How did Sousa feel about recordings of music? |
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He didn’t like them, recognized that they would permanently alter views of live performances |
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Discuss Central Park in the Dark |
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tone poem, similar to Unanswered Question. Experimental techniques, narrative. Using allusion. |
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In 19th century, ______ was used to experiment. In 20th century, ______ was used to experiment. |
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Harmony and narrative; sound and rhythm (sometimes text) |
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What were some of the things composers did for experimentation in 20th century? |
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Using: polytonality, non-diatonic borrowed melodies, odd meters, less standardization, etc. |
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‘Bagpipers’ from Sonatina on themes from Transylvania |
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American composer and big band leader, “genius music in less than ideal conditions” |
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Goals and strategies of nationalism |
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To create a music for a cultural/ethnic group; borrowing, quotation, allusion, imitation |
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Distinctive responses to the Common Practice period in 20th century music |
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form, harmony, voice leading, rhythm, timbre |
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T/F: The influence of non-traditional and non-Western music on European music was small. |
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False; they used these influences for “new” sounds. Ex: Sousa conducting his band in Paris |
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Impact of agricultural mechanization upon urban concert life |
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Led to urbanization and exodus of African Americans from South to the North (esp. by train) |
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Was there a relationship between composers and performers? |
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Yes, esp. with singers. This leads to more experimental techniques. |
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Symbolist poets and what they did |
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Baudelaire, Mallarme, Rimbaud. They experimented with non-narrative and non-linear organization |
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poem by Baudelaire, metaphor for poet |
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Prelude to the Afternoon of a Fawn |
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The visual arts did/did not influence Impressionist music. |
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Name influences and common themes in 20th century music |
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Subconscious, unconscious, the instinctive, night, sleep, the moon, the non-Western, hallunicatory, delusional, blood, violence, dreams/nightmares, the female, asymmetry |
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Where did futurism hold on the longest? |
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utopian, new sounds to reflect new technology. Vogue in pre-WWI Italy and France |
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Important choreographer who collaborated with composers, esp. Stravinsky |
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Pierrot Lunaire, Petrushka, Pagliacci |
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Portrays extreme states of being, unconscious, subconscious, nightmareish |
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Work for 5 inst and soprano, depicts lunatic. Uses extended technique such as sprechstimme. NOT tonal. Uses full ensemble on nos. 7, 14, 21. |
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Who wrote poems Pierrot Lunaire? |
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In absence of tonality, what can organize a piece? |
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text, repetition of sound, dance (as in ballets) |
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Who is associated with the ’emancipation of the dissonance’? |
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Things distant in time, often more crude and simple. Ex: iconography of Hawaiian Madonna, Rite of Spring |
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things different in geography. Ex: Le cafe Tchaikovsky |
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What is the return to writing music with tonality, conventional genres and forms, and ideals of absolute music in the 20th century called? |
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In the 20th century, making music for oneself and/or friends became more/less common. |
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Less; recorded music started to replace performance |
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What did the availability of recorded music do? |
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Altered listener expectations, listeners became less tolerant of imperfections, live performances integrated recorded sounds, music became more passive experience, the recording studio was invented |
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Uses of music in 20th century society |
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Use with the state (political reasons, nationalism, esp. around WWII in Europe) use with race (“black” music like ragtime, jazz, r, rock and roll, the desegregation of race in these musics) music in protest (protest songs against war and for civil rights) music therapy was acknowledged ambient music (background music) |
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comes from visual arts, supposed to represent a sensation (or an impression) as opposed to an actual object. assoc. with Debussy. blurring of harmonies, rhythms, timbres, and forms. |
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What is very important in impressionist music? |
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from visual arts. focuses on the unconscious, intense emotional states. |
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Central things making sitar music “classical” |
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-has a body of central repertoire -presence of lineages of master musicians -improvisation is central, virtuosic, and central to the music -philosophical and spiritual connotations of music |
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Instruments played for us in class (indian) |
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