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| By the 1910’s, had reached its golden age. Most songs from here followed a standard from of one or more verses followed by a thirty-two-measure chorus in an AABA, ABAB, ABAC pattern. |
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| Tin Pan Alley songwriter. Wrote both music and lyrics for his songs. One of America’s most prolific and most loved song writers. Songs include “God Bless America” and “White Christmas”. |
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| Wrote both music and lyrics for his songs. Educated at Yale, Harvard, and the Schola Contorum in Paris, Porter is remembered for his suave, urbane, sophisticated lyrics that revel in innuendo and for his catcy tunes. Songs include “Let’s Do It” “I Get a Kick Out of You” and “You’re the Top” |
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| A composer of song, musical, and jazz, writing to lyrics almost exclusively of his brother, Ira. Musicals include “Strike Up the Band”, “Of Thee I Sing”, and “Lady Be Good”. Also became the most famous and frequently played American classical composer. |
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| Included “I got Rhythm”, sung by Ethal Merman. Became an instant hit. Composed by Gershwin in 1930. |
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| One of the four most popular Tin Pan Alley songwriters. |
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| Written by Jerome Kern. Exemplifying example of integrated musical Broadway theatre. Incorporated various musical styles, genres, and sources. |
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| Loose collections of variety acts |
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| a complete show made up primarily of musical numbers that often included many performers. |
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| Included variety entertainment, star performers, and troupes of beautiful female dancers. Important to the distribution of popular songs. |
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| Complex collaborations with different artists responsible for the music, lyrics, book, choreography, staging, sets, and costumes. Could be vehicles for star performers or new songs. |
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| Short operas with less costume, staging, and accompaniment. |
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| Popular Tin Pan Alley and hollywood musical composer. Wizard of Oz |
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| in an AABA, ABAB, or ABAC pattern. The focus was especially on the chorus, where songwriters placed their catchiest rhythms and melodies. |
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| One of the most influential genres of music tocome out of early-twentiethcentury America. Of Afro-American origin. Consisted of a I-IV-I-V-I progression |
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| “Empress of the Blues” The most successful and prominent African-American musician of the 1920’s. |
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| Came primarily from the Mississippi Delta region and is associated primarily with male African-American singers and guitarists. More directly rooted in oral tradition, therefore more flexibility of textual and musical form and harmonic choices. |
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| Pianist. Extremely central in the development of the NEw Orleans Jazz style. |
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| Trumpet player. Extremely central in the development of the NEw Orleans Jazz style. |
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| In New Orleans Jazz Style, the melodic instruments-trumpets, clarinet, and trombone. |
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| In New Orleans Jazz Style, keeps the beat- Piano, drums, and banjo. |
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| Singing syllables rather than playing notes on an instrument. |
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| The combination of stylish, well-executed arrangements with hard-driving jazz rhythms produced this music. |
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| African American who organized big bands. |
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| White. Organized Big Bands. |
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| One of the leading composers of the Jazz Age and after, and one of the most influential American composers ever. Creole Rhapsody |
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| A new tune composed over a harmonic progression borrowed from a particular song. |
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| African American, organized big bands. |
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| Music that is performed by characters on screen. |
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| Nondiegetic/Underscoring Music |
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| Background music that is not heard by the characters. Provides mood and setting for the audience. |
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| Fred Astaire and Ginger Rogers |
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| Musical singing and acting duo that made them international stars. |
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| By Harold Arlen, introduced color photography to film musicals and launched the career of Judy Garland. |
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| Viennese. Established the model for the Hollywood film score in “King Kong”. Wagnerian opera without singing. Also Gone with the Wind and Casablanca. |
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| Viennese. Composer of opera and classical concert works. The adventures of robin hood. |
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| First prominent American born film composer. Wuthering Heights. How the West was won. |
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| A younger group of composers absorbed the strong influence of neoclassicism but sought to escape the old political dichotomies.
Arthur Honneger,
Darius Milhaud,
Francis Poulenc,
Germaine Tailleferre,
Georges Auric, and
Luis Durey. |
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| Means “New Objectivity”. In opoostiion to the emotional intensity of the late romantics and the expressionism of Schoenberg and Berg. It oppose complexity and promoted the use of familiar elements, borrowing from popular music and jazz or from classical and baroque procedures. |
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| Articulated the Neue Sachlichkeit, and wrote Jonny Spielt Auf. |
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| Written by Ernst Krenek and premiered in Leipzig in 1927, was the embodiment of Neue Sachlichkeit. |
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| Another sympathizer with the Neue Sachlichkeit, he wanted to appeal to the everyday listener rather than the intellectual. Wrote the opera Aufstieg und Fall Der Stadt Mahagony. |
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| Aufstieg und Fall Der Mahagony |
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| A play centered around fugitives from justice that build a city without any legal or moral taboos. The town turns out to be more of a hell. The opera includes many modern instruments including saxophones, timpanis, etc. And borrows lots of idioms from jazz, etc. |
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| Collaborated as the playwright for Aufstieg und Fall Der Mahagony. |
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| The three penny opera by Krut Weill and playwright Bertolt Brecht. Poked fun at American hit songs. Based off of the Beggar’s Opera. |
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| One of the most prolific composers of the century. Emphasized the experience of the performance, and taught two generations of musicians at Berlin, Yale, and Zurich. |
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| “Music for use” Designed by Paul Hindemith to create for young performers music that was high in quality, modern in style, and challenging yet rewarding to perform. |
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| An Opera based off of an altar paited by Mathis Neithardt. The opera served as an allegory as rebellion to the Nazi regime. |
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| by Mathis Neithardt, it is almost expressionist in style with the paintint identifying with common peasant. After the painting, the painter joined the peasants in a revolt. |
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| The only German composer to gain an international reputation during the Nazi regime. Wrote Carmina Burana. |
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| By Carl Orff, for chorus and orchestra. Set medieval poems akin to goliard songs in an attractive, deceptively simple neo-modal idiom. |
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| A realistic style of portraying socialism in a positive light. |
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| Prolific. Symphonies and Piano. Modern and neo-classical. Peter and the Wolf. Romeo and Juliet. |
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| A film with music written by Prokofiev. Became one of the mose celebrated film scores of the era. (1938) |
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| Lived completely under the soviet regime, though not sympathetic with it. |
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| Lady MAcbeth of the Mtsensk District |
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| A popular opera by Shostakovich that was shut down by Stalin in 1936 because he didn’t like its surreal expression of violence and sex. |
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| Shostakovich’s Fifth Symphony |
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| A reaction to the soviet regime and the crimes to which it was committing. While the regime recognized it as Shostakovich finally buckling into submission, it was actually a rebellious composition that was recognized as such by the masses. |
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| Shostakovich’s Seventh Symphony |
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| A political (as all were) piece representing the heroic resistance of the soviet regime in Leningrad. |
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| Brazilian Nationalist. Composed “Choros” and “Bachianas brasileiras”. Responsible for major musical educational reform within Brazil. |
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| Mexican Nationalist. Conductor of Mexico’s first professional orchestra. Wrote Sinfonia India, using Aztec scenarios. |
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| Mexican Nationalist. Composed Sensemaya, simliar to Stravinsky’s Rite of Spring and privitism. |
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| French-born American Nationalist. Wrote Ameriques and Ionisation. |
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| By Edgard Varese, the first experimental piece for percussion ensemble. |
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| Californian. Largely experimental and lacked in official training. Wrote “The Tides of Manaunaun”. |
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| Chords of diatonic or chromatic seconds produced by pressing the keys with the fist or forearm. “Invented” by Henry Cowell. |
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| Written by Henry Cowell, introduced a heavy use of tone clusters. |
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| A book written by Henry Cowell regarding his new ideas in musical textures and procedures. |
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| The first woman to win a Guggenheim Fellowship in music. Her best known work is her string quartet. |
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| Retrograde motion and two part counterpoint. 1 then 2 then 3 and so on. |
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| Gershwin’s most famous piece, billed as a jazz concerto, had its premiere as the centerpiece of an extravagant concert organized by Paul Whiteman as “An experiment in modern music. |
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| An Experimentin Modern Music |
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| an extravagant concert organized by Paul Whiteman |
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| Established the American nationalist sound that we recognize today. Most important American composer of his generation. Music for the Theatre. Billy the Kid. |
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| Balet by Aaron Copland. Cowboy idioms. |
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| Balet by Aaron Copland. American idioms. |
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| African-American. Also incorporated specifically American idioms into art music. Wrote ballets and more. Wrote Afro-American Symphony. |
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| The first symphonic work by an African-American composer to be performed by a major American orchestra. |
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| was a witty and caustic critic for the New York Herald-Tribune as well as a composer. Focussed on music that was simple, direct, playful, and focused on the present. Wrote Four saints in Three acts. |
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| Collaborated with Virgil Thomson in his operas Four Saints in Three Acts and The Mother of us All. |
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| Four Saints in Three Acts |
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| An opera by Virgil Thomson with collaboration from Gertrude Stein. |
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| An opera by Virgil Thomson with collaboration from Gertrude Stein. After Susan B. Anthony, women’s suffrage. |
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| Helped establish NAshville as the venter for country music. |
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| Typically consisted of a vocalist, piano or organ, electric guitar, bass, and drums. They performed new songs built on twelve bar blues or thirty two bar popular song formulas. |
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| A postwar (world war 2) star of country music. |
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| rhythm emphasis on the second and fourth beats, characteristic of rhythm and blues. |
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| White singers performing songs already recorded by black singers for profit. |
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| Combined the unrelenting beat of rhythm and blues with the milder guitar background of country music and drew on numerous elements in both traditions, from rhythm to timbre. |
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| A popular radio disc jockey in Cleveland accredited with coining the term “Rock and Roll”. |
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| Bill Haley and the Comets |
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| Launched Rock and Roll nationally in 1955 with the hit song “Rock Around the Clock” in the film “Blackboard Jungle” |
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| John Lennon, Ringo Starr, George Harrison, and Paul McCartney. Wildly popular in the 1960s. Launched Rock and Roll internationally. |
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| Sgt. Pepper’s Lonely Hearts Club Band |
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| An album by the Beatles. embraced a wide cariety of musical styles, from British music hall songs to Indian sitar music. Rock based music of depth. |
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| After the Beatles 1964 American tour, an influx into North America of British bands such as the rolling stones, the kings, the Who, the Animals, etc. |
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| A guitarist virtuoso established the electric guitar like Paganini had done for the violin. |
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| Deliberately simple, featuring one or more singers with guitar and often the audience was encourage to join in the singing. |
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| In combination of protest, this musician combined traditional folk styles with simple guitar harmonies, ultimately combining folk and rock traditions. Blowing in the Wind and The Times they are Changin. |
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| The leading African American tradition of popular music in the 1960s. Ray Charles. James Brown. Aretha Franklin |
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| A detriot based record company founded and owned by AFrican American entrepreneur Berry Gordy. Dominated the Soul and sometimes the Pop charts as well. |
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| Originating in New York and Puerto Rico, it is a mix of Cuban dance styles with Jazz, rock, and Puerto Rican musical elements. |
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| Produced some of Broadway’s best-loved shows, including Oklahoma, Carousel, South PAcific, and the King and I |
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| Wrote West Side Story, Composer then Lyricist. |
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| Developed several different styles. Film Composer. Ben Hur. Streetcar name Desire. |
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| Film Composer. Citizen Kane. Dissonant. |
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| a New style of jazz built around virtuosic soloists fronting small combos. Emerged in the early 1940s during the waning years of the swing craze. |
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| Alto Saxophonist. wrote anthropology. |
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| Softer timbres, more relaxed pace, and rhythmic subtleties inaugurated the trend. |
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| This experimental style moved away from jazz standards, turning instead to a language built of melodic and harmonic gestures, innovative sounds, atonality, and free forms using improvisation that was carried on outside the structure of standard jazz forms. |
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