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| Atonal/”The Emancipation of Dissonance” |
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| Search for a new compositional language |
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| The problem with atonal music: |
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| no way to organize in an audible way without tonality |
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| Pierrot lunaire, No. 1, “Mondestrunken” |
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| singing to resemble the rises and falls of speech |
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| “The melody in the speaker’s voice not meant to be sung” |
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| aims to organize the 12 half-steps in octave in a way that weights each pitch equally and prevents accidental tonality |
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| aims to organize the 12 half-steps in octave in a way that weights each pitch equally and prevents accidental tonality |
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| Sonatas and Preludes for Prepared Piano |
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| Sonatas and Preludes for Prepared Piano |
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| Prelude to the Afternoon of a Faun |
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| Wozzeck, Act III, scenes 4 and 5 |
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| Five Pieces for Orchestra, No.3 |
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| Concerto for Orchestra, second movement |
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| Symphony No. 5 in D Minor, second movement |
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| Putnam’s Camp, Redding, Connecticut |
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| Afro-American Symphony, third movement |
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| Sonatas and Interludes for Prepared Piano, Sonata II |
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| Threnody: To the Victims of Hiroshima |
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| Ancient Voices of Children, “From Where Do You Come, My Love, My Child?” |
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| Einstein on the Beach, “Knee Play I” |
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| Short Ride in a Fast Machine |
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| Prelude to the Afternoon of a Faun by Clause Debussy |
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| flute solo; meterless; harp |
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| Rite of Spring by Igor Stravinsky |
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| Pierrot lunaire No. 1, “Mondestrunken” by Arnold Schoenberg |
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| Vocal, German, Female, piano and flute |
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| Wozzeck Act III, scenes 4 and 5 by Alban Berg |
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| Vocal, German male and child |
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| Five Pieces for Orchestra No. 3 by Anton Webern |
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| Concerto for Orchestra second movement by Bela Bartok |
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| Symphony No 5 in D Minor second movement by Dmitri Shostakovich |
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| triple meter, high sneering woodwinds and low brass to contrast, violin solo, angry, mocking sounding |
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| Putnam’s Camp, Redding, Connecticut by Charles Ives |
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| band (marching-like), atonal |
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| Afro-American Symphony third movement by William Grant Still |
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| spiritual, major, duple meter, back beats |
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| Rhapsody in Blue by George Gershwin |
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| Appalachian Spring Aaron Copland |
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| “simple gifts”, simple texture, brass chorale, strings introduction |
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| Sonatas and Interludes for Prepared Piano Sonata II by John Cage |
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| Poeme electronique by Edgard Varese |
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| Threnody: To the Victims of Hiroshima by Krzysztof Penderecki |
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| Ancient Voices of Children “From Where Do You Come, My Love, My Child?” by George Crumb |
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| Einstein on the Beach “Knee Play 1” by Philip Glass |
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| vocal, electronic, “monk”, counting, English |
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| Short Ride in a Fast Machine by John Adams |
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| vocal; Gregorian Chant, Organum, Motet…; modal; not pretty |
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| no Gabrielle; vocal; modal, but some thirds; post Council of Trent, John Dowland |
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| basso continuo/harpsichord; polyphonic/fugueish; early opera (Monteverdi, Purcell) |
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| traditional; tonal; 8-bar phrase; symphonies |
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| sub-genre (lieder, romantic opera [expressive]…); big full orchestral sounds |
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| simplest notes for the widest audience |
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| Elliot Carter’s compositional technique |
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| 3 terms characteristics during the Classical period |
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| symmetric, objectivity, and harmonious proportion |
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| Difference between minimalism and Post-minimalism |
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| move through themes, more lyricisy |
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| “Golden age of a capella singing” |
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| Unique about the plot of Einstein on the Beach? |
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| Threnody: To the Victims of Hiroshima |
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| Who restricted Shostakovich? |
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| 3 primary characteristics of Baroque |
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| basso continuo, ornamentation, and major/minor tonality |
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| madrigal-Welkes/Monteverdi |
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| Igor Stravinsky’s Rite of Spring caused |
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| speech-tone/Pierrot lunaire |
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| symphonic orchestra change from Classical to Romantic by |
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| performed for a lot of people at the square |
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| Varese’s Poeme electronique |
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| Erasers and Screws in specific places |
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| John Cage’s Sonatas and Interludes for Prepared Piano Sonata II |
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| What did impressionists dislike about Romanticism? |
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| highly experimental, time of revolt and revolution, globally influenced, wide variety of musical styles and genres |
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| 20th century characteristics |
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| unusual techniques, expansion of percussion, unusual ensembles/instrumental groupings, harmony had degrees of dissonance, new chord structures, and extensive use of alternative to the major/minor system |
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| Polychords, fourth chords, tone cluster |
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| emphasis on irregular and unpredictable meters |
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| recorded and broadcast music makes music part of daily life for all classes |
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| composers alienate audiences |
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| shimmering transparent effects |
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| high strings, low woodwinds, muted brass, delicate percussion |
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| church modes from the middle ages |
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| two thirds stacked; C-E-G-B-D |
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| creates ambiguity between major/minor |
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| pentatonic, octatonic, whole tone |
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| “dreamlike” rhythmic structures |
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