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Part IB History of Western Art Music Post-1900 > Composer/Philosopher Profiles > Flashcards

Composer/Philosopher Profiles Flashcards

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1
Q

Schoenberg

A
  • Serialism and atonality
  • Developing variation
  • Believe he was a natural successor to Wagner
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2
Q

Stravinsky

A
  • Russian composer with French/American citizenship
  • Rhythmic advancement and instrumental forces
  • Stylistic diversity: national music (ballets), Neoclassicism, late engagement with serialism
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3
Q

Debussy

A
  • French Impressionist composer
  • ‘Melodic tonality’: non-functional harmonies, bitonal chords, whole-tone and pentatonic scales, unprepared modulations, parallel chords, pedals
  • bit of a nationalist
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4
Q

Scriabin

A
  • Russian Symbolist and religious nutter: ‘I am God’
  • dissonant musical language that transcended tonality – but not atonal
  • last 5 sonata’s written without a key signature
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5
Q

Boulez

A
  • French composer, analyst, conductor and rampant critic (absolutist and control freak)
  • Integral serialism, controlled chance music (Piano sonata 3) and electronic transformation of live instrumental sounds
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6
Q

Schaeffer

A
  • Founder of GRMR in Paris
  • Electronic/avant garde/’musique concrete’
  • Recording and sampling with tape technology
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7
Q

Ligeti

A
  • Hungarian avant garde composer
  • Early works include folk elements and extension of Bartokian musical language
  • Later works have more complexity in rhythm and pulse
  • ‘Micropolyphony’ in dense note clusters
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8
Q

Xenakis

A
  • Greek avant garde composer
  • Mathematically modelled music composition
  • Spatial elements, architecture, short foray into electronics
  • Algorithmic composition (GENDY)
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9
Q

Stockhausen

A
  • Electronic music, group composition, process composition, Spatialization, variable form, polyvalent form, Athematic serialism (non 12-tone) punktuelle Musik
  • Multiple of the above played off each other in the same composition
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10
Q

Messiaen

A
  • Ecclesiastical composer
  • Symmetrical forms: modes of limited transposition and retrograde-able rhythms
  • Birdsong, Gamelan, Hindi deci-talas, modality,
  • Denies western harmonic teleology and suspension of time ‘infiniment lent’
  • precursor to serialism
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11
Q

Satie

A
  • Moved away from post-Wagnerian impressionism towards a sparer, terser style - highly original
  • unresolved chords, he sometimes dispensed with bar-lines, simple melodies (love of old church music), modal harmonies
  • Furniture music
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12
Q

Feldman

A
  • Extremes in duration and scale - haptic timbres
  • inspired by painters and dedicated many works to friends and colleagues in the NYC school
  • Anti- institution ‘there will be no embarrassment in my abilities’
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13
Q

Brecht

A
  • Theatre practitioner and playwright
  • Epic theatre and the alienation effect (anti-realism) encouraging audience to think critically
  • Breaking the forth wall, lighting, minimal staging (juxtaposed with a few select realistic visual elements), narrators, announcing stage directions
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14
Q

Lutyens

A
  • English dodecaphonist
  • Less strict adherence to 12-tones to more easily express herself
  • Faced backlash from non serialist and serialists for her approach to the technique
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15
Q

Cage

A
  • Postmodernist composer
  • Emancipation of noise: prepared piano
  • Theatrical compositions
  • Chance music and indeterminacy
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16
Q

Webern

A
  • Strict adherence to 12 tone-methods

- Atonality, anti-thematicism, brevity, extended instrumental technique/timbres,

17
Q

Berg

A
  • Combined Romantic lyricism with 12-tone technique
  • Pupil of Schoenberg’s
  • ‘Human’ and ‘emotional’ approach (more accessible and admired)
18
Q

Hindemith

A
  • Expressionist works of complex counterpoint (Bachian neoclassicism)
  • Gebrauchsmusik
19
Q

Samuel Coleridge-Taylor

A
  • Black/Mixed race and often racialised in reviews
  • Taught in Western Classical idiom
  • Cantatas widely sang during his lifetime and adopted by AA choral societies (admired)
  • ‘African Mahler’
20
Q

Varese

A
  • French ultramodernist

- Interested in electronics (anti-‘interpretation’) and the emancipation of noise (‘organised noises’)

21
Q

Ruth Crawford Seeger

A
  • American Ultra modernist
  • Folk/topical issues/modernist
  • Polytonality and tone clusters
  • Serial methods
  • Dissonant counterpoint
22
Q

Kurt Weill

A
  • Composed for the stage with Brecht

- Satire/social commentary (like the Weimar cabarets)

23
Q

Babbitt

A
  • American serial and electronic composer

- ‘Who cares if you listen?’

24
Q

Britten

A
  • English composer
  • Most well known for his operatic music that show the struggle of an outsider against a hostile society and the corruption of innocence
  • wrote music for children and amateur performers
  • composed with particular performers in mind
  • ‘restore to the musical setting of the English Language a brilliance, freedom and vitality’ of Purcell
25
Q

Vaugh Williams

A
  • English Pastoral school
  • Folk tunes collector (influenced by Tudor music)
  • believed in making music as available as possible to everybody; works for amateur and student performance
  • Modal (Debussy/Ravel) and evocative
26
Q

Bartok

A
  • Hungarian
  • Collection and analytical study of folk music
  • Breakdown of the diatonic system of harmony and the revival of nationalism as a source for musical inspiration
27
Q

Russolo

A
  • Italian futurist
  • Emancipation of noise (manifesto ‘the art of noises’)
  • Created noise machines
28
Q

Henry Cowell

A
  • American avant-gardist
  • Early pioneer of atonality/polytonality, polyrhythm and non-western modes
  • ‘New Musical Resources’ - emancipation of noise, music without philosophy
  • tone clusters, extended instrumental techniques
29
Q

John Adams

A
  • American minimalist reacting against serialism
  • Late Romantic orch. textures
  • creating larger shapes out of repeating cells
  • Operas around topical events
  • Emancipation of noise beyond cage using electronics
30
Q

Dvorak

A
  • Czech composer
  • Aspects of the folk music (Slavonic dances and songs)
  • Later works move towards classical models
31
Q

Charles Ives

A
  • American Modernist - ‘American original’
  • Experimental music - polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones
  • Fondness of musical quotation (BH5 in every mvmt of 2nd Pno Sonata)

Part IB History of Western Art Music Post-1900 (5 decks)

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