: Listen to This The Renaissance 37 P
Page 50 and 51: Listen to This Track 4 Renaissance
Page 52: The Renaissance 41 of the dance ste
Page 56 and 57: 5 Music of the Baroque The name Bar
Page 58 and 59: Music of the Baroque 47 chord progr
Page 60 and 61: Music of the Baroque 49 Astute read
Page 62 and 63: Music of the Baroque 51 special occ
Page 64 and 65: Music of the Baroque 53 sing. Occas
Page 66 and 67: Typical Fugue Exposition (4-part) M
Page 68: Name Date Chapter 5 Review Music of
Page 71 and 72: 60 Chapter 6 The Piano governments
Page 73 and 74: 62 Chapter 6 A. (statement) Twinkle
Page 75 and 76: 64 Chapter 6 The Symphony First Mov
Page 77 and 78: 66 Chapter 6 The Concerto The fourt
Page 79 and 80: 68 Chapter 6 Composer Profile Wolfg
Page 81 and 82: 70 Chapter 6 Summary Haydn’s symp
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7 Cultural Overview Beethoven and t
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Beethoven’s Music Beethoven and t
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Beethoven and the Transition to Rom
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Beethoven and the Transition to Rom
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Name Date Chapter 7 Review Beethove
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84 Chapter 8 Romantic Thinking The
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86 Chapter 8 Likewise, chamber musi
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88 Chapter 8 The Character Piece Fa
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90 Chapter 8 Schumann began showing
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92 Chapter 8 decline rapidly. He wa
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94 Chapter 8 Composer Profile Franz
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Name Date 1. What is a lied? 2. Who
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100 Chapter 9 characteristics an in
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102 Chapter 9 the Nibelung. These o
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104 Chapter 9 music drama as “a t
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106 Chapter 9 Beethoven’s music s
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108 Chapter 9 twenty years of her l
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110 Chapter 9 Nationalism cycles he
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112 Chapter 9 Composer Profile Anto
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Name Date Chapter 9 Review The Late
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118 Chapter 10 Music History Timeli
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120 Chapter 10 The Impressionistic
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122 Chapter 10 2 4 7 9 11 1 3 5 6 8
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124 Chapter 10 Music composed in th
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126 Chapter 10 Spain pivotal works
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128 Chapter 10 American works by or
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130 Chapter 10 that the sounds arou
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132 Chapter 10 Key Terms absolute m
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11 Introduction Beyond Classical Mu
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The Big Band Era Beyond Classical M
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Beyond Classical Music 139 This aca
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Beyond Classical Music 141 was noth
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Glossary a cappella Vocal music tha
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Glossary 147 cadenza Unaccompanied,
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Glossary 149 country western Type o
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Glossary 151 fusion A type of jazz
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inversion Mirror image of a melody
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Glossary 155 Neo-Classical Strictly
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Glossary 157 pure music Music that
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Glossary 159 spiritual Sung by Afri
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Glossary 161 triple meter A metric
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Bibliographic References Apel, Will
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166 Index chant, 25-27 character pi
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168 Index Neo-Romantic, 118, 124 no
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104 Chapter 9 music drama as “a t
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