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| leading musical style of late 1900’s in which materials are reduced to a minimum and procedures simplified so that what is going on in the music immediately apparent. Often characterized by a constant pulse and many repetitions of simple rhythmic, melodic, or harmonic patterns. |
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| chords move in parallel motion. |
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| Choreographer. Appalachian Spring Ballet-Aaron Copland |
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| A vocalstyle developed by Schoenberg in which the performer approximates the written pitches in the gliding tones of speech, while following the notated rhythm. |
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| Russian Association for Proletariat Music |
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| Aprroach to composition, pioneered by John Cage, in which the composer leaves certain aspects of music unspecified. |
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| experimental jazz style of 1960s by Coleman, using improv that disregards standard forms and conventions of jazz. |
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| slide of 3, 5, or 7 in blues and jazz. |
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| song for the dead (victims of heroshima) |
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| Recorded tapes going in and out of sync in phases. |
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| Dancer-Stravinsky Rite Of Spring Ballet |
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| Laurie Anderson, crossover of performance art to music. |
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| indicate register, timbre, and timing in general terms rather than specifying notes nad durations. |
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| the arificail separation of form from content and the conferring on form or its individual elements of a self-sufficient and primary importance ot the detriment of content. NO CONTENT FOCUS. DOesn’t focus on melody. |
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| strict control of pitches and rhythms in serial rows. |
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| All notes are equal, not one tonic center. |
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| Term from composers in Paris in 1940s for music composed by assembling and manipulating recorded sounds, working “concretely” with sound itself rather than with music noatation. |
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| Threnody, 1960, Pendrcki. Thick and thin texture/tone clusters. |
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Teacher-Gospel of Stravinsky, Write in your own style.
William Grant Stil, Aaron Copland |
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| Wagner used for dramatic work in which poetry, scene, staging, acting, and music work together toward one artistic expression. (Total artwork) |
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| Symmetrical to center, Bartok and Stil (Sonata chiasma) |
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| repeated chorus-harm prog/pn comping, improvised over, has a head/riffs. |
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| Accent not on downbeat, Stravinsky. |
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| Folk melody, Hungarian-Bartok. Russians-Prokofiev, Shostakovich. |
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| In Jazz, a new melody over a harm. progression borrowed from another song. Ellington-I Got Rhythm |
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| Style of jazz in 1940’s with diversified rhythmic tezture, enriched harmonic vocab, and emph. on improv with rapid melodies and asymmentrical phrases. |
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| employing the element of chance in the choice of tones, rests, durations, rhythms, dynamics, etc. |
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| German music camp-Messiaen=teacher, boulez=student. |
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| Hole pedal down so chords smear together, Impressionism-Debussy, Scriabin |
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| Same forwards and backwards- Form of Crawfard-Seeger. |
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| Great Depression (Stil, Crawford Seeger, Varese) |
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| Afro-Am. vocal genre based on twelve-bar blues. |
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| Stravinsky RIte of Spring Cubism. |
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| Laurie Anderson- Minimalism, angst/fear/disconnect. |
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| technique in jazz in which the performer sings nonsense syllables to an improvised or composed melody |
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| Procedure/Form. Varese-Siren/Stravinsky-chord/Debussy-Planing chords/??????????? |
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| All twelve notes sound before repeated. |
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| Charles Ives, large, loud climaxes of sound. |
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| Clear, but irrational images. Real things mutated. Melting Clocks, poetry in Boulez. |
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| I Got Rhythm, Syncopation, blue notes. |
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| Early 1900s term derived from art, in which music avoids all traditional forms of “beauty” on order to express deep personal feelings through exaggerated gestures, angular melodies, and extreme dissonance. |
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| Art term used in music-Stravinsky Rite of Spring-reduced everything to basics (orch-perc. like) Blocks of sound juxtaposed and layered. Reference points as shapes. |
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| Trend in late 1900s that blurs the boundaries btw high and populat art, and in which styles of all epochs and cultures are equally available for creating music. |
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| Cowell, Varese. Only percussion peice, piano as percussion. |
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| variations over a repeated bass line or harmonic progression. |
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| style of jazz originating in the 1930s that was characterized by large ensembles and hard-driving jazz rhythms. |
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| Electronic instrument that generates and processes a wide variety of sounds. |
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| Ives-pop. folk tunes, ???????? |
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| term for music since 1900s that establishes a sing pitch as a tonal center, but doesn’t follow the traditional rules of tonality. |
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| Threnody, one pitch, go up and down from it. Graphic notation. Threnody, 1960, Penderecki. |
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| Trend in music from 1910s-50s in which composers revived, imitated, or evoked the styles, genres, and forms of pre=romantic music, especially those of the 18th century. |
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| Type of art that first came to prominence in 1960s, based on the idea that performing a prescribed action in a public place vonstitutes a work of art. |
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| Ruth Crawford-Seeger, rotated the pitch row. |
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| Schoenberg, Webern, Berg-Serialism/Atonal. |
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| Afro-Am. pop music of 1960s that combined elements of Rhythm and Blues and gospel singing in songs on love, sex, and other secular subjects. |
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