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| notes that share the same name (enharmonic/octave equivalence) |
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| using #’s instead of pitches |
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| 12 tone math- 0 up to E (11) |
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| up to 6. All intervals that can be made from pitch classes |
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| Pitch class interval (ordered, unordered) |
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| unordered PCi=ic1..2, etc. ordered- {1,3,5} |
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| group of unordered pitch classes |
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| pitch class set that = all possible transpositions/inversions starting with 0 |
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| a set of pitches taken from a larger set |
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| extended sets or subsets of pitches |
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| most compact form of the order set to the left |
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| normal order starting with 0 |
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| composed with ordered elements other than notes |
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| an order of all 12 chromatic pitches |
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| Hexachordal Combinatoriality |
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| 2 forms of the same row creating an aggregate |
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| collection of all 12 pitches |
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| 12 tone row constructed with repeating groups of PC set |
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| sound color melody (more than 1 inst. on melody) |
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| any element left to chance in music |
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| using instruments to imitate bird calls |
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| music that pushes boundaries and has new, distinctive elements |
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| distorting reality with emotion |
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| unusual sound/technique for instruments |
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| music of the people (Bartok) |
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| 19th century art music (Debussy) |
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| applying serialism to elements other than pitch |
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| cluster chords formed from chromatic lines |
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| repetition and gradual change of simple elements (limited materials) |
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| Modes of Limited Transposition |
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| whole tone, can’t be transposed more than 7 times |
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| 20th century return to classical elements avoiding the excess of romanticism |
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| Non-retrogradable rhythms |
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| same front to back- palindrome |
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| persistant musical figure |
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| Shoenberg- named after Pierrot Lunaire (clarinet, flute, piano, violin, cello, piano, singer) |
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| connecting chords through parallel motion |
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| music that consciously appeals to the masses- Gershwin, Bernstein |
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| Ligeti- music using sound clusters to introduce new music (timbre/dynamics) |
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| Elliot Carter- change of tempo when the note value of the 1st tempo equals the note value of the second tempo |
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| chord with 3 or more adjacent 1/2 steps |
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| Post-minimalist- traditional ensembles, return to romantic elements, melody, chromatic harmony (Short Ride in a Fast Machine, El Nino) |
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| Minimalist, Jazz- “boogie bass” strange instrumentation (The Style) |
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| Integral Serialism- “Who Cartes if You Listen?” (Semi-Simple Variations) |
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| Nationalism/Folk music- valued symmetry, strange meters (String Quartet) |
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| 12 tone- tonal allusion, quotation (Violin Concerto) |
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| Chance/Alleatoric- prepared piano, percussion (4’33”) |
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| String Piano, tone cluster (The Banshee) |
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| Impressionism/Symbolism- Planing, pedal tones, extended tertian harmonies, new scales |
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| collaborate, minimalist- simple arpeggios and scales, additive rhythms, formed Philip Glass ensemble (Music in 12 Parts) |
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| Hungarian, sound mass (Atmospheres, Etudes for Piano) |
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| Experimentalism-American, collage technique, quotations (The Cage, 3 Places in New England) |
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| French, bird calls, non-retrogradeable rhythms, modes of limited transposition (Quartet for the End of Time) |
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| Minimalism- phasing, process pieces, clapping music (Tehillim, Music for Mallet Inst. and Organ) |
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| atonal, experimentalist, late romantic, 12-tone- scprecstimme (Pierrot Lunaire) |
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| Neo-classicism- Russian, changing meter, syncopation, blocks of sound, polytonality, ostinato (Rite of Spring, Requiem Canticles) |
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| experimentalist- French, percussion, sound mass, Liberation of Sound (Ionisation) |
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| 2nd Viennese school- miniatures, pointillism, timbre |
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Major-sol, none
Minor- sol, ti |
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Maj- ti, ri-fi
Min- te, n/a |
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Maj- re, fi
Min- re, fi/la |
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