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A 19th century movement promoting music built on national folk songs and dances, or associated with national subjects.
Bela Bartok- Music for Strings, Percussion and Celsta.
Aaron Copland- Appalachian Spring
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George Gershwin- Preludes for Piano
Sergei Prokofiev- Alexander Nevsky |
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| A scale, used sometimes by Debussy, comprising only six notes to the octave, each a whole not apart (ie. two semitones) |
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| An eight-note scale (used by Stravinsky) consisting of half and whole steps in alternation.
Stravinksy- The Rite of Spring |
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| A French artistic movement of the late 19th and early 20th centuries.
Claude Debussy- Three Nocturnes |
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| An early 20th century movement in art, music and literature in Germany.
Arnold Schoenberg- Pierrot Lunaire |
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| A motive, phrase, or theme repeated over and over again. |
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| The absence of any feeling of tonality |
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| A vocal style developed by Schoenberg, in between singing and speaking.
Arnold Schoenberg- Pierrot Lunaire |
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| Method of composition devised by Arnold Schoenberg in which twelve pitches of the octave are ordered and strictly manipulated.
Arnold Schoenberg- Pierrot Lunaire |
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| A 20th century movement involving a return to the style and form of older music, particularly 18th century music.
Maurice Gravel- Piano Concerto in G |
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| Same as series; a fixed arrangement of pitches (or rhythm) held to throughout a serial composition. |
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| A type of contemporary music in which certain elements, such as the order of the notes or their pitches, are not specified by the composer but are left to chance. |
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| A late 20th century style involving many repititions of simple musical fragments.
Steve Reich- Music for 18 Musicians |
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| Music in which some or all of the sounds are produced by electronic generators or other apparatus. |
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| Music composed with natural sounds recorded electronically
Edgard Varese- Poeme Electronique |
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| Music styling resembling some of the characteristics of the art movement of the same name. Stravinsky’s Rite of Spring exemplifies many of the common features: persistent and driving rhythms, bold dissonances, and the simultaneous use of more than one key. |
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| The use of two metric frameworks simultaneously, or in regualr alternation. Examples include Bela Bartok’s String Quartet. |
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| More than one rhythm or time signature being played at the same time, such as 3 against 2. |
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| The study of various types of music in relation to their geographical, racial and cultural context. |
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| A technique for composition that uses sets to describe musical elements, and allows the manipulation of those sets. |
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| Completely dependent on chance. |
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| A performance, event or situation meant to be considered as art. Happenings take place anywhere, are often multidisciplinary, often lack a narrative and frequently seek to involve the audience in some way. Key elements of happenings are planned, but artists sometimes keep room for improvisation. |
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| Two or more sounds put together to make a single sound. |
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| The practice of selecting or borrowing from earlier styles and combining the borrowed elements. |
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