西音史期末考
<h2 style="MARGIN:0cm 0cm 0pt;">Chapter 29</h2>
The Later 19th-Century France:
César Franck:
Prélude, choral et fugue (pour piano), M. 21 (1884)
Symphony in D Minor (1888), the first movement
Gabriel Fauré: Avant que tu ne t’en ailles from song cycle La bonne chanson (1892)
The Eastern and Northern Europe:
P. I. Tchaikovsky: Symphony No. 6 in B Minor “Pathétique” (1893), the first and the second movement
A. Borodin: a symphonic sketch In Central Asia (1880)
M. Musorgsky:
symphonic poem Night on Bald Mountain (1867)
Piano suite Pictures at an Exhibition (1874), Beginning “Promenade” and No. 10: “the Great Gate of Kiev”
Nikolay Rimsky-Korsakov: symphonic suite Sheherazade (1888), the opening themes of Sultan & Sheherazade
Bedřich Smetana: Symphonic poems Má vlast, “the Moldau” & “Tábor”
Antonín Dvořák:
Symphony No. 9 in E Minor “from the New World” (Op. 95, B. 178, 1893), the second movement
Cello Concerto in B Minor, the first movement
Edvard Grieg:
Orchestral suite Peer Gynt (1875), “Morning”
Edward Elgar: Enigma Variation (Op. 36, 1899), “Variation 9 (Adagio): Nimrod”
USA:
Amy Marcy Beach: Piano Quintet in F-sharp Minor, Op. 67, the third movement (Allegro agitato, NAWM 134)
John Philip Sousa: The Stars and Stripes Forever (March, 1897, NAWM 135)
<h2 style="MARGIN:0cm 0cm 0pt;">Chapter 30</h2>USA:
Scott Joplin: Maple Leaf Rag for piano (1899, NAWM 136)
Germany and Austria:
Gustav Mahler:
Symphony No. 1, “Titan,” the first movement and the finale
“Ging heut’ morgen über’s Feld,” from Lieder eines fahrenden Gesellen
Symphony No. 4, the first movement
Symphony No. 5, the first movement “Trauermarsch,” the fourth movement: adagietto (Sehr langsam)
Symphony No. 8, “Symphony of a Thousand”: “Veni, creator spiritus” in the First Part
“Nun will die Sonn’ so hell aufgeh’n,” from Kindertotenlieder (NAWM 137)
The first movement “Das Trinklied von Jammer der Erde,” and the third movement “Von der Jugend” from Das Lied von der Erde
Richard Strauss:
Salome: opening scene “Wie schön ist die Prinzessin Salome heute nacht!” and the fourth scene (including Salomes Tanz) (some passage in Textbook pp. 778-79 [7th ed.])
Der Rosenkavalier: [Act 1] Orchestral introduction “Wie du warst! Wie du bist!” / [Act 2] Ochestral introduction “Eing ernster Tag, ein grosser Tag!” and “Mir ist die Ehre widerfahren”


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