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Music 132 > Postmidterm > Flashcards

Postmidterm Flashcards

1
Q

What is “vernacular” music?

A

In the language of the people

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2
Q

Importance of vernacular music

A

Impacted recording

American became leading exporter of music

Influenced composers in classical tradition

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3
Q

What is “tonality”?

A

the use of keys in music and how they lead to a certain point

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4
Q

Mahler

A

German

Well known for symphonies and songs

Expansions of symphony to fullest form with the usage of song in symphony, combining chorale

Legacy: Last major Austro-German symphonist

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5
Q

Kindertotenlieder (Songs on the death of children)

A

Malher accompaniment

combining poetry and artwork

Poet writing after death of his children, Mahler using that emotion in accompaniment

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6
Q

Richard Strauss

A

turned to opera after establishing himself with symphonic poems

legacy: successor to Wagner in German opera

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7
Q

Salome

A

Strauss

Associated with John the Baptist

Dissonant harmonies with contrasts, combining different keys at the same time

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8
Q

French Modernism

A

French musicians sought greater independence from German music

Drawing on national heritage; simple, direct meanings

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9
Q

Claude Debussy

A

*Direction: towards pleasure & beauty

Orchestra works and songs

Impressionism and symbolism: evoking mood and feeling

*Influence: emphasis on sound itself as an element of music & seminal force in history of music

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10
Q

Nuages

A

Debussy

Interacting with patterns of fifths and thirds

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11
Q

Ravel

A

Outsider, independent streak

Impressionist works, strong musical

bringing in influences from different countries, evoking influences in different ways, rhythm, etc.

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12
Q

Spain Modernism

A

Composers: Albeniz, Granados, and Falla

Taking Spanish styles and putting together with modernist techniques

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13
Q

British Modernism

A

Composers: Vaughan Williams and Holst

Composers sought distinctive English voice

Established national identity

Folk song integrated into compositions

Composers using recognizable elements from past eras

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14
Q

Suite No 1 in E-Flat

A

Holst

British military band tradition

Modal flavour or melodies, references to English folksong, country dance

Tonal

Recognizable C minor

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15
Q

Rachmanioff

A

Russian; left Russia after revolution and emigrated to America

Symphonic poems

Self contained work for orchestra

Not specific narrative but more mystical sense

Influence of Chopin and Bach

Lyrical, tonal

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16
Q

Prelude in G Minor

A

Rachmanioff

Innovative textures, melodies within traditional harmonies

ABA’ form

“sounds” Russian

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17
Q

Scriabin

A

Schooled with Rachmanioff at Moscow Conservatory

Influenced by Liszt and Wagner

Push boundary with harmonies

Using techniques that avoid a tonal resolution

Experimental, mystical music

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18
Q

Vers la Flamme

A

Scriabin

Tone poem for piano

Uncertain ending

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19
Q

Avant-Garde

A

the art that seeks to overthrow accepted aesthetics , shake things up and do it in a new way

challenging the status quo

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20
Q

Iconoclastic

A

smashing iconic icons, establishing a new way of writing

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21
Q

Erik Satie

A

French nationalist

radical break from tradition

pokes fun and challenges conventions of classical music

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22
Q

Futurism

A

Italian futurists rejected traditional instruments

Luigi Russolo, futuristic painter & composer

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23
Q

Modernism

A

Movement that followed Romanticism, focused less on consumer appeal and more on composers emotions

more of a lean towards absolute music, it is what it is

Composers push boundaries of traditional harmonies

continue to call their music modern today

trying to make their own voice

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24
Q

Atonal

A

Not having a home key

Moving away from resolution

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25
Q

12 tone music

A

using the 12 chromatic notes

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26
Q

Arnold Schoenberg

A

Best known for atonal and 12-tone music
Born in Vienna, self taught
Founded and directed Society for Private Musical Performance
shaped course of musical practice

Tonal compositions: nonrepetitions

Atonal compositions: coherent, developing variations, integration of melody and harmony, chromatic saturation

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27
Q

Second Viennese School

A

Schoenberg, Bern, Webner

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28
Q

Nonrepetitional

A

Schoenberg
Each work should not simply repeat but build on the past
Like Brahms

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29
Q

Coherence of atonal music

A

Developing variation
Integration of harmony and melody
Chromatic saturation

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30
Q

Pitch-class sets

A

Manipulated notes, intervals of a motive
Pitch class is the note the set begins on

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31
Q

Pierrot lunaire

A

Schoenberg
Psychological, introspective
Evoking traditional forms, functions of tonality, 12 tone method

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32
Q

Piano Suite

A

Schoenberg
Begins on E and ends on Bb

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33
Q

Alban Berg

A

Studied with Schoenberg
Uses techniques from previous era to give his listeners a reference point

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34
Q

Post Tonal

A

Berg
Using atonality in a tonal way - bridge point between tonal and atonality

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35
Q

Wozzeck

A

Atonal, expressionist opera
Leitmotives, comment on characters, situations and traditional forms but uses ideas from the past that would be recognizable

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36
Q

Anton Webner

A

Studied with Schoenberg
Music is a presentation of idea that presents no other way
Very concentrated in how he writes his music; does not believe in unnecessary composition, everything is tight and concise
Never gain wide popularity

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37
Q

Symphony Op 21

A

Webner
Entire movement is double cannon in inversion
Integration of canon
Reinterpretation of sonata form

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38
Q

Klangfarbenmelodie

A

different statement of melody but same notes, contrasting characters (Schoenberg concept)

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39
Q

Stravinsky

A

Rhythmic in dances, combining shifting chords
Style traits, most derived from Russian traditions
Frequent ostinatos: repeated bass voice
Anti-lyrical, colorful use of music
Influence: popularized neoclassicism and use of serialism

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40
Q

The Rite of Spring

A

Dance of the Adolescent Girls
Undermining meter, pushing strong beats into the bar
Sounds primitive
Developing of motives
Building textures
Dark themes

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41
Q

Neoclassical period

A

Intentional imitation of preromantic (classical form, not tonal) writing, emphasis on absolute music

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42
Q

Octet for Wind Instruments

A

Stravinsky
Using melodic diatonic tonal melodies but with dissonance

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43
Q

Neotonality

A

Stravinsky
Tonal centers not established through functional harmonic progressions, not by key but pitch collections

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44
Q

Serial period

A

Stravinsky
Using 12 tone methods extends to parameters other than pitch

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45
Q

Bela Bartok

A

Virtuoso pianist, piano teacher

Bring folk music into compositions

Style: bring peasant and classical music together
mixing concepts of dissonance, love of symmetry

46
Q

Music for Strings, Percussion and Celesta: III Movement

A

Bartok
starts and ends on C
Elements of tonality but not coherent
Inversions
Melody sounds like folk tune
Examples of how a modernist composer combines moderns and classical techniques

47
Q

Charles Ives

A

American composer
Promoted using folk tunes (African American and FP) only if you’re completely immersed in their culture
American program music: celebrated american life, building ideneity

48
Q

Ives 4 spheres

A

Vernacular music: language, music of the people

Protestant church music: improvised organ preludes and posttunes, revival meetings

European classical music: highly trained, studied the type of art music

Experimental works: preserved most of the traditional rules, first composer to use polytonality systematically

49
Q

The Unanswered Question

A

Ives
Atonality
First to combines tonal and atonal layer in same piece
Throwing in something different (horn and flute) into something already established (strings)

50
Q

The Alcotts (Ives)

A

Polytonality (2 keys working together at the same time)
Elements of modern, no bar lines

51
Q

France between WW

A

music intertwined with politics

strong anti-German sentiment, increased focus on French music

New interest in popular music; cabarets to music of African Americans, a way out of Romanticism

52
Q

Les Siz

A

strong neoclassicism

Need to know 3: Honnegger, Milhaud, Poulenc

Collaborations: joint concerts, album of piano music

53
Q

Honeggar

A

Dynamic action, graphic gesture

Symphonies, oratorios

Bold colors, dissonant harmonies

54
Q

Milhaud

A

Draws on sounds of Americas

55
Q

La Creation de Monde

A

Milhaud
Jazz influences, order to chaos

56
Q

Francis Poulenc

A

Drew on Parisian popular song traditions

Musical styles: graceful, witty, satirical
Wide range of styles in instrumental works

Neoclassicism

57
Q

Neoclassicism

A

looking back to classical forms of 1700’s-1800’s

58
Q

Germany Between WW

A

government subsidizing ticket prices

Music needing to be accessible

New Objectivity: New realism; opposed complexity, promoted familiar elements; music objective in its expression, not highly emotional

59
Q

Kurt Weill

A

Opera composer in Berlin
Die Moritat von Mackie Messert (The Ballad of Mack the Knife): lilting melody undercuts brutal imagery

60
Q

Paul Hinderemith

A

New objectivity: music more accessible
Move away from emotion and to realism
Neotonal
Gebrauchsmuik: music for use

61
Q

Gebrauchsmusik

A

music for use

62
Q

Carl Orff

A

Developed new way of teaching music, still used today

63
Q

Soviet Union

A

Government controlled all aspects of music

64
Q

Sergey Prokofiev

A

Initial reputation as radical modernist
Technical and challenging works
Film scores

65
Q

Dimitri Shostakovich

A

Combination of traditional with experimentation

5th Symphony II Movement
- inspired by Mahler
- wide range of styles and moods
- 4 movements, in manner of Beethoven and Tachikovsky
- allegretty

7th Symophony
- programmatic, heroic defense of Leningrad against Hitler

66
Q

Canada

A

Ernest MacMillan: key canadian figure

Claude Champagne: very influences by Russian composers

67
Q

United States

A

New recording technologies
Conductors nationally know figures
Radio
Cycling through of classical music
The New Deal: more funding for music, education and performance

68
Q

Edgard Varése

A

Spatial music and sound masses
moving away from traditional harmonies
Hyperprism
-for winds, brass, and percussion
- every combination of sounds is unusual
- heard as sound mass rather than melody, harmony, or accompaniment

Poeme electronique
- electric sounds
- sounds like Ross from friends

69
Q

Henry Cowell

A

Tone clusters with fists or forearm
Experimenting in early piano music

The Banshee: explicit instructions given at beginning, erie

interest in nonwestern music

70
Q

Ruth Seeger

A

first woman to win Guggenheim Fellowship in music

String Quartet 1931, best-known work
- finale: violin against other instruments

71
Q

George Gershwin

A

Late 1920’s and 30’s: most famous, frequently performed American composer in classical genres

72
Q

Aaron Copland

A

most important and central American composer of his generation

Appalachian Spring
- tonal
- familiar past elements
- ending almost hymn like, melody is fully displayed

73
Q

Jazz

A

new styles

loses popularity, needing more concentrated listening
African American artists; white audience

overall: different types of jazz, different musicians use in different ways to explore techniques

74
Q

Bebop/Bop

A

virtuoso soloist, small combos

style: virtuosity, harmonic ingenuity, chromaticism, complicated rhythms, improv

Combo:
- rhythm section: piano, bass drums
- one or more melody instrument

Anthropology; Charles Parker and Dizzy Gillespie
- lead sheet, melody/solo
- sax solo
- new melody; short rapid bursts, jagged, unpredictable
- Form: introduction; head (primary tune in unision), several choruses, solo improv over harmony

75
Q

Modal Jazz

A

So What; Miles Davis
- modal intro
- parallel moving chords
- AABA form
- melody stated in bass
- structured yet “free-wheeling”

76
Q

Post War Pop Music

A

teens as target in industry

50’s, rock and roll

77
Q

Country Music

A

tradition associated with white southeners
blues, banjo, western cowboy, gospel songs

characteristics: sentimental, rural, first person narratives

77
Q

Rhythm and Blues and Rock & Roll

A

Electric blues

rhythms blues; developed in urban area
Styles of blues: 12 bar blues, forms out of this type of music

78
Q

Musicals

A

Leonard Berstein
- major presence in broadway and classical music
- Cool, for West Side Story

79
Q

Who became a patron postwar?

A

Universities
- composers employed at universities
- number of refugees who moved from Europe to America taught (Schoenberg)

80
Q

Tonal traditionalsim

A

Individual styles without departure from the past

81
Q

Samual Barber

A

american composer

tonal romanticism

Hermit Songs
- always centered tonally
- each offers blend of traditional tonaitly with modern techniques

82
Q

Benjamin Britten

A
  • most prominent composer in tonal or neotonal tradition
  • initially wrote for film scores
  • music for amateurs: choral music

Peter Pears; life partner; homosexuality

Peter Grimes
- Bitonality: uncaring sea
- C major: depicts shimmering sea
A major: citizens go about their business

War Requiem

83
Q

Oliver Messiaen

A

Most important French composer: BIRDSONG & USE OF MODES AND HARMONIES
- collection of notes, don’t change when transported by certain intervals, harmonies avoid resolution
Catholic
French composition: reserved, playing with colours
exploring different ways of music making
Quartour pour la fin du temps (Quartet for the End of Time)
- Violin, cello, piano, clarinet

focus on duration, not meter
Addictive, nonretogradable techniques

84
Q

Serialism

A

working with series’: melody, rhythm, etc.

total serialism is never total

music should be free of ideologies

12 tone music

Diversity: reflection of basic 20th C music, composers wanting to create new music linked with prominent features to the past

Leading composers: Babbitt, Boulez, Stockhausen

85
Q

Milton Babbitt

A

SERIALISM!
Three Compositions for Piano
“time point” approach to duration
First piece to apply serial principles to rhythm (duration)

86
Q

Karlheinz Stockhausen

A

created “mode” by comprising 36 pitches
SERIALISM

87
Q

Pierre Boulez

A

Influential French composer
Bourreaux de solitude
- attractive musical surface
Instrumental prelude and postled circulate 12 chromatic notes

88
Q

John Cage

A

Studied with Cowell and Schoenberg

Serialism but also experimentalist tradition

Search for new sound

Form: each part is connected and important

Prepared Piano: various objects inserted between stings of piano, to experiencing sound for own sake

Lots is up to chance, composer removed from equation leaving it up to performer

Music for Changes
- charts of possible sounds
resulting piece, sounds occur randomly

Indeterminacy: whatever happens, happens
- 4’33” ; performer sits quietly at piano, sounds in the music hall is the piece

89
Q

Morton Feldman

A

Indeterminacy
- uses boxes rather than note heads
- approximate register indicated, specific pitches left up to player

90
Q

Electronic Music

A

Musique concréte
- tape recorders
- sounds manipulated through mechanical and electronic means
- different instruments for different sounds

Electronic Sound
- musical instrument itself
- theremin by Lev Termen
- multitracks

Synthesizers
- composers call on pitches from keyboard

91
Q

Historical developments late 20th C

A

Cold war eased in 70’s
European communism collapse
time of growing and equality
economies become interdependent
spread of communication technologies

92
Q

Musical canon

A

like biblical canon

93
Q

Late 20th C

A
  • jazz accepted into canon
  • musicals
  • glocalization
  • crossing between western and non-western traditions; ethnic traditions, folk music, etc
94
Q

Bright Sheng

A

Studied with Leonard Bernstein
Season from Seven Tunes Heard in China
- cello suite
- Chinese bowed string instruments
- mostly pentatonic Chinese tune

95
Q

Late 20th C new technologies

A
  • digital synthesis, more accessible
  • recording & producing
  • sampling: patching together digital pieces of previous recorded music (rap/hip hop), raised copyright issues
  • computer music: digital composing
96
Q

Mixed media 20th C

A

pop music more visual: concerts, music videos, choreography, costumes
film music

*Take away: how music is bringing all forms of art together, no longer just the music but a whole performance

97
Q

Minimalism

A

Simplicity, clarity, regularity
REPETITIVE PATTERNS OF SIMPLE ELEMENTS
procedure of composition simplified
reduced to minimum

98
Q

Steve Reich

A

brought minimalism to broader audience
developed quasi-canoic procedure: musicians play same material out of place with each other (canon in name)

Come Out
- tape loopes of spoken phrase
- phasing: looped moved ahead of other, layers

99
Q

Postminimalism

A

influence on minimalism but include more traditional methods
more expressivity

100
Q

Phillip Glass

A

Minimalist composer
influenced by rhythm organization of Indian music
Repetition

101
Q

John Adams

A

mixes minimalist techniques with other approaches
elements from both popular and classical

Short Ride in a Fast Machine
- Ostinatos (repeated lines), chord repetition creates sense of harmonic progression
- 3-part counterpoint over rapid pulsing, slowing changing harmonies
- wide range of melodies
- minimalism, repeated themes
-starts and end on D, implies pitch centered

102
Q

György Ligeti

A

inspiration in minimalism

Etude No 9, Vertige (Vertigo)
- simple, familiar ideas
- moving quickly
- more dramatic and expressive than other minimalists

103
Q

Spectralism

A

analysis of timbre
sound spetra led to new trend, spectral music
- approach to sound and composition, focus on perception, acoustics, tone colour
- What sound it sounds like, and what we can do with frequencies (different instruments make different sounds and colors, etc.)
- Rather than thinking of rhythm or melodic relationships, thinking of frequency relationships

first developed by French composers

104
Q

Sophia Gubaidulina

A

Rejoice! (V movement)
- Sonata for cello and violin
Chromatics, tremolos, harmonics, glissandos
- playing with techniques of instruments
- religious undertones

105
Q

R Murray Schaffer

A

leading Canadian composer
variety of styles, neoclassical to avant-garde

106
Q

Postmodernism

A

reaction against narratives, anything can be possible
abandons musical idioms develop continuously

107
Q

Alfred Schnittke

A

Postmodernist
worked in soviet union
Concerto Grosso No 1 II movement
- evokes Vivaldi concertos
- 18th C with modern, atonal and popular styles
- canons and polytonal

108
Q

Arvo Pärt

A

Seven Magnificat Antiphons

109
Q

Chromatic saturation

A

Appearance of all 12 pitch-classes within a segment

110
Q

Alexander Nevsky IV movement

A

Prokovfiev
- chant like
- realism: music that promotes the common people
- looking back to neoclassical forms

Music 132 (3 decks)

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