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Music History final
Late Romatic - 20th century
| Question | Answer |
|---|---|
| Romanticism | attitude or orientation that characterized many works of literature, painting, music, historiography in Western civilization over a period from the late 18th to the mid-19th century. |
| Impressionism | using colorful harmonies, invoking moods and pleasure in the moment with extended chords; almost jazz-like |
| Expressionism | in which music avoids allforms of "beauty" in order to express deep personal feelings through exaggerated gestures, angular MELODIES, and extreme DISSONANCE. |
| Serialism | Begins with a twelve-tone technique, which uses a set of the 12 notes of the chromatic scale to form a row |
| Aleatoric | Begins with a twelve-tone technique, which uses a set of the 12 notes of the chromatic scale to form a row |
| Klangfarbenmelodie | – To describe a succession of tone colors that is perceived as analogous to the changing pitches in a MELODY. |
| Pointillism | – A technique of painting in which a lot of tiny dots are combined to form a picture. . |
| Absolute music | music has no words and no references to stories or images program music is a form of |
| Symphonic poem | symphonic poem may stand on its own, or it can be part of a series combined into a suite |
| Cyclic treatment | Characterized by, or moving in cycles, or happening at regular intervals |
| Verismo | operas that deal with the unpleasant realities of life, introducing characters from the lower social strata, poverty, passion and brutality. |
| Post-romanticism | is the art of passion and refers to the postmodern re-enactment of romantic themes and motifs in contemporary art. As an emerging trend, |
| Minimalism | simplified so that what is going on in the music is immediately apparent. often characterized by a constant pulse and many repetitions of simple RHYTHMIC, MELODIC, or HARMONIC patterns. |
| Neo-Classicism | Trend in music from the 1910s to the 1950s in which composers revived, styles, GENRES, and FORMS of pre-RoMANTIC music, especially those of the eighteenth century. |
| Neo-Baroque | is a term used to describe artistic creations which display important aspects of Baroque style, but are not from the Baroque period |
| Neo-Romantic | A trend of the late twentieth century in which composers adopted the familiar tonal idiom of nineteenth-century ROMANTIC music and incorporated its sounds and gestures |
| Nationalism | musical ideas or motifs that are identified with a specific country, region, or ethnicity, such as folk tunes and melodies, rhythms, and harmonies inspired by them |
| Gerbrauchsmusik | an operatic performance that encompasses music, theatre and the visual arts. |
| Dodecaphony | Music composed according to the twelve-tone system of composition |
| Sprechstimme | A vocal style developed by Arnold Schoenberg in which the performer approximates the written pitches in the gliding tones of speech, while following the notated rhythm. |
| Program music | a form of art music intended to evoke extra-musical ideas, images in the mind of the listener by musically representing a scene, image or mood |
| Tone poem | a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative elementA symphonic poem may stand on its own, or it can be part of a series combined into a suite |
| Leitmotif | defined theme or musical idea, representing or symbolizing a person, object, idea etc, |
| Rag | = Instrumental work in RAGTIME style, usually in the FORM of a MARCH. |
| Signal Song | A song that slaves song for message during the time of the underground railroad |
| Poly-rhythm | The simultaneous sounding of two or more independent rhythms |
| Poly-meter | The simultaneous use of two or more meters, in two or more parts. |
| Poly-tonality | - The simultaneous use of two or more KEYS, each in a different layer of the music (such as MELODY and accompaniment |
| Russian Five | Mussorgsky, Borodin, Rimsky-Korsakov, Cui, (Boris Gudnov); to create national idiom within classical tradition; uses folk elements, new scales (modal, octatonic |
| Les Six | : Milhaud and Poulenc; Seen as reaction or even opposition to Wagnerians and impressionism, more tonal, less heavy chromaticism; classical form, unique instrumentation |
| Second Viennese School | English-speaking countries to denote the group of composers that comprised Arnold Schoenberg and his pupils and close associates in early 20th century Vienna, where, with breaks, he lived and taught between 1903 and 1925 |
| Impressionists | Debussy and Ravel; using colorful harmonies, invoking moods and pleasure in the moment with extended chords; almost jazz-like |
| New England | Amy Beach (General Booth) based on geography; incorporates transcendentalism; very atonal and pushing the limits of tradition ideas in music |
Created by:
gilmore.girl28
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