Music History IV test no 1
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| Richard Strauss | Wrote tone poems and opera, wrote "Salmone" (1905); Elektra (1906-8), wrote consonances, dissonances, chromaticism
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| Claude Debussy | Used ideas from medieval music (parallelism), "exotic" musics of asia, and some Russian composers. Artistic/poetic symbolism. Wrote mostly piano music
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| Maurice Ravel | Neo-Classicist, used older traditional forms, diatonic melodies, tonal harmonies with twists
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| Isaac Albeniz | "Iberia", suite for piano, uses dance rhythms and Spanish melodic traits
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| Manuel de Falla | Ballets "El amor brujo" and "El sombrero de tres picos", also borrows melodic, rhythmic devices from Spanish popular song and in spanish settings
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| Ralph Vaughan Williams | English folk music, pupil of Ravel, some modal inflections
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| Gustav Holst | Wrote for band, "The Planets", his Two Suites in Eb and F
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| Leo Janacek | Czech folk songs, dances, choral works, operas,
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| Jean Sibelius | used Stories/mythologies of his homeland, symphonic poems, used "classic genres" such as symphony, mostly tonal
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| Alexander Scriabin | used exotic scales/complex chord combos used as "tonal" referents, used dissonances. "Vers la Flamme, op 72, post tonal
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| Eric Satie | Satirical, avant-garde, odd titles, nonsensical running commentary, modern artistic trends, anti-sentimental, lean,spare textures/harmonies, no interest in music of the past
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| Jean Cocteau | Writer, wrote plays and collaborated with the Les Six
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| Luigi Russolo | Futurist, rejected instruments of the past, "The Art of Noises", music is based on noise, built own instruments
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| Arnold Schoenberg | Atonality and Serialism, wrote treatises to explain his musical choices, Hollywood composer, taught in colleges, rows
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| Anton Webern | Twelve tone style, Schoenberg's student, short works full of technique
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| Alban Berg | tonal atonalist, expressive qualities of late Romatics, used rows which maintained "tonal" relationships
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| Igor Stravinsky | Nationlistic and neoclassicist,"Pulcinella", "Firebird Suite" "Rite of Spring"
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| Bela Bartok | Romania, virtuoso pianist, built musical style around folk music: rhythmic, melodic and modal, blending with classical traditions, end of his career had atonality
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| Charles Ives | American, polytonality- music using mult keys, alternate chord structures, and textural experiments, nationalist, Techniques: collage, experimental sounds, cumulative form, stylistic heterogeneity
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| Artur Hoenegger | Member of Les Six, "Pacific 231", oratorio "king David", Symphony No. 3 "liturgical
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| Darius Milhaud | Influenced by jazz and popular music, "Le Boeuf sur le toit", "la creation du monde", "Saudades do brasil"
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| Francis Poulenc | Surrealist, witty works like Les mamelles de Tiresias and Piano Concerto; later works somewhat more reflective, incl. Mass, Gloria, opera Dialogues of the Carmelites, Organ Concerto
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| Paul Hindemith | Gebrauschmusik, wrote for all ensembles/instruments, "new objectivity", Mathis der Maler
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| Sergei Prokofiev | Ballets and film scores, post WWII wrote symphonies, piano sonatas
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| Heitor Villa-Lobos | Brazilian, mixes Brazilian and modern music, "Choros", "Bachinas Brasileiras"- uses baroque techniques
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| Edgard Varese | Experiments in manipulatino of sound masses; "organized sound"
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| Henry Cowell | tone clusters, manipulation of piano strings, interest in past American and non-Western
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| George Gershwin | song and Broadway composer, "Rhapsody in Blue", jazz, "An American in Paris"
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| Aaron Copland | Music "for use"; film scores, "accessible period" includes "Billy the Kid", "Appalachian Spring"
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| William Grant Still | Wrote "Afro American Symphony", student of Chadwick and Varese, blended African American idioms
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| Virgil Thomson | Music critic for NY Herald-Tribune; pianist, studied in Paris, operas, film scores
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| Howard Hanson | Neo-Romantic, Symphony No. 2 "romantic"
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| Richard Rogers | Broadway/musical composer, had many hits with Hammerstein
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| Oscar Hammerstein II | Lyricist for Broadway
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| Cole Porter | Composed "Kiss me, Kate"
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| Leonard Bernstein | conductor and composer of art music, "West Side Story", "On the Town" with lyricist Stephen Sondheim
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| Bernard Hermann | Wrote film scores, esp for Hitchcock, modernist like Berg and Hindemith and Ives,
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| Charlie Parker | Jazz saxophonist
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| Dizzy Gillespie | Jazz trumpetist
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| Oliver Messiaen | traditional instruments/combos, rhythm oganized around duration not meter, "Quartet for the End of Time", Modes of limited transposition
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| Benjamin Britten | British composer, modern, "War Requiem", "Peter Grimes"
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| Samuel Barber | Neo Romantic, "Adagio for Strings",
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| Alberto Ginastera | Argentinian composer of some nationalist bent
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| John Cage | Avant-garde, non traditional percussion sounds, prepared piano- "Sonatas and Interludes", indeterminancy
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| Morton Feldman | Avant Garde group w/ Cage, "Projection 1" for solo cello, graphic notation of boxes/lines
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| Milton Babbitt | Created 12 tone rows, electronic music,"Philomela"
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| Karlheinz Stockhausen | Electronic composition, total-serialist, "Kreuzspiel",
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| Pierre Boulez | avant-garde of the serialists, electronic music, conducting
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| Luciano Berio | Virtuosic composer, "Sequenza"
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| Harry Partch | Devised own scale and instruments that could play in that scale
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| George Crumb | unusual "instruments" (toy piano), modification of instruments, "Makrokosmos"
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| Colin McPhee | inspired by the music of Indonesia, gamelan
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| Pierre Schaeffer | Worked with everyday sounds recorded and manipulated by electronics, "Symphonie pour un homme seul"
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| Hugh LeCaine | "Dripsody", worked with electronic sounds and manipulated them
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| Robert Moog | Developed commercially viable synthesizers
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| Krzysztof Penderecki | Use of graphic notation and extremes of register to created distinct concept of space and texture with some indeterminancy "Threnody for the victoms of hiroshima"
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| George Rochberg | New use of old music, "Nach Bach" , "Contra mortem et tempus"
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| Karel Husa | Wrote for band, "Music For Prague"
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| Terry Riley | Minimalist, repetition of a few short figures over a repeating C
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| Steve Reich | Spoken-voice tape works, minimalist, using tape loops slightly out of phrase
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| John Adams | Post Miminalist, "Short Ride in a Fast Machine"
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| Philip Glass | "Einstein on the Beach", minimalism, "Qatsi",
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| Ellen Taaffe Zwilich | developing variation to much clearer and more transparent textures, "Symphony No. 1"
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| Arvo Part | tintinnabuli, "Seven Magnificat Antiphons"
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| Sofia Gubaidulina | Russian composer, composed spiritual themes, "Rejoice!",accessible
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| Alfred Schnittke | Postmodernist, film music composer. Wrote polystylism, a combo of new and old styles thru quotation and stylistic allusion. "Concerto Grosso no 1"
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| Michael Daughtery | Wrote "Dead Elvis", pop influenced
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| Bright Sheng | mixed Eastern traditions with Western, "Seven tunes haerd in China", "The Silver River"
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| Impressionism | Monet, Cezanne, etc; Suggestion of figures, background, etc. rather than clear depiction; the view is left to "fill in" the picture
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| Atonality | music that avoids a central pitch or tonal center
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| Expressionism | derived from art, avoids all traditional forms of "beauty" in order to express deep personal feelings thru exaggerated gestures, angular melodies and extreme dissonance
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| Sprechstimme | "Speaking voice", vocal style by Schoenberg in which performer approximates the written pitches in the gliding tones of speech, while following notated rhythm
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| Serial Composition | uses twelve tone method, esp. for music that extends the same general approach to series in parameters other than pitch.
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| Row | an ordering of all 12 pitch classes that is used to generate the musical content
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| Dodecaphony | Another term for 12 tone music
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| Set | collection of pitch classes that preserves its identity when transposed, inverted, or reordered
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| Neoclassicism | Idea that French music is classic in style and character, use of classical forms, genres, tonal
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| Les Six | Louis Durey, Arthur Honegger, Darius Milhaud, Germaine Tailleferre, Francis Poulenc, Georges Auric. All had similar attitudes
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| Film Music | Music used in the background of films, reflected "classical" trends, uses all styles of music
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| Socialist Realism | a doctrine, which all arts were required to use a realistic approach that portrayed socialism in a positive light. Music was simple, accessible, melodic and patriotic.
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| DSCH | motive used by Shostakovitch. D, Eb, C, B. It spells out his name
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| Broadway | Musicals, usu. a collaboration between Composer and lyricist, centered around Broadway in NYC
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| Total Serialism | use of 12 tone method to musical parameters other than pitch: duration, intensities, timbres
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| Aleatory | Music that some part of it is left to chance, or up to the performer
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| Electronic Music | music created by electronic instruments, or manipulated by electronics
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| Musique Concrete | French, music composed by assembling and manipulating recorded sounds, working "concretely" with the sound itself
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| Synthesized Music | music created by syhtnesizers
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| Computer Music | creating music on a computer.
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| Minimalism | repetition forms, indeterminacy, adaptable with traditional or electronic instruments
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| Tape Loops | 1. segment of magnetic recording tape spliced to form a loop that can run continuously thru a tape recorder and play recorded sounds repeatedly. 2) the continually repeating set of sounds that results
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| Postminimalism | uses minimalism in combination with traditional methods, more varied material, and greater expressivity
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| tintinnabuli | Created by Arvo Part, counterpoint between pitch-centered, mostly stepwise diatonic melody and one or more voices that sound only notes of the tonic triad, with the placement of each note determined by a preset system
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| postmodernism | late 20th c, that blurs boundaries between high and popular art, and in which styles of all epochs and cultures are equally available for creating music
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| Neo-Romanticism | composers adopted tonal idioms of romantic music and incorporated its sounds and gestures
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