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| Chord made up of tones only a half step or a whole step apart, used in music after 1900. |
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| Approach to pitch organization using two or more keys at one time, often found in twentieth-century music. |
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| Absence of tonality, or key, characteristic of much music of the twentieth and early twenty-first centuries. |
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| Musical style which stresses tone color, atmosphere, and fluidity, typical of Debussy (flourished 1890–1920). |
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| use of the techniques of the twelve-tone system to organize rhythm, dynamics, and tone color. |
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| Musical style marked by emotional restraint, balance, and clarity, inspired by the forms and stylistic features of eighteenth-century music, found in many works from 1920 to 1950. |
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| Important person in Stravinsky’s life. Asked Strav to orchestrate piano pieces by Chopin as a ballet music for the Russian ballet in 1909. Firebird was created in 1910 |
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| Musical style stressing intense, subjective emotion and harsh dissonance, typical of German and Austrian music of the early twentieth century. |
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| Stravinksi’s 2nd ballet in 1911. |
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| Evocation of primitive power through insistent rhythms and percussive sounds. |
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| Klangfarbenmelodie (tone-color melody) |
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| Succession of varying tone colors serving as a musical idea in a composition, used by Schoenberg and his followers. |
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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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| Charles Ives conservative musical teacher at Yale. |
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| Philosophy of Unanswered Questions |
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| depicts the search for the meaning of life |
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| world renowned teacher in Paris, who taught Philip Glass. She also taught Elliot Carter |
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| (1935) An American musical that combines musicals and operas. Written by George and Ira Gerswhin. similar to Bernstein’s West Side Story |
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| Great modern dancer and choreographer, where Appalachian Spring was originated as a ballet score. |
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| minimalism (minimalist 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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| Chance music
20th-century music in which chance or indeterminate elements are left for the performer to realize. The term is a loose one, describing compositions with strictly demarcated areas for improvisation according to specific directions and also unstructured pieces consisting of vague directives, such as “Play for five minutes.” |
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| an entire piece of music written entirely for percussion by Edgar Varese. |
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| Spanish poet who’s poems were the inspiration for Crumb’s Ancient Voices of Children |
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| 3 Composers who won a Pulitzer prize |
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| Winton Marsalis, Ellen Taaffe Zwilich, Ives, Gerswhin, |
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both homophonic and contrapuntal textures employed and a variety
within a single composition. |
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major -minor system retained by some composers, but methods of
establishing tonal centers altered. Other composers employed atonal
systems including serialism. |
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Complex rhythms; rhythmic patterns used; frequent absence of well-
defined beat; and frequent changes of meter |
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High dissonance levels; mew methods of chord construction in
addition to triadic harmony |
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Instruments sometimes played in extreme registers; unusual
instruments and instrumental groupings |
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sometimes derived from short melodic motives; melodies are
often not easy to sing due to extreme range and melodic intervals. |
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| Extremes employed and rapid dynamic fluctuations. |
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Wide variety in size of ensembles from very small to gigantic.
New Organizational Procedures include serialism (twelve-tone) |
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Post Romanticism, Impressionism, primitivism,
neoclassicism, and Expressionism |
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Combination of ordinary speaking, conventional singing, and
Sprechstimme |
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