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Music Final
| Question | Answer |
|---|---|
| Claude Debussy | Neoclassicism, French Composer,AFternoon of the Faun |
| Bela Bartok | Hungarian/Eastern European nationalist; an Earth ethnomusicologist |
| Scott Joplin | Ragtime king; standardized ragtime for AABBACCDD; piano rolls; popular in underground, saloons, brotherls |
| Louis Armstrong | key figure in New Orleans Jazz; Started playing on river boats - gambling boats; popularized scat, "Heebie Jeebies" |
| Duke Ellington | Swing/Big Band Hey Day Era, cotton club, mainly unite people, Harlem, Southern plantation style, spend much of his career here |
| Dizzy Gillespie & Charlie Parker | Bepop key figures, "salt and peanuts", fast, jagged melodies |
| Miles Davis | Key figure of cool jazz, introvert, cynical, unfriendly |
| John Coltrane | saxophonist, key figure in Avant Garde, "acknowledgement" from a Love Supreme, interested in non-Western/eastern philosophies |
| John Williams | Resurrects classical romantic scores, often worked with Stephen Spielberg, revives the orchestral score in the 1980s, utilizes the Leitmotive technique, applies thematic development - jaws, indiana jones, star wars |
| Henry Cowell | American composer, explored traditional instruments in non-traditional ways, the banshee, performer plays inside the piano, sounds chaotic even though its very systematic, drawn to non-western music, coined the term tone cluster |
| tone cluster | slam fist on hands onto piano keys creating extreme dissonance |
| John Cage | American composer, influenced by Cowell, philosophy of music: music is everywhere and anything can be used to make music, 4'3", Buddhist - influenced his music |
| John Adams | American composer, leading post-minimalist composer, leading opera composer of the 20th century, Dr. Atomic |
| John Phillip Sousa | American composer, nationalist/patriotic, led US marine corps brand from 1880-1992 then formed his own band, known as the march king, believed band was more versatile than orchestra, solidified march structure, Stars and stripes forever |
| Modernism | breakaway from the influences of the past, highly experimental, explored innovative forms and musical styles, looking for the future, find their niche and be their own thing |
| Atonality | music without a tonic, all pitches created equally, no hierarchy of harmonic progressions anymore, consonance and dissonance no longer exist (emancipation of dissonance), works well for vocal works -creates more texture, organized chaos |
| Emancipation of Dissonance | consonance and dissonance no longer exist |
| Impressionism | French movement developed by painters to capture 1st impression of something (single moment) |
| Expressionism | 1st part to impressionism; the exploration of extreme emotions; expansive harmonies; high/low register; artists intrigued by the impulses of the subconscious mind; especially of the dark and disturbed nature - unsettling/distorted |
| Serialism: 12 tone method | use 12 pitches to form the melodic and harmonic foundation; strict serialism; relationship of pitches - retrograde inversion; 48 different tone rows; composers use 5 or less |
| strict serialism | use all 12 pitches in their primary order (prime) before you can manipulate them |
| Sprechstimme (speech-song) | rhythm, dynamics, pitch, direction, clearly notated, but pitches are implied; voice glides from one pitch to the next; indicated in score with an X through the note's stem |
| Primitivism | Interest/influence of non-Western cultures, especially primitive cultures; musically depicted through harsh dissonances, pounding rhythms, ostinato patterns, folk music influences |
| Nationalism in music | Displayed by Bartok, treats entire orchestra as an instrument, nationalistic, musically depicts a Nazi invasion |
| Ethnomusicology | the study of non-Western music cultures, oral tradition - not always written, ethnomusicologist learns from it, records it, preserves it, often have to go to those cultures |
| Ragtime | effect lasted longer than the actual period when it was popular; meant to be played as written, no improvisation; a piano player's art; steady left hand syncopated right hand; blends European and African american musical traits, mostly 4 parts |
| Rural blues | emerged after civil war, solo male with guitar |
| city blues | emerged 1920s, female vocalists collaborating with New Orleans Jazz musicians (small combo) |
| Blues: | (rural and city) strophic, quadruple meter 12 bar blues formula, a lot of music is 1,4,5,1 - reordered in 12 bar blues |
| Key figures in Blues | Billie Holiday, Ma Rainey, Holiday, "Billie's Blues |
| New Orleans-style Jazz | upbeat music at funerals - leave with good memories and celebrate that person, small combo (trumpet, clarinet, trombone, rhythm, section), collective improvisation |
| Key figure is New Orleans-style Jazz | Jelly Roll Morton and Hot Pepper - Dead Man Blues; Louis Armstrong |
| Scat singing | human voice as instrument and instrument plays voice |
| Swing/Big Band (hey day) | mass exodus to Chicago and points East, more instruments added 8-20 musicians, collective improvisation- not possible), highly arranged music, very little, if an improvisation, 32 bar formula (AABA), popular in dance halls/among teenagers |
| Key figures in Swing/Big Band (hey day) | Duke Ellington, Count Basie, Benny Goodman |
| Bebop | after hours jazz clubs in NYC, small combos, high level of virtuosity and improvisation, fast-jagged melodies, intended for Jazz connoisseurs, turns jazz into an art form |
| Key Figures in Bebop | Charlie Parker and Dizzy Gillespie |
| Cool Jazz | opposite of bebop, small combo, improvisation, but focus on group as opposed to virtuosity |
| key figures in Cool Jazz | Miles Davis |
| Third Stream | Jazz 1960 and onward, term coined in 1957, a combination of jazz and classical idioms, borrows classical forms |
| Key figure in Third Stream | Gunther Schuller, Blood on the Fields.. slavery to freedom, won Pulizter price in 1997 |
| Avant-garde Jazz | A free style jazz, height of civil rights movement, consciously breaks rules of music |
| Key figure in Avant-Garde Jazz | Ornette Colemand, John Coltrane |
| Source Music | film music, music comes from a logical source (rock radio, jukebox), characters can hear the music ex. Grease at the dance competition, Jack Rabbit Slim Dance from Pulp Fiction |
| Underscoring | the music is for the audiences' benefit, establishes mood, atmosphere, character cannot hear the music |
| Underscoring | the music is for the audiences' benefit, establishes mood, atmosphere, character cannot hear the music ex. Titanic "i'm flying scene" |
| Running Counter to the Scene | the music doesn't match the images on the screen, ex. Baptism scene from the God Father |
| Rock and Roll | a blend of country and Western and rhythm and blues, 12 bar blues harmonic formula, strong rhythm and emphasis on the beat, 1950s |
| Key Figures of Rock and Roll | Chuck Berry, Elvis Presley |
| Race Records | intended for Black audience but also listened to by white people |
| Concept Album | an album unified thematically, tells stories, connected ex Sgt. Pepper's lonely hearts club band |
| British Invasion | Mid-1960s, Beatles - new sounds, experiment with other types of music, Old Rock and Roll is gone, more complex |
| Rhythms and Blues | R&B, Genre of dance music with roots in swing jazz, vocal genre: soloist and small ensemble |
| Rap | Element of hip-hop culture, popular form of American African music, crossed racial lines like rock did |
| Grunge rck | mix of punk and 70s heavy metal, harsh, guitar chords- passionate and authentic lyrics, est. early 90s in Seattle, Nirvana, Pearl Jam |
| Postmoderism | Post WWII, embraces tradition, revives traditional and classical elements, use of collage and quotation, use of popular elements in art forms, neoclassicism, minimalism and performance art all considered post moodern |
| Aleatoric/Chance music | aspects of the work are left up to choice or change, John Cage, radio station example |
| Prepared piano | |
| MIDI | Musical Instrument Digital Interface, a communication protocol allowing synthesizers to communicate with each other, but also with computers, drums, machines, mixing boards, software allows composer to record MIDI Data (pitch, dynamics, etc) on computer |
| Musique Concrete | Nature sound, ex. human voice and electronically generated sounds on tap, Poeme electronique, Varese, uses electronic and unusual sounds, concerned with timbre |
| Timbre | color of sound - rather than traditional elements |
| Neoromanticism | Current trend, eclectic, mixes styles from the past with contemporary ones, musical vocabulary is Post-Romantic, tonal, emotional, lyrics, lush |
| Minimalism | Emerged in 1970s also called trance music, a fragment of music (melodic, rhythmic, and harmonic) is repeated numerous times with very little variation, A very popular/listener-friendly style of 20th century art music |
| Phase Music | an offshoot of minimalism, a fragment of music is repeated numerous times but will eventually go out of sync |
| Debussy: Prelude to "The Afternoon of the Faun" | symphonic poem, 1 movement, programmatic work, inspired by Marllame poem, ABA form, prelude assumes move should follow but he only makes 1 |
| Schoenberg: Pierrot Lunaire, no. 18 | "the Moon Fleck", part of a song cycle (21 songs), solo vocalist, chamber ensemble, disjunct melodic lines, expressionistic, pierrot is a clown who is obsessed with the moon, disturbing imagery, expressionistic, atonal, uses vocal technique - sprechstimme |
| Stravinsky: The Rite of Spring, Part I | ballet commissioned by Diaghilev for the Ballet Russes, very controversial: subject matter, dance style, and music, not ballet as we know it today, dissonant music, tribal, syncopation |
| Joplin: Maple Leaf Rag | duple meter, repetition, contrast, ragtime |
| Stayhorn/Ellington: Take the A train | Swing/Big Band Hey-Day era |
| Cage: Sonata V | prepare piano: invented by Cage - a piano that has been modified by instering various materials into the piano, binary form, the sound of the prepared piano is ethereal, Javanese Gamelan influenced |
| Javanese Gamelan | focus on linear melody, inrregular sense of meter, polyrhythmic |
| Higdon: Blue Cathedral, expert | Hidgan is an American composer and professor at Curtis Institute, PA, neoromantic, symphonic poem, lyrical lines, tonal, homophonic textures, expressive and transcendent, large orchestra, emphasis on single lines and duets |
| Adams: Dr. Atomic, exerpt | post-minimalist opera in 2 act, intense part of opera as thoughts to what will happen after the bomb, text: Hindu scripture of when Krishna reveals himself as creator and destroyer of the world |
| Pentatonic Scale | Five-note pattern used in some African, Far Eastern, and Native American musics; can also be found in Western music as an example of exoticism. |
| Whole-Tone Scale | Scale pattern built entirely of whole-step intervals, common in the music of the French Impressionists |
| Octatonic scale | any eight-notemusical scale. Among the most famous of these is a scale in which the notes ascend in alternating intervals of awhole step and a half step, creating a symmetric scale. |
| Modernism | a style of art, architecture, literature, etc., that uses ideas and methods which are very different from those used in the past |
| Tin Pan Alley | nickname given to the street where many music publishers worked during the period of 1880 to 1953. In the late 19th century, New York had become the epicenter of songwriting and music publishing, and publishers converged on the block |
| Charles Ives | American composer, nationalist, patriotic, father was brass band leader, musically educated by father and Yale, experimented with music, quarter tones, polyrhythms, wedge technique, was a successful insurance business man and composed on the side |
| Charles Ives | music influenced by his New England upbringing, loved "mistakes" in music: wrong notes, wrong entrances, clashing sound = stretch your ears, music mainly programmatic, makes extensive use of musical quotations of popular songs, marches, hymns, etc. |
| William Grant Still | African American composer associated with the Harlem Renaissance, - An American nationalist composer |
| Harlem Renaissance | 1920s and 30s, a flowering of African American arts and culture originating in Harlem, NY |
| Aaron Copland | an American nationalist composer, first American composer to pursue compositional studies in France, studied with Nadia Boulanger |
| Nadia Boulanger | encouraged Copland to find influence in the indigenous and folk music of the US, Copland's music reflected the trends of his day, but he was losing his audience, in the 1940's he changed his compositional style to reflect simplicity in music |
| Ives, Country Band March | Musical quotations of popular songs: London Bridges, Yankee Doodle Dandy, My Old Kentucky Home, Polytonal, and very dissonant |
| Copland: Appalachian Spring, excerpts | Demonstrates the height of his interest in simplicity, Appalachian spring was originally a ballet written for Martha Graham - a famous ballet dancer and choreographer, ballet is about a farm girl from Western PA preparing to get married |
| Copland: Appalachian Spring, excerpts | a reworked orchestral suite, theme and variation form, borrows theme from a Shaker religious hymn "simple gifts" |
| Blue Note | a minor interval where a major would be expected, used esp. in jazz. |
Created by:
nicolefassak