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| magazine started by Schoenberg and other named after a Kandinsky painting |
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| modernist group with members including Stravinsky and Ravel |
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| period in art and music characterized by a goal of capturing the moment or current feeling |
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| period following impressionism, very unrealistic |
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| these were two centers of avant-garde music |
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| type of art that seeks to express feeling by separating art from realness |
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| scale of 5 notes that can be played on the black keys |
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| scale consisting of an octave divided into 6 whole steps |
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| scale of 8 alternating half and whole steps |
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| all pitches of the chromatic scale plus those in between |
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| 12 tone method of composing consisting of a 12 tone row or series which is a fixed ordering of the chromatic scale |
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| melody, harmony and tonality |
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| piece written by Debussy in ABA’ form (Clouds is from this) |
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| Paris Conservatory of Music |
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| school where Debussy and Ravel studied |
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| set of piano pieces Debussy wrote for his daughter |
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| hard edged avant-garde, Neoclacissim |
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| description of Stravinsky’s style |
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| Stravinsky’s first ballet |
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| ballet written by Stravinsky and choreographed by Nijinsky, depicts the fertility cults of prehistoric Slavic tribes |
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| this occurred at the first showing of the Rite of Spring |
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| city where Stravinsky is buried |
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| who pioneered the “emancipation of dissonance” |
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| city where Schoenberg grew up |
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| Schoenberg’s best known work |
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| Schoenberg, in middle age |
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| developer of the 12 one serial system |
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| city that Schoenberg moved to in WWI |
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| school the Schoenberg taught at |
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| composer born in south of France, moved to Paris, mother was Basque |
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| who did Ravel meet in his one trip to America |
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| piece written by Maurice Ravel for piano and small orchestra, in very free classical concerto form |
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| what technique, also used by Debussy, does Ravel employ in his Piano Concerto in G |
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| Hungarian composer, child prodigy, teacher, theorist |
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| set of 153 graded easy to hard piano pieces that introduced many new composers to modernism |
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| what did Bartok integrate into his pieces |
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| Music for Strings, Percussion and Celesta |
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| informal symphony written by Bartok |
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| second movement of Music for Strings… is in this form |
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| America’s leading composer of his generation, very nationalist, son of Russian Jewish immigrants |
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| main influence of Copland |
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| one of Copland’s students |
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| ballet by Copland; a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania Hills |
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| choreographer of and dancer in Appalachian Spring |
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| this section of Appalachian spring depicts a landscape at danw |
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| this section of Appalachian Spring depicts a bride and farmer husband celebrating their new house with a square dance |
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| this section of Appalachian Spring employs variations on a Shaker hymn |
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| name of the Shaker hymn Copland uses in Appalachian Spring |
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| this section of Appalachian Spring is like a prayer, returns to landscape music |
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| Romantic music and Wagner’s letimotivs |
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| film music was characterized by which historical sound |
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| Russian child prodigy who became a concert pianist, conductor and composer, had to write for Stalin |
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| director of Alexander Nevsky |
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| movie with score composed by Prokofiev, depicts a Russian culture hero uniting the country against the Germans |
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| favorites of Nazi Germany |
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| two composers who fled because of the Nazis |
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| composer who grew up under Soviet Communism |
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| period of even more extreme modernism and serializing |
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| french term for sounds of real life used in music |
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| synthesizers and computers |
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| forms of electronic music first used in the 2nd phase of modernism |
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| a piece by Riley that is characteristic or minimalism and the new time and rhythm breakthroughs of the 2nd phase of modernism |
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| music where certain elements specified by the composer are left to chance |
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| post war avant-garde composer from Hungary |
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| Budapest Academy of Music |
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| school where Ligeti studied |
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| piece for 16 solo singers and chorus by Ligeti |
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| movie that used Ligeti’s Lux aeterna |
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| minimalist oratorio by John Adams that depicts a modern version of Handel’s Messiah |
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| Sor Juana Inez de la Cruz |
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| author of the Spanish poem used in Adams’s El Nino |
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| music which has been brought into the country and consciously developed |
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| music we sing and hear naturally in our native tongue |
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| American group that disapproved of music |
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| noted as America’s first composer |
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| type of music WIlliam Billings wrote |
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| man that left diaries of all the music he heard in America |
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| first composers from American who gained worldwide renown |
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| shows where white actors performed music in blackface |
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| musical technique brought to America from West Africa |
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| folk songs that came into being outside of an established church |
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| folk songs that came into being outside of an established church |
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| modern music characterized by improvisation and breaks and influenced by black folk music |
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| beat where the emphasis is on the second beat rather than the first (one TWO one TWO) |
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| derived from african drumming, accents are moved just a fraction of a beat ahead to give the music swing |
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| a category of black folk song whose subject is loneliness |
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| blues where same stanza is repeated, aab |
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| blues and jazz singer who got her nickname from a childhood lisp |
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| ecstatic choral singing stemming from evangelical churches |
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| If You Ever Been Down Blues |
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| piece composed by G.W. Thomas and performed by Sippie Wallace and Louis Armstrong |
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| If You Ever Been Down Blues |
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| piece composed by G.W. Thomas and performed by Sippie Wallace and Louis Armstrong |
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| city where Louis Armstrong was born |
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| Louis Armstrong’s nickname |
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| type of music reminiscent of but more carefully written than jazz, performed by big bands |
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| piece written by Duke Ellington and Juan Tizol |
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| Duke Ellington’s real name |
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| city where Ellington was born |
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| white club in Harlem where Duke ELlington and his Famous Orchestra played |
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| Presidential Medal of Freedom |
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| honor awarded to Duke Ellington later in his life |
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| piece by George Gershwin that recalls Romantic Miniatures while using a blues scale and elements of Jazz |
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| composer born in NYC who wrote many hits with his brother Ira |
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| Gershwin’s most famous piece |
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| job Gershwin had, played new pieces for people thinking about buying them |
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| part of opera that is half music, half recitation |
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| city that called itself the Most Serene Republic |
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| magnificence and extravagance |
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| ideals of the Baroque era |
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| most important composers in Venice in the Baroque era |
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| jeweler’s term for large pearls of irregular shape |
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| definite, regular and insistent |
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| what were rhythms like in the Baroque period? |
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| how many different rhythms were usually heard in a Baroque piece? |
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| what musical notation device was used for the first time in the Baroque era |
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| bassline played by an organ, harpsichord or other chord instrument |
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| music constructed from the bottom up based on a harmony that is repeated in the bass instrument |
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| another word for ground bass |
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| the major/minor system was developed during which era |
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| most characteristic musical form of the Baroque era |
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| extended piece for a solo singer |
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| opera composer of the Baroque era who first worked in Mantua |
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| originally an organist at Westminster Abbey, became a great English opera composer |
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| a piece that employs variations on a single theme |
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| sectional pieces in which each section repeats certain musical elements while others change around them |
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| foremost organ virtuoso of the Baroque Period |
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| free formed, typically organ pieces meant to capture improvisation |
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| more rigorously organized Baroque organ pieces |
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| a set of variations of a brief set of chords with a repeating bassline (aka ground bass or basso ostinato) |
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| german word for table music |
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| country where opera was invented around year 1600 |
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| bass part that moves in absolutely even notes |
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| orchestra and a keyboard instrument |
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| instruments most commonly used in the Baroque era |
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| Baroque melodies tend to be _________ |
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| bass part that is always linked to a set of chords but is not explicitly written |
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| a self contained section of music that is part of a larger work |
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| a typical Baroque concerto has this many movements |
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| orchestral music that typically starts the music off and repeats throughout |
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| composer known as the red priest because of his hair |
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| this composer worked at a Venetian orphanage for girls |
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| what latin term does the word fugue come from and what does it mean |
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| in this part of the fugue, all the voices present the subject in a orderly manner |
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| the part of a fugue where the subject is repeated in different forms |
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| part of a fugue where new material accompanies the subject |
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| term for when one subject overlaps another in time |
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| fugal technique where notes are multiplied or divided, usually by 2 |
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| fugal technique where the intervals in the subject are reversed |
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| passages of music separating subject entries in a fugue |
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| binary form (ab formation?) |
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| a substantial piece of music introducing a play, opera, or ballet |
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| serious opera with plots from history or myth |
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| term for the writer of the words in an opera |
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| term for recitative with continue accompaniment |
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| da capo form (ab formation?) |
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| an opera on a religious subject presented in concert form |
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| a piece of moderate length performed in the church |
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| a chorale where the melody is given in spurts |
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| an organ composition incorporating a hymn |
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| second half of the 18th century |
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| when did the classical style emerge |
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| Carl Phillip Emmanuel Bach |
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| the most important pioneer of the Viennese classical style |
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| the golden years of the Viennese classical were under he reign of which enlightened ruler |
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| during the Viennese Classical era, Vienna was the capital of this empire |
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| half party, half seminar popular in the Viennese classical era |
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| concerts first became popular during this era |
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| the first concert hall was built here in this year |
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| flexible rhythm, changeable dynamics, tone color, uncomplicated melodies, mainly homophony |
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| characteristics of Classical music |
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| true or false, in classical music, themes are repeated immediately after their first appearance |
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| a large concert piece for orchestra |
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| first movement of a symphony is always in this form |
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| third movement of a symphony is always in this form |
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| 4th movement of a symphony is usually in one of these forms |
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| large and diverse part of a symphony where the music is presented |
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| part of a symphony where contrasting themes and keys are used to heighten tension |
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| resolution of a symphony where the first theme is hear again in the tonic key |
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| city where Mozart was born |
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| Viennese classical musician who didn’t come from a musical family and started as a choir boy at age 8 |
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| family that Haydn worked for for most of his life |
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| obscure instrument that Haydn wrote a lot of music because his employer liked it |
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| true or false: Haydn died in obscurity without ever gaining recognition for his works |
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| stylized dance popular in the classical era, aabb, also called ternary form |
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| form used mainly for light closing movements during the classical era |
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| style developed in the classical era originally for private performances |
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| extended variant of sonata form where the orchestra exposition does not modulate |
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| music designed to be played in a room by a small group of players |
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| funny, more realistic operas |
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| city where Beethoven was born |
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| statement Beethoven wrote about how he was going deaf |
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| the original name of Beethoven’s Eroica |
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| a fast rushing movement in triple meter, means joke in Italian |
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| they named the period themselves |
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| what is characteristic about the Romantic period |
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| pieces encouraged natural human feelings rather than artificial constraints, emphasis on the supernatural, more personal style to each artist |
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| characteristics of the Romantic era |
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| term for when rhythm is handled flexibly in musical performance, means robbed time |
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| a piece that lasts a few minutes and conveys a particular emotion |
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| non vocal music written in association with some literary work |
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| Romantic genre that consisted of piano and text based off a poem |
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| when a song uses the same music for all the stanzas |
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| when each stanza has its own music |
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| what did Schubert supposedly die from |
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| a group of songs written with a common poetic theme (Romantic) |
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| Romantic piano virtuoso, bipolar, married to another pianist, wrote lieder in the style of Schubert |
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| he injured his fingers while trying to lengthen them |
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| why did Schumann’s virtuoso career end? |
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| a short piano piece that portrays some definite mood or figure |
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| term that means “night piece” |
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| where did Chopin spend most of his life? |
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| conceptual piece never intended for theater, made famous by Mendelssohn |
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| master of the program symphony |
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| first great composer who played no standard instrument |
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| greatest Romantic italian opera composer |
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| opera by Verdi, one of the most frequently performed, commissioned for a new opera house in Cairo after completion of the Suez canal |
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| opera house in this city performs only Wagner |
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| city where Wagner was born |
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| new type of more theater heavy opera developed by Wagner |
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| a musical motive associated with some person, thing, or symbol in the drama |
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| a one movement orchestral composition with a program |
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| Tchaikovsky’s patron who he never met |
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| true or fale: Du Fay was active in the court of Charles III of Naples |
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| true or false: Josquin desprez is credited with “saving” polyphony |
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| who is the playwright associated with Kemp’s jig |
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| true or false: Palestrina is credited with “saving” polyphony |
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| true or false: Palestrina lived during the Ars Nova |
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| true or false: Alleluia. Diffusa est gratia. is a sample of a psalm tone |
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| it abolished the Gallican right |
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| what was the topic of Charlemagnes Admonito Generalis? |
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| this was the earliest type of polyphony |
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| he was the head of the english army which was going to put down uprising |
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| why did the Duke of Bedford go to France? |
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| elaboration, clear declamation and composed homophony |
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| 3 important elements of the High Renaissance style |
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| the Pope Marcellus Mass was written during this era |
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| flute, harpsichord and violin |
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| the 3 solo instruments featured in the Brandenburg concerto |
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| pianist who made the Goldberg variations famous |
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| virtuosity, dance, and vocal music |
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| sources of instrumental music during the Baroque era |
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| the form of Dido’s lament |
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| period that Henry Purcell lived in |
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| city that Bach lived in from 1723 on |
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| allemande, courante, sarabande, gigue |
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| required dances in the standard keyboard suite |
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| true or false: Don Giovanni is an oratorio |
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| in his later years, Haydn wrote two major works in this genre |
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| oldest style of notated music |
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| gregorian chants named after this person |
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| this type of chanting has an underlying drone and ornamented vocal line |
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| this chanting has a changeable drone, sounds even more middle easter but is still christian, ornamented vocal line |
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| simplest kind of chants, sing a text on a single note |
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| Vere dignum is this type of piece |
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| prose text sung in association with a psalm |
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| more than one melodic line at once |
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| earliest notated form of polyphony |
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| passages of many notes set to a single syllable of text |
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| style with no long held notes, voices move together, plainchant line is metrically structured against the upper line |
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| this appears at the end of a section of melismatic organut |
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| a piece with one line of plainchant while lines above have their own texts and melodies |
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| event that occurred in the 14th cent when popes were crowned in both Avignon and the Vatican |
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| leading figure of the ars nova |
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| a technique of writing successive passages using identical rhythms but different melodies |
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| means hiccup, sounds like a quick stutter |
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| traveling musicians from the south of france |
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| traveling musicians from the north of france |
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| traveling musicians in Germany |
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| traveling musicians in spain |
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| language that troubadors wrote in |
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| most common type of early instrumental music |
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| means false bass, brought to France by English armies |
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| Netherland/Burgundian school |
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| starting place of the renaissance |
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| a plainchant with added notes set to a regular meter |
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| kyrie, gloria, credo, sanctus, agnus dei |
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