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french artistic movement in late 19th C early 20th C fascination with change. Opposed to romantic art, pleasant subjects.
– Monet, Renoir, Degas |
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French, poems suggestive of images and moods without specific details, can be static.
– Debussy, Mallarme |
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| 1862 – 1918: harmonic language, Paris conservatory at age 11, Influenced by Wagner, went to paris exhibition (javanese), Chromatic, planing, rarely used whole orchestra, no sense of key, descriptive titles, planing let chromaticism sound pleasant. |
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| orchestral program music in one long movement. Genre –> unanswered question (Ives) or Prelude to the afternoon of a faun. |
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| played on the black keys – five note scale |
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| 6 tones a whole tone apart, sometimes used by Debussy |
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| in the most advanced style |
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| 1882 – 1871: Russian, famous for ballet in Paris. Rite of spring, Nijinsky, riot 1913 Russian Ballet, went to US because of WW2 |
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| endless images of scantily clad lazy exotic women for your viewing pleasure. |
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| static, simple, preserving ethnic |
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| Stravinsky, Nijinsky, 1913 Russian Ballet, Riot, Ballet score |
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| multiple rhythms at once (right of spring) |
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| simultaneous juxtapositions of multiple key areas in different parts of the orchestra (rite) |
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| sound stable and tension free |
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| money given to an artist in advance of the composition |
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| unconventional ways of using an instrument |
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| reaction against romanticism and impressionism. It was a conscious some 18C imitation (form, genre, ensemble). Rejected nationalism and subjective personal expressions and returned to absolute, non-programmatic music. |
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1880 – 1925: scandanavia/germany, intense, subjective emotion, isolation, madness, deranged psychological state. Reaction to impressionism, wake of WW1
– Munch, Kirchner, Schoenberg, Berg, Webern |
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| impressionist composers (before 1920) |
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| 1874 – 1951: taught berg and Webern, Influenced by Brahms and Wagner. Abandoned tonality in 1908, atonal music in string quartets and art songs and orchestral movements. Jewish and emigrated to US in 1933. |
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| speaking that follows contours of music |
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| purposeful avoidance of tonal centre, dissonant, schoenberg |
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| a row contains all 12 chromatic notes of the scale and all must be used before repetition. Can be prime, inversion, retrograde and retrograde inversion. |
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| original line of 12 tone system |
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| prime form inverted (intervals reversed) |
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| prime row backwards, then inverted |
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| 1881 – 1945: Hungarian, compiled folk songs (ethnomusicologist) |
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| compilation and study of folk songs, relevant in the contexts of nationalism and primitivism |
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| symmetrical musical structures |
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| symmetrical musical structure |
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| organized and coordinated dances |
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| the music associated with a ballet performance |
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| 1925 –> avant garde, anti-romantic, advocated integral serialism – which took the 12 tone system one step further having instrumentation, notes, dynamics all pre-determined in a system |
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| avant garde, Boulez, Anti-romantic (romantic – emotion, individualism and imagination/subjectivity) |
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| controlling for all aspects of music (orchestration, form, instruments, notes, dynamics) |
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| vocal syllables with no precise wording or meaning |
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| notating scores in unconventional ways – example, a map of the stars or no order |
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| aleatoric performances accomplished with this – require performers to improvise and interpret – but not all aleatoric music is graphically notated. |
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| quotation music (style term) |
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| taking from previous works (style term) |
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| incorporation of electric sound into compositions |
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transmission of natural sounds together onto a tape and you can manipulate the sounds to create new timbres
1) filtering out, 2) overdubbing, 3) manipulation, 4) sound reversal |
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| in musique concrete you can cut out bits of tape and put other bits of tape in |
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| in musique concrete combining different sounds, |
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| in musique concrete changing the playback speed |
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| in musique concrete playing the tape backwards |
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| sounds created by combining sine waves, pure pitches without overtones |
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| pure pitches without overtones generated by a machine |
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| every audible pitch at the same time |
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| poeme electronique 1883 – 1965 |
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| synchronized with film, philips pavilion, 1958, human voices and sound, themes of human existence, images, shapes like a stomach |
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| 1926 – 2006: jewish hungarian, went to forced labour camp during WW2, most of his family died in Auschwitz, influenced by serial method. Electric sound with acoustic, influenced by Darmstadt (Boulez) |
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| sliding and merging orchestral clusters, creating a succession of various timbres that might be status or dynamic or both simultaneously. |
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| textual effect where individual parts are lost within an overall effect |
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1912 – 1992 – avant garde, percussion lover
4:33 – 1952 |
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| ensemble of percussion only |
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| type of extended technique involving inserting things into the piano to alter the sound |
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| aleatoric music/indeterminacy |
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| determined by chance performers and interpretation |
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| things unplanned or improvised |
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| live performers with pre-recorded tape |
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| sound produced by performer and modified electronically at the time of production controlled by another performer, made possible more easily in the 1960s by voltage control |
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| established mood, genre, sets place, time (lietmotifs) |
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| underscoring, source music |
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| underscoring (type of film music) |
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| outside the action of a film |
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| source music (type of film music) |
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| inside the film, like in crouching tiger hidden dragon, there are live performers in the back room of the restaurant |
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| functions of film music (4) |
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| establish mood, establish setting/time, running counter to juxtapose and leitmotifs or character development |
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chinese ‘new wave’ composer, very famous, composed pipa concerto
1957 –> |
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| composers who explored modern/western/avant garde in china |
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| traditional stringed chinese instrument |
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| Stylistic pluralism (style) |
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| combination of western (atonal, aleatory) with traditional chinese instruments and aesthetic |
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| construction of new piece using previously existing art |
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| incessant repetition of short musical motifs |
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| more dynamic and active textures than minimalism, faster development, more complex and interesting neo-romantic harmony, and a wide variety of performing media |
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1935 —>
estonian, spiritual minimalism, quotation, serial technique |
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| 1936 –> well known classic minimalist |
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vocal number for solo singer and orchestra in an opera, cantata, or oratorio
Thy Hand Belinda – Purcell, Dido and Aeneas
(lament aria) |
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monody for solo voice and piano accompaniment
Clara Wieck Schumann – Der Mond kommt still gegangen |
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music for a ballet
Stravinsky – The rite of spring |
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composition in several movements for solo voices and instruments perhaps also chorus. can be sacred or secular.
Christ Lag in Totesbanden – Bach |
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music played in small groups – string quartet or piano trio
The Joke (No. 30) Haydn |
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reciting words to music, generally monophonic, and for liturgical purposes
Ave Maris Stella – Guillaume Dufay |
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short romantic piano piece that portrays a particular mood
Chopin – Nocturne in F# |
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a large composition for orchestra and solo instrument
Concerto No. 23 – Mozart |
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| less important after 1750, early baroque, small concerto and group of solo instruments |
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| concerto for two soloists (triple concerto) |
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| music to a film, establish mood, setting, juxtapose or character identify/develop |
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roman catholic services: 5 sections, kyrie, gloria, credo, sanctus, agnus dei
Pange Lingua Mass, Kyrie – Josquin Desprez |
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slong semi-dramatic piece on a subject for soloist, chorus and orchestra (no drama, costume, setting)
Handel – Messiah |
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drama presented in music with singing instead of speaking – has arias and recitative
Madama Butterfly – Purcell |
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italian, serious subjects, heros, history, mythology. Baroque italy
Madama Butterfly – Purcell |
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german, arias, spoken (no recitative), ensembles, songs, ballads, spoken-dialogue
The Magic Flute – Mozart |
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| half singing, half speaking style of presenting words in opera, cantata, or oratorio following spoken rhythm closely. Secco + continuo and accompanied recitative is with an orchestra |
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chamber music, in several movements or solo piano or piano and soloist.
Beethoven – Moonlight sonata |
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group of songs with a general theme or motif, something connecting them
Schubert – Erlkoning
Schoenberg – Pierrot Lunaire (mondefleck) |
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chamber music, 2 violins, viola and cello
Haydn – string quartet No. 30, the joke |
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| piece consisting of multiple dances |
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orchestral program music in one movement
(impressionist) Clouds – Debussy |
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multi-movement work for orchestra
5th Symphony – Beethoven’s
40th Symphony – Mozart |
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| french horn, bassoon, clarinet, flute and oboe |
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450 – 1450 (9C)
Hildegard Von Bingen – Columba Aspexit |
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1450 – 1600
Pange Lingua Mass, Kyrie – Josquin Desprez |
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1600 – 1750
The Brandenburg Concerto – Bach |
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1750 – 1800(ish)
Piano Concerto 23 – Mozart |
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1800s – 1900s
Der Mond Kommt Still Gegangen |
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1900s –>
John Cage – Sonata 5 |
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