| Lecture 1 Copland: What are stylistic features of Copland’s music that have contributed to his reputation as an iconic figure in American music? |
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| open spacing of harmonies, bold and vigorous rhythmic activity and the span of his melodies evoke rural and urban American culture |
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| Lecture 1 Copland: Who was Copland’s principle teacher and mentor? |
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| Lecture 1 Copland: Explain the concept of “la grande ligne” |
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| the sense of a long line of a composition, sense of forward motion, flow and continuity in the musical discourse, an entire piece as one functioning entity |
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| Lecture 1 Copland: From what composer’s work was this concept derived “la grande ligne”? |
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| Lecture 1 Copland: Who were Copland’s earliest influences? |
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| Debussy, Scriabin, later Monteverdi, Bach, Ravel and Stravinsky. |
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| Lecture 1 Copland: What are the five major stylistic phases of Copland’s career? |
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russo-french
jazz
modernism and complexity
populism
serialism |
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| Lecture 1 Copland: How did Copland’s political views influence his music of the 1930’s and 1940’s? |
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| more accessible to the people |
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| Lecture 1 Copland: Though not itself serial in any sense, the Twelve Poems of Emily Dickinson shares what aesthetic affinity with serially influenced works like the Piano Quartet? |
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serialism, introspective
turning inward
complex, private world of the composer |
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| Lecture 1 Copland: What are harmonic fields? |
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passage where harmony is static – [usually a part of what we call pan-diatonicism]whole section of music controlled by one single diatonic scale
diatonic scale – you always have 5 possible accidentals that will form a pentatonic scale |
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| Lecture 1 Copland: What are two principle motivic materials that lend a sense of unity to the Dickinson cycle? |
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| M3rds, M7th chords, descending parallel progressions |
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| Lecture 1 Copland: How does enharmonic and chromatic voice leading play a part in projecting the tonal architecture of the piece? |
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sudden harmonic changes, with common tones in flats
(he slowly adds B minor pitches so we go from E flat major to B minor via added accidentals) |
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| Lecture 1 Copland: What other harmonic formation is particularly important to the language of “Heart, We Will Forget Him”? |
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| Lecture 1 Copland: What are significant structural pitches in “Heart, We Will Forget Him”? |
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| Lecture 1 Copland: In what ways does this song reflect the influence of Paul Hindemeth? |
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| pillar chord, which defines the arrival of a new harmonic field |
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| Lecture 1 Copland: In what ways does this song reflect the influence of Gustav Mahler? To what work(s) of Mahler’s does it see to allude? |
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major 7th harmonies, long appoggiaturas
Mahler symphonies, and song cycles Kindertotenlieder and Das Lied von der Erde |
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| Lecture 1 Copland: What elements in the music of Mahler would have attracted a fundamentally anti-Germanic, Francophilic composer such as Copland? |
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| his song cycles and the clear textures in the orchestration |
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| Lecture 1 Copland: What affinities does Copland have with Franz Liszt? |
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| good musical citizens who are there to help other people |
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| Lecture 3 Spectral Music: What are the four parameters of a single note? |
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| pitch, duration, dynamics, timbre |
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| Lecture 3 Spectral Music: Define the term “Klangfarbenmeldie” |
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| term coined by Schoenberg to describe the possibility of a succession of colours related to one another analogous to relationships between pitches. Therefore, a timbral transformation of a single pitch could be perceived as equivalent to a melodic succession |
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| Lecture 3 Spectral Music: Understand the acoustical parameters that create timbre |
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| pitch, duration, dynamics
(perception of a timbre: overtone series, attack and decay) |
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| Lecture 4 Pan diatonicism: What is pan diatonicism? |
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(general term to describe the use of diatonic harmonic fields)
unique: no patterns from classical music, like I IV V, not related to classical tonality but related to the diatonic scale |
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| Lecture 4 Pandiatonicism: What properties of the diatonic scale allow the ear to detect a given note’s sense of place within the octave? |
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| diatonic scale – interval vector, asymmetric, transposable 12 times |
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| Lecture 4 Pandiatonicism: Consider the statement “With one trivial exception, every subset of the diatonic scale has 12 transpositions” What is the exception? |
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| Lecture 4 Pandiatonicism: Which harmonic progressions are most likely to be avoided in pan diatonic music? |
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| tonal patterns like V I, IV V I, IV I, etc. |
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| Lecture 4 Pandiatonicism: How is the effect of pan diatonic music paralleled in the use of rhythm in Satie and Stravinsky’s music? |
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| connection between pan-diatonicism and simplicity of rhythm, texture and number of notes. |
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| Lecture 4 Pandiatonicism: How is Stravinsky’s use of pan diatonicism in Duo Concertante different from Satie’s in the 2nd Gymnopedie? |
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| Stravinsky has clear sense of a tonic, Satie avoids having a tonic. |
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| Lecture 4 Pandiatonicism: What is the principle difference between practice diatonic music and pan diatonic music? |
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absence of traditional chord patterns such as a cadence, absence of shifts between keys by means of chromaticism – less or no use of transposition
pan-diatonicism is “more diatonic” |
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| Lecture 6 Britten: What famous chord is Britten referring to in the very first harmony of Death in Venice, and why is he referring to it? |
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| Lecture 6 Britten: What method does Britten employ at the very start of the work, and who originated this method? |
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| Schonberg and the 12-tone system |
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| Lecture 6 Britten: In what strange way did Gustav Mahler influence the plot of Mann’s Der Tod in Venedig? |
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| When he heard about Mahler’s death, he used it as the focus of the story (he had the ideas before). Name of the character: Gustav (?) |
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| Lecture 6 Britten: Which non-western ensemble was Britten imitating (with Western instruments) in his depiction of the young boys at play on the beach? |
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| Lecture 6 Britten: What work of Plato is essential to understanding the philosophical background of Death in Venice? |
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| Lecture 6 Britten: Greek mythology, Medieval mystery play, and a philosophy of Nietzsche’s come together in which two characters of the story? |
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Apollo (good angel) and Dionysius (bad angel)
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Britten was writing medieval history opera plots before |
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| Lecture 6 Britten: Which hybrid technique of Britten’s creates the sense of an “artificial reverberation”, depicting the “labyrinth of Venice”, and things “lost, forgotten, or audible only from a distance”? |
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| hybrid between heterophony and canon |
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| Lecture 6 Britten: By which musical quotation in Death in Venice does Britten bring his music in direct contact with the ancient world? |
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| actual fragment of an ancient greek song (there are very few left) |
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| Lecture 6 Britten: By what method, drawn from American composers, does Britten create “the fluid recitatives, choral ensemble scenes, and free accompaniments” that “create the illusion of a seamless flow in time and space”? |
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| indeterminacy (any parameter of music is left up to the performer) – close to aleatoric |
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| Lecture 6 Britten: In what way does Britten create harmonic effects using only the tones of a melody? |
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| by sustaining the melodic tones it becomes a harmon |
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| Lecture 6 Britten: To whom was Britten’s Death in Venice dedicated? |
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| Lecture 7 Beatles: What was the date (month, year) of the Beatles’ famous U.S television debut? On which well-loved American variety show did they appear? |
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| Lecture 7 Beatles: Which one of the following descriptions of the personnel/instrumentation for the recording of “She loves you” is incorrect? |
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| Lead guitar, rhythm guitar, bass, and drums is the RIGHT answer |
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| Lecture 7 Beatles: Which two prominent trichords, defined in terms of set theory, permeate the song? |
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025 mainly, also 013
025 often ascending, 013 often descending |
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| Lecture 7 Beatles: What subset of G major plays a vital role in the melodic structure? |
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there are 3 pentatonic scales in each diatonic scale
here: E G A B D |
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| Lecture 7 Beatles: Which motive, defined in terms of set theory, is prominently heard in both the voices and the lead guitar? |
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| Lecture 7 Beatles: What dyad (interval) is central to the harmony of the song from beginning to end? |
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| dyad (interval) E to D or D to E (2nd or 7th) |
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| Lecture 7 Beatles: Which aspect of formal structure was, in the early ’60’s unique to Beatles songs? |
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| modular structure – you can rearrange them, put them in a diff structure |
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| Lecture 7 Beatles: What distinctive rhythm in the drums is featured in the refrains? |
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| Lecture 7 Beatles: What is the nature of the bass part in the song? |
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| rooted 5th (or root and fifth?) |
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| Lecture 7 Beatles: Which Beatles song was on the B-side of the “She Loves You” single? |
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| Lecture 5 Minimalism and Canon: How would you describe minimalism in relation to modernism? |
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| It lets the music take its course like a time turner or pulling back a swing as it comes to rest |
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| Lecture 5 Minimalism and Canon: What composer (who was NOT minimalist) was an important catalyst for the minimalist movement in music? |
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| Lecture 5 Minimalism and Canon: What are some other important influences on minimalism? |
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| canonic techniques, rules |
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| Lecture 5 Minimalism and Canon: Do the composers in this lecture agree with the term minimalism? |
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| No they prefer the term impressionist or music with repetivie structures |
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| Lecture 5 Minimalism and Canon: Who are some of the important examples of American and European minimalists? |
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| LaMonte Young, Terry Riley, Steve Reich, Philip Glass, Arvo Part, Henryk Gorecki, and John Tavener |
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| Lecture 5 Minimalism and Canon: Why have minimalist composers been interested in various forms of canonic techniques? |
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| because now all dissonances are allowed…giving it more opportunities, to create a sense of echo, economy, or strictness in the relationship of the lines |
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| Lecture 5 Minimalism and Canon: What is Phasing? |
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| two tapes are of the same recording are playing slightly out of sync with one another, gradually getting further and further apart |
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| Lecture 5 Minimalism and Canon: What is mensuration canon? |
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| each group of players enters playing exactly the same material but each as a rhythmic augmentation of the previous group |
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| Lecture 5 Minimalism and Canon: What is the meaning of the term “indeterminate”? |
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| is chosen by chance, or if its performance is not precisely specified |
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| Lecture 5 Minimalism and Canon: In what important way is the minimalist (and the modernist) approach to canon different from that of past composers such as Ockeghem and Bach? |
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| They had to concentrate on where dissonances were places whereas newer composers use canons for rhythmic similarity |
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