|
|
| Which composer gave up his career as a virtuoso to become a conductor at the court of Wiemar and champion the avant garde music of the New german School |
|
|
|
| Which compositional device does Brahms use in the fourth movement of his Symohony 4? |
|
|
|
| Strauss used which classicaal form i his tone poem Don Quixote? |
|
| Mahler’s own Songs of a Wayfarer |
|
| the melodic quotations in Mahler’s symphony 1 came from? |
|
|
|
| The Russian Five were philosophically opposed to the kind of European musical training that was being offered at? |
|
|
|
| Who was the leader of the Mighty Handful? |
|
| his quotations of hymn melodies and patriotic tunes |
|
| In which ways does the music of Ives embody American nationalism? |
|
|
|
| Vaughan Williams spent the years 1904-1905 editing_____, for which he later said that the two years of close association with some of the best and worst tunes in the world was a better education that any amount of sonatas and fugues. |
|
| he was the teacher of Albeniz, Granados, and da Falla/ he did research on Spanish folk songs/ he was an editor of Spanish Renaissance composers |
|
| Which statements would apply to Felipe Pedrell? |
|
|
|
| Spanish composer’s legitimate search for a nation expression came after other countries had appropriated its surface characteristics in the popular pursuit of exotic manners. Which of the following might illiterates this statement form “Soundings” and show how another country had appropriate surface characteristic of Spanish music? |
|
|
|
| Spanish composer who was influenced by Debussy and Liszt, student of Perdell and virtuoso pianist |
|
|
|
| Spanish composer who created the idea of imitation folk art, would take elements and put it into his music but would not be folk music |
|
|
|
| composer commissioned by Czar at one point to lead the Russian nationalism movement |
|
|
|
| taught de Falla and Albeniz and drew on spanish traditions, self taught composer |
|
|
|
| created by RVW’s findings in Cecil Sharp’s house, it was a major influence and is still sometimes used to this day. |
|
|
|
| Wagner’s last opera, wanted no applause at the end of act 1, about the first Arthurian and his quest for the holy Grail. |
|
|
|
| famous form Russian Ballet company run by Sergei Daighalev that had elaborate costumes and sets and pushed the boundaries of classical ballet |
|
|
|
| opera by Modest Mussorgsky , also a Russian czar |
|
|
|
| group that used Beethoven as its model and pushed towards creating a new sound. Berlioz, Liszt and Wagner |
|
|
|
| Russian industrialist who was also a conductor that was a friend of the arts. He helped with he Russian Conservatory and also taught old Russian crafts such as furniture building |
|
| Compare and contrast musical borrowing and the use of musical quotation in the music of Mahler, Ives, and Stravinsky. Consider the sources of their borrowing, the manner in which they incorporated borrowed music and to what extent this borrowed music is transformed by the composers. |
|
| Mahler often borrowed form himself using things from Kindertotenlider in Sym 6 and 9. Ives was influenced by many cultures being brought to America around the time, with Slaves bring polyrhythms and ring shouts and his Anglican-protestant background, borrowed form hymnals and English folk songs as well as creating dissonances like in his song General William Booth Enters Into Heaven. he uses text from English hymnals but puts them in a new melody with a strong dissonant background accompaniment. Stravinsky was influenced by traditional Russian fol music and even used them in his orchestrations. You can hear melodic sections of Russian folk songs or melodies based off of a Russian folk song, in his c=score for the Russian Ballet, Petrushka. Russian fol music may come in as a small rift of sorts where the symphony has a main theme going on and an instrument comes in and plays a tiny section from the folk song . |
|
|
|
| teacher and critic who champions the music of Brahms |
|
| Mahler’s Kindertotenlieder is: |
|
| song cycle for voice and orchestra |
|
|
|
| Member of the Mighty Handful, later became a professor of composition at the St. Petersburg Conservatory |
|
|
|
| composer appointed by Czar Nicolas I in 1835 to head the Russian national movement |
|
| What did VW’s stance with regard to originality vs the use of folk melodies in compositions? |
|
| believed that a composer’s only obligation was to find the right music for the right occasion |
|
|
|
| Spanish pianist and composer who is famous for his piano suite Goyescas |
|
|
|
| written by Ives, this music did not gets a lot of attention from critics |
|
|
|
| 16th century music that is used in the English hymnal and published at eh beginning of the 20th century |
|
|
|
| manner is the consistence and the sound itself, substance is the feeling behind the notes, these are concepts that Ives derived from the writings of Emerson |
|
|
|
| Writer that wrote Salome which Richard Strauss turned into an opera. |
|
| During their day, Mahler and Strauss were both acclaimed? |
|
|
| What aspect of Strauss’s opera Salome did the conservative Viennese public find objectionable? |
|
| its preoccupation with eroticism, suffering, and death |
|
| Who made up the Might Handful? |
|
| Cesar Cui, Modest Mussorgsky, Alexander Borodin, Nicolai Rimsky-Korsakov, Mili Balakirev |
|
| What was said of the Might Handful? |
|
| they were anti-intellectual and relied on their intuition |
|
| What could be said of Felipe Pedrell? |
|
| taught Granados, de Falla, Albeniz/ did research on Spanish folk songs/editor of Spanish Renaissance composers |
|
|
|
| inspired of the magazine with the same name, New German School agreed with most of what they said, helped 20th century composes put their new, interesting, and exciting ideas into their works |
|
|
|
| leader of the Mighty Handful, funded by Sergei Daighilev to write artsy operas and ballets that appeal to an audience. |
|
|
|
| philosopher, painter, writer and traveler, he has written a total of 30 works and are primary literature. |
|
| Briefly discuss Stravinsky’s Petrushka and Rite of Spring as they relate to the activities of the Mamontov Group and the World of Art movement. Consider on only the music but the subject matter of this ballet, the stage and costume design and anything else you feel is pertinent. |
|
| The Manontov Group was a group created by Saava Manontov. After Saava made a lot of money on a railroad deal he created this group to unite musicians. Stravinsky was a part of the group. The World of Art movement is much like the New German Schools, always accepting new ideas. in Petrushka and The Rite of Spring, Stravinsky incorporated is own ideas into these ballets to be creative. The stage and costume design was very unusual. People had not seen this type of attire before. When the audience first saw these costumes they were in a complete shock and did not know that to anticipate next. |
|
| Compare and contrast the attitudes of Manuel de Falla and RVW toward folk music. How did they use elements of Spanish and English folk music in their original compositions? |
|
| Manuel de Falla used imaginary folk art, which is where you take folk songs and you apply them to art music. RVW also used fold songs in his pieces. RVW did not used imaginary fold art in his music, he just wrote real folk music about his nation. |
|