musical movements and styles Flashcards
(23 cards)
1
Q
modernism
A
- Relationship between old and new
- Mostly hinges on whether and how dissonance resolves
2
Q
ultra-modernism
A
- Adopts influence of radical modernists while also trying to be diff
- continued to reject historical musical approaches and consciously seek radical new paths
- not as grounded in past
- Hyperprism by Varese, The Banshee by Cowell, String Quartet by Ruth Crawford Seeger
3
Q
post-tonality
A
tonality after Common Practice Era
4
Q
symbolism
A
- truth can only be conveyed indirectly
- reaction against Romanticism and realism → rejected structures
- Sought to evoke feelings in listener, rather than describe them
5
Q
neoclassicism
A
- a twentieth-century trend, particularly current in the interwar period, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of “classicism”, namely order, balance, clarity, economy, and emotional restraint.
- Mikrokosmos by Bartok, La creation du mode by Milhaud, Symphony of Psalms by Stravinsky, Bachianas Brasileiras by Heitor Villa-Lobos
- Ravel
6
Q
avant-garde
A
- “advanced guard”
- Still part of modernism → fits w/ past
- Eric Satie associated w/ Avant-Garde artist → Dada
7
Q
futurism
A
- Italian movement; world of machines, music based on noise
- Style of avant-garde
- Luigi Russolo
- Hyperprism by Varese
8
Q
Dada
A
- theater that made no sense, baby babbling
- Goal no longer aesthetic beauty, inspiring thought about point of art
9
Q
atonality
A
- “emancipation of dissonance”, developing variation, integration of harmony/melody, pitch class sets, chromatic saturation
Pierrot Lunaire by Debussy, Hyperprism by Edgard Varese, Wozzeck by Berg, Pierrot Lunaire by Schoenberg (kinda)
10
Q
12 tone method
A
- created by Schoenberg, solution to problem of structure in atonality → now treat each pitch of chromatic scale equally
- Tone row
- Tetra + hexachords important
- Rows may be used: as melody or harmony, in any 8ve or rhythm
- Harmony → series can be broken into 3-6 pitch segments to be used as motives/chords
- Composer deploys all 12 pitches before moving on
- prime, inversion, retrograde, retrograde inversion, transposition
11
Q
primitivism
A
- a belief in the value of what is simple and unsophisticated, typically has borrowed from non-Western or prehistoric people perceived to be “primitive”
- Rite of Spring by Stravinsky
12
Q
neotonality
A
- part of modernism, nontraditional methods replace common practice methods
- Music for Strings, Percussion, and Celeste by Bartok, Symphony of Psalms by Stravinsky
13
Q
Tin Pan Alley (the song form)
A
- aka 32 bar form → aaba - each phrase is 8 bars - can have variations among a sections
- b section often tonicizies dominant key (sometimes called “middle 8”)
- I Got Rhythm by Gershwin, Cotton Tail by Duke Ellington
14
Q
Tin Pan Alley form by 1930
A
- intro
- slow, recit like verse
- aaba
- instrumental break drawn from “a” material
- “b” section
- closing w/ refrain that includes songs title
15
Q
Delta Blues
A
- from Mississippi delta instead of recording studio in North
- Crossroad by Robert Johnson
- less adherent to form than classic blues → breaking rules for purpose of expression
16
Q
New Orleans Jazz
A
- instrumental bands → front line, rhythm section
- repeated popular song forms → group improv (multiple instruments at once)
- La creation du monde by Milhaud
17
Q
Chicago Jazz
A
- “hot jazz”, contrasted w/ NOLA
- initial presentation of tune followed by the repetitions of the underlying chord changes w/ improvised solos
- group improv disappears (just solo)
- from NOLA jazz → instrumental music and improv
- used early recording technologies (couldn’t pick up group improv, so did solo)
- West End Blues by King Oliver
18
Q
swing
A
- established when jazz became America’s pop music in late 20s/30s
- Larger ensembles, dance halls, fads (types of dances)
- Cotton Tail by Duke Ellington
19
Q
film music
A
- Golden Age from late ’20s-‘50s
- diff process (often w/ team)
- soundtrack one of last things to be added
- Wagnerian analysis: storytelling/inner emotional life, leitmotif
20
Q
radical modernism
A
- Rather than please viewers or listeners on first sight or first hearing, radical modernists sought to challenge audience perceptions and capacities
- Bartok
21
Q
new objectivity
A
- Term coined in the ‘20s to describe a kind of NEW REALISM in music, in REACTION to the emotional intensity of the late romantics and the EXPRESSIONISM of Schoenberg and Berg.
- opposed complexity and promoted the use of FAMILIAR elements, borrowing from pop music/jazz or from Classic/Baroque procedures
- Three Penny Opera by Kurt Weil
22
Q
examples of modernism
A
- Nuages by Debussy
- Salome by Strauss
- Embryons by Satie
- Wozzeck by Berg
- General Booth by Ives
- String Quartet by Ruth (ULTRA)
- Mikrokosmos by Bartok (RADICAL)
- Le Tombeau by Ravel
- Bachianas by Villa-Lobos
- Appalachian Spring by Copland
- Symphony no. 5 by Shostakovich
23
Q
12 bar blues
A
most prominent chord progression in pop music, esp. jazz
West End Blues by King Oliver (Chicago jazz)
