| What is the difference between 12 note music and serial music? |
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| organized rhythm, dynamics, tone color– not just pitch |
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| During the neoclassical period, why were composers not attracted by Schoenberg’s method |
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| They thought it was too romantic + traditional |
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| What changed the minds of composers in regard to this after 1950 |
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| They realized the 12 tone system was a technique. |
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| Why was Webern favored over Schoenberg? |
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| His music had a lean, modern sound |
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| Name some aspects of music that composers wished to include in serial organisation |
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| rhythm, dynamics, tone color, pitch |
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| What is the irony in totally controlled serial music |
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| It seems totally random + chaotic |
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| Give another term for chance music |
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| Who is the most famous creator of chance music? |
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| What is the title of his silent piece |
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| In writing chance music, can you see a similarity to Pollock’s Action Painting |
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| Yes– both random & chaotic |
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| Inspired by the development of chance possibilities, Boulez and Stockhausen incorporated this element into their work T/F |
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| What are the rough dates for the beginning of the American minimalist music movement |
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| Name 4 minimalist composers. |
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| Riley, Reich, Glass, Adams |
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| What were the non-western influences involved? |
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| African, Indian, Balinese music |
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| Who composed an orchestral piece quoting from Mahler’s 2nd Symphony |
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| Name a composer of neotonal music |
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| David Del Tredici, George Ruchberg |
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| What does te author say about the unique nature of electronic music |
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| The composer is the performer, he works directly on the sound. |
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| Intervals smaller than half-step |
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| How does Penderecki imitate electronic sound with conventional instruments |
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| Electronic music w visual elements |
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| In which country did Varese spend most of his life? |
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| When was ionisation written? |
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| With whom did Varese work on his Poeme Electronique project |
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| What was the surprising musical development in Poland at the end of the 1950s |
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| avant-garde composers emerged |
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| What is the relevance of Stalin to that story |
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| Revolt against the soviet system |
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| Name a work by Elliott Carter |
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| Name a poet he has set to music |
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| Several identical melodic patterns being introduced simultaneously– going in and out of phase |
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| Where did Reich study drumming? |
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| What is a gamelan orchestra |
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| Indonesian orchestra- gongs, chimes, xylophones |
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| Name some mallet instruments |
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| vibraphones, crotales, marimba |
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| Name a work by Jonathan Harvey |
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| Who are the 4 main composers mentioned? |
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| La Monte Young, Terry Riley, Steve Reich, Philip Glass |
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| Name the alternative terms for minimal music. |
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| repetitive music, acoustical art, meditative music |
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| In this style, what happens to the musical means? |
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| Extreme reduction of musical means. |
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| He talks of equality in several musical dimensions |
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| What can be said of the length of the pieces |
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| How many motives are there in drumming? |
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| What influences outside the west are mentioned |
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| Takes from Indian, Balinese, West African music |
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| What is isorhythmic structure? |
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| fixed melodic + rhythmic series are repeated |
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| How many repititions are involved in that work? |
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| There are no sudden transitions in Glass’ music T/F |
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If chord progressions are involved, do you expect the same sort of processes
that you find in purely melodic works |
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| What is the difference between macro and micro structure in this style |
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| macro= transformative micro = repetitive |
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| How does the author describe traditional classical music? |
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| Repitition used in narrative and teleological frame |
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| As in traditional classical music what does he say about memory |
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| As you listen, you refer back + remember |
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| What does he mean by restoration of tonality? |
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| emphasis on rhythmic pulse |
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| Who is influenced by Gagaku music? |
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| What has replaced the concept of a work according to the author |
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| In reference to which composer is the term eternal music referring to |
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| A musical process defines… |
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| determines note to note details and overall form |
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| Who was interested to find what musical feelings are conveyed by intervals |
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| Who talks about “vibrating motionless trance” |
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| Who said “if people don’t get carried away by my music it is a failure” |
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| What according to Boulez was the atttude that Berg and Webern had to Debussy? |
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| They didn’t admire Debussy very much. Thought he was too “free” |
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| What does he say about the main works of Debussy? |
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| The inventiveness, ingenuity, and spontaneity of Debussy’s works were very necessary . Can’t be constructive all the time, gotta be descriptive too. |
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| What does he mean by the metaphor of the “two lungs” a musician must have? |
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| Spontanaeity + construction |
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| What does he say about how pitches are transmitted in Balinese music and African music? |
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| Transmitted by wood (african) + metal (balinese). Sound shouldn’t be added superficially |
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| What does he say about Derive III |
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| Its in his head and he hopers he has time to finish it. will use scheme of Derive I and just expand/ complicate it |
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| What is his point about deduction when composing? |
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| Agrees w maher, the music composes/ directs the composer, but composer must remain in control over the material. this exchange is deduction |
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| What does he say about being confronted with material he composed when he was still young? |
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| He likes it– chance for reinvention |
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| What does he remark about Webern’s ring when he had to conduct it? |
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| How does he describe his early work notations? |
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| Strongly organized but free |
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| What does he say about Liebowitz |
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| He was dry and unimaginative with his 12 tone system |
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| How does he contrat him with Messiaen? |
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| He didn’t agree but thought he was inventive |
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| What does he say about accidents during the process of composing? |
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| He enjoys them if they make him go another way |
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| What comparison does he draw with archaeology? |
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| How does Cage compare the sound of traffic to music? |
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| feelings vs. random spontaneous sounds |
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| What does he say about what people expect when they listen to music? |
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| They expect it to be more than listening– inner sound |
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| What does he say about his attitude to sounds? |
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| Just loves sounds– doesn’t need them to be anything other than what they are |
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| What anecdote does he tell about Kant? |
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| Music and laughter: give us deep pleasure and dont have to mean anything |
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| Which is the sound experience he prefers to all others? |
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| What does he say about listening to Beethoven and Mozart |
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| They are always the same; traffic is always different |
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| If Reich is not writing music with a text, what is his first question |
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| What instruments is he writing for |
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| What does he say about ‘inventing my own ensemble’ |
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| beginning of the beginning of the piece |
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| What for him is the most difficult part of composing a piece |
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| What change came to his work in 1976? |
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| He started to map out his music harmonically |
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| Previous to how does he describe the texture of his works |
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| In designing the form of his pieces what composer does he mention as being influential on him |
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| What keys does he like working in? |
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| What does he say about the Dominant of the Western scale |
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| Why did reporters assume he might compose something about 911 |
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| He made differenbt trains and worked in documentary work |
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| What did he do following from that time musically |
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| Focused on writing music for instrument and voice |
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| What does he mean by the metaphor of throwing the right logs onto the fire |
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| He has to enjoy what he is doing or no one will like his music |
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| What does he propose as an alternative to the polarity of pop classical |
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| What is his problem with working with rock musicians |
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| What does he ay about his attitude to music before 1750 |
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| He has learned more from music before 1750 than after |
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| What is his attitude about romantic music |
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| Thinks the composers are great but doesn’t learn from them |
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| How does he compare stravinsky to Wagner |
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| He thinks stravinksky makes more sense tonality |
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| What was retored to music by Bartok and Stravinsky |
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| energy in the tonal system |
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| what does he mean by schoenberg read it correctly |
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| What was his solution to writing 12 note music |
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| never invert, transpose, retrograde the mode, just repeat row n row over and over again |
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| What does he mean when he compares his scores to Baroque ones? |
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| How does he sisdestep Ford’s question about emotion in his music |
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| Talks about dynamics– doesnt think about emotion in his music |
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| What is his answer to the question about whether there is something specifically American about minimalism |
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| What did he add to Terry Riley’s in C |
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| What part of Cage’s music does not interest him? |
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| What is his influence on Reich |
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| showed you can entertain an audience even while staying on keys for a long duration |
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| What is the influence from Motown |
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| music tension with no relief |
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| What was the influence from Organum |
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| the importance of long notes |
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| He ays that 1960s harmony is back but with what difference |
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| Harmonic rhythm slows down to a pace t heard in the west |
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| What musical texture in his work goes all the way back to it’s gonna rain |
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| How has he handled writing for the Kronos Quartet |
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| Made unison canons where they form a counterpointal web where you dont really know who is playing what |
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