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| A pitch class that provides a center of gravity |
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Minor Sounding: Dorian, Phrygian, Aeolian
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Major: Lydian, Mixolydian, Locrian
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Lydian-Mixolydian
Phrygian- Dorian
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| Any temporal and/or pitch structure that displays some kind of symmetrical structuring (inversional, retrograde, retrograde-inversional (rotational), etc.) |
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| An eight-note scale composed of a repeated series of half-whole or whole-half successions |
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| A six-note collection derived from the juxtaposition of two augmented triads in the interval of a half step |
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| Diatonic modes; Pentatonic scales; Synthetic Scales |
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| Lead Sheet Symbols (9th, 11th, 13th chords) |
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| Used in jazz and most popular music styles to indicate chords o be played under a given melody |
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| consists of two or more chords sounded simultaneously |
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| the sonority that results when the major and minor triad built on the same root are used simultaneously |
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| two or more tonal centers heard simultaneously |
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| Vertical sonorities that can be derived from a whole-tone scale |
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| a sonority derived from stacked 4ths |
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| a sonority derived from stacked 5ths |
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| Secundal harmony/ cluster chords |
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| A chordal sonority derived from stacked 2nds |
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| Planing: Diatonic/Chromatic |
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| The use of chords moving in parallel motion |
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| The attempt to equalize the seven tones of the diatonic scale so that no single pitch is heard as a tone center. Some identifying characteristics include use of a key signature, absence of accidentals, free use of the 7 tones of the major scale associated with that key signature, and the absence of functional harmonic movement. |
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| Golden Section (golden rati0 |
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| 1: 618: 1, this porportion is found throughout nature and has been associated with proportional balance in art and architecture |
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| An interaction between rhythm and meter that implies a 3:2 ratio |
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| Meter that contains an odd number of beats, with the exception of triple meter |
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| The use of rapidly changing meter signatures |
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| Music that lacks an aurally percievable meter |
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| The simultaneous presentation of of two or more aurally contrasting rhythmic streams |
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| The simultaneous presentation of two or more meters |
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| change in tempo, note value of previous tempo = different note value in new tempo. Elliot Carter |
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| A process by which Rhythmic Irregularity is created through the addition of a note value or rest to a rhythmic figure |
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| Rhythmic pattern that is the same backwards or forwards |
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| In twentieth century music, refers to a rhythmic technique (associated with Medieval motets and masses) that typically consists of a repeated rhythmic figure called the Talea in combination with a repeated pitch sequence of a different length called the color |
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| Term used to group together all pitches that have an identical sound or that are identical except for the octave or octaves |
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| Term used to describe pitch structures in atonal music; meaningful groups of related pitch classes |
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| The shortest distance (in semitones) between to pitch classes |
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| Ordered Pitch-class interval |
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| The distance between two pitch classes, expressed as an integer from 0 to 11 |
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| A way of arranging a pc set so that it begins from 0 and is most packed to the left. (notated using parantheses but no interveneing commas or spaces) |
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| The most compact arrangement of the members of a pc set, listed from left to right in ascending order within an octave (notated using suqare brackets with interveneing commas) |
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| used when finding shortest span from 1st to last/normal order (0126=> 1260 => 2601 etc…) |
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| gives a rough approximation of the quality of a sonority by listing the number of occurances of each interval class in that sonority |
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| Adjacency interval series (AIS) |
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| the (ascending only) intervals between pitches in a 12-tone row |
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| Transpositional equivalence |
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| The same intervals in a different key |
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| if you can invert then transpose and have the same intervals |
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| take the literal compliment and put it into prime forn |
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| Method of referring to a set class, developed by theorist Allen Forte. |
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| two sets that have the same interval class vector |
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| A set of all 12 pitch classes |
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every number that is not in the set.
EX: [0,1,2] => [3,4,5,6,7,8,9,T,E]
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| Inversionally symmetrical sets |
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| Sets that map onto themselves under Tn1 |
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| Invented by Arnold Schoenberg, Serialism using all 12 pitches; only has to do with pitches |
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| Prime form on 12-tone matrix |
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| Inverted form on 12-tone matrix |
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| Retrograde form on 12-tone matrix |
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| Retrograde inversion form on 12-tone matrix |
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| chart showing all variants of a 12-tone series |
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| Indicate the relative order position of each pitch class within a particular series form |
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| 2 of each interval class (1-5) and one tritone (6) |
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| small chunks of music derived from the same Forte-name make up a row |
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| unchangeable chunks of music in a derived row |
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| Symmetrical row (“chunks”) |
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| when you find the adjacency interval series and when you fold the row in half its the same |
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| Hexachordal combinatoriality |
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2 halves of a row from the same matrix switch places and don’t have to stay in order
Prime combinatorial
Retrograde combinatorial
Inversional combinatorial
Retrograde-inversional combinatorial
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| The method of ordering musical parameters other than pitch such as rhythm, dynamic, and articulation |
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| Aleatoric music (indeterminancy) |
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| music in which various elements of a composition are, in varying degrees, determined by chance. Can manifest itself in two ways in music: The compositional process itself, or the performer may be given the opportunity to make decisions during the performance of the piece. |
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| Performance art; Meredith Monk; set of instructions; Dr. Gable’s key piece |
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| Specifically when the performers have the choice (subcategory of Aleatoric music) |
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| the use of intervals smaller than the usual whole-tones and semitones of the best-known Western European compositional traditions, although the use of such intervals is a routine feature of many world musics. |
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| John Cage; piece where you put stuff in a piano in specific way to create a specific sound |
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| Same as action music, set of instructions; meredith monk |
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| a notational style that uses non-traditional symbols to represent musical information |
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| Ligetti; the importance of individual pitches,” is minimized, “in preference for texture, timbre, and dynamics as primary shapers of gesture and impact,” obscuring, “the boundary between sound and noise |
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| Structured aleatoric music |
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| not sure…. I think it’s just slightly more structured aleatoric music than regular aleatoric music because…. you know…. the name… |
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| music characterised by the use of restricted pitch materials, static harmony, and rhythmic devices such as repitition, ostinato, polyrhythm, a steady pulse, and phasing |
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| Rhythmic process in which two or more voices that have the same material begin in unison, but after a time begin to play at different tempos, moving in and out of alignment with one another |
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| A portion of recorded tape that is repeated over and over again |
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| Examples of early electronic instruments that used electronic oscillators as tone generators |
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| music that exists in the medium of magnetic tape |
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| music that is made up of “found sounds”, such as tape recordings, and is put together electronically by the composer |
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| Musical Instrument Digital Interface. |
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| music created with the aid of a computer (self explanitory) |
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| A software application that stores sequences of MIDI data and allows a composer to change MIDI note, key velocity, tempo, or controller information of a previously encoded performance |
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| Arvo Part; Bell music; two voices, one arpeggiated tonic triad and second voice moves diatonically in stepwise motion |
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| voice part that carries stepwise diatonic melody of tintinnabuli music; Arvo Part |
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| voice part that carries arpeggiated tonic triad of tintinnabuli music; Arvo Part |
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| Music that seems to have its roots in the minimalist traditions of the 1960s and 1970s but is not as strict in its application of typical minimalist techniques |
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| a multi-faceted contemporary classical music organization based in New York City. It was founded in 1987 by three American composers who remain its artistic directors: Julia Wolfe, David Lang, and Michael Gordon |
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| A Pierrot ensemble is a musical ensemble comprising flute, clarinet, violin, cello and piano, frequently augmented by the addition of a singer or percussionist, and/or by the performers doubling on other woodwind/stringed/keyboard instruments (chamber music) |
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Life: American Composer; Massachusetts, 1947
Style: coined the term “Post-minimalist”
Major Works: Shaker Loops, El Nino
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Born: London, England – 1971
Style: New complexity style
Major Works: The Tempest, Asyla, Polaris: Voyage for Orchestra
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American Composer, 1916-2011
Style: Serialism, electronic music
Major Works: All set
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Born: Austria, Hungary – 1881
Style: Late romantic, archived Hungarian folk music, first ethnomusicologist
Major Works: Piano Concerto No. 3
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Born: Italian Composer, Vienna – 1888
Style: Late romantic; mixed romanticism with 12-tone techniques
Major Works: Skandalkonzert (led to a riot), Wozzeck, Violin Concerto
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Born: French Composer, 1925-2016
Style: 20th century, Integral Serialism, Post-tonal
Major Works: “Structures”-for 2 pianos, Pli Selon Pli, Third Piano Sonata, Le Marteau Sans Maitre
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Born: England 1913-1976
Style: 12-tone
Major Works: War requiem, Peter Grimes, The young person’s guide to orchestra
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Born: American Composer 1912-1992
Style: Avant-garde, Indeterminancy
Major Works: 4’33”, Music of Changes
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Born: American Composer 1901-1953
Style: Modernist, Folk music (archived folk music for the library of congress)
Major Works: String Quartet, Piano Prelude, Wrote the book – American Folk Songs for Children
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Born: French Composer 1862-1918
Style: Impressionist music, used non-traditional scales (modes) and chromatisism
Major Works: Clair de Lune, String Quartet in G minor
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Born: American Composer 1937
Style: Minimalism, film scores
Major Works: Glassworks
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Born: Poland 1933-2010
Style: Vital-Explosive, Post-Webern expressionism/serialism, Religious Minimalism
Major Works: Symphony No.3 “Symphony of Sorrowful Song”, Symphony No.4, Genesis 1
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Born: American Composer 1874-1954
Style: Pioneer of Modernism, Avant-garde, aleatoric
Major Works: Central Park in the Dark, Symphony No.3
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Born: Transylvania, Romania 1923-2006
Style: Modernist/avant-garde, Tonal clusters, microtonality, polyphony, “clocks and clouds”
Major Works: Atmospheres, Ramifications
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Born: Poland 1913-1994
Style: Structured Aleatory, 12-tone, tone clusters
Major Works: Concerto for Orchestra, He was often inspired by Polish folk music
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Born: Austria 1860-1911
Style: Late romantic, modernist
Major Works: Symphony No.2
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Born: French Composer 1908-1992
Style: Total Serialism
Major Works: Quator pour le fin du temps
He was the guy who had synesthesia and could see colors with pitches and wrote bird songs based on the color of the birds.
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Born: American Composer
Style: Extended Vocal Technique, interdisciplinary, avant-garde, performance music
Major Works: Girlchild
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Born: Estonia 1935
Style: classical and sacred music, minimalism, Tintinnabuli
Major Works: Magnificat, Spiegel im Spiegel
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Born: Polan 1933
Style: avant garde, tone clusters, graphic notation,
Major Works: Threnody to the Victims of Hiroshima, St.Luke Passion, Polish Requiem
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Born: Russia 1891-1953
Style: Avant-garde, counterpoint
Major Works: The Love For Three Oranges, Dance of the Knights
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Born: American Composer 1936
Style: minimalism, phasing
Major Works: clapping song, come out, different trains
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Born: Austria 1874 – 1951
Style: Expressionism, atonality, 12-tone
Major Works: Verklarte Nacht, pierrot lunaire
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Born: Russia, 1906-1975
Style: Avant-garde
Major Works: Symphone No.5, Piano trio
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Born: Germany 1864-1949
Style: Late-romantic, avant-garde
Major Works: Four Last Songs, Oboe Concerto
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Born: Russia 1882-1971
Style: Late-romantic, serialism
Major Works: The Rite of Spring, The Firebird, Renard
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Born: Austria 1883-1945
Style: atonality, 12-tone, serialism
Major Works: String Quartet, variations for piano
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Born: American Composer 1958
Style: Minimalist/modernist, influenced by folk, classic, rock
Major Works: Anthracite Fields, Steel Hammer, She helped found Bang on a Can
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