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| a doctrine of the soviet union, begun in the 1930s, in which all the arts were required to use a realistic approach (as opposed to an abstract or symbolic one) that portrayed socialism in a positive light. In music this meant use of simple, accessible language, centered on MELODY, and patriotic subject matter. |
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N: Russian
C: Peter and the Wolfminimalism |
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| Film that Prokofiev composed music for |
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C: Prokofiev
G: Symphonic fairy tale for narrator and orchestra |
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| Sergei Eisenstein’s film that Prokofiev wrote music for |
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| Directed Alexander Nevsky, Prokofiev wrote the music for this. |
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| Lady Macbeth of the Mtsensk District |
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| Newspaper company, Pravda, printed this article and criticized Shostakovich’s opera, Lady Macbeth of the Mtsensk District. |
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C: Shostakovich
G: Symphony |
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N: Canadian
C: Two Sketches for Strings |
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C: MacMillan
G: String Quartet |
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N: Canadian
C: Suite canadienne (Canadian Suite) |
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| Series of fouteen pieces composed by Villa-Lobos |
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C: Villa-Lobos
G: Series of pieces |
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N: Mexican
C: Sinfonia romantica |
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C: Revueltas
G: Symphonic poem |
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| renowned pedagogue and promoter of Faure and Stravinsky, who taught classes in Paris and Fontainebleau.
N: French |
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| International Composers’ Guild |
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| Founded by Vares, a group of American composers who wanted to secure performances of their music. |
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| founded by Claire Reis and Cowell, a group of American composers who wanted to secure performances of their music. |
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| British Orchestral conductor who headed the Philadelphia Orchestra and appeared int the film Fantasia. |
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| Russian conductor known for his tenure with the Boston Symphony Orchestra |
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C: Varese
G: Percussion ensemble |
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C: Varese
G: Piece for tape |
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N: American
C: The Tides of Manaunaun |
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| chords of diatonic or chromatic seconds produced by pressing the keys with the fist or forearm |
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| Cowell’s book that summarizes his new compositional playing techniques |
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C: Cowell
G: Series of works |
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N: American
C: String Quartet |
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C: Gershwin
G: Symphonic tone poem |
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N: American
C: Appalachian Spring |
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C: Copland
G: Suite for small orchestra |
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C: Copland
G: Orchestral suite |
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| (Twelve Poems of Emily Dickinson) |
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C: Copland
G: orchestral piece |
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N: American
C: AFro-American Symphony |
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C: Grant Still
G: Symphony |
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N: American
C: Four Saints in Three Acts |
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| Four Saints in Three Acts |
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| French existentialist literature writer, who wrote in reaction to the horrors of war, the Holocaust, and nuclear weapons |
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| French writer who wrote in reaction to the horrors of war, the Holocaust, and nuclear weapons |
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| country-and-western music |
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| a type popular music with folk music roots which grew in popularity after WWII |
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| a distinctive style of country music |
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| A country star of the postwar era |
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| A country star of the postwar era |
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| After bluesmen moved from the rural south to urban north, they started to play electric guitars and developed this style |
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| Also known as McKinley Morganfield, he was an important center for the development of electric blues |
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| A genre that developed in urban areas after WWII, this included a vocalist and any combination of vocal quartet, piano, organ, electric guitar, bass, drums. |
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N: American
C: “Hound Dog” |
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| popular music genre that blended black and white traditions of popular music. It used the beat of R with country guitar elements. |
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| Bill Haley and the Comets |
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| This group started the launch of rock and roll in 1955 after they recorded the song Rock Around the Clock for the film, Blackboard Jungle |
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| Popular Rock and Roll group, a quartet from Liverpool |
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| one of the Band Leaders of the popular rock and roll group, The Beatles |
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| One of the band leaders of the popular rock and roll group, The Beatles |
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| Sgt. Pepper’s Lonely Hearts Club |
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| Album by the Beatles that used a wide variety of styles, from British music to Indian sitar music. |
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| Guitar virtuoso and member of the band Creme |
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| English hard rock band that developed an individual sound to rock and roll |
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| Avant-garde rock music artist |
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| Songs that voiced the protests of the generation such as Civil Rights |
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| Prominent singer and songwriter of folk and protest songs |
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| Prominent singer and songwriter of folk and protest songs |
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| Folk musician that voiced his opinion through protest music during the 1960s struggle for civil rights |
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| Descendant of R, where expression, melismas, and ecstatic vocalizations of gospel singing were brought over to songs on love, sex, and other secular subjects |
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| African American songwriter who popularized the new trend of soul |
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| A Detroit based record company founded and owned by African-American entrepreneur Berry Gordy – they dominated the soul charts of the 60s. |
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| African American woman soul singer, dubbed the “Queen of Soul” |
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| Started his career with Motown and was dubbed the “King of Pop” |
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| A mix of Cuban dance styles with jazz, rock, and Puerto Rican musical elements |
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| Championed the genre of Salsa in the New York music scene |
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| American composer who collaborated with lyricist Lorenz Hart & Oscar Hammerstein II (Rogers & Hammerstein) |
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| Lyricist who collaborated w/ Richard Rodgers |
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| Librettist who collaborated w/ Richard Rodgers |
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| Rodgers & Hammerstein produced this show in 1943 |
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| Rodgers & Hammerstein produced this show in 1945 |
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| Rodgers & Hammerstein produced this show in 1949 |
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| American song writer who was famous for the song Kiss me, Kate based off Shakespeare’s The Taming of the Shrew |
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| Song by Cole Porter based off The Shakespeare play, The Taming of the Shrew |
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N: American
C: West Side Story |
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| Person who wrote the lyrics to West Side Story |
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| Composed the music for the film adaption of A Streetcar Named Desire |
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| Film music composer famous for Citizen Kane, Vertigo, North by Northwest & Psycho |
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| Famous film director who directed Vertigo, North by Northwest, and Psycho, etc. |
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| Directed by Alfred Hitchcock |
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N: Italian
C: The Good, the Bad and the Ugly |
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| Wrote the score to the film Laura (1944), he introduced a theme song in the movie that become a hit. |
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| 1944 film by Otto Preminger. Raksin wrote the score |
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| A new style of jazz built around virtuosic soloists fronting small combos |
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| Saxophonist nicknamed “Bird” who collaborated with Dizzy Gillespie |
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| Trumpeter who collaborated w/ Charlie Parker & Others |
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| bebop chart that included Charlie Parker & Gillespie |
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| a new melody over the chord progression for Gershwin’s I got Rhythm |
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| prominent bebop saxophonist |
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| Prominent bebop & other jazz trumpeter |
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| style of jazz that featured softer timbres, more relaxed pace, and rhythmic subtleties. |
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| Alto Saxophonist he and his ensemble introduced a more radically new jazz language known as free jazz. |
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| experimental style that moved away from jazz standards and familiar tunes, turning instead to a language built of melodic and harmonic gestures, innovative sounds, atonality, and free forms |
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| album by Ornette Coleman that featured the new style of jazz called free jazz |
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| “Who Cares If You Listen?” |
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| Milton Babbitt’s essay that viewed music in the 20th C. as an autonomous art to be pursued for its own sake |
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N: American
C: Tunbridge Fair |
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C: Piston
G: Concert band piece |
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| He and his student Milton Babbbitt influenced a neoclassical approach to music as Princeton University |
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N: French
C: Quartet for the End of Time |
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| Quartet for the End of Time |
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C: Messiaen
G: Chamber piece |
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| Opening movement of Quartet for the End of Time. shows examples of juxtaposing static ideas together |
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| The Technique of My Musical Language |
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| Olivier Messiaen’s book that features several of his characteristic devices such as juxtaposing static ideas, modes of limited transposition, etc. |
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| modes of limited transposition |
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| collection of notes, like the whole tone & octatonic scales that do not change when transposed by certain intervals |
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| Messiaen’s technique of emphasizing duration over meter, such as the dotted eighth note amid even even eighths or the lone sixteenth note, which add a small durational value to produced units of irregular length |
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| Messiaen technique that featured rhythms that are the same backwards and forwards |
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N: English
C: Peter Grimes |
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| Benjamin Britten’s life partner, a tenor who performed most of Britten’s famous tenor roles. |
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| English soldier and poet whom Britten borrowed his Latin mass text for his Requiem. |
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N: American
C: Adagio for Strings |
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C: Barber
G: String orchestra |
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| Knoxville: Summer of 1915 |
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C: Barber
G: Voice & Orchestra |
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N: Latin American
C: Danza argentinas |
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C: Ginastera
G: Solo piano |
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N: American
C: Transformation |
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| Symphony No. 2 “Age of Anxiety” |
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N: English
C: Triple Concerto for violin, viola, & cello |
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| Third Construction in Metal |
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C: Cage
G: Percussion piece |
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| Cage developed this structure in where the number of measures in each unit the square root of the total in the movement |
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| various objects are inserted between the strings of a piano, resulting in delicate, complex percussive sounds. |
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C: Cage
G: Work for prepared piano |
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| A composer similar to Cage, they both met in 1950 and became a group of like-minded musicians in NY |
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| John Cage showed an interest in the art of this person |
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| Creating opportunities for experiencing sounds as themselves, not through the intentions of the composer |
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| John Cage’s first published book of writings. In it he articulates his views about music |
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C: Cage
G: Indeterminate music |
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C: Cage
G: indeterminate music |
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| New York abstract expressionist painter who was closely associated w/ Morton Feldman. |
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| New York abstract expressionist painter who was associated w/ Feldman |
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N: American
C: December 1952 |
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C: Brown
G: Indeterminate music |
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N: Polish
C: String Quartet |
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| performing an action in a public place constitutes a work of art. |
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| Applying the concept of serialism to other aspects of music besides tone rows such as pitch, duration, timbres, etc. |
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N: French
C: Le marteau sans maitre |
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N: American
C: Three Compositions for piano |
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| Three Compositions for Piano |
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C: Stockhausen
G: chamber piece |
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C: Stockhausen
G: electronic music |
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| formal units of contrasting character follow each other without necessarily suggesting a process, direction, or narrative, creating a sense of timelessness. |
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C: Boulez
G: Contralto & 6 instruments |
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| Surrealist poet. Boulez set Le marteau sans maitre to some of them. |
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| Berio’s former wife whom he wrote Sequenza III for |
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N: American
C: Cello Sonata |
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| transition is made from one tempo and meter to another through an intermediary stage that shares aspects of both, resulting in a precise proportional change in the value of a durational unit. |
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| (Double Concerto for piano, harpsichord, and 2 chamber orchestras) |
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C: Carter
G: Double concerto |
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N: American
C: Oedipus-A Music-Dance Drama |
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N: American
C: Ancient Voices of Children |
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| Ancient Voices of Children |
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C: Crumb
G: electric string quartet |
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N: Canadian-American
C: Tabuh-tabuhan |
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C: McPhee
G: orchestral piece |
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N: Japanese
C: Requiem for Strings |
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C: Takemitsu
G: double concerto |
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| Directed the film Ran (1985) which Takemitsu composed the score for |
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N: French
C: Symphonie pour un homme seul (Symphony for one man) |
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N: French
C: Symphonie pour un homme seual |
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C: Schaeffer & Henry
G: Symphony |
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| working concretely with the sound of musicas opposed to actual music notation |
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| first successful electronic instrument invented around 1920 by Lev Termen. It changed pitch according to distance between the antenna & performer’s hand |
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| electric instrument controlled by a wire, ribbon, or keyboard. invented by Maurice Martenot (1928) |
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C: Stockhausen
G: electronic |
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| architect that designed the Philip Pavilion for the performance of Varese’s Poem electronique |
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| More compact synthesizers than those before 1966, they reduced the time needed to make electronic music and were much less expensive |
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| Silver Apples of the Moon |
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C: Morton Subotnick
G: Electronic piece |
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C: Babbitt
G: soprano soloist w/ pre-recorded tape |
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C: Xenakis
G: Orchestral work |
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| method of composition in 20th century classical music developed by Iannis Xenakis and described in his book Formalized Music |
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N: Polish
C: Threnody: to the Victims of Hiroshima |
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| Threnody: to the Victims of Hiroshima |
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C: Penderecki
G: for strings |
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N: Hungarian
C: Etude no 9. Vertige |
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C: Ligeti
G: Full orchestra |
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| Film director who was famous for 2001: A Space Odyssey |
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| cannons with many lines moving at different rates to create the effect of a mass of sound slowly moving through space |
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N: American
C: contra mortem et tempus |
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C: Rochberg
G: solo harpsichord |
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N: American
C: Baroque Variations |
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C: Lukas Foss
G: Variations |
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| Wrote the monologue, The Unnamable about a man who has just died. Berio draws most of his spoken text of his Sinfonia from Beckett’s monologue |
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| A famous bandmaster after Sousa’s era. continued the traditions of outdoor concerts & Goldman Band Summer series |
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| Founder of the Eastman Wind Ensemble at the Eastman school in Rochester. |
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N: American
C: Divertimento |
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N: American
C: George Washington Bridge |
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C: Schuman
G: Concert band piece |
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N: Czech
C: Music for Prague |
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C: Husa
G: Programmatic work for Symphonic Band |
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| A new trend launched by Miles Davis. it joined elements of fusion with jazz such as the electric guitar & rock rhythms. |
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| One of Miles Davis’ best selling albums, his greatest commercial success. it includes elements of fusion jazz. |
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| A plotless social commentary by Sondheim |
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| melodramatic musical by Sondheim |
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| Sunday in the Park with George |
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| musical by Sondheim about Georges Seurat |
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N: American
C: Jesus Christ Superstar |
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N: French
C: Les Miserables |
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| process of creating new compositions by patching together digital chunks of pre-recorded music |
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| Institute for Acoustic and Musical Research and Coordination (IRCAM) |
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| An institute founded by Boulez in Paris. It is one of the premier centers for computer music in Europe |
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| Characterizing music in the late 20th C as being closer to other performance arts |
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N: American
C: Star Wars soundtrack |
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| Film series by George Lucas |
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| American film director who directed American Graffiti & Star Wars |
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| Composer who arranged a Lord of the Rings symphony (2004) |
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| Style of dance music that featured disk jockeys. |
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| hard-driving style of music developed in the 1970s. |
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| style of music with rhymed lyrics chanted over repeated dance beats developed in the 1970s |
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| style of music in which materials are reduced to a minimum and procedures simiplied so that what is going on in the music is immediately apparent |
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| short segments of magnetic tape spliced into loops that when fed through a tape recorder play the same recorded sounds again and again |
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| Music that reflects the influence of minimalist procedures while moving beyond the original aesthetic to include traditional methods. |
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C: Reich
G: string quartet & tape |
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N: American
C: Short Ride in a Fast Machine |
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| technique that changes from one set of notes to another |
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| Short Ride in a Fast Machine |
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C: Adams
G: orchestral fanfare |
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| French composer known for developing new electronic music concepts |
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N: American
C: symphony no 1 |
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N: Estonian
C: Seven Magnificat Antiphons |
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| Seven Magnificat Antiphons |
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N: English
C; The protecting Viel |
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C: Tavener
G: for cello and strings |
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| Musical genre created by Schafer, it includes pieces that require more than passive attention from listeners and usually performed outside |
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N: American
C: Silver Ladders |
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| A period after modernism, it incorporated elements of earlier styles into modern designs |
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N: Russian
C: Concerto Grosso No. 1 |
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| a combination of new & older styles created through quotation or stylistic allusion |
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N: American
C: The Ghost of Versailles |
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N: American
C: Iphigenia in Brroklyn |
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N: American
C: Final Alice |
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C: Tredici
G: amplified soprano & orchestra |
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N: Argentinian
C: Libertango |
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N: Argentinian
C: Ainadamar: Fountain of Tears |
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| Ainadamar: Fountain of Tears |
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C: Daugherty
G: solo bassoon & chamber ensemble |
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N: Chinese
C: Seven Tunes Heard in China |
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| Seven Tunes Heard in China |
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C: Sheng
G: solo cello suite |
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