| Claude Debussy’s year of birth and death |
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| Claude Debussy’s country of origin |
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| Major difference between Modern music vs all previous versions |
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| Changed away from functional harmonies |
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| Debussy won which contest in 1884? |
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| Original work adapted for orchestral instruments |
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| An original piece of music edited for a different “flavor”. |
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| Debussey’s cause of death and location of death |
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| Died from rectal cancer in Paris during a World War I bombing. |
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| Had many scandalous affairs, including one jilted lover who attempted suicide in a public square. |
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| Prelude a l’apres-midi d’un faune |
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| Tone poem based on a French symbolist poem. Later used as a ballet. |
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| A movement in the later 19th century arts. Symbolists believed that art should aim to capture more absolute truths which could only be accessed by indirect methods. |
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| A term usually given to describe the music of Debussey and others (Ravel). The harmonies, melodies, and rhythms of the music are clouded, shifting, and obscure. (similar to Impressionism in visual art). |
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| Short, rhythmic, melodic phrase repeated over and over again |
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1882-1971
Russian/French/American |
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| 1910 Opera by Stravinsky based on Russian folklore |
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1874-1951
Austrian/American
Pioneer of wholly non-functional, atonal music |
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| Music using two (or more) keys at the same time. Music with more than one tonal center. |
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| Speech singing; a style of singing where the vocalist half-sings and half-says the words, never staying very long on the pitch of written notes. |
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| The Emancipation of Dissonance |
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| A phrase by Schoenberg indicating that dissonant sounds no longer need to be resolved. |
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| Schoenberg and his pupils Berg and Webern |
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| Tone color melody; a melody made up of tone colors instead of individual notes. |
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| No longer based on major/minor scales, nor any type of scale. Irregular phrases. Could use angular and chromatic leaps. There could be little or no melody at all. |
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| New types of chords – all and any type. Tone Clusters. Non-functional harmony |
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| Poly-rhythms. Odd meters – 7/4, 5/4, 13/8. Changing meters in one piece. Multiple time signatures. Ostinatos |
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| Tone colors become more important, extended techniques, use of odd combinations of instruments/voices, no set texture – could be monophonic homophonic or polyphonic |
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1895-1978
Arkansan!
“Dean of African-American Composers”
Went to college for medicine, but switched to music. After his death, his archive “papers” were donated to the University of Arkansas. People from all over the world come to the UofA library to research his life. First African-American to have a piece performed by a major orchestra. First African-American to have an opera performed. First to conduct a major symphony orchestra. |
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| “Harlem Renaissance” or “New Negro Movement” |
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| Started in the 1910s and continued to the 1930s. An explosion of African-American arts. |
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1874-1934
British
Best known for his orchestral suite composed during the years 1914-1916, entitled The Planets. |
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Ideas borrowed from Schoenberg, Stravinsky, and Debussy
Holst never wrote another piece like The Planets again. He hated its popularity.
How ironic that the piece that made his name famous throughout the world brought him the least joy in the end. |
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1. The composer has full control
2. New sounds/rhythms
3. Impossible made possible |
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1932-Present
Born in Tokyo
Had a full time career as a composer for film, television and theatre.
Tomita head Wendy Carlos’ seminal ‘Switched-On Bach’, the record which brought the awareness of the public to the synthesizer in 1968. |
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1920-1955
Kansas City, MO
Died young due to an heroine addiction. |
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