| instrumental work; piano and cakewalks; best selling insrument msuic in early 1900s |
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style of music that evolved into a diverse tradition encompassing styles, genres, etc.
Mix of rags, cakewalk, and blues |
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| couples dance derrived from slave dances; marked by strutting and acrobatic movements |
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| style popular from 1890s to 1910s; featured syncopated “ragged” rhythm against a regular “marchlike” bass |
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| featured songs and dance in style of popular music; spoken dialogue; romantic themed comedy usually |
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| composed by Scott Joplin in 1899; 2/4 meter; follows the form of a march; syncopation |
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| leading ragtime composer; lived 1867-1917; most ambitious work was Treemonisha; wrote maple leaf rag |
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| leading austro-German composer of symphonies; and one of the great masters of the song for voice and orchestra; made living as a conductor |
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| Mahler, orchestral song cycle on poems of Friedrich Ruckert; titled “songs on the death of children” |
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| late mahler work, rivals 9th symphony; song cycle for tenor and alto soloists with orchestra based on poems translated from chinese; titled “the song of the earth” |
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| contemporary of Mahler, established himself as an operettist, and wrote symphonic poems |
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| opera by Strauss; 1905; setting of a one-act paly by Oscar Wilde in German translation; about step-daughter of Herod |
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| strauss opera, adapted from a play by sophocles; dwells on the emotions of insane hatred and revenge |
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| strauss opera; sunnier world of elegant, stylized eroticism and tender feeling in the aristocratic powdered-wig milieu of 18th ce. Vienna; titled “the Cavalier of the Rose” |
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| What are particular characteristics of Mahler’s symphonies? |
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“programmatic”–ambivalent in nature because he withdrew some of his progrmas, long and complex, personal statements
Orchestra–large orchestra, uses instruments together in diffferent ways
Spatial arrangements
songs |
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| Frech composer, took direction towards pleasure in the moment; drew from French tradition a preference for sensibility, taste, and restraint; often considered impressionist, but closer to symbolism |
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| based on a symbolist poem by Malarme; evokes mood through suggestion, connotation, and indirection rather than through intense emotional expression, titled “Prelude to ‘The Afternoon of a Faun'” |
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| Prelude a “l’apres-midi d’un faune” |
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| represents Debussy’s orchestral technique; collection of three pieces” nuages (clouds), fetes (festivals), and sirenes (sirens). |
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| Debussy’s one opera; written in response to Wagner’s Tristan and Isolde; made his reputation when it premiered at the Paris Opera Comique |
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| composer often grouped with Debussy, as an impressionist; better called superb assimilater; music encompasses variety of influences |
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| ballet by Ravel; invoked impressionism in its strong musicla imagery, brilliant instrumental technique and colorful harmonies |
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| spanish composer; developed a diverse nationalism that reisted the merely exotic; lots of folk influence |
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| english composer; nationalist; collected and published hundreds of folk songs, leading to the use of these melodies in many compositions; also inspired by english hymnody and tallis and purcell |
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| english composer not only influenced by english music, but by hindu sacred texts; |
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| Ravel’s famous orchestral rumination on a single idea varied by changes on instrumentation and a gradual crescendo |
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| holst’s most famous work; orchestral suite |
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| one of Vaughan Williams’ most popular works for double string orchestra and string quartet; based on a Tallis hymn in Phrygian mode |
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| Fantasia on a Theme of Thomas Tallis |
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| Czech nationalist composer; worked in the genres of western art music, especially opera, but was known for specifically nationialist style |
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| Finnish composer; raised speaking sweedish , became a committed finnish patriot; leading composer in 1890s in Finland |
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| most famous (and political) of Sibleius’ works; orchestral piece–symphonic poem |
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| russian composer; made his living as a pianist; left russia after the revolution; came to US; virtuoso pianist and composer |
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| work for piano and orchestra; rachmaninov; “a salute from one great virtuoso to another” |
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| Rhapsody on a Theme of Paganini |
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| russian composer; began writing nocturnes, preludes, etudes and mazurkas; in the manner of chopin; gradually evolved a complex harmonic vocabulary all his own |
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| Scriabin work; one-movement “poem” for piano; titled “Towards the flame” |
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| style of music that embraces all the new ways composers found to organize pitch, from atonality to neotonality |
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| French term; artists who saw themselves as vanguard exploring new territory |
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| French composer; one of the avant-garde; wrote several piano works; very french in humor, witty etc. |
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three pieces by satie; challenged the
Romantic notions of expressivity and individuality. |
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| “realistic ballet” by Satie; scenario by Jean Cocteau, choreography by Leonide Massine, scenery and constumes by Picasso; introduced cubism to the stage |
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| group of italians who rejected tradtional instruments and pitches; built new instruments called intuonarumori |
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| french composers; used neo-classicism |
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| french composer, of the the six; excelled in music of dynamic action, graphic gesture and expressed in short-breathed melodies, etc. |
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| work by honneger; translation into msuic of the visual and physical impression of a speeding locomotive |
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| french composer wrote many differnet kinds of music: ballet, film music, chamber; loved jazz music |
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| ballet depicting the creation of the world, milhaud; saxophones, ragtime syncopations and the blues featured |
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| French composer; drew especially on parisian popular chanson tradition sustained in cabarets and revues |
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| Opera by Poulenc about the Carmelite nuns during the French revolution |
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| Dialogues of the Carmelites |
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| Opera by Poulenc about the Carmelite nuns during the French revolution |
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| Dialogues of the Carmelites |
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| movement that opposed complexity and promoted the use of familiar elements, borrowing from popular music and jazz or classical or baroque |
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| leading composer in the new objective movement |
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| opera composer in Berlin; supporter of new objectivity; sympathetic to the political left, sought to bring social commentary and to entertain the everyday people |
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| most famoous collaboration between Weill and Brecht; based on the Beggar’s Opera by john gay; titled in german “die dreigroschenoper” |
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| style of music that was high in quality, modern in style and challenging yet rewarding to perform |
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| among the most prolific composers of the century, taught two generations of musicians; performed as a violinist, violist and conductor, inventor or gebrachsmusik |
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| opera by hindemith and symphony by hindemith, about mathias the painter during the protestant reformation |
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| german composer who won internation reputation during the nazi era |
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| fairly consonant chords progress toward combinations containing greater tension and dissonance, which are then resolved either suddenly or by slowly moderating the tenstion until the consonance is again reached |
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| doctrine that called for using a realistic style in works that portrayed socialism in a positive light |
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| made initaal rep. as a radical modernist; at the low point of his career, he succumbed to promises from the soviet regime of comissions an d performances |
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| soviet composer who was more aligned with the modernist than the proletarian wing in Russia |
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| opera by Shostakovich; premiered in 1934 in Leningrad and Moscow; Stalin saw it in 1936 and was angered by its discordant modernist music and surrealist, often grotesque, portrayal of violence and sex |
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| Lady Macbeth of the Mtsensk District |
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| music that avoids establishing any note as a tonal center |
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| nothing is repeated, absolutely |
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| german composer committed to continuing the german classical tradition; felt compelled to move beyon atonality and to the 12-tone method |
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| anything that is presumed dissonant is not consonant; coined by schoenberg |
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| emancipation of the dissonance |
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| collection of pitch classes |
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| one of the 12 notes in teh scale and its enharmonic equivalent, in any octave |
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| the appearance of all 12 pitch-classes within a segment of music |
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| uses exaggerated gestures, angular melodies, and unrelenting dissonance to convey the tortured emotions of the protagonist |
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| a form of atonality based on systematic orderings of the 12 notes of the chromatic scale |
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| cycle of 21 songs drawn from a larger poetic cycle by the belgian symboligist power albert giraud; schoenberg |
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| part of 12 tone method where 12 pitch classes are arranged in an order chosen by the composer and producing a particular sequence of intervals |
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| inversion or retrograde order |
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| last way of ordering a row |
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| the first six or last six notes in a row |
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| composer who studies with schoenberg; listeners found his music more approachable than schoenberg’s; secret was fusing the post-tonal idiom no only with the forms and procedures of tonal music, but also with its expressive gesutres, characteristic styles |
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| opera by Berg; libretto presents a soldier as a hapless victim of his environment, despised by his fellow men…etc. |
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| piano work by schoenberg; illustrates some of schoenberg’s methods |
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| studied with schoenberg; believed that music involved the presentation of ideas that can be expressed in no other way; that great art does what is necessary, not arbitrary; argued that 12tone method was the result of musics evoltution |
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| work by Berg; designed in interlocking minor and major triads, marked with square brackets |
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| schoenbergs concept of tone-color melody; changes of tone color are perceived as parallel to changing pitches in a melody |
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| russian composer; started as a nationalist and became a cosmopolitan; most important composer of his time; created an individual voice by developing several style traits, most derrived from Russian traditions |
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| stravinsky ballet based on russian folk tales; stems from russian nationalist tradition and especially from the exoticism of Rimsky-Korsokov |
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| stravinsky ballet; uses several style traits closely identfied with stravinsky; depicts a fair/carnival in st. petersburg |
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| stravinsky ballet that solidfies his distinctive stle; takes place in prehistoric russia; uses folk melodies and primitivism |
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| a deliberate representation of the elemental, crude, and uncultured |
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| a broad movement from 1910s to 1950s in which composers revived, imitated, or evoked the styles, genres, and forms of pre-romantic music, especially that of the 18th century, then called classical |
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| symphony by stravinsky; uses neoclassicism and its continuity; mixed chorus and orchestra on the psalms of the latin vulgate bible |
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| the composer is finding new ways to establish a single pitch as a tonal center |
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| music that is based on a series that was no longer simply 12tone; applied to schoenberg and his students |
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| austro-hungrian composer; trained as a pianist; searched for inately hungarian music–collected and studies peasant music etc. |
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| bartok work that illustrates his synthesis and several characteristics of his personal style; four movements |
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| Music for strings, percussion and celesta |
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| American composer; grew up surrounded by american music; fluent composer in four different spheres: american vernacular music, Protestant church music, european classical music, and experimental music |
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| music that preserves most of the traditional rules but changes others to see what would happen |
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| music that has the melody in one key and the accompaniment in another, or with four imitative voices, each in its own key |
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| piano pieces by bartok, in six books of graded difficulty; work of pedagogical value and summarizes bartok’s own style, and presents in microcosm the development of european music in the first third of the 20th ce. |
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| orchestra piece that made bartok widely known |
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| music that is woven together like a patchwork quilt |
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| form in which principal theme appears in its entirety only at the end of a work, proceded by its development |
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| the study of music from different ethnicities |
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| most important brazilian composer; drew together traditional brazilian elements with modernist techniques; wrote “choros” |
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| first composer associated witht he new nationalist movement in mexico; conductor of mexico’s first orchestra and director of the national conservatory |
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| composer who studied in mexico and then in america; returned to mexico as assistant under carlos chavez; doesn’t use folk songs, but combine mexican folk and popular on a modernist idiom |
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| french-born composer, moved to new york in 1915; celebrated his adopted country in his first major work, Ameriques; messed around with sound masses and spatial music |
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| a body of sounds characterized by a particular timbbre, register, rhythm, and melodic structure |
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| tape piece by varese; played at world fair in brussels |
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| american modernist composer, associated with the piano and used extended-techniques; traiditonal instruments and untraditional ways (i.e. played the piano as a harp etc.) |
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| chords of diatonic or chromatic seconds produced by pressing the keys with the fist or arm |
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| varese for percussion only |
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| work by cowell where assitant hold down the damper pedal so that the strings can resonate freely while the pianist strums the strings |
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| female composer, american; most active as a composer in Chicago and New York; married musicoligist Charles (no last name, cheater!); stands out for preserving american traditional music and for being one of the only women in the ultramodernist group |
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| composer who moved from stringent dissonance in the 20s to a streamlined style in 30s and 40s that combined modernism with national american idioms |
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| work that exemplifies Copland’s americanist idiom; first written as a ballet, but known for the orchestral suite; |
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| Composer who wrote the first symphonic work by an African american; used specifically American idioms into art music |
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| the first symphony to be composed by an African American |
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| composer and a critic known for his wittiness for the New York Herald Tribune; strongly influence by Erik Satie; rejected moderism and its complexities and obsessed with classical tradition |
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| application of serial technique to other parameters |
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| technique used by eliot carter; transition is made from one meter to another, gradually |
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| method used prominently by john cage; piano in certain condition before being played |
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| music that is performed how the music is supposed to sound, created by chance, then it is determined |
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| every performance is going to be different; cannot be determined |
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| impromptu performance; an established time and place |
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| location in West Germany where music was taught to people after the war; supported by the US occupying forces |
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| one of the best-known composers of the Darmstadt group; leading serial composer in the united states |
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| former pupil of Babbit; inspired to write the first European work of total serialism; relaxed the rigidity of total serialism |
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| italian composer; wrote pieces of music for the new virtuosos |
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| series of works by Berio; unaccompanied solo piece for any instrument, from flute to accordian and each was composed for a different perfomers |
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| american composer who wrote virtuoso music; used a complex, nonserial style characterized by innovations in rhythm and form; developed metric modulation |
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| american composer; showed great influence and longevity in his career; sought to bring into music sounds, approaches, and ideas that previously had been excluded |
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| cage’s best-known work for prepared piano, consisting of 26 sonatas and four interludes |
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| composer who has been most imaginative in coaxing new sounds out of ordinary instruments |
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| undertook an individualistic, single-minded search for new sonic media. He repudiated equal temperament and Western Harmony and counterpoint to seek a wholly new system inspired partly by the chinese |
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| string quartet piece by crumb; electronically amplified to produce surrealistic dreamlike juxtapositions |
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| candadian-american composer who transcribed the gamelan music from far esat for western instruments |
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| composer who often used recoreded sounds alongside electronic ones |
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| first major electronic piece to use mutliple tracks, played in concert through several loudspeakers placed various places relative to the audience |
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| combined interests in just intonation and inventing new instruments, inspired by Partch, with enthusiasm for the music of asia |
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| asian composer writing music in the european classical tradition; best-known of this genre |
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| work by Babbit; soprano soloists with a tape that includes altered recorded fragments of the singer as well as the electronic sounds |
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| one of the first to write music that sounded electronic, for acoustic instruments; greek who lived in france |
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| one of the best-known pieces based on texture and process; by penderecki; score gives few definite pulses or note values |
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| threnody: to the victims of hiroshima |
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| polish composer; based a lot of his music on texture and process |
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| hungarian composer; musc achieved world renown through stanley kubricks film 2001: a space odyssey |
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| one of ligeti’s most famous pieces; beings with 56 muted strings, together with a selection of woodwinds and horns, playing simultaneously all the chromatic notes through a 5 octave range |
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| piece used in 2001: a space odyssey; by ligeti |
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| cage piano piece; ooke its name from the chinese book of prophecy; devised charts of possible sounds, dynamics, durations, and tempos and used the method from the chinese book, to select which were to be used |
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| piece in which performer or performers sit silently at their instruments for a span of time specified in the title |
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| polish composer who made selective use of interdeterminacy, while insisting on his authorship of the entire composition |
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| samples of existing music |
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| collection of multiple quotations |
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| american composer; written mostly serial music, found it inadequate to express his feelings on the death of his son in 1964 |
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| piece for harpsichord; commentary on Bach’s keyboard partita no. 6 in e minor; fragments of the bach altered to varying degrees, emerge from Rochberg’s own atonal music to create a dialogue between the two composers |
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| piece by lukas foss; three movements subject pieces by handel, scarlatti and bach |
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| composer who composed the baroque variations and many other quotation music |
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| one of the richest pieces based on borrowed material; thrid movement in particular; Berio incorporated most of the scherzo movement of mahler’s 2nd symphony and superimposed a musical commentary by a large orchestra |
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| dominant figure in the musical theater scene; musicals include plotless social commentary, melodrama, murder etc. |
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| new invention; synthesis, recording and reproduction of sound; given creators of music new tools and listeners new flexibility |
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| a process of creating new compositions by patching together digital chunks of previously recorded music |
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| differnt forms of art coming together in one genre |
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| has written many movie scores, still does, star wars, indiana jones, jurassic park |
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| materials are reduced to a minimum and procedures simplified so that what is going on in the music is immediately apparent |
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| experimented with tape loops, 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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| riley piece; can be performed by any number of people; each palying in the same series of beief repeated figures over a quickly pusing octave C |
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| developed a quasi-canonic procedure in which musicians play the same material out of phase with each other. |
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| the art of looping tapes, out of sync at different lengths |
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| work where reich uses two pianos, both piansts repeat the same figure in unison several times then one pulls ahead an 8th note etc. |
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| setting of psalm texts in the original hebrew for four singers and orchestra; reich piece |
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| published 20 works by the time he earned his degrees ; withdrew them all; emphasized melodiousness, consonance and the simple harmonic progressions and abundant amplification of rock music |
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| one-act, four-and-a-half-hour opera by Glass; |
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| traced a path from minimalism to a personal style that blends minimalist techniques with a variety of other approaches |
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| adams piece for piano; representative of the period when minimalism was move beyonf its avant-garde origins to become a style rather than an aesthetic |
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| opera by adams about the first american to visit china to open political relations back up with them |
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| first woman to win a pullitzer prize her first symphony |
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| Estonian composer; forged a highly individual, instantly recognizable style using simplest materials. |
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| piece by part; exeplifies the tintinnabuli after the bell-like sonorities it produced |
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| seven magnificent antiphones |
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| turning away from the belief, crucial to modernist thought, that history progresses inrreversibly in one direction |
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| a combination of new and older styles created through quotation or stylistic allusion |
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| composer who quoted from and borrowed past styles effectively; worked in the soviet union; known for his film music; moved to germany in 1990 |
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| American composer; frequently juxtaposes styles to convey meanings, drawing on stylstic continuum from baroque to classic to avant-garde; red violin soundtrack |
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| the wittiest and most popular composer to use quotation and stylistic allusion |
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| schickele’s disguised character; supposed youngest son of J.S. Bach; spoof of old music |
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| the final idiom of 19th century Romanticism or incorporated its sounds and gestures |
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| piece that is scored for amplified soprano and orchestra, with a “folk group” of banjo, mandolin, accordian, and two soprano saxophones |
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| five movements of her sonata for violin and cello, inspired by 18th ce devotional texts |
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