Diverging Traditions Flashcards
(51 cards)
1
Q
french music 2
A
- challenging to position, trying to establish french identity and repertoire
- concerts of german classics and new french works
2
Q
french politics 3
A
- significant musical govt funding
- political pressure
- works associated with political movements
3
Q
french music schools 3
A
- conservertoire - prestigious, technical, focus on opera
- niedermeyer - general instruction, focus on church music
- schola cantorum - focus on historical studies
4
Q
2 strands of composition france
A
- cosmopolitan tradition (Franck and pupils)
- more specifically French tradition (Faure)
5
Q
counterpoint
A
note against note, not block chords
6
Q
cesar franck style 3
A
- counterpoint and classical forms
- liszt’s thematic transformation
- wagner’s harmony and cyclic unification
7
Q
franck organ chorale style 2
A
- improvisatory (new for organ)
- orchestral colour
8
Q
franck’s symphony in dm
A
cyclic form (themes recur in other movements, binds them together)
9
Q
franck chamber music
A
- he was founder of french chamber music
- all chief works in cyclic form
- violin sonata
10
Q
franck violin sonata 8
A
- renaissance and baroque procedures with romantic harmony and thematic structure
- riternello combined with sonata, ternary, rondo forms
- extended canon of main theme
- modulated by 3 over A chord
- main theme alternates with themes of previous mvmnts
- tonal
- accessible to average listener
- violin and piano toss prominence back and forth
11
Q
gabriel faure general style 4
A
- drew primarily on earlier French composers
- order and restraint, reserved and simple
- subtle patterns of tones, rhythms, colours
- stretched in new directions, provoked resistance from conservative establishment
12
Q
faure songs
A
developed new language of fragmented melodic lines, harmony less directional, not sure where melodies will land as they move through chord modulation
13
Q
avant que te ne t’en allies 6
A
- song of faure’s la bonne chanson cycle
- each poetic image set to melodic phrase in own tonal world
- harmonic successions dilute need for resolution, prolong tension
- chords fade into one another, linked through common tones
- chromaticism as means to achieve equilibrium, restraint
- symbolism where things are suggested instead of explicately said, listener interpreting for self
14
Q
tchaiovsky general 4
A
- cosmopolitan music renowned all over europe and north america
- wide appeal, works at heart of repertoire
- best known symphonies almost as performed as beet’s
- funded by wealthy widow
15
Q
tchaiovsky’s symphony no 4 4
A
- classical form
- draws from schubert: 3 key expositions, recapitulation behins away from tonic
- private program
- horn call in intro symbolizes inexorable fate
16
Q
tchaiovsky’s symphony no 6 (pathetique) 3
A
- private program left as a mystery
- light scherzando character, evokes triumphant march
- motivic fragments coalesce into main theme (theme emerges instead of being introduced right away)
17
Q
borodin 3
A
- devotee of chamber music
- admired mendellson
- melodies seldom quote folk tunes, but reflect their spirt
18
Q
musorgsky
A
- pictures at an exhibition (scenes instead of narratives)
19
Q
rimsky-korsakov 4
A
- known for programmatic orchestral works
- genius for orchestration, musical characterization
- capricccio espagnol, sceharzade exoticism from spain and arabia
- russian esater overture - nationalist
20
Q
smetana and dvorak 3
A
- bohemia
- better known outside of bohemia for instrumental music than operas
- influenced by new german school
21
Q
smetana 2
A
- sought to create national music
- ma vast (my country) - 6 symphonic poems
22
Q
dvorak 3
A
- follows in brahm’s footsteps
- international style
- czech elements to achieve national idiom
23
Q
dvorak’s savonic dances 2
A
- can hear dance beats
- first in rhythm and style, widely knowsn czech dance
24
Q
dvorak’s symphony 9 in em 3
A
- “from the new world”
- elements of native and african american idioms
- pentatonic melodies, syncopation, drones, plagal cadences
25
edvard grieg 6
- forged distinctly norwegian pieces
- international style - but folk tunes and texts in some pieces
- modal turns of melody and harmony
- frequent drones in bass or middle register
- combo of 3/4 and 6/8 meters
- lyric pieces - short piano pieces similar to chopin
26
britain 3
- english musical renaissance - movmnt to created british musical tradition
- start to become prominent internationally
- foreign-born musicians and styles dominated
27
parry 3
- best known for choral music and 5 symphonies
- drew on brahms, wagner, liszt - texchniques of development, thematic transformation, cyclic form
- english influences - anglican church music, british folk songs, 16th and 17th english composers
28
stanford 5
- influence on church music
- known for choral music, symphonies, concerts
-modelled after brahms and mendellson
- diatonic style
- flavor of native irish folk tunes
29
edward elgar 7
- catholic (outsider in england)
- no academic training led to unique personal style
- first english composer with internation recognition in 200+ years
- outsider to renaissance
- harmonic approach
- leitmotives in oratorios
- symphonic output
30
usa theories 2
- dvorak said usa music would come out of african americans and native americans
- others said it would be more international
31
folk
passed through oral tradition
32
classical 3
centered on composer
attention to notated score
now means serious, for thinking
33
pop 4
written down
sold as commodity
focus on performer
composed by a specific person
34
germans in usa 2
german style and teaching dominated bc of german immigrants up to wwi
fostered divide between classic and pop
35
theodore thomas
- one of most famous immigrant musicians
- founded own professional orchestra
36
native born usa composers 3
- studied in germany and usa
- styles rooted in german tradition
- internationalism vs nationalism
37
amy beach 3
- most works engaged in traditions of german classics
- style rooted in brahms
- gaelic symphony
38
beach's gaelic symphony 5
- ethnic and nationalist
- in response to dvorak's new world sympyony
- based on irish tunes (lilting 12/8)
- fast development
- modulates around 2 circles of major 3rds
39
bands 4
- mix of serious and pop music
- spread of bands related to divisions of us army having own bands
- music to march and entertain
- amateur and professional bands
40
patrick s gilmore
- founded own band
- success led to flood of professional touring bands
41
john philip sousa 2
- "march king"
- altered form for dramatic effect - build to climax instead of returning to beginning (no de capo), forward motion
42
band repertory 2
- marches, dances
- classical composers encouraged transcriptions, arrangements, medleys
43
march form 4
- brief intro of 4 measures
- 2 strains or periods, each repeated
- trio in contrasting key (often 4th), 2 repeated strains
- de capo repetition up to trio
44
pop song4
- late 1800s introed gulf between classic and pop
- sought to entertain, sell, accomodate amateurs
- interplay of convention and novelty
- verse-refrain form, with catchy hook
45
african american music 7
- call and response
- improvisation based on simple formula
- syncopation
- multiple layers of rhythm
- bending or sliding pitches
- spirituals had greatest impact - from bible with hidden meanings
- many ethnic groups with different language and customs
46
world music
dvorak's idea that music is becoming less national in style
47
usa diversity
stewpot, where each group maintained its own music while lending a flavour to the whole
48
usa approaches to nationalism 4
- music should transcend nationalism
- composers should just write the best music they can
- or nationalism important for international recognition
49
art songs
- required professional skill
- artistic statement instead of entertainment
50
chorus popular songs
used to mean group of singers, came to mean refrain
51
spirituals 2
- religious song of southern slaves, passed down through oral tradition
- texts were usually based on images or stories from the Bible, but they often carried hidden meanings of enslaved people’s yearning for freedom
