| Attempt to unify a group of people by creating a national identity |
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| An escape from modern city life untilizing customs and musical influences of countries other than your own |
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| Distinctive theme from earlier scenes that serve as a unifying factor |
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| Name Verdi’s most popular operas |
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| Rigoletto, Il Trovatore, La Traviata, Aida, Otello, Falstaff |
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| Nineteenth-century operatic MOVEMENT that presents everyday people in familiar situations, often depicting sordid or brutal events. |
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| List 2 operatic examples of verismo |
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Cavalleria Rusticana – Mascagni
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I Pagliacci – Leoncavallo
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| The most successful Italian opera comoser after Verdi |
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| Manon Lescant, La Boheme, Tosca, Mdm Butterfly, Turandot |
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| The most popular operas by Puccini |
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| Who was the term “music drama” associated with? |
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| In an OPERA or MUSIC DRAMA, a MOTIVE, THEME, or musical idea associated with a person, thing, mood, or idea, which returns in original or altered form throughout. |
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| Term coined by Richard Wagner for a dramatic work in which poetry, scenic design, staging, action, and music all work together toward one artistic expression. |
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| Rienzi, Die fliegende Hollander, Tannhauser, Lohegrin, Der Ring des Nibelungen were all operas by whom? |
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| The first Russian composer to be recognized by both Russians and his international counterparts as an equal to his Western contemporaties. |
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| Life of a Tsar was composed by whom |
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| “The Mighty Handful” or commonly referred to as the Russian 5 |
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| ;Balakirev,;Borodin, Cui, Musorgsky, Rimsky-Korsakov |
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| Considered to be the most original of the Russian 5 |
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| The best orchestrator of the Russian 5 |
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| Trademark scales of Russian music of the late 19th cen and early 20th cen |
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| Composer who established the early Czech nationalist identity |
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| The focus of the dispute in German-speaking lands that polarized around Brahms and Wagner |
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New music vs Traditional
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program vs absolute
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Extramusical vs traditional
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(all were cited)
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| How many symphonies did Brahms write? |
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| Why did Brahms write so few symphonies |
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| They would all be compared to Beethoven |
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| Who is Brahms the orchestral and chamber music successor to |
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| How does Brahms’ German Requiem differ from the Latin Requiem |
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Brahms takes his text from the Apocrypha, old and new testament and not from the traditional latin mass.
This is also the first instance that a mass was written for the living and not the dead
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| Who wrote “On the Beautiful in Music”? |
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| Promoted absolute music and stated that music should stand on its own rather than incorporating anything outside of music (program or text) |
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| Credited with creating the symphonic poem |
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| Term coined by Franz Liszt for a one-movement work of PROGRAM MUSIC for orchestra that conveys a poetic idea, story, scene, or succession of moods by presenting THEMES that are repeated, varied, or transformed. |
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| A method devised by Franz Liszt to provide unity, variety, and a narrative-like logic to a composition by transforming the thematic material into new THEMES or other elements, in order to reflect the diverse moods needed to portray a PROGRAMMATIC subject. |
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| Name four symphonic poems written by Stauss |
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| Don Juan, Till Eulenspiegel, Sprach Zorathustra, Don Quixote |
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| Technique used by Strauss in Don Quixote to represent the sheep |
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| Compostition inspired by Musorgsky’s late friend Victor Hartmann’s artwork |
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| Pictures at an Exhibition |
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| Ma Vlast represents which genre? |
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Symphonic poem
(cycle of 6)
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| Dvorak believed these to be the source of national music for the United States |
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| American Indians and African Americans |
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| Dvorak’s compositions that exemplify US nationalism |
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| New World Symphony and String Quartet #12 in F Major |
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| What painting by whom established Impressionism? |
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| Impression Sunrise by Monet |
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| Impressionism characteristics (painting) |
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caturing a moment in time
Unfinished brush strokes
effect of light on a subject
brought painter outside
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| What two genres;did;Mahler typically write? |
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Orchestral song cycle
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Symphony
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| Name two Mahler song cycles with orchestra |
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Kindertotenlieder
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Das Lied von der Erde
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| How do Debussy’s piano works represent a continuation of the 19th cen. character piece? |
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| What is Debussy’s “L’apres midi d’un faune” based on? |
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| Mallarme’s poem “Afternoon of a Fawn” |
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| Debussy’s only completed opera |
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| Descibe Satie’s aesthetic |
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| Spare, dry, capricious, brief, repetitive, paradistic, WHITTY, detached, emotionless |
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| radical break from the musical language of their predecessors and contemporaries while maintaining strong links to the tradition. |
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| A form of ATONALITY based on the systematic ordering of the twelve notes of the CHROMATIC scale into a ROW that may be manipulated according to certain rules. |
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| Term for music that avoids establishing a central pitch or tonal center (such as the TONIC in TONAL music) |
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| Schoenberg painted in this style |
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| Schoenberg’s 2 most well known students |
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| The name of Schoenberg’s society for new music |
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| The society for private music performance |
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| The second Viennese School |
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| Freeing dissonance from its need to resolve to a consonance |
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| The emancipation of dissonance – Schoenberg |
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| A collection of PITCH-CLASSES that preserves its identity when transposed, inverted, or reordered and used MELODICALLY or HARMONICALLY. |
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| Early-twentieth-century term derived from art, in which music avoids all traditional forms of “beauty” in order to express deep personal feelings through exaggerated gestures, angular MELODIES, and extreme DISSONANCE. |
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What genre did Pierre Lunaire illustrate?
Who was the poet?
What is the unique vocal style used?
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Melodrama, song cycle
Albert Giraud
Sprechstimme
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| The four way a 12 tone row may be represented |
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row – prime
inversion
retrograde
retrograde inversion
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| Who comissioned Stravinsky’s Ballets and where and what group premiered them. |
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Sergei Diaghilev
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Ballet Russes
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Paris
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| Three divisions of Stravinsky’s career |
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Russian Period – Firebird
Neo-classical period – Pulcinella
Serial Period – In memoriam Dylan Thomas
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| Describe how Bartok represents early ethnomusicology |
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| Blended rythmic, melodic and formal characteristics of peasant music with classical and modern traditions |
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| Group of French composers that went against convention in all aspects of life |
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| Poulenc, Milhaud, Honnegar, Aurie, Tallefaire, Durey |
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| Who was the inspiration of the Les Six |
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| Term from the 1920s to describe music that was socially relevant and useful, especially music for amateurs, children, or workers to play or sing. |
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| German Composer associated with Gebrauchsmusik |
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| What is Carl Orff’s best known work |
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| Who was Carl Orff’s source for Carmina |
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| What area of music study are Orff and Kodaly best known for? |
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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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| Who were the two leading soviet composrs between the World Wars? |
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| Shostakovitch and Prokofiev |
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| Term coined by Henry Cowell for a CHORD of DIATONIC or CHROMATIC seconds. |
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| Composer associated with Tone Clusters |
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| What technique is utilized in The Aolian Harp and The Banshee? |
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| Plucking or strumming on the strings |
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| Describe Copland’s Americanist Style |
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| Spaciousness, simple melodies and harmonies, Jazz and strong dissonance |
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| Which Copland work is based on a Shaker hymn and exhibits the Americanist style |
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| How does William Grant Still combine Nationalism and Western European tradition |
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| Traditional 4 mvt symphony with African American influences of call and response, Jazz, dialogue, sync. and pop/comercial |
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| Where was Messiaen’s Quartet for the End of Time written and first performed |
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| The application of the principles of the TWELVE-TONE METHOD to musical parameters other than pitch, including duration, intensities, and TIMBRES. See SERIAL MUSIC. |
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| How does George Crumb bring innovation to ordinary instruments and objects? |
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| new sounds with ordinary things: musical saw, harmonica, mandolin, tibetian prayer stones, Japanese temple bells and electric piano |
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| Name three George Crumb compositions |
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Vox balaenae
Ancient Voices of Children
Black Angels
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| Term coined by composers working in Paris in the 1940s for music composed by assembling and manipulating recorded sounds, working “concretely” with sound itself rather than with music NOTATION. |
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| Who is associated with musique concrete |
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| early electronic inst. controlled w/o contact from player. Consists of 2 metal antennae which sense the players hand position controlling frequency and amplitude |
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| Virtually the same as a theremin but larger with more controls |
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| Who wrote Poeme electronique and what generated the sounds? |
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| Varese – combines electronic and recorded sounds through 425 speakers (in first performance) |
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| Who wrote Threnody: To the Victimes of Hiroshima? |
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| Approach to composing music pioneered by John Cage, in which some of the decisions normally made by the composer are instead determined through random procedures, such as tossing coins. Chance differs from INDETERMINACY but shares with it the result that the sounds in the music do not convey an intention and are therefore to be experienced only as pure sound. |
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| An approach to composition, pioneered by John Cage, in which the composer leaves certain aspects of the music unspecified. Should not be confused with CHANCE. |
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| Who pioneered chance music and indeterminacy |
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| One of the leading musical styles of the late twentieth century, in which materials are reduced to a minimum and procedures simplified so that what is going on in the music is immediately apparent. Often characterized by a constant pulse and many repetitions of simple RHYTHMIC, MELODIC, or HARMONIC patterns. |
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| Name Five Musical artists associated with Minimalism |
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| Riley, Reich, Glass, John Adams, Young |
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| Who wrote Einstein on the Beach – a minimalist opera |
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| Who wrote Nixon in China – a minimalist opera |
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| Trend in the late twentieth century that blurs the boundaries between high and popular art, and in which styles of all epochs and cultures are equally available for creating music. |
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| African popular music which merges popular styles from all cultures with traditional music from Africa. |
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