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musical style that features syncopated rhythm against a regular, march-like bass |
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standard formula for the blues, with a harmonic progression in which the first four-measure phrase is on the tonic, the second phrase begins on the subdominant and ends on the tonic, and the third phrase starts on the dominant and returns to the tonic |
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famous pianist who helped develop the style of New Orleans jazz in Storyville (red-light district) |
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leading style of jazz just after World War I, which centers on group variation of a given tune, either improvised or in the style of the improvistation |
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style of jazz originating in the 1930s that was characterized by large ensembles and hard-driving jazz rhtyhms |
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“folk opera” of Gershwin’s – draws elements from both the operatic and Broadway traditions. It features recurring motives like those in Verdi or Wagner operas. Yet, the style is heavily influenced by African American idioms such as spirituals, blues, and jazz – PART OF GERSHWIN’S APPEAL |
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harmonic progression of Gershwin’s “I Got Rhythm” that was adopted for many new jazz tunes |
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in jazz, a new melody composed over a harmonic progression borrowed from another song – Ellington’s Coborrowed from I Got Rhythm |
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style of jazz developed in NY in the 1940s that had a diversified rhythmic texture, enriched harmonic vocabulary, and an emphasis on improvisation with rapid melodies and asymmetrical phrases |
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in an isorhythmic composition, an extended rhythmic pattern repeated one or more times, usually in the tenor |
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piano & cello of Messiaen’s “Quartet for the End of Time” play a repeating series of durations resembling the talea. Because such repeating pitch & rhythmic series create cyclic repetition, they seem to float in time |
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choral piece that exemplifies Britten’s pacifism – weaves together the Latin text of Requiem Mass with verses by an English soldier and poet killed in France. It gives his much a quality of social engagement |
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characterizes the music of many 20th century composers who delevloped individual styles without departing radically from the past |
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combination of jazz and classical music — Gunther Schuller in Transformation (1957) — pointillistic 12-tone context with elements of Schoenberg’s Klangfarbenmelodie are transofmred into a full-blown modern jazz piece
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combined rhythmic and metrical independence derived from English Renaissance with Javanese gamelan music (asian influence) |
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courses for new music held in Darmstadt, Germany each summer beginning in 1946 — Webern was hailed as the father of a new movement |
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the application of the principles of the twelve-tone method to musical parameters other than pitch, including duration, intensities, and timbres |
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In postwar years, a new generation of technically proficient performers emerged who were capable of playing extraordinarily difficult pieces and made careers as champions of the newest music. Their presence encouraged composers to write pieces to challenge the skills of these new virtuosos |
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series of works by Italian composer Luciano Berio – each for an unaccompanied solo instrument from flute to accordion and each composed for a specific performer – Sequenza IV has rapid gestures on the piano |
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wrote for virtuoso performers using a complex, non-serial style characterized by innovations in rhythm and form. He developed “metric modulation” – a transition is made from one tempo and meter to another through an intermediary stage that shares aspects of both |
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combined the exploration of new instrumental sounds with a new approach to pitch – undertook an individualistic, single-minded search for new sonic media. Devised a new scale with 43 notes and built new instruments that could play in this scale (large glass containers used in physics, marimbas, modified guitars, etc |
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term coined by composers working in Paris in the 1940s for music composed by assembling an manipulatingitself rather than with music notation |
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pioneer of electronic music composition. Used recorded sounds alongside electronic ones, as in Gesang der Junglinge
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GESANG DER JUNGLINGE –(Song of the Youths) |
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first major electronic piece to use multiple tracks, played in concert through several loudspeakers placed in various positions relative to the audience, thereby creating a sense of the music coming from numerous directions and moving through space. Used the sound of a boy’s voice |
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developed at the Colombia-Princeton electronic music center in the 1950s and used by many composers from the US & abroad |
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composers writing pieces whose material consists primarily of striking sound combinations that create interesting and novel textures, organized by gradual or sudden processes of change |
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each string player in the orchestra has a unique part to play with varying glissandos – resembles changes achievable in electronic music through the use of pitch filters
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Greek who spent most of his career in France – an engineer and architect as well as composer – saw mathematics as fundamental to both music and architecture |
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work by John Cage – best-known work for prepared piano – consists of 26 “sonatas” and 4 interludes |
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an invention of John Cage in which various objects – such as pennies, bolts, screws, or pieces of wood, rubber plastic, or slit bamboo – are inserted between the strings of a piano, resulting in complex percussive sounds when the piano is played from the keyboard |
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ancient Chinese book of prophecy (Book of Changes) in which Cage derived his Music of Changes for piano – used the I Ching method to choose which sounds he would use in his piece (ie tossing a coin six times) |
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an approach to compsition, pioneered by John Cage, in which the composer leaves certain aspects of the music unspecified |
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influenced by Cage – wrote Available Forms 1 for eight players and Available Forms II for large orchestra – musicians play scored fragments with leeway in choice of pitches |
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Polish composer who made selective use of indeterminancy, while insisting on his authorship of the entire composition – more modernist than avant-garde |
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a process of creating new compositions by patching together snippets of previously recorded music |
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developed his own software to compose computer works. He manipulates recorded sounds, such as speech or highway traffic noises, transforming them beyond immediate recognition and using them as a kind of pitched percussion |
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one of the leading musical styles of the late 20 century, in which materials are reduced to a minimum and procedures simplified so that what is going on in the music is immediately apparent. Often characterized by a constant pulse and many repetitions of simple rhythmic, melodic, or harmonic patterns |
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by tape-loop experimenter Terry Riley – piled up many such loops, each repeating a short phrase, over a regular pulse. In C uses a similar approach but with live instruments |
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super-imposing tape loops of the same spoken phrase in such a way that one loop was slightly shorter and thus gradually moved ahead of the other |
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by Reich – a setting of psalm texts in the original Hebrew for four singers and orchestra, using rhythmic and melodic canons at the unison. Can hardly be called minimalist, but shows the application of minimalist techniques to a broad range of art music |
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one act, 4 and ½ hour opera by Philip Glass – collab. With avant-garde director Robert Wilson – avoids narrative, has no sung text other than solfege syllables, and involves mostly nonsensical stage action |
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opera by John Adams – formality of a Baroque historical opera while applying minimalist techniques |
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born & trained in China – integrates elements of Asian and Western music while respecting the integrity of each, inspired by the attempts of Bartok to do the same Eastern European folk and Western Classical music |
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COLLAGE (AS A COMP. TECHNIQUE) |
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work or passage that uses multiple quotations without following a standard procedure for doing so, such as quodlibet or medley |
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term coined by Alfred Schnittke for a combination of newer and older musical styles created through quotation or stylistic allusion |
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a trend of the late 20th century in which composers adopted the familiar tonal idiom of 19th century romantic music and incorporated its sounds & gestures |
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used Romantic and early modernist styles to express the turn from serialism to quotation |
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embraced Neo-Romanticism to obtain a direct, comprehensible presentation for his excerpts set to Lewis Carroll’s stories for children |
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work by David Del Tredici – to a text form the final chapters of Carroll’s Alice’s Adventures in Wonderland – scored for amplified soprano and orchestra, with a “folk group” of banjo, mandolin, accordion, and two soprano saxes |
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