Western classical tradition (1910 onwards)

Question 1

Dynamics

Answer 1

Extremes of dynamics: sudden fortissimo or pianissimo, abrupt contrasts.
Use of graphic scores or extended dynamic markings in avant-garde music.
Terraced or gradual crescendos/diminuendos in minimalism.
Dynamics used for mood, tension, or shock (e.g. expressionist outbursts).
In film music, dynamics match the on-screen drama.

Question 2

Rhythm/meter

Answer 2

Irregular, changing, or additive metres (e.g. 5/8, 7/8, shifting time signatures).
Use of polyrhythms, cross-rhythms, and isorhythms.
Syncopation and displacement blur the beat.
Minimalist composers use rhythmic cells and phasing (e.g. Steve Reich).
Some pieces may have no clear pulse at all.

Question 3

Structure

Answer 3

Free or non-traditional forms: through-composed, episodic, or aleatoric (chance-based).
Minimalism uses cells, loops, and gradual transformation.
Film music often follows narrative cues, not classical forms.
Motivic development can replace formal structure (e.g. Schoenberg’s Klangfarbenmelodie).
Look for repetition vs. contrast rather than fixed sections.

Question 4

Instrumentation/timre

Answer 4

Unusual instrumental techniques: col legno, flutter-tonguing, prepared piano.
Electronic instruments: synthesizers, tape loops, live effects.
Non-orchestral sounds (sirens, typewriters, spoken word, body percussion).
Expanded orchestras with extreme registers or new combinations.
Timbre is central to expression, often more important than harmony or melody.
In film music, listen for orchestral layering + electronic effects.

Question 5

Texture

Answer 5

Wide variety: monophonic, homophonic, polyphonic, layered, collage-like.
Use of imitation, contrapuntal lines, and textural contrast.
Drones or sustained tones may anchor dissonant textures.
Minimalism builds texture gradually with layered loops.
Some works explore sound masses or texture as structure (e.g. Ligeti).

Question 6

Harmony/tonality

Answer 6

Use of atonality, bitonality, polytonality, and extended chords.
Dissonance and chromaticism are common, sometimes unresolved.
Pedal points and cluster chords (dense harmonies).
Modal and pentatonic influences in neoclassical or folk-influenced works.
Tonality can be ambiguous or non-functional (no clear cadences or key centres).

Question 7

Melody

Answer 7

Motifs (short, repeated ideas) dominate instead of long lyrical lines.
Use of melisma, wide leaps, angular shapes, or chromaticism (especially in expressionism).
Ostinatos and cells repeat in minimalist music.
Atonal or ambiguous melody lines that avoid traditional tonality.
In some works, melody is shared across instruments or embedded in timbre (e.g. Klangfarbenmelodie).