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| Radical break from the past musical language, while maintaining strong links to tradition. |
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| Music avoids all traditional forms of ‘beauty’ in order to express deep personal feelings through exaggerated gestures, angular melodies, and extreme dissonance. Schoenberg |
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| Term that Debussy did not agree with. More geared toward art. |
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| Poetic and literary term used to more accurately describe Debussy’s music. |
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| Materials are reduced to a minimum and procedures simplified so that what is going on in the music is immediately apparent. Adams, La Monte Young |
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| A deliberate representation of the elemental, crude, and uncultured. Stravinsky |
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| Stemmed from rural work songs and other African American traditions. |
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| Jazz ensemble that used symphonic type composition styles. Group larger than the small jazz combos. |
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| Developing American music with the new musical resources available. |
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| Leaving the notes played up to the performer. Feldman’s Projection I |
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| Musical composition left to chance. Music IS! |
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| New music that came along due to technological innovations with sound recording. |
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| Idea that music should be based off of noise. Came about from industrialism. |
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| Term used in art and music to describe works that seek to overthrow or stray from aesthetic conventions. |
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| The twelve tone method-arranging of pitches. |
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| Trend in music where composers imitated or evoked the styles, genres, and forms of pre-romantic music. |
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Literary movement centered in Harlem, NY.
Self-aware and proud expressions of African American identity.
Sought to improve relations between blacks and whites. |
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