Area Of Study 6 (New Directions) Flashcards

Includes "The Rite Of Spring", "Petals" & "Three Dances" + WL

1
Q

What is the context of “The Rite Of Spring”?

A
Who: Igor Stravinsky
What: Russian ballet
Where: Paris
How: Large "Korsakov" stylistic orchestra
Why: Ballet Russes
When: 1913
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

Describe the melody of “Introduction”

The Rite Of Spring

A

Opening bassoon solo, before rising perf 4ths at fig 2

Oboe fifths at fig 5, then high D clarinet after fig 9

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Describe the harmony of “Introduction”

The Rite Of Spring

A

Five pitches in opening bassoon solo

Constant harsh dissonance and polychordal at fig 11

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Describe the tonality of “Introduction”

The Rite Of Spring

A

Tonality asserted by stressing key note

Distinct layers of polyscalarity at fig 6

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Describe the rhythm of “Introduction”

The Rite Of Spring

A

Rubato with no dotted rhythms in opening

Polyrhythm at fig 11, then silence at fig 12

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Describe the texture of “Introduction”

The Rite Of Spring

A

Monophony with polyphony balance in opening

Parallel motion at fig 7, then families at fig 11

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Describe the sonority of “Introduction”

The Rite Of Spring

A

Opening high bassoon solo

Horizontal flutes at fig 6, then harmonics at fig 10

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Describe the melody of “Augurs Of Spring”

The Rite Of Spring

A

Four note ostinato at fig 14, then triplets at fig 15

Conjunct bassoon at fig 19, with diatonic horn at fig 25

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Describe the harmony of “Augurs Of Spring”

The Rite Of Spring

A

Inversion of dom 13th at fig 13, then chromatic at fig 17

Parallel 7th trumpet chords at fig 28

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

Describe the tonality of “Augurs Of Spring”

The Rite Of Spring

A

Bitonality at fig 13, then chromatic scales at fig 15

Mix of modal/melodic and minor scales at fig 28

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Describe the rhythm of “Augurs Of Spring”

The Rite Of Spring

A

Ostinati blocks at fig 13, then cross rhythms at fig 15

Silence before fig 22, before syncopation at fig 31

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Describe the texture of “Augurs Of Spring”

The Rite Of Spring

A

Rapid rate of change with false ending at fig 13

Fragments at fig 29, then adding ostinati at fig 30

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Describe the sonority of “Augurs Of Spring”

The Rite Of Spring

A

Eight Augurs chord horns at fig 13

Prominent timpani before fig 22, then alto flute at fig 27

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Describe the melody of “Ritual Of Abduction”

The Rite Of Spring

A

Diatonic woodwind at fig 37

Two notes 5th apart at fig 40 with quavers at fig 43

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Describe the harmony of “Ritual Of Abduction”

The Rite Of Spring

A

Eb7 at fig 37 then dissonant chromatics in 2nds at fig 39

Flattened 7th C in D maj scale

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Describe the tonality of “Ritual Of Abduction”

The Rite Of Spring

A

Mixolydian at fig 37 returns up a semitone at fig 40

Conjunct quaver idea returns 3rd lower at fig 46

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Describe the rhythm of “Ritual Of Abduction”

The Rite Of Spring

A

Compound triple meter at fig 37

Polyrhythmic bass at fig 41, then meter changes at fig 47

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Describe the texture of “Ritual Of Abduction”

The Rite Of Spring

A

Dissonant thick horns 2 notes 5th apart at fig 40

Homorhythms at fig 42, then loud dense chords at fig 47

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Describe the sonority of “Ritual Of Abduction”

The Rite Of Spring

A

Prominent percussion at fig 37, then high gliss at fig 45

Sustained flute trills in final bars

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

WL: “Jeux” by Claude Debussy

La Mer

A

Blocks of chords with acciaccatura woodwind

Dotted quavers with double stopped harp

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

WL: “Infernal Dance” by Igor Stravinsky

Firebird

A

Counterpoint intro with flattened dominant

Biaphony with extensive use of hemiolas

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

WL: “Enemy God” by Sergei Prokofiev

Scythian Suite

A

Obstacle course of tuplets and grace notes

Full orchestra moves sparsely in unison

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

WL: “I Will Follow” by U2

Boy

A

Minimalistic guitar ostinato overlaps other sounds

Resonating bells with augmented note values

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

WL: “Shabby Old Rake Enters” by Bela Bartok

Miraculous Mandarin

A

Frequent slides on strings and muted brass

Perf 4th drop followed by a rising dim 3rd

25
Q

WL: “Night Music” by Eleanor Alberga

Snow White And The Seven Dwarfs

A

Chromatic alternations with ambiguous cadence

Ethereal bells with low strings sus note values

26
Q

WL: “Chez Le Marie” by Igor Stravinsky

Les Noces

A

Min 3rd leap with clashing chromaticism

Unexpected contrasts in compound quintuple meter

27
Q

WL: “Movement One” by Grazyna Bacewicz

Symphony No.4

A

C# aug 6th in 2nd inversion

Progressive chromatic scale with short bassoons

28
Q

What is the context of “Petals”?

A
Who: Kaija Saariaho
What: Spectral soundscape
Where: Bremen
How: Solo cello with opt electronics
Why: Exploring sonic range 
When: 1988
29
Q

Describe the melody of “Petals”

Petals

A

Chromatic overlaps at stv 4, then low C ideas at stv 17

Upwards sequence before falling modal idea at stv 10

30
Q

Describe the harmony of “Petals”

Petals

A

Absent with rich series of overtones above F at stv 1

Generated gestures with horizontal harmony at stv 17

31
Q

Describe the tonality of “Petals”

Petals

A

Atonal with certain dyads at stv 9

Repeated low C at stv 17

32
Q

Describe the rhythm of “Petals”

Petals

A

Slow notated tempo with grace notes at stv 21

Dectuplets at stv 4 before syncopated tuplets at stv 10

33
Q

Describe the texture of “Petals”

Petals

A

Ambiguous monophony at stv 1 becomes clear at stv 4

Drone textures in two parts at sec 3

34
Q

Describe the electronics of “Petals”

Petals

A

Amplified dynamic hairpins

Reverb and harmonization max 50%

35
Q

Describe the sonority of “Petals”

Petals

A

Pressure changes at stv 1 then sul ponti playing at stv 4

Sul tasto playing at stv 5 before glissandi at stv 17

36
Q

WL: “Mad Tea Party” by Unsuk Chin

Alice In Wonderland

A

Swannee whistles with accented clashing trumpets

Multiphonic bent notes amongst hemiolas

37
Q

WL: “Animalcules” by Natasha Barrett

Puzzle Wood

A

Stark scratching sounds with soft bubbly effects

Dramatic vocal squeaks in a directionless pulse

38
Q

WL: “D’om Le Vrai Sens” by Kaija Saariaho

La Vue

A

Decorative chromatic solo clarinet passage

Pizz and arco alternations with imitative growls

39
Q

WL: “Duo Improv” by Thomas Buckner & Earl Howard

Particle Ensemble

A

Wind vocals and rolling of objects above pedal

Gradual dynamics with polyphonic rises and falls

40
Q

WL: “Book Of Mirrors” by Rozalie Hirs

Platonic ID

A

Swelling trill motifs with scratching chimes

Sudden pauses with changes in offset tuba

41
Q

WL: “Movement Two” by Brian Ferneyhough

String Quartet No.3

A

Consistent sudden changes with low scratches

Additive harmonics and tuplets from monophony

42
Q

WL: “Dry Mountain Stream” by Kaija Saariaho

Six Japanese Gardens For Percussion

A

Unpitched conjunct motion with raindrop cowbell

Sizzling dense timpani with bold dynamics

43
Q

WL: “Cello Solo” by Michael Seltenreich

Lumiere Lent

A

Progressive tremolo down to low F

Few sustained sections ending on dyads

44
Q

What is the context of “Three Dances”?

A
Who: John Cage
What: Virtuoso work
Where: New York
How: Two amplified prepared pianos
Why: African tala dance performance
When: 1945
45
Q

Describe the melody of “Three Dances”

Three Dances

A

First five note melodic ostinato at fig 64/73

Note addition at fig 55 then note subtraction at fig 56

46
Q

Describe the timbre of “Three Dances”

Three Dances

A

Retains some pitch with una corda ped at fig 71/80

Tres corda ped at fig 26

47
Q

Describe the item usage in “Three Dances”

Three Dances

A

Screws, rubbers, coins, bolts, pieces of plastic and weather strips for doors

48
Q

Describe the rhythm of “Three Dances”

Three Dances

A

Accents at 1 then group of 3 across bar at fig 2

Crotchets and quavers only except septuplets at fig 20

49
Q

Describe the texture of “Three Dances”

Three Dances

A

Monophonic at fig 5 before two parts at fig 6

Occassional chords at fig 17 and silence before fig 64/73

50
Q

Describe the dynamics of “Three Dances”

Three Dances

A

Beginning forzando with cresc at fig 9

Dynamic surprises at fig 38 and 64/73

51
Q

WL: “Banshee” by Henry Cowell

Piano Strings 405

A

Screeched rubbing of piano strings

Augmented sliding semibreves with una corda ped

52
Q

WL: “Improvisation” by Volker Bertelmann

Foreign Landscapes

A

Metallic sounds are quiet in high range

Ethereal opening clamped strings

53
Q

WL: “Room” by John Cage

She Is Asleep

A

Syncopation on seventh quaver

Distinctive raindrop F# pierces homorhythms

54
Q

WL: “Limonium” by Kelly Moran

Bloodroot

A

Dense intertwining of pitched sounds

Percussive trill/mordent ornamentation

55
Q

WL: “Klavierstucke Five” by Karlheinz Stockhausen

Klavierstucke

A

High ranged intro ends on A min 9th add 7

D# pedal with eerie high progressive rushes

56
Q

WL: “Movement One” by Galina Ustvolskaya

Piano Sonata No.4

A

Ominous min 9th with add 4 chords in intro

Moto perpetuo bass quavers with some dyads

57
Q

WL: “Part Two” by John Cage

Book Of Music

A

Semiquavers in both hands with metallic gongs

Hints F maj with low F and F maj scale extract

58
Q

WL: “Rain At Funeral” by Augusta Read Thomas

Prarie Sketches

A

Element of tonality with grumbling D# pedal

Octaves followed by minor 7th with chromatic step