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Music History > 33 - Radical Modernists > Flashcards

33 - Radical Modernists Flashcards

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1
Q

younger modernists

A

sought to challenge our perceptions and capacities instead of please audience upon first hearing

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2
Q

arnold schoenberg best known for

A

atonal and 12tone music

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3
Q

modernists vs avante-garde

A

modernists want new out of what’s before, carrying on from innovative classics, in that tradition and pushing forward with atonality, avant garde pushes further

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4
Q

schoenberg tonal works 3

A
  • applied developing variation of Brahms and wagnerisn techniques
  • nonrepetition, each work should not repeat past, but build on it
  • nonrepitition within each piece
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5
Q

schoenberg atonal music 4

A
  • avoided tonal centre (weaker pull to the tonic, prolonging dissonance and conflict)
  • “emancipation of dissonance”, atonality inevitable as a way forward
  • dissonance can be on its own without resolution
  • structure through developing variation, integration of harmony and melody, or chromatic saturation
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6
Q

pierrot lunaire 3

A
  • song cycle by schoenberg
  • expressionits and traditional elements
  • spreksteima - speak singing, approximated to notes
  • 8 nacht and 13 entropy
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7
Q

schoenberg’s saget mir aud wetchen pfade2

A

symbolist subject matter, in tradition of lied but sounds very different musically

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8
Q

12-tone method 2

A
  • 12 tones related only to one another
  • traditional instrumental forms (motives and themes, tonal forms, classic and romantic genres)
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9
Q

row or series 3

A
  • 12 pitch classes arranged in chosen order by composer, melody, chords, arranged in different ways
  • all 12 tones stated before row used again
  • can contain multiple sets
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10
Q

12-tone set

A

combo of those classes, could represent a character

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11
Q

pitch class

A

each 12-tone tone

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12
Q

schoenberg’s piano suite op 25

A

themes are presented and developed, using the tonal forms and genres of Classic and Romantic music, but twelve-tone rows stand in for the keys.

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13
Q

2nd vienna school people and…

A

schoenberg, berg, webern
recognized as important in development of atonality, but not very popular

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14
Q

schoenberg as modernist

A

still used traditional forms

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15
Q

berg general 3

A
  • uses techniques from earlier eras to give listeners a reference point fusing the way he writes with expressions of the past
  • adopted atonal, 12-tone methods
  • writing for general audiance, but in a new direction
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16
Q

berg’s wozzeck 5

A
  • expressionist
  • leitmotifs, comment on characters and situations, traditional forms
  • act 3 scene 3 imitates/refers to tonal styles and genres
  • uses musical effects to enhance the plot, continuity
  • 12 tone methods in new ways, combines with old methods
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17
Q

post tonality

A

pushing boundaries of tonality, but not yet atonal

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18
Q

anton webern main idea

A

evolution is necessary, musical idioms must move forward and follow laws of nature

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19
Q

webern style 3

A
  • extremely concentrated and short, now waste, controlled, understated
  • avoided tonal implications
  • sometimes described as pointillistic, melody not fully stated in any voice
20
Q

weber’s symphony no 21 1st mvnt

A
  • double canon, inversion integrates 2 canons
  • applies schoenberg’s klangfarbenmelodie (different statement of stating melody by changing timbre)
21
Q

igor stravinsky style3

A
  • undermining meter with unpredictable accents, rests, rapid changes of meter
  • frequent ostinatos (often in bass, could by rhythmic or melodic)
  • dry, anti-lyrical, colourful use of instruments, angular, block-like, rhythm over melody
22
Q

petrushka chord

A

F#m and Cm triads from same octatonic scale

23
Q

stravinsky’s rite of spring 6

A
  • danse des adolescents and danse sacrale
  • undermining meter
  • ostinatos - no development of motives or themes, repitition and unpredictable variation
  • timbre linked with motive variation
  • petrushka chord
  • stark timbres
24
Q

stavinsky’s neoclassic period 3

A
  • preromantic form but not tonal
  • neotonality (tonal centres not established through functional harmonic progressions)
  • octet for wind instruments
25
Q

octet for wind instruments by stravinsky 3

A
  • sounds tonal, but not moving in forward way
  • melodic, diatonic, but parrallel motion and dissonance
  • neoclassic
26
Q

stravinsky’s influence

A

support for serialism helped it gain strong following

27
Q

bela bartok 3

A
  • collected peasant tunes to use them to progress music writing, recorded peasant people singing
  • synthesized peasant and classical music
  • used sungle pitch centre instead of a key (neotonality)
28
Q

bartok’s staccato and legato from mikrokosmos 2

A
  • elements of tonality
  • mixture of diatonic chromatic motion, ornamentation
29
Q

charles ives3

A
  • distinctly american modernist techniques
  • 4 distinct spheres
  • cumulative form (thematic development first, themes at end)
30
Q

ives’ 4 spheres

A
  • vernacular music
  • protestant church music
  • european classical music
  • experimental works
31
Q

schoenberg developing variation

A

process of continuously building on germinal ideas so that each new idea is derived from what has come before

32
Q

scheonberg The principle of nonrepetition 3

A
  • continue tradition of saying something that has never been said before
  • great composers say something new while conserving what’s best of their predecessors
  • within and between pieces
33
Q

schoenberg’s 3 principles of coherence within atonal music

A

developing variation, the integration of harmony and melody, and chromatic saturation

34
Q

chromatic saturation

A

the appearance of all twelve pitch-classes within a segment of music

35
Q

expressionism 3

A

sought to capture the human condition as it was perceived in the early twentieth century, introspective and negative, related to Freudian theories of the mind

36
Q

inversion, retrograde

A

upside down, backwards

37
Q

tetrachords

A

four consecutive notes

38
Q

webern length

A

music only should do what’s necessary, so concentrated length, often as soon as all 12 tones used

39
Q

Klangfarbenmelodie

A

(tone-color melody), in which changes of tone color are perceived as parallel to changing pitches in a melody.

40
Q

primitivism

A

style with pulsation rather than meter, static repitition, unresolved dissonance, dry timbres, etc
cast aside the sophistication and stylishness of modern life and trained artistry

41
Q

composer most closely aligned with neoclasssicism

A

stravinsky

42
Q

neotonality

A

has a single pitch centre, but does not follow the rules of traditional tonality

43
Q

serial music

A

extended the principles of the 12-tone method to series in parameters other than pitch, such as rhythm

44
Q

polytonality

A

melody in one key and the accompaniment in another

45
Q

unanswered question

A

first to use tonality and atonality in the same piece

46
Q

cumulative form

A

development happens first and the themes appear in their entirety only at the end

Music History (19 decks)

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