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Music History 2
Chapter 19-21
| Question | Answer |
|---|---|
| The time period referred to as "Modernism" extends from: | 1890-1918 |
| While technology was viewed positively over all, there were aspects that shook people's sense of certainty, such as the: | new psychological theories of Freud |
| Basic assumptions about music (melody, harmony and tonality) were thrown into doubt by composers like: | Schoenberg |
| In the visual arts, the new "language" being expressed was cubism and in music, it was Schoenberg's new method of _________ that replaced the old "language" of music based on tonality. | serialism |
| Just as visual artists were involved in exploring a sense of "objectivity" in their paintings, so too were composers like ____________attacking Romantic emotionalism and praising a new objectivity in music. | Stravinsky |
| The tendency of various artists during the early part of the twentieth century to gather in formal or informal groups , can be seen in Stravinsky and Ravel's association with a group called: | the Apaches |
| Impressionism, as an artistic movement, originated in the art of ________________. | painters |
| The symbolists were fascinated with the music dramas of Richard Wagner because of his use of ________________. | leitmotivs |
| Two artist centers in Europe that were also centers of avant-garde music were: | Paris and Vienna |
| The "logic" of Western European music is based on elements like tune, motive, harmony and ____________. | tonality |
| What ultimately was to occur to the function of melody, harmony and tonality during the early part of the twentieth century was: | transformation |
| One of the first scales that was experimented with was the: | pentatonic scale |
| One scale that can be found frequently in Debussy's music is the: | whole-tone scale |
| Schoenberg's way of composing with the chromatic scale developed into a system called: | twelve-tone system |
| "The emancipation of dissonance", meaning the freedom to resolve appropriately or not, was a phrase spoken by: | Schoenberg |
| While drawing on vague-sounding new scales, Debussy's themes and motives also tend to be: | fragmentary |
| Debussy's musical style was influenced by several events in his early career, including: | hearing the Indonesian gamelan |
| Stravinsky's three ballets written for the Ballets Russes in Paris find his use of ____________ progressively more abstract. | folk material |
| For twenty-five years, as a leading Neoclassical composer Stravinsky was regarded as the polar opposite of: | Schoenberg the serialist |
| What produced Stravinsky's new "language" for music? | the primacy of rhythm |
| In Vienna, composers were writing increasingly complex and emotional music, touching on the nightmarish, during an artistic movement called: | Expressionism |
| The leading Expressionist composer was: | Schoenberg |
| The soprano in Pierrot lunaire performs in a style that is in between song and speech, an invention of Schoenberg's called: | sprechstimme |
| Schoenberg and his pupils Webern and ___________ are often referred to as the Second Viennese School. | Berg |
| It's unusual that Charles Ives emerged as a major modernist composer during a musically conservative time in America, and doubly amazing because of Ives': | work in isolation |
| Instead of making his living as a composer, Ives had a job: | in insurance |
| Panpipes, widespread throughout the Andes, have been unearthed along the Peruvian coast. Some of the examples found have been: | thousands of years old |
| As successful as modernism was for some composers, it was not for all composers. What was not one of the reasons some composers rejected modernism? | Some found no more inspiration in Romantic expression. |
| Two opera composers who were the "heirs" to the grand opera style of Verdi and Wagner wrote operas that are highly admired today. These composers are: | Puccini and Strauss |
| Puccini's relationship to modernism was: | He choose the modernist effects he wanted to blend into his relatively conservative style. |
| Richard Strauss's relationship to modernism was: | to start out as a true radical in musical style, then pull back later |
| Because of his deep commitment to folk music, this composer is said to have been more successful in integrating folk music into the classical music literature than any other composer. | Bartok |
| Bartok was not only a fine pianist and composer; he was also __________________. | an outstanding ethnomusicologist |
| ________________, a set of 153 graded piano pieces by Bartok, introduces students, from beginning to advanced, to modernism. | Mikrokosmos |
| With all the separate elements in Bartok's second movement of Music for Strings, Celeste and Percussion happening in a layered fashion, it is all held together by: | a sonata form |
| The number of folksongs and folk dances collected in Hungary is around: | 150,000 |
| The next leading American composer in the generation after Charles Ives was: | Aaron Copland |
| Copland's set of twenty Variations for Piano (1930) reflects the chief modernist influence on Copland, namely: | Stravinsky |
| Like many writers, artists and composers of the 1930's, Copland was attracted to a "leftist" philosophy which insisted that: | art should "serve the people" |
Created by:
Allierae