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| musical style which stresses tone color, atmosphere, and fluidity, typical of Debussy (flourished 1890-1920) |
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| absence of tonality, or key, characteristic of much music of the 20th and early 21st ceneturies |
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| approach to pitch organization using 2 or more keys at one time, often found in 20th century music |
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| music characterized by steady pulse, clear tonality, and insistent repetition of short melodic patterns its dynamic level, texture, and harmony tend to stay constant for fairly long stretches of time, creating a trance-like or hypnotic effect; developed in the 1960s |
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| scale made up of 5 different tones, used in folk music and music of the Far East |
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| In German, speech-voice, a style of vocal performance halfway between speaking and singing, typical of Schoenberg and his followers |
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| musical style stressing intense, subjective emotion and harsh dissonance, typical of German and Austrian Music |
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| Serial Music/12 tone composition |
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| method of composing in which all pitches of a composition are derived from a special ordering of the 12 chromatic tones; developed by Schoenberg in the early 1920s |
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| variation of a fugue subject in which each interval of the subject is reversed in a direction |
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| variation of a fugue subject where the subject is presented by beginning with its last note and proceeding backward to the first |
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| (aleatory) composed by the random selection of pitches, tone colors, and rhythms; developed in the 1950s by John Cage and others |
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| Pattern of notes serving as a melodic framework for the creation of an improvisation, characteristic of Indian classical music |
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| (1) in jazz, a pattern in which one voice or instrument is answered by another voice, instrument, or group of instruments. (2) performance style in which the phrases of the soloist are repeatedly answered by those of a chorus, often found in African and other nonwestern music |
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| (bop) complex jazz style, usually for small groups, developed in the 1940s and meant for attentive listening rather than dancing |
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| style of composed piano music, generally in duple meter with a moderate march tempo in which the pianist’s right hand plays a highly syncopated melody while the left hand maintains the beat with an “oom-pah” accompaniment. It was developed primarily by African American pianists and flourished from the 1890s to about 1915 |
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| term referring both to a style of performance and to a form; an early source of jazz, characterized by flatted or “blue” notes in the scale; vocal consists of 3 line stanzas in the form a a’ b. |
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| New Orleans Jazz, style in which the front line or melodic instruments, improvise several contrasting melodic lines at once, supported by a rhythm section that clearly marks the beat and provides a background of chords; usually based on a march or church melody, a ragtime piece, a popular song, or 12 bar blues |
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| instruments in a jazz ensemble that maintain the beat, add rhythmic interest, and provide supporting harmonies. The rhythm section is usually made up of piano, plucked double bass, percussion, and sometimes banjo or guitar |
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| system of writing down music so that specific pitches and rhythms can be communicated |
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| accenting of a note at an unexpected time, as between two beats or on a weak beat. Major characteristic of jazz |
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| *diminuendo* gradually softer |
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| choral music without instrumental accompaniment |
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| degrees of loudness or softness in music |
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| series of single tones that add up to a recognizable whole |
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| how chords are constructed and how they follow each other |
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| combination of 3 or more tones sounded at once |
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| series of pitches arranged in order from low to high and high to low |
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| relative highness or lowness of a sound |
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| quality of sound that distinguishes one instrument or voice from another |
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| single, melodic line without an accompaniment |
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| one main melody is accompanied by chords |
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| performance of 2 or more melodic lines of relatively equal interest at the same time |
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| “distance” in pitch between any two tones |
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| Organization of musical ideas in time. |
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| Regular, recurrent pulsation that divides music into equal units of time. |
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| Organization of beats into regular groups. |
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| Medieval/Renaissance Period |
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| Hildegard–“O Successores” |
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| Medieval/Renaissance Period |
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| Josquin–“Ave Maria—Virgo Serena” |
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| Medieval/Renaissance Period |
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| Bach, 1st Movement from Brandenburg Concerto No. 5 |
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| Vivaldi, The Four Seasons, Spring, First Movement |
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| Beethoven, String Quartet in C Minor, Fourth Movement |
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| Beethoven, Symphony No. 5 in C Minor, First Movement |
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| Mozart, Symphony No. 40 in G Minor, First Movement |
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| Puccini, La Boheme, Act. 1 excerpt |
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| Berlioz, Symphonie Fantastique, 4th Movement |
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| Claude Debussy– Prelude to the Afternoon of a Faun |
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| Igor Stravinksy- Rite of Spring, Introduction and Omens of Spring |
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| Arnold Schoenberg–Pierrot Lunaire |
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| Arnold Schoenberg-A Survivor from Warsaw |
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| Anton Wbern- Five Pieces for Orchestra (third piece) |
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| Bela Bartok- Concerto for Orchestra, Movement II |
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| Aaron Copland– Appalachian Spring, Section 7: Theme and Variations on SImple Gifts |
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| Alberto Ginastera- Estancia Suite, Op. 8A |
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| Ellen Taaffe Zwilich-Concerto Grosso Movement I |
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| John Cage- Sonatas and Interludes for Prepared Piano |
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| Edgar Varese- Poeme Electronique |
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