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Music 2
| Question | Answer |
|---|---|
| what do historians call a time where a majority of composers in writing music in similar ways? | a "style period" or "era" |
| Where have many names for musical style periods come from? | they were often based on the name of visual art/architecture style periods |
| how many broad eras are there in musical epochs? | 6 |
| What is the first era? | th Medieval Period |
| What started in the 9th century? | the development of musical notation |
| What entity took the lead in developing musical notating? | the Catholic Church |
| Why did the church do this? | because church leadership wanted to standardize music across the Holy Roman Empire |
| What arose as the power of the Catholic church waned? | Humanism |
| What was this time period known as? | The Renaissance |
| What came after the Renaisance? | the Baroque era |
| Where is the end of the Baroque era placed? | the year 1750 |
| What notable composer died that year? | Johann Sebastian Bach |
| At the time before his death, Bach's work was seen as… | very old fashioned |
| This implies that the next era, the Classical Period was… | already underway by 1750 |
| What came after the Classical era? | th Romantic period |
| What is there considerable debate over? | when the classical period transitioned to the romantic era |
| How early did some Romantic innovations appear? | as early as 1800 |
| How late where there still composers producing classical work? | as late as 1830 |
| What characterizes Romantic music? | rich harmonies and lush expressiveness |
| How long did the Romantic period dominate? | until the end of the 19th century |
| When was a sixth stylistic era born? | at the beginning at the 20th century |
| What do many scholars disagree over with this era? | what to call it |
| There is often disaggrement over what to name a musical era, for example, Baroque means… | “misshapen” or “distorted”, some saw it as an insult |
| What names do many scholars not like? | the "contemporary era" or the "modern era" |
| Modern is a term that inevitably becomes _____ as time passes | obsolete |
| Did Romanticism completely die out by the end of the 19th century? | no |
| in the late 19th/early 20th century, what did many concert goers want to hear? | classical music like that of Beethoven, Mozart, Haydn, etc. |
| What do historians refer to this as? | a canon (the "classics") |
| Which composers took the attitude of “if you can’t beat ’em, join ’em!”? | Gustav Mahler, Richard Strauss, Ralph Vaughan Williams, and Sergei Rachmaninoff |
| what is their music often categorized as… | post-romanticism |
| what typed of features did this type of music feature? | many of the features that would have been in 19th century music |
| what are some examples of these features? | common-practice harmony with extended chords, emphasis on expressiveness/long-ranging melodic flow, and an array of timbres |
| What is the array of timbres sometimes referred to? | tone colors |
| Did the audience's demand for the canon have benefits for composers? | yes |
| What was Leopold Stokowski composer of? | the Philadelphia Orchestra |
| what was he very influential in forming? | American Musical tastes |
| What did Stokowski often emphasize in his work? | European music |
| When did American music conservatories truly begin to flourish? | in the mid-19th century onward |
| When was Peadody, in Baltimore, founded? | 1857 |
| When was Boston's New England conservatory established? | 1867 |
| the conservatory known today as the Juilliard School opened its doors in New York in… | 1905 |
| What was it known as back in 1905? | the Institute of Musical Art |
| What played a critical role in cutting-edge music of the early 20th century? | new techonology |
| What type of innovations in the mid-19th century benefitted musicians? | instrument-building innovations |
| what are some examples of these innovations? | the development of valves and pistons for brass instruments, improved key designs for woodwinds, and iron frames for pianos |
| what were some brand new instruments made in this period? | the saxophone, piccolo, and tuba |
| Because of techonology, music could reach more listeners; this increase in potential listeners meant that… | more types of music could find an audience |
| what had been used for communication throughout the 19th century? | wires (telegraph/telephone) |
| What italian inventor achieved several breakthroughs in wireless technology? | Guglielmo Marconi |
| When was speech transmitted for the first time? | Dec. 23, 1900 |
| Who presented what are considered to be the first public radio broadcasts on Jan 12 and 13 1910? | Lee De Forest |
| What did he transmit? | two performances of New York’s Metropolitan Opera |
| Whose legendary voice was in this opera? | that of Enrico Caruso |
| What did one radio engineer on board a ship in the Atlantic say of the radio broadcasts? | "the reception was excellent" |
| When was the importance of radio underscored? | in the 1912 Titanic Disaster |
| What ship was closest to the Titanic? | the S.S. Californian |
| why did it not respond? | its radio operator was off-duty |
| what did this incident lead to? | passage of the “Radio Act of 1912” |
| what were the two main requirements of this act? | "all seagoing vessels needed to hire enough radio operators so that distress frequencies could be monitored continuously, and all U.S. radio stations needed to be licensed by the federal government" |
| Why did stations have to be licensed? | because there had been incidents of amateur radio operators sending out false distress signals |
| What was another provision of the act? | the US president could close these radio stations in the time of war |
| When did the Department of Commerce close down all private radio stations? | Apr. 7, 1917 |
| When did commercial broadcasting begin? | in 1920 |
| What poem did Thomas Edison record acoustically onto tinfoil in 1877? | "Mary Had a Little Lamb" |
| What was this recording device called? | the cylinder "phonograph" |
| did he continue to develop this device? | no, he moved on to other things |
| When did Edison return to his audio device? | 1888 |
| What did he consider it to be? | a dictation machine (used in Business offers) |
| what did he not envision its value in? | entertainment |
| When did Columbia introduce the "graphophone"? | at the same time that Edison was marketing his phonograph |
| What surface did both devices use at that point in time? | wax cylinders |
| From 1890 onward, it was increasingly easy for customers to purchase… | recordings of musicians |
| What the "gramophone" play? | flat disc recordings |
| By 1910, what type of discs were common in households? | 78 rpm discs |
| In 1913, who recorded the complete 5th symphony of Beethoven? | the Berlin Philharmonic |
| What did it require? | that 8 discs be collected into an "album" |
| When did Enrico Caruso begin making recordings? | in 1904 |
| what were his yearly sales upto by 1920? | $115,000 |
| During WWI, what did soldiers take to the frontlines? | gamophones |
| What manufacture even made a "trench model"? | Decca |
| What did these machines contribute to? | troop morale |
| When was musician Arthur Bliss's brother killed? | 1916 |
| what did Bliss write? | “I have suddenly found solace in the gramophone" |
| Who was entertained by one experience with his gramophone? | Corporal AD Pankhurst (read his quote on pg 41/42) |
| what did the British use one gramophone as? | an assault weapon against the Germans in 1918 |
| What English commander set of a record of an anti-german song on the Gramophone in his trench? | Captain Parrish |
| What German Lieutenant first entered the Trench? | Ernst Junger |
| What did Junger, who spoke english, do to the Gramophone? | he crashed the Gramophone into the ground out of anger |
| What did many researchers use recording devices for? | to preserve folk and ethnic music in a great many countries |
| Which American recorded more than 2000 Native American melodies? | Frances Densmore |
| what new term was created for people who preserved old musical traditions by recording? | ethnomusicology |
| What were some early ethnomusicologists? | Hungarians Zoltan Kodaly and Bela Bartok |
| What did they illustrate in their work? | nationalism |
| Edison was also one of the first to experiment successfully with… | moving pictures |
| What did he unveil in 1891? | the "Kinetoscope" |
| what did it allow a person to do? | view images silently |
| What did he then design? | his "Kinetophone" |
| what was a kinetophone equipped with? | one of his phonographs inside the Kinetoscope cabinet |
| what did many experimenters attempt to do in the early 20th century? | to develop ways of synchronizing the film images with recorded sound |
| what was the "sound-of-disc" technique known as? | coordinating a phonograph or gramophone with the projector |
| What was a soundtrack? | sound is imbedded onto the filmstrip itself (“sound-on-film”) |
| what were both technologies hampered by? | the inablity to amplify the sound effectively enough to fill a room |
| Where were some early experiments during WWI? | Germany and France; the US as well |
| When did progress occur in the flim industry? | the 1920s |
| What American perfected a vacuum tube that permitted louder sound amplification? | Lee De Forest and others |
| Was the film industry quick to adopt his technique? | no |
| When did spoken dialogue first appear in a feature film? | 1927 in The Jazz Singer |
| What were these type of films first known as? | "talkies" |
| What did most cinemas rely on before the era of "talkies"? | live musicians |
| what became a prime objective for composers during the modern era? | originality |
| How did French composer Erik Satie respond to Claude Debussy's critism that his music was shapeless and lacked form? | Satie wrote "Three Pieces in the Form of a Pear" in 1903 |
| What type of music did Satie create? | an avant-garde music style |
| What are many definable artistic movements known as? | "-isms" like impressionISM |
| what were some popular artistic movements at this time? | Impressionism, Expressionism, and Primitivism |
| What one feature could be said to characterize the Modern Era? | a pervasive interest in experimentation |
| who would later become famous for his "drip" paintings? | jason pollack |
| what is one of Henry Cowell's famous works? | The Tides of Manaunaun |
| What did composer Henry Cowell make use of? | tone clusters |
| how were these produced? | by using a fist or even the entire forearm on the piano keyboard |
| what was one of the first forms of modern artistic experimentation? | Impressionism |
| where did impressionism develop in the late 19th century? | France |
| What was the name of Claude Monet's painting that he exhibited in 1872? | Impression: soleil levant (Impression: Sunrise) |
| What did the painting challenge? | the traditional values of representational art |
| What did it give precedence to? | color and light rather than line and form |
| What were some other French artists that experimented along the same lines as Monet? | Edouard Manet, Edgar Degas, and Pierre-Auguste Renoir |
| what English painter was a pioneer of impressionism? | J.M.W. Turner |
| What were impressionist's paintings usually? | landscapes |
| What were impressionists fascinated with depicting? | the effects of light |
| Were colors frequently blended? | no |
| What received great attention? | surface textures |
| What group of artists did Louis Leroy condemn? | impressionists and experimental artists in general |
| How did Leroy dismiss Monet's painting in a satirical review in a French newspaper? | “Wallpaper in its embryonic state is more finished than that seascape” |
| Who was the first to use the label "impressionists"? | Jules-Antoine Castagnary |
| what did he say of impressionists? | "“They render not the landscape but the sensation produced by the landscape""" |
| Describe the style of impressionist musical composers? | The forms of their pieces were often vague and inexact, and floating sensations were common |
| What was their harmony usally based on? | common-practice tonality, but with more "added" pitches |
| What is an example of an uncoventional scale used by these musicians? | the whole-tone scale |
| is there a natural pull to the tonic in this whole-tone scale? | no |
| what was often deemphasized in Impressionism? | the rhythmic pulse |
| What did impressionist composers often explore? | new tone colors/timbres |
| What were some unusual instruments used by impressionist composers? | antique cymbals or choirs that sing with closed lips (?!?) |
| Historians see parallels between musical Impressionism and an earlier movement in French poetry called… | Symbolism |
| what were some symbolist poets? | Charles Baudelaire, Stephane Mallarme, Paul Verlaine, and the Belgian Albert Giraud |
| what did their poems emphasize? | imagery over narrative structure |
| what did iterruptions in their syntax contribute to? | a vague, dreamlike atmosphere |
| what were these "breaks" in flow similar to? | the things impressionist composers would do in their work |
| what is one of the most famous Impressionist compositions? | Debussy’s orchestral piece "Prelude to the Afternoon of a Faun" |
| what is this piece based on? | a symbolist poem by Mallarme |
| What was the initial reaction to Debussy's work? | dissatisfaction |
| Is it popular now? | yes |
| Did the French composer Maurice Ravel write some impressionist pieces? | yes |
| who was the first woman to win the prestigiouse Prix de Rome? | Lili Boulanger |
| what does this award allow for the victor? | the oppurtunity to study in Italy for a year |
| In what piece did Ottorino Respighi use impressionist ideas? | Fountains of Rome (1916) |
| Where did English composer Fredrick Dellus live until WWI? | France; he wrote many impressionist pieces there |
| Who helped introduce impressionist ideas to the US? | Charles Griffes |
| what was the name of his work? | "The White Peacock" |
| What is "The White Peacock" from? | Griffes's Roman Sketches 1915-1916 |
| Who hated the term impressionism? | Debussy |
| What did he insist? | “I am trying to make something new-realities, as it were: what the imbeciles call impressionism” |
| What is the name of the first listening section? | Preludes, Book I, No. 2 “Voiles” |
| Who is it by and when was it published? | 1909, by Claude Debussy |
| who books are there of Preludes? | 2 |
| how many works are in each book? | a dozen works for solo piano |
| What are two of the most famous? | "“The Sunken Cathedral” and “The Girl with the Flaxen Hair”" |
| why are the Preludes considered character pieces? | because of their descriptive titles |
| when did character pieces become popular? | in the Romantic period |
| Because of their short length, what are charater pieces often called? | miniatures |
| what is their purpose usally? | to express the imagery suggested by their title |
| Who composed "Preludes and Fugues"? | J.S. Bach |
| How did the Romantic composer Frederic Chopin challenge listeners' expectations? | by putting together sets of character pieces that he labeled “preludes”; these did not have a preludial function that would lead listeners onward |
| Who was Debussy making a tribute to with his work? | Chopin |
| Why is the publish date for book 1 significant? | it was published in the year that marked the centennial anniversary of Chopin's birth |
| Unlike Chopin, Debussy assigned… | individual titles to each of his Preludes |
| where did he put these titles? | at the end of each piece |
| Why is the title "Voiles" ambiguous? | because it could mean the veil or the sail |
| What is Debussy's lack of clarity a perfect manifestation of? | Impressionism's vagueness |
| what else is vague about Debussy's piece? | the form |
| What does Voiles follow? | a ternary structure of ABA |
| Where is there confusion? | where each section begins and ends |
| What does the opening of prelude (A) use pitches drawn from? | a whole tone scale |
| How many motifs does Debussy craft from this scale? | 3 |
| what are these 3 motifs? | a downward cascade (heard at the very start), a figure that climbs slowly upward, and an oscillating motif that follows a gentle “zigzag” motion |
| What does Debussy switch to in the middle portion (B) of his work? | a pentatonic scale |
| what is a glissando? | a rapid gesture that resembles the sweeping motion of a harp |
| When Debussy returns to whole-tone pitches what are they set to? | the glissandos |
| What did Debussy once tell his teacher Ernest Guiraud? | “The music will begin where the words are impotent; music is made for this ‘inexpressible.’ I would like it to appear as though it came from a shadow and that from time to time it will return there” |
| What about Voiles achieve this ambition? | the veiled, floating-sail-like mysteries |
| What does Voiles not contain? | catchy tunes or a danceable rhythm |
| however, what does it still invite us to do? | to focus on its smallest details |
| What did Maurice Ravel observe? | “The French composers of today work on small canvases but each stroke of the brush is of vital importance.” |
| Expressionism is an artistic movement that confronts… | human reality |
| what do expressionist artists like to depict? | emotional responses |
| When did a renewed interest in this form of art take hold of society? | the early 20th |
| What is a common feature of Expressionism? | it reflects uneasiness |
| Is expressionist painting relaxing to view? | usally not |
| What do non-naturalistic colors and exaggerated/distorted shapes reflect? | the destruction of the traditional trust between humans and the world |
| An expressionist artist ins't concerned with protraying ______, but rather _______. | serene beauty; heightened, extreme feelings |
| Expressionism is also seen as a way of conveying… | "inner reality" or "truth" |
| Where did the most prominent expressionist artists work? | Germany and Austria |
| What were some famous expressionists? | Franz Marc, Max Beckmann, and Egon Schiele |
| What famous expressionist was born in Russia, but moved to Germany? | Wassily Kandinsky |
| What is the most widely recognized expressionist painting? | The Scream (1893) |
| Who painted this work? | the Norwegian, Edvard Munch |
| Who was one of the pioneers of musical Expressionism who also painted? | Arnold Schoenberg |
| What type of artworks did Schoenberg paint? | self-protraits, some of his images seemed stressed or anguished |
| What was his maxim in both music and painting? | "Art comes not from ability but from necessity" |
| Listening to expressionist music can be… | unsettling |
| What is the first music style that most people think of when the term avant-garde is mentioned? | expressionism |
| How do musicians achieve this cutting-edge quality? | by subverting the musical elements that seem comfortingly familiar |
| What does musical expressionism avoid? | clear cadences and balanced phrases |
| Expressionist from are usally… | indistinguishable |
| Expressionist rhythm can be… | erractic or forceful/inescapable |
| Does dissonance dominate over consonance in expressionist works? | yes |
| What was Schoenberg's new method that he unveiled in the 1920s? | twelve-tone serialism |
| Where was a popular place for expressionist composers? | Vienna |
| Who is regarded as the earliest composer to employ the expressionist style? | Arnold Schoenberg |
| What was one of his landmark achievements in 1909? | Erwartung |
| What does this work feature? | 1 singer accompanied by orchestra narrating her experience of searching for her lover at night, stumbling through a dark forest, finding his corpse, and suffering a mental breakdown—leading one to wonder if she herself is responsible for his death |
| Who were some of Schoenberg's students? | Alban Berg and Anton Webern |
| what were these 3 men renamed? | “the Second Viennese School" |
| Webern did not write many expressionist works, but his best example is… | his "Five Pieces for Orchestra, Op. 10" (1911–13) |
| What was Berg's most celebrated Expressionist work? | the opera "Wozzeck" |
| What does this work feature? | a soldier who is bullied beyond the point of madness |
| what is the second music selection? | Pierrot lunaire, Op. 21, No. 8 “Nacht” |
| When was it composed and who is it by? | 1912, by Arnold Schoenberg |
| What is a common feature in both expressionism and Scoenberg's Pierrot Lunaire? | madness |
| What is Schoenberg's title translated? | "Moonstruck Pierrot" |
| Where is the name "Pierrot" drawn from? | a traditional commedia dell'arte character |
| what did commedia dell'arte performers do as they traveled through Italy in the 16th century? | they acted out comic scenarios and often improvising their dialogue during the skits to suit the locale |
| What are some more familiar names from these actors? | "Harlequin" and "Colombine" |
| What is Pierrot also known as? | Petrushka and Pagliacci |
| What was he? | he was a mischief-maker who would repeatedly get into trouble but would always manage to land on his feet |
| He often had a very _____ costume. | white (hence the image of him as a lunar clown) |
| In 1884, which symbolist poet published a set of 50 poems in French that described various adventures of Pierrot | Albert Giraud |
| How many of his poems did Schoenberg select to create a song cycle? | 21 |
| who translated the poems for Schoenberg? | Otto Erich Hartleben (into German) |
| What is a song cycle? | a set of vocal pieces that are connected in some way |
| In Pierrot lunaire, the trickster Pierrot gets drunk on… | moonbeams |
| What happens to his experiences through the course of the cycle? | they grow increasing more disturbing |
| Some songs have religious connotations that might be viewed as… | sacrilegious |
| What happens as the last song approaches? | Pierrot sobers up while the sun rises |
| Who commissioned Schoenberg to write this song? | cabaret preformer Albertine Zehme |
| What did Zehme expect that Schoenberg would compose at first? | a piano accompaniment |
| However, in the end, how many players and instruments were in the group? | 5 players and 8 instruments |
| What players had to play two instruments? | beside a cello and piano, the flutist doubles on piccolo, the clarinetist also plays bass clarinet, andthe violinist also plays the viola |
| What is the only part of the musical piece to include all 8 instruments? | the final number |
| What does Schoenberg call the singer? | the "reciter" |
| What vocal technique does the singer use? | Sprechstimme (spoken song) |
| what happens in this vocal style? | notes are half-sung, half-spoken, creating an eerie, almost singsong effect |
| what else added to the unsettled atmosphere? | unusual timbres |
| what does the fact that that the voice seldom has a clear relationship to the accompanying instruments suggest? | "the Expressionist message that we each are alone in the world" |
| How does Schoenberg divide his 21 songs? | into 3 sets of 7 songs |
| Which song is "Nacht" (Night)? | the 8th song (1st song in the 2nd set) |
| What does the song imply the sun has been obsured by? | giant wings of moths/butterflies |
| Where are these ominous creatures headed? | to human hearts |
| What pattern does Giraud use in his poems? | a rondo pattern of ABACA |
| Did Schoenberg attempt to coordinate the music with the text's structure? | no |
| Instead, how does he divide the poetry? | into two large chunks, with no obvious repetition in the vocal melody |
| How does he indicate the connecting device in the subtitle of the piece? | he calls is "Passacaglia" |
| Where does this odd term stem from? | the baroque period |
| what does it describe? | a variation form in which new melodies appear over a repeating bass line |
| How long is Schoenberg's passacaglia bass line? | tiny, only 3 notes long |
| What does it consist of? | a rising minor third followed by a descending major third |
| What pitches are used? | E-G-E |
| Why can it be described as a ostinato? | because it apppears over and over again |
| What does the term "ostinato" refer to? | a short pattern that repeats many times |
| What is a passacaglia bass line also refered to as? | a "basso ostinato" |
| what is the first thing played by the piano's left hand? | the ostinato in a very low register |
| when the ostinato also very prominent in? | when the vocalist sings "verschwiegen” (mutely) |
| Is this word sung using the Sprechstimme technique? | no |
| What may be the subtle depiction of the inescapable black moths? | the pervasiveness |
| How does Schoenberg further emphasize the dark fearsome atmosphere? | by using only the lowest instruments of his esemble (the piano, the cello, and the bass clarinet) |
| What is the fermata device used for in this piece? | to prolong the last pitches at the end of the short introduction |
| What does a fermata tell the preformers to do? | sustain a particular note longer than its written value |
| The fermata also can depict the instruments as being… | "frozen in fear" |
| How do the musical players produce a trembling effect? | through rapid oscillations |
| At times the cellist is asked to play "on the bridge". What does this mean? | This command tells the player to draw the bow directly over the instrument’s bridge instead of the usual bowing location |
| What does this make the cello's timbre sound? | glassy and chilly |
| What is an example of Schoenberg employing older devices in "Nacht"? | word-painting |
| Where does this technique originate from? | The Renaissance |
| why has it endured so long? | it is fun to preform |
| When a composer uses "word-paints", he is setting the music so that it… | illustrates the literal meaning of a particular word, such as singing “whisper” at a pianissimo dynamic level |
| What is word-painting a subset of? | the broader concept, text expression |
| What does the composer do in text expressions? | make very general associations between the poetry and the musical setting |
| What is an example of Schoenberg using word-paints in "Nacht"? | when he uses an upward leap during the word “Duft” (fragrance) |
| what is another example of word-painting? | after the word "verschwiegen" (mutely) has been sung, a silence is prolonged by a fermata |
| Who is one of Schoenberg's rivals? | Igor Stravinsky |
| what did Stravinsky call the cycle in "Nacht"? | “the solar plexus of the twentieth century” |
| Do primitivist artitists convey the disturbing effects of Expressionism? | no |
| What do primitivist artists use to juxtapose human and nature? | bold colors and simple lines |
| Where do many primitivist arts draw from? | the traditional arts of Africa or the Pacific Islands |
| What does primitivist artwork generally express? | “desire to start again, unhindered by history, by abandoning a contemporary sophistication" |
| what does the subject matter often focus on? | primal or ancestral images |
| Many Primitivist artworks can be described as… | barbaric (ecspecially sculpture) |
| What is there a great deal of in primitivist art? | energy |
| What was a famous primitivist painter, Paul Gauguin, inspired by? | his journeys to Martinique, Tahiti, and various Pacific islands |
| where did artists like Pablo Picasso and Ernest Ludwig Kirchner visit to learn about non-western art? | ethnographic museums |
| Whose work is sometimes so simply that it is labeled as "naive art"? | The Primitivist Henri Rousseau |
| What techniques did Henry Matisse use to simplify the human form? | primitivist techniques |
| what did musical primitivism focus on creating? | primal, uncultured effects |
| What techniques did primitivist composers shun? | techniques that would seem polished and elegant |
| What did these composers view society as? | artificial |
| Imagining what the music of __________ might have sounded like, composers put a great deal of emphasis on percussive rhythms, often in ostinato patterns. | ancient peoples |
| Was primitivism as popular as some of the other musical styles in the early 20th century? | no |
| What work by Bela Bartok is an excellent example of the primitivist approach? | Allegro barbaro (1911) |
| what is the most famous example of primitivism? | The Rite of Spring, completed in 1913 by Igor Stravinsky |
| what did Rite of Spring premiere to? | as a score to a bellet |
| What did the audience do at the first performance? | they rioted |
| What is the 3rd listening selection? | The Rite of Spring, “Introduction” and “Omens of Spring” |
| When was it composed and who is it by? | 1913, Igor Stravinsky |
| Where was stravinsky living to 1910? | Paris |
| How did the French public respond to the exoticism of Sergei Diaghilev's "ballets Russes"? | with enthusiasm |
| What were the "Ballets Russes'" initial preformances in 1909 and 1910 choreographed to? | preexisting Russian music, such as Nikolai Rimsky-Korsakov’s Scheherazade (1988) |
| What was the result of Diaghilev's commission of Stravinsky in 1910? | "the Firebird" |
| This made Stravinsky a _______ in Paris | household name |
| What did Diaghilev's next commission cause Stravinsky to produce in 1911? | Petrushka |
| What dancer did this story showcase? | Vaclav Nijinsky |
| Describe Nijinsky's preformance | legendary |
| What did Stravinsky envision when he was writing "The Rite of Spring"? | a pagan ritual in prehistoric Russia involving human sacrifice |
| What would a young girl do in the belief that this would placate the God of Spring? | dance herself to death |
| What expert on the culture of ancient slavs did Stravinsky begin meeting with? | Painter Nikolai Roerich |
| What did Roerich help Stravinsky work out? | the scenario (storyline) for the ballet |
| What else did Roerich do? | design sets and costumes |
| what did the dancers wear? | rustic outfits based on the attire of medieval Russian peasants (very different from traditional elegant ballet costumes) |
| What are these costumes very similar to? | the clothing of various Native American tribes |
| Who did Diaghilev allow to choreograph the ballet? | Nijinsky |
| What principles did Nijinsky's designs use? | Primitivist principles |
| What is a traditional ballet that is known for its graceful, refined movements? | Swan Lake (1877) |
| Where choreographs like those in Swan Lake? | no, dancers in the Rite of Spring seemed awkward and clumsy |
| What are the dancers primarily involved in? | depicting a series of dances and rituals rather than a narrative story |
| What does one aged dancer do to serve as a visual demonstration of the tribe's subservience to the earth? | he drops to kiss the ground |
| What some of the floor patterns of the dancers resemble? | details on the costumes and motifs in the music |
| What is an example of Stravinsky's The Rite of Spring having elements of expressionism in it? | the first notes heard are played by a solo bassoon, but the bassoonist plays it in a shockingly high register which distorts the instrument’s usual timbre so that it is almost unrecognizable as a bassoon |
| Is there big fanfare to launch the piece? | no |
| Where did Stravinsky derive the melody from? | an old Lithuanian wedding tune |
| How many quoted folk tunes have be found by scholars in the course of the ballet? | 12 |
| How does Stravinsky complicate the texture? | he adds instrument after instrument |
| what does this do? | transforms the opening monophony to homophony and eventually to polyphony |
| What did Stravinsky later explain about the intro? | “My idea was that the Prelude should represent the awakening of nature, the scratching, gnawing, wiggling of birds and beasts.” |
| What is this conception a vivid illustration of? | Primitivism |
| Why did Stravinsky avoid any suggestion of common-practice tonality? | because he envisioned a primeval, barbaric landscape |
| what does he make use of in the introduction? | an octanic scale |
| What does Stravinsky begin to use when the "Omens of Spring" section begins? | a polychord |
| What does this polychord consist of? | two distinct harmonies played simultaneously |
| What do the lower instruments preform? | an F flat major triad (Fb-Ab-Cb) |
| What does this triad sound like? | an E major chord |
| What do the upper instruments play? | an E flat dominant seventh chord (Eb-G-Bb-Db) |
| This chord sounded very ______ to the Parisians | unfamilar |
| What was another affront to listeners' ears? | the pounding rhythm |
| How is the famous rhythmic hammering that launches the "Omen of Spring" quintessential Primitivism? | because the percussive effect evokes ritual drumming by an ancient culture |
| What did Stravinsky pepper the pounded chord with? | syncopated accents |
| What do these accents do? | they destroy any sense of a steady meter |
| What do eighth notes follow? | a pattern of 9+2+6+3+4+5+3 |
| Often times the dancers followed _______ beat rather than the musical beat | Nijinsky's |
| Russian numbers above ten are… | polysyllabic |
| What did this mean? | in fast-tempo movements, neither he nor they could keep pace with the music |
| What is another prevalent device that contributes to the Primitivist atmosphere of The Rite of Spring? | Stravinsky’s frequent use of ostinato patterns |
| what do these pattern suggest? | the ritual percussion of a tribal people |
| What is the first ostinato that plays a large role? | a tiny sing-song motif, introduced by the violins, that follows a duple-meter pulse |
| The sing-song quality of Ostinato 1 is a common motif in… | Slavic Folk Music |
| What instruments play the second ostinato pattern? | the bassoons |
| What pattern do their series of fast descending and ascending pitches fall into? | a triple-meter pattern |
| A third ostinato motif in the cellos also ascends and descends, but more... | slowly than the bassoon ostinato |
| Who is this like the the Ostinato 1? | it is another duble-meter ostinato |
| What happens when all 3 ostinato pieces occur simultaneously? | the result is a polymetric passage; another unconventional, Primitivist feature |
| How does the music proceed from dance to dance? | directly, with pauses, prehaps after a fermata |
| Is there a large scale form for the overall ballet? | no |
| What can the introduction of Part 1 be viewed as? | a loose ternary form |
| Why? | because the monophonic bassoon returns at the end to interrupt the dense polyphony that has developed |
| What does this shift our attention to? | the just-raised curtain and the dancers who are about to begin their ritual festivities. |
| What is the climax of the ballet? | the sacrificial Dance |
| What happens in this dance? | the chosen one is driven to incresant music to dance herself to death |
| when did the Rite of Spring make its stormy debut in front of a restless Parisian crowd? | May. 29, 1913 |
| it was an unseasonably warm early summer evening in a venue that lacked… | air conditioning |
| What was the venue that the Rite of Spring premiered in? | the Theatre des Champs-Elysees |
| Why did the Perisians dislike it? | they thought its archtectiture was too German |
| Why did many Perisians dislike Germany? | because of the Franco-Prussian War of 1870-71 |
| Why were many people in the audience irked at the notion of seeing another work by Nijinsky? | because they had disliked his choreography to Debussy’s Jeux that had been presented two weeks earlier |
| As the prefomance progressed, the crowd grew vary angry and lound making Stravinsky… | mad |
| Why did the riotous reaction take nearly everyone by surprise? | because the dress rehearsal on the preceding day had been enthusiastically applauded |
| How was The Rite of Spring received in London at the Theatre Royal Drury Lane a couple of weeks later? | well; there were no incidents |
| How did conductor Pierre Monteux decide to program the Rite of Spring in Paris less than a year after the riot? | as a concert work |
| What was replaced in later ballet stagings? | Nijinsky’s choreography |
| What American dance historian became intrigued by the infamous dance and spent over twenty years interviewing dancers and tracking down elusive source materials in an effort to reconstruct the lost choreography? | Millicent Hodson |
| How much of Nijinsky's dance movements was she able to recapture? | 80 percent |
| When did Hodson's impressive feat come to fruition? | in 1987 |
| What company preformed the reconstructed Nijinsky version? | Joffrey Ballet |
| How was the recpetion? | favorable |
| Did Nationalism have many parallels with the visual arts? | no |
| What older style was nationalism related to? | the Romantic Era |
| What did nationalism allow composers to do? | convey their patriotism and defiance |
| How many sovereign nations were there in 1900? | 55 |
| by 2000 how many were there? | 192 |
| where could nationalist composers be found? | in virtually every country |
| What did Cesar Franck and other French composers do after the Franco-Prussian War of 1870-71? | founded the Societe Nationale de Musique (1871) |
| what was it an attempt to do? | to rebuild national pride after the loss of Alsace-Lorraine |
| what was the society's motto? | "Ars gallica" (French Art) |
| What did it reject? | Germanic traditions of composers like Beethoven, Schubert, and Schumann |
| What was the Societe Nationale de Musique the emotional ancestor of? | "Les six" a group of 6 French composers who developed an informal coalition in 1917 |
| How much did these people have in common musically? | very little |
| What was their common goal? | to write music devoid of Germanic characteristics |
| What did they also reject? | the Impressionistic approach of their fellow countrymen Debussy and Ravel |
| Who else did they turn their back on? | the ideas of Stravinsky and Schoenberg |
| Where did the Purcell Society, the Plainsong and Mediaeval Music Society, and the Musical Antiquarian Society form? | in England |
| What was their purpose? | rediscovering and celebrating the lost music of the nation |
| Where was new attention given to in England? | the compositions of Renaissance composers such as William Byrd, Orlando Gibbons, Thomas Tallis, Thomas Weelkes, and John Wilbye |
| What did Ralph Vaughan Williams use as the foundation of many of his works? | old English materials |
| What is one of his best known works? | Fantasia on a Theme of Thomas Tallis (1910) |
| What did British composer Gustav Holst do in his "Somerset Rhapsody" (1906-07)? | he showcased geographical features of England in a musical settings |
| How did composer Jean Sibelius galvanize his country of finland? | with his work Finlandia (1900) |
| Who contolled Finland at the start of the 20th century? | Russia |
| What was Finlandia? | a noisy celebration of Finnish culture that ended with a rousing hymn |
| How did Russia make Finlandia more popular? | by banning it |
| What was Sibelius rewarded with when Finland became independent in 1917? | a state stipend |
| In the early twentieth century, a great deal of music that glorified Spain was written by… | Frenchmen |
| What is an example of this? | Debussy’s Iberia (1905–08), Ravel’s Rapsodie espagnole (1907–8), and Ravel’s Bolero (1928) |
| How did Ravel have some claim to Spanish heritage? | his mother was born in the Basque region of Spain |
| What are some famous examples of Spanish nationalism? | Manuel de Falla’s "Nights in the Gardens of Spain" (1909–16) and Isaac Albéniz’s own "Iberia" (1905–8). |
| Who did the composer Enrique Granados create two musical tributes for? | the Spanish Painter Francisco Goya |
| What was the first of these works? | a piano suite, Goyescas (1911) |
| What is it regarded as? | Granados' finest composition |
| What was the second work? | an opera, also called Goyescas |
| Why did the opera not premiere in Paris as planned? | because of the outbreak of WWI |
| Where did it make it’s premiere? | at New York’s Metropolitan Opera in 1916 |
| Who did Granados attend the debut with? | his wife Amparo |
| What happened to the couple after the debut? | Pres. Wilson invited them to the White House |
| What did they miss because they went to the White House? | Their scheduled return to Europe |
| What happened when Granados returned with his wife on a later vessel to europe? | their ship was torpedoed by a German Submarine |
| How did Granados die? | he was attempting to save his wife (she died too) |
| Why were there not many oppurtunities for young "classical" composers in the US? | because of bias toward European Composers |
| Therefor, many of these young American composers, like Charles Ives, were drawn to… | experimental ideas |
| Why were these pieces not embraced by the American Public? | American Tastes did not approve Moddernist innovations like Europe did |
| Who is NOW considered America's first great composer? | Charles Ives |
| Because of his initial unpopularity, how did Ives sustain himself? | through his insurance business |
| What did Ives' music commemorate? | The American landscape, hisotory, and artists |
| What is one of Ives' earliest pieces, "Piano Sonata No. 2", subtitled? | "Concord Mass. 1840-1860" |
| How are its movements named? | for some of America’s Transcendentalist writers: “Emerson,” “Hawthorne,” “The Alcotts,” and “Thoreau.” |
| When did Ives suffer a heart attack? | in 1918 |
| What did he do after his heart attack? | he began to unveil what he had been composing over the past 20 years |
| Who was the best-known proponent of Russian Nationalism in the early 20th century? | Igor Stravinsky |
| Where did Stravinsky write most of his pro-Russian works? | a way from Russia |
| Where his compositions well known in his own country? | no |
| How did Russian composers of the Romantic era encorporate folk songs in their work? | fairly sparingly, and incorporated it into their art music in sophisticated, polished ways |
| What was the Rite of Spring's subtitle? | Scenes from Pagan Russia |
| Stravinsky did not want to sound… | cultivated and refined |
| What was fairly common in nationalist songs? | folksongs and folkdances |
| As people moved to the city, Ethnographers strove to record and preserve folk music. Why was this difficult? | because one had to have considerable training in music notation in order to record music |
| What are field recordings? | recordings of folk and ethnic from around the world |
| What do field recordings allow scholars to develop? | a broader understanding of distinct musical traditions in various locales |
| What is this the foundation of? | the modern scholarly discipline of ethnomusicology |
| Who were some of the most notable ethnomusicologist/composers? | Zoltan Kodaly and Bela Bartok |
| Where are these composers from? | Hungary |
| How did they work collaboratively to record folk/ethnic music? | they divided up the local districts to ensure that their collecting efforts proceeded systematically |
| When did they publish their initial book of 20 songs? | in 1906 |
| What did each of them add to ten of the tunes? | piano accompaniments |
| How many melodies did their volume have when Bartok published a summary of their work in 1924? | about 8000 |
| What was the title of the publishing? | Hungarian Folksong |
| Why was Kodaly and Bartok's collection so extensive? | because in 1900 the Austo-Hungarian empire contained so many different cultural traditions |
| What places outside of the Austro-Hungarian empire did Bartok record folksongs? | North Africa and Turkey |
| Why were the men not able to collect folksongs during the war? | because of safety concerns |
| What else did Kodaly and Bartok do with the song materials they recorded? | they used these materials in their own works |
| Which scholar has classified 5 levels of folk-music adaptation that can be found in Bartok's music? | Benjamin Suchoff |
| What is the first level? | Genuine folk tunes are featured, and the invented additions are of secondary importance |
| What is the second level? | The folk tune and the invented material are treated equally |
| What is the third level? | The folk tune is a kind of musical ‘motto’, and the invented material is of greater significance |
| What is the fourth level? | The composition is based on themes which imitate genuine folk tunes |
| What is the fifth level? | abstract composition; neither folk tune nor its imitation is used |
| However the work is nevertheless pervaded by the… | "spirit" of folk music |
| what is another important dimension of Bartok's nationalist work? | he was a pioneer in developing a “Hungarian” kind of music |
| What is the fourth listening selection? | Romanian Christmas Carols (Sz. 57 / BB 67), “First Series” |
| When was it composed and who is it by? | 1915 by Bela Bartok |
| In this piece, the original folk tunes are very clear, but what adds a significant level of musical interest to them? | the harmonization of the melodies |
| When did Bartok begin his song collecting? | the first decade of the 20th century |
| What was the name of a collection of teaching pieces that he published in 1908-09? | "For Children" |
| What did this collection contain? | Hungarian and Slovak folksongs transcribed for piano |
| What was the 3rd largest ethnic group in Hungary at the time? | Romanians |
| As Bartók announces on the title page of the carols, the intervals of his setting never exceed… | one octave on the keyboard |
| This makes the music more readily playable by… | small hands |
| Where had Bartok collect 20 melodies of the Romanian Christmas Carols from? | the Transylvanian sector of Romania in 1909 |
| What was this the first of his works to contain within the published score? | a list of the source colinde, or carols |
| what did he include a transcription of? | the first melodic phrase of each colinda with its Romanian text |
| What did he also list? | the place he had collected the tune |
| what instrument is this a composition for? | a solo piano |
| although these are called “Christmas carols,” several of them seem to have nothing at all to do with… | the Christian Nativity story |
| What do the Romanisn Christmas carols use? | a modern piano |
| What do the carols contain that evoke their ethnic orgins? | musical elements |
| what are the tunes? | modal |
| what does this mean? | they use various scales that predate the common-practice system |
| What are two survivors from the earlier modal system? | the major and minor scales used in common practice tonality |
| What was "major" formally known as? | lonian |
| What was "minor" formally known as? | Aeolian |
| what do modes like Dorian, Phrygian, and Mixolydian (in series 1) use? | different patterns of half- and whole-steps |
| What do many colinde end on making them sound unfinished? | high pitches |
| what is a good examlpe of this? | the 4th carol |
| What did Bartok intend for all ten pieces in the series? | to be played without pause |
| Because of this… | the “open-ended” sensation does not last for long |
| What is another Romanian feature of these tunes? | their flexible meter |
| What is conventional in much Eastern European folk music for the rhythm to follow? | the poetic syllables |
| what did the irregularity make it difficult to do? | tap one's foot |
| When is another Hungarian gesture heard? | at the very beginning of this set when Bartók includes a drone accompaniment |
| What is a drone? | the open pipes on a rustic bagpipe |
| Where is this a popular folk instrument in? | Hungary |
| What musical note does Bartok have the piano play? | the pitch E |
| How long does he let it resonate? | 4 measures |
| Despite their modal harmonies and rhythmic flexibility, these carols are… | simple pieces |
| What does Bartok employ to give these ten short pieces greater interest? | a good deal of variety in his settings |
| What does he place in different registers of the piano? | the folk tune |
| does the tempo change several times during the series? | yes |
| Is there a considerable amount of dynamic contrast? | yep |
| Although these are pedagogical pieces, Bartók uses every means at his disposal to make… | the tiny "jewels" shine |
| What is tonal music? | music with a tonic note (resting point) |
| What does Atonal music not have? | a resting tone |
| What is the closest parallel that atonality has in the visual arts world? | Cubism |
| What does a Cubist painting not feature? | a fixed viewpoint |
| What does a cubist art work try to do? | look at an object from many different perspectives simultaneously |
| With Cubism, what is there little sense of? | an image receding into space |
| What are the colors like in cubist work? | muted or even monochromatic (gray and brown) |
| Where is the term "Cubism" derived from? | art critic Louis Vauxcelles’ description of the paintings of Georges Braque |
| What did Vauxcelles say of Braque's paintings? | "they were “geometric schemas and cubes”" |
| When did he say this? | Nov. 8, 1908 |
| who was the first standard-bearer for atonality? | Arnold Schoenberg |
| Did he like the term "atonality"? | no |
| Why did he hate the term? | because it described what the music didn't have rather than what it did have |
| What term did Schoenberg prefer? | "pantonal" |
| What was Schoenberg successful in persuading musicians? | that there wasn’t a real distinction between extremely chromatic consonance and dissonance |
| What was done in the Musical Romantic era? | chords were elaborated by adding more tones, making them more dissonant |
| What obligation did Schoenberg abandon? | to craft chords that performed functional relationships |
| What did he call this? | "Emancipation of the Dissonance" |
| When did Schoenberg begin articulating his viewpoint of tonality and atonality? | in a 1911 harmony textbook |
| Which of his pupils were quick to follow his ideas? | Alban Berg and Anton Webern |
| When did Berg's piece "Altenberg Lieder. Op. 4" make its Vienese premiere? | Mar. 31,1913 |
| What is this premiere now known as? | the "Scandal Concert" |
| What was a reason the crowd broke out in revolt over Berg's work? | because the audience was highly unreceptive to his atonal setting |
| What was another outgrowth of atonality developed by Schoenberg? | twelve-tone serialism |
| When did he introduce this? | the 1920s |
| How long would this strategy for crafting music challenge younger composers? | the next fifty years |
| In early examples of atonality, the music is… | recognizable, and in standard form |
| Describe the early atonal music's treatment of meter of rhythm. | straightforward |
| Atonal music is like the experimental literary writers (early 1900s) who were abandoning… | linear narrative |
| What were some examples of these writers? | James Joyce and T.S. Elliot |
| What is another similarity between antonal music and those works of literature? | they are both difficult to interpret and require much concentration |
| Is "Nacht" from Pierrot lunaire by Schoenberg an atonal work? | yes |
| Why is it hard to notice that it is atonal? | because of the persistent 3-note ostinato (passacaglia) |
| What is the 5th listening selection? | Six Bagatelles for String Quartet, Op. 9, No. 5 “AuBerst langsam” |
| When was it composed and who is it by? | 1911-1913; Anton Webern |
| How does Webern return to the Romantic Era genre of character pieces? | By assigning the label “bagatelle” to these pieces |
| What is a synonym for bagatelle? | trifle |
| What is the definition of bagatelle? | something of little value or importance |
| What is webern trying to convey? | that these pieces are simple short novelties, not monumental works |
| What was Webern always attracted to? | miniatures |
| What is Bagatelle No. 5 a good illustration of? | Schoenberg’s notion of “pantonality” |
| Why? | because Webern employs all twelve notes of the chromatic scale within the first seven measures of the piece |
| What do composers working with atonality often refer to the chromatic scale as? | aggregate |
| What does Webern start with in the first bar? | C, C#, and E |
| What does he quickly add to the viola? | a D# |
| What do those 4 pitches leave a gap for? | the note D, which is played in the 2nd measure |
| How does Webern gradually expand outward through the aggregate? | by adding higher/lower notes in each bar, until all 12 notes have been presented in the course of only 7 min |
| What intstruments does Webern include? | two violins, a viola, nad a cello |
| What does Webern ask of these instruments? | to use new timbres through the course of the piece |
| At times , do they play "on the bridge" | yep |
| What do the musicians do to the string besides bow it sometimes? | pluck it |
| What is the Italian verb used to request this tone color? | pizzicato |
| What does Webern ask the instruments to use throughout the piece? | a mute |
| what is a mute? | a small device that limits some of the string's ability to vibrate |
| What else does he ask the players to preform? | pianissimo (even quieter) |
| What is the tempo marking at the start of Bagatelle No.5? | AuBerst Langsam |
| What does this mean? | extremely slow |
| What do musicians call this very light texture? | pointillism |
| How does Webern emphasize the contrast of each note sometimes? | by changing the timbre |
| What does he create when he does this? | Klangfarbenmelodic (according to Schoenberg) |
| What does this German term mean? | “tonecolor melody” |
| what does it describe? | a piece in which the timbre of each sound matters more than the rise and fall of a conventional tune |
| What did Schoenberg recognize about tone-color melodies? | they were a special challenge for listeners |
| Is the entire piece 7 bars long? | no it is 13 |
| What was Webern's different technique in the second half of the piecc? | he used the different timbres to create a type of imitative polyphony called canon |
| what is a synonym for canon? | "round" |
| Describe canon? | one group starts the melody, and then a second group starts a little later (but while the first group is still singing). |
| What overlaps in Bagatelle No.5? | the tone colors |
| What instrument starts the canon? | the cello in measure 6 |
| When does the cell launch a pizzicato canon? | at the end of measure 7 |
| What may have been Webern’s very subtle way of announcing the start of the “tone color canon”? | no new pitch was added to the aggregate in measure 5 |
| What did Schoenberg think of Webern's achievements in the Bagatelles? | he was delighted |
| What did Schoenberg say in a preface to the published score of the piece? | “Consider what moderation is required to express oneself so briefly. You can stretch every glance out into a poem, every sigh into a novel.”52 |
Created by:
blakesim8