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J - Music History 3 > Composers: Musical Style > Flashcards

Composers: Musical Style Flashcards

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1
Q

Which one of Verdi’s operas was set in ancient Egypt and premiered successfully at new opera house in Cairo?

A

“Aida”

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2
Q

Who experimented with formal structure, and forms were often generated by content?

A

Schumann

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3
Q

Who was inspired by British Isles, Austria, Italy, and landscapes and regional songs and dances?

A

Mendelssohn

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4
Q

Who captured the spirit of Romanticism while maintaining respect for Classical tradition?

A

Mendelssohn

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5
Q

Who completed the first twelve-tone composition in 1923?

A

Schoenberg

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6
Q

Elements of Hungarian folk and gypsy music were evident in who’s Hungarian rhapsodies and Hungarian fantasy?

A

Liszt

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7
Q

When and where did Prokofiev play his first piano sonata?

A

while he was still a student at his Moscow debut recital (1910)

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8
Q

As a revolutionary, who evoked more opposition than any of his contemporaries?

A

Schoenberg

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9
Q

What was Bartok’s first major success?

A

nationalist symphonic poem “Kossuth”

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10
Q

In what work by Ravel is there attraction to American jazz?

A
  • first movement of Piano Concerto in G

- second movement of Violin sonata (entitled “Blues”)

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11
Q

Name 5 impressionist style elements used by Ravel.

A
  • use of modes
  • pentatonic and whole tone scales
  • parallel chord streams
  • unresolved seventh and ninth chords
  • aggregate chords (chords built on top of the other)
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12
Q

Who mounted productions of new operas in Weimar as conductor and music director?

A

Liszt

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13
Q

Who’s music appealed to Western audiences?

A

Prokofiev

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14
Q

Who often displays a percussive approach to instrumental writing and biting harmonic dissonance verging on atonality? What is an example of a work in which this is used?

A
  • Bartok

- Out of Doors

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15
Q

Expressionist elements are evident in which Bartok opera?

A

Bluebeard’s Castle

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16
Q

Who used ancient greek dramatic practice? Define this.

A
  • Wagner

- construction of long protracted scenes with one character confronting another

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17
Q

What are the 3 new romantic idioms for Mendelssohn?

A
  • concert overture
  • incidental music
  • short lyric piano pieces
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18
Q

Who objected to the “numbers” approach in Italian opera (recitative-aria-chorus-recitative-etc.)? What did he do instead?

A
  • Wagner
  • created a more seamless, through composed type of opera in which the distinction between recitative and aria is blurred
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19
Q

German nationalism was evident in who’s folk song, settings, and dances?

A

Brahms

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20
Q

The 4 principle characteristics (identified by Prokofiev himself) are:

A
  • classical elements
  • lyrical elements
  • motoric elements
  • search for innovation
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21
Q

What were the 2 elements at the core of Schumann’s music?

A
  • literature

- fantasy/imagination

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22
Q

Who’s first two piano concertos were premiered and published while still a student?

A

Prokofiev

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23
Q

Mendelssohn made structural innovations such as linking movements. Who was this inspired by?

A

Beethoven

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24
Q

What did Messiaen call the modal scales he created?

A

modes of limited transposition

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25
Q

Humour, and gentle (even naive) charm is evident in some of who’s works? Give an example.

A
  • Ravel

- “L’infant et les sortilèges”

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26
Q

Who employed contrapuntal textures and neo-classical forms fugue, sonata, rondo, and cyclic structure? What is an example of a work that shows this?

A
  • Bartok

- Sonatina

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27
Q

Who’s works did Schoenberg study and what effect did it have on his music?

A
  • Bach, Beethoven, and Brahms

- impact on the development of his contrapuntal style and approach to formal structure

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28
Q

What was Liszt’s form like?

A
  • displayed freedom in innovations in terms of form

- wrote single movement works with complex internal structures, such as the Piano Sonata in B minor

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29
Q

Who helped Berlioz and Wagner in their careers and conducted the first performance of Wagner’s “Lohengrin”?

A

Liszt

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30
Q

Schumann focused on composing works for what instrument?

A

piano

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31
Q

Verdi had 3 periods of musical output. Briefly describe each.

A

First period: represents gradual evolution within Italian opera tradition (Oberto, Rigoletto, Il trovatore, La Traviata)
Second period: demonstrates influences from French grand opera… longer works, larger casts, grandiose orchestration (La forza del destino, Don Carlos, Aida, Messa da Requiem)
Third period: composed Otello and Falstaff in the twilight of his career

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32
Q

Who had 18th century style, and was called “Mozart of the 19th century” by Schumann?

A

Mendelssohn

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33
Q

Leitmotif technique is central to who’s operas?

A

Wagner

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34
Q

Who was inspired by Igor Stravinsky’s music and Vaslav Nijinsky’s choreography at a performance of “Les Ballets Russes” in Budapest?

A

Bartok

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35
Q

What innovations did Liszt make as a teacher?

A
  • developed the master class format
  • welcomed any capable student
  • occasionally offered instruction free of charge
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36
Q

Light Scherzando writing is a hallmark of who’s style?

A

Mendelssohn

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37
Q

Who’s choral music reflects love of polyphony and life long interest in historical styles (Handel, Haydn)?

A

Brahms

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38
Q

What special modifications did Wagner do to the orchestra?

A
  • expanded orchestra, often over 100 players

- invented the Wagnerian tuba

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39
Q

Who is associated with Gesamtkunstwerk and what does it mean?

A
  • Liszt, Wagner
  • “Music of the Future”, “total artwork”
  • a movement that supported the fusion of music and drama
  • all elements of the production are given equal status
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40
Q

Who’s enthusiasm for composition grew after hearing a performance of Richard Strauss’ symphonic poem: “Also sprach Zarathustra”?

A

Bartok

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41
Q

Name the 4 periods and dates of Wagner’s music.

A
  • Early years (1833-1842)
  • Dresden (1843-1849)
  • Years of Exile (1849-1863)
  • Munich, Bayreuth, and Final Years (1864-1883)
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42
Q

What was Ravel’s approach to harmony?

A

tonal but marked by chromaticism

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43
Q

Verdi composed Messa da Requiem in honour of who?

A

Alessandro Manzoni (Italian writer)

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44
Q

What are the 2 ways that Bartok used to preserve authentic folk songs?

A
  • by notating the music

- by creating historic sound recordings at the source of the music (small villages of central Europe)

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45
Q

How did Prokofiev show Russian nationalism? Give an example.

A
  • through quotations of hymns and folk songs

- “Alexander Nevsky”

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46
Q

American audiences were thrilled by Prokofiev’s performances, but critics descried his piano playing as “___, ___, and ___”.

A

“Savage, steely, and mechanic”

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47
Q

Who’s harmonic language was grounded in tonality, though often very dissonant (example of expanded tonality)?

A

Prokofiev

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48
Q

Name 2 of Brahms’ musical influences.

A
  • Bach

- Beethoven

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49
Q

Describe Messiaen’s inspiration from spirituality. Give an example.

A
  • strong catholic faith reflected in religiously-themed works
  • employed actual chant, as well as melodies influenced by the melodic shapes and forms of chants
  • ex. “Vingt regards sur I’enfant Jesu”
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50
Q

Who in their later works, adapted serial principles to melodic and rhythmic elements, instrumentation, and dynamics?

A

Messiaen

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51
Q

Who gained international reputation for the Soviets through his style of music and play?

A

Prokofiev

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52
Q

Who cultivated programmatic writing, is credited with inventing the symphonic poem, and contributed to the development of program symphony?

A

Liszt

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53
Q

What are the lyrical elements of Prokofiev’s style?

A

sweeping melodies and lush harmonies (ex. “Romeo and Juliet”)

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54
Q

Describe Schoenberg’s music in his serialist period (1923-1933).

A
  • composed using the twelve tone method
  • returned to classical forms such as sonata, rondo, variation, and suite
  • “Variation for Orchestra, op. 31”
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55
Q

As a composer, Bartok was searching for ___ ___ ____, not the stylized music of Liszt’s Hungarian Rhapsodies, or so called “___ ____”

A
  • authentic Hungarian “voice”

- “gypsy music”

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56
Q

Name 3 characteristics of Ravel’s musical style.

A
  • brilliant orchestration
  • incisive rhythms
  • Lisztian virtuosity
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57
Q

How did Messiaen feel about using Major/minor scales?

A
  • not necessarily unfavourable, but also used whole tone scale, octatonic scale, and created many new modal scales containing anywhere from 6-10 pitches
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58
Q

Schumann drew inspiration from early masters such as who?

A
  • Bach (counterpoint)

- Beethoven (structural innovations)

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59
Q

Schumann admired the music of his contemporaries, including who?

A
  • Schubert
  • Chopin
  • Mendelssohn
  • Berlioz
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60
Q

Describe Schoenberg’s music in his post romantic period (until 1908).

A
  • drawn to programmatic elements
  • chromatic harmony, lush orchestration
  • “Verklarte Nacht” (Transfigured Night)
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61
Q

Who were 4 writers that Liszt was acquainted with?

A
  • Heinrich Heine
  • Victor Hugo
  • Algred de Musset
  • Alphonse Lamartine
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62
Q

What were some of Messiaen’s final works?

A
  • his only opera, “Saint Francois d’ Assise”

- orchestral compositions that reflected his spiritual and metaphysical approach to his craft

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63
Q

Liszt had an artistic circle based in Paris. Who did this include?

A
  • Hector Berlioz
  • Vincenzo Bellini
  • Gaetano Donizetti
  • Fredric Chopin
  • Nicolo Paganini
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64
Q

Why did Bartok travel to Slovakia, Romania, Serbia, Croatia, and North Africa?

A

to collect and record folk songs other than Hungarian that he studied

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65
Q

Name 2 romantic features that Brahms used.

A
  • modal and chromatic harmony

- unexpected modulations

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66
Q

Who co founded the “New Journal of Music” and with who?

A
  • Schumann

- Friedrich Wieck

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67
Q

Liszt was an important figure in developing modern piano technique. What are some of the techniques (bravura effects) he invented/used?

A
  • extreme registers
  • wide leaps
  • a variety of arpeggiated figures
  • thunderous octaves
  • tremolos
  • cascading passages
  • rapid repeated notes
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68
Q

Who used ‘nonretrogradable’ rhythms (also called rhythmic palindromes - rhythmic patterns that read the same forward and backward)?

A

Messiaen

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69
Q

When was Schumann’s “Year of Song” and what did he do during it?

A
  • 1840

- wrote over 150 songs

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70
Q

Who’s musical eclecticism was revealed in wide range of genres?

A

Prokofiev

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71
Q

What are the 3 periods (and the corresponding years) that Liszt’s career can be divided into?

A
  • concert pianist 1827-1847
  • Weimar years 1848-1861
  • late years: Rome, Weimar, Budapest 1861-1886
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72
Q

Who published “Harmonielehre” (a treaty on harmony)?

A

Schoenberg

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73
Q

Who was a impressionist, and musical style reflected exoticism, neo-classicism, and American jazz and blues?

A

Ravel

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74
Q

Brahms toured with a famous Hungarian violinist, who introduced him to another violinist. Who are these people?

A
  • Eduard Remenyi

- Joseph Joachim

75
Q

Describe Schoenberg’s music in his American period (1933-1951).

A
  • greater stylistic diversity, with occasional returns to tonal composition
  • employed a more liberal approach to twelve-tone composition
  • more connected to his Jewish faith; many works have religious themes
  • “A survivor from Warsaw”
76
Q

Mendelssohn was encouraged to emulate the proven models of who?

A

Bach, Handel, Haydn, and Mozart

77
Q

Who was a pianist, composer, educator, and ethnomusicologist?

A

Bartok

78
Q

Describe the general structure of the majority of Verdi’s operas.

A

feature conventional “numbers” approach in which overtures (or preludes), recitatives, arias, ensembles, and choruses alternate

79
Q

What incident marked the beginning of Bartok’s lifelong interest in researching and annotating folk music at the source?

A

he was captivated when he overheard a maid singing authentic Hungarian folk songs at a resort

80
Q

Who used classical style elements in the Romantic era and pulled from different composers?

A

Mendelssohn

81
Q

What approach to rhythm did Messiaen develop? How is it shown in his works?

A
  • regarded rhythm as an accumulation of durations rather than a division of time into equal parts
  • many of his works are a-metrical with bar lines used only to indicate phrasing
82
Q

Who’s stirring arias and choruses convey nationalism?

A

Verdi

83
Q

Who enjoyed thematic transformation?

A

Schumann

84
Q

Describe Schoenberg’s music in his expressionist period (1908-1917).

A
  • marked by rejection of tonality
  • disjunct melodies often span a wide range
  • polyphonic procedures masked by dissonance
  • “Pierrot lunaire”
85
Q

What is a programmatic element that Schumann used?

A

descriptive titles identifying specific extramusical associations

86
Q

Who used abrupt modulations, unexpected harmonic progressions, and brilliant virtuosity in his piano sonatas and concertos?

A

Prokofiev

87
Q

Who had a natural affinity for Spanish music because of his mother’s Basque heritage? Give an example of a work that show Spanish influence.

A
  • Ravel

- ex. “Rapsodie espagnole”, “Bolero”, “L’ here espagnole” (opera)

88
Q

Who contributed to the development of the formal structure of the romantic concerto?

A

Mendelssohn

89
Q

Who inherited the legacy of the German symphonic tradition?

A

Brahms

90
Q

What was Verdi’s first major success?

A
  • opera called “Oberto” in Milan

- resulted in commission for three new operas

91
Q

Why did Brahms adhere to musical tradition (Bach and Viennese classical composers)?

A

because of Marxsen’s teaching

92
Q

Who developed the twelve tone method and what is it?

A
  • Schoenberg
  • a method of composition used to organize atonal music
  • based on a fixed order of the twelve chromatic pitches forming a tone row
  • a.k.a dodecaphonic music
93
Q

Generally, who’s music is characterized by contrapuntal textures and chamber-like sonorities?

A

Schoenberg

94
Q

Name 3 neo-classical style elements used by Ravel.

A
  • lean textures
  • contrapuntal writing
  • traditional forms
95
Q

Name 3 contemporaries that Schoenberg was influenced by.

A
  • Wagner
  • Mahler
  • Strauss
96
Q

Who used colourful orchestration and special effects to heighten drama?

A

Verdi

97
Q

Describe Schumann’s use of rhythm

A

masterly use of syncopation, hemiola, and cross-rhythms

98
Q

How did Schoenberg break the harmonic conventions of the past?

A

replaced it with the twelve tone method

99
Q

What contrapuntal elements played a key roll in Brahms’ music?

A
  • imitation
  • intricate voice leading
  • well crafted bass lines
  • frequent pedal points
100
Q

What are 3 folk elements that Bartok used to show his Hungarian nationalism?

A
  • pentatonic and other non-traditional scales
  • irregular rhythms and phrase structures
  • dance types
101
Q

Describe Messiaen’s inspiration from nature, especially birdsong. Give an example.

A
  • birdsongs were researched and transcribed

- ex. “Abime des oiseaux” (Abyss of Birds) from “Quatuor pour la fin du temps”

102
Q

Ravel’s rich orchestral writing was influenced by who?

A
  • Debussy

- Russian composers such as Nikolai Rimsky-Korsakov and Igor Stravinsky

103
Q

Brahms’ piano writing has distinct characteristics. Name 5 of them.

A
  • widely spaced chords
  • parallel chord motion
  • frequent chromaticism
  • contrapuntal textures
  • orchestral quality
104
Q

Describe Wagner’s output in his Years of Exile period (1849-1863).

A
  • In Zurich, his creative focus shifted to literary works
  • articulated his artistic philosophy in influential essays (“Art and Revolution”, “Artwork of the Future”, and Opera and Drama)
105
Q

With what song cycle did Schoenberg abandon tonality, marking a radical departure from his earlier style?

A

The Book of the Hanging Gardens

106
Q

Who’s writing is not always idiomatic, which makes it challenging?

A

Brahms

107
Q

Who had fondness for alliterative rhymes? Define this.

A
  • Wagner

- when several stressed syllables been with the same consonant

108
Q

Who had a reputation as a virtuoso pianist, but also worked as a conductor, music director, and teacher?

A

Liszt

109
Q

How did Messiaen think of chords and modulations?

A

he thought of them in terms of colours, personally describing them as resonance chords, rainbows, and stained effect (ex. “Chronochromie”)

110
Q

Who maintained traditional diatonic harmonic language with moderate use of chromaticism?

A

Verdi

111
Q

What was significant about the year the Brahms started working on Ein deutsehes Requiem? Where did it premiere?

A
  • it was the year that his mother died

- Leipzig

112
Q

How was unity and flow achieved in Verdi’s operas?

A

through “signature” themes, recurrent motives (ex. Curse Motive in Rigoletto)

113
Q

Schumann’s strongest inspirations were literary. Who did these include?

A
  • Jean Paul (Papillons)

- E.T.A Hoffman (Kreisleriana)

114
Q

Who’s career activities influenced compositional output? What is an example of this?

A
  • Liszt

- during his years touring, he wrote and performed many piano transcriptions of symphonies, opera arias, and lieder

115
Q

Name 5 specific musical styles that Liszt favoured (rhythm, harmony etc.)

A
  • enjoyed thematic transformation
  • harmonic language often chromatic and progressive
  • favoured mediant relationships instead of the circle of fifths
  • used augmented triads and other altered chords
  • late works such as Nuages Gris foreshadow impressionism
116
Q

Who presented a historic piano recital, the first of its kind, in London in 1840? What were concerts like prior to this?

A
  • Liszt

- concerts before involved many performers and ensembles

117
Q

Who had a multi-faceted career including composing, teaching, performing, writing, and painting?

A

Schoenberg

118
Q

Where did Wagner draw principle inspiration from?

A
  • Norse mythology

- Celtic legends and medieval epic poems, all with symbolic subject matter

119
Q

Prokofiev earned international reputation as what?

A

a virtuoso pianist and composer

120
Q

Describe the librettos that Verdi selected.

A

selected from dramatic possibilities and human elements: love, passion, fate, intrigue, courage

121
Q

How did Beethoven’s symphonies influence Wagner’s operas?

A
  • Beethoven’s symphonies inspired Wagner to infuse his operas with a more symphonic approach to writing, such as closely weaving vocal and orchestral trans into a complex musical fabric
122
Q

Bartok’s early compositions reveal enthusiasm for ____ ____ (person), and ____ _____ style.

A
  • Richard Strauss

- post-romantic style

123
Q

Who took a scientific approach to collecting, studying, and assimilating folk music sources into art music?

A

Bartok

124
Q

Who paid careful attention to language, with integration of text and music, and poetic speech?

A

Wagner

125
Q

Who’s works did Wagner like?

A

Berlioz and Liszt

126
Q

How did Liszt change the culture of piano performance?

A
  • played from memory
  • sat with profile to audience
  • referred to concerts as recitals
127
Q

Name 5 classical features of Mendelssohn’s style

A
  • application of traditional forms
  • clear harmonic function
  • sonata form with repeated exposition
  • moderately sized orchestra (aprox. 40 players)
  • use of orchestral colour
128
Q

Who’s music was influenced by the Catholic church?

A

Liszt

129
Q

What was significant about Ravel’s bass line?

A
  • it often followed traditional diatonic progressions
130
Q

What are the motoric elements of Prokofiev’s style?

A

constant rhythmic drive resulting in a feeling of ‘moto perpetuum’ (ex. “Toccata”)

131
Q

Who wrote many pedagogical works, including six volumes of instructional piano solos? What was this work called?

A
  • Bartok

- Mikrokosmos

132
Q

Who employed a sophisticated chromatic harmony? Give an example.

A
  • Wagner

- the Tristan chord

133
Q

Who feared the number 13?

A

Schoenberg

134
Q

How did Mozart and the Viennese classical style affect Mendelssohn’s style?

A

inherited a preference for balanced and symmetrical phrases, and clarity of texture

135
Q

Who often projected an impish, scherzo-like quality through the use of crisp rhythms, clipped staccatos, and colourful orchestration?

A

Prokofiev

136
Q

Who moved away from symmetrical phrases? What did he do instead?

A
  • Wagner

- more continuous melodic flow referred to as “endless melody”

137
Q

How did Bach’s music affect Mendelssohn’s style?

A

close study of Bach’s music led to a love of counterpoint and part-writing

138
Q

What are the parts of classical tradition that Brahms respected?

A
  • Sonata form
  • theme and variations
  • passacaglia
139
Q

In which period did Liszt retire from his performing career?

A

Weimar years 1848-1861

140
Q

Describe Verdi’s arias.

A
  • virtuoso coloratura with soaring melodies, spectacular runs, and vivid ornamentation
  • structured approach: well defined sections, balanced phrasing and lyrical melodies that are occasionally reminiscent of folk songs
141
Q

Sergei Diaghilev commissioned a ballet for his Les Ballet Russes from this composer, and it eventually resulted in the popular “Scythian Suite”.

A

Prokofiev

142
Q

How does Liszt’s musical style display duality in his personal life?

A
  • virtuosic, but also inspired by religious beliefs

- many pieces have religious titles or symbolism

143
Q

Give an example of one of Prokofiev’s works where he used polytonality.

A

“Sarcasms, No. 2”

144
Q

Who continued to explore new approaches to form, including a more continuous musical design, moving away from the traditional “numbers” approach?

A

Verdi

145
Q

Who was Ravel commissioned by to write the music for “Daphnis et Chloe”? Describe the music.

A
  • Sergei Diaghilev and his Les Ballet Russes

- originally scored for large orchestra, wordless chorus, and wind machine

146
Q

Define tone row.

A
  • fixed order of the twelve chromatic pitches
  • basis of a twelve tone composition
  • undergoes manipulations including: transposition, inversion, retrograde, and retrograde-inversion
147
Q

How did Schumann embody the spirit of Romanticism?

A
  • intensely subjective viewpoint
  • heightened emotionalism
  • underlying sense of pitifulness
148
Q

What was Ravel’s first published work?

A

a piano solo: “Menuet antique”

149
Q

Name 4 musical characteristics of Bartok.

A
  • rhythmic complexities
  • folk elements
  • traditional forms
  • dissonant harmony
150
Q

When did Bartok start composing, and what type of music was his earlier works?

A
  • 1890s
  • dance pieces such as waltzes, Landler, and polka
  • some early piano works were programmatic
151
Q

What is the name of the work that Messiaen published in 1944? What did it outline?

A
  • “Technique de mon langage musical” (Technique of my Musical Language)
  • outlined his compositional approach, especially with regard to rhythmic and pitch modes
152
Q

Who had significant influence on successive generations of composers including Richard Strauss, Gustav Mahler, and Arnold Schoenberg?

A

Wagner

153
Q

Who had great demand as a conductor and championed both historical and contemporary works?

A

Mendelssohn

154
Q

Which opera launched international fame for Verdi?

A

Bucco

155
Q

What are the classical elements of Prokofiev’s style?

A
  • use of classical forms such as sonata and rondo

- cultivated classical genres including concerto, symphony, sonata, suite (ex. Symphony No. 1 in D, “Classical”)

156
Q

What are the 5 periods (and dates) that Schoenberg’s style can be split into?

A
  • post romantic period (until 1908)
  • expressionist period (1908-1917)
  • Years of Silence and Gestation (1913-1917)
  • serialist period (1923- 1933)
  • American period (1933-1951)
157
Q

Who is “Le tombeau de Couperin” by Ravel dedicated to?

A
  • mother’s memory

- friends who perished during the war

158
Q

Who was one of the few opera composers to write his own librettos?

A
  • Wagner

- he always worked on the libretto before composing the music

159
Q

How did Ravel’s friendship with gifted soloists affect his music? Give an example.

A
  • resulted in highly virtuosic works

- ex. “Gaspard de la nuit” (one of the most difficult pieces in the piano repertoire) was premiered by Ricardo Vines

160
Q

What were Messiaen’s 3 significant sources of inspiration?

A
  • spirituality
  • non-Western musical sources
  • nature, especially birdsong
161
Q

Name 3 romantic features (programmatic elements) of Mendelssohn’s style

A
  • descriptive titles
  • natural imagery
  • literary references
162
Q

How is search for innovation found in Prokofiev’s style?

A
  • progressive features such as unabashed dissonance, abrupt changes of key, and rhythmic complexities
  • unique approach to pianistic writing. Shown by novel textures and percussive effects (ex. “Diabolical Suggestion”)
163
Q

Describe Mendelssohn’s orchestra style

A
  • vivid orchestration
  • rapid leggiero string passages
  • chordal texture in the winds
164
Q

How did Messiaen’s early works (such as the eight piano preludes) reveal the influence of Debussy?

A
  • parallel chord streams
  • added sixth and ninth
  • aggregate chords
165
Q

What genres did Liszt’s composing activities focus on during his concert pianist period?

A

orchestral music including symphonic poems, program symphony, and piano concertos

166
Q

Name 3 romantic features (other than programmatic elements) of Mendelssohn’s style

A
  • memorable melodies
  • unexpected modulations
  • virtuosic writing
167
Q

Which one of Verdi’s three commissions after “Oberto” failed miserably?

A

the first commission: “Un giorno di regno”

168
Q

Name 4 of Brahms’ characteristic rhythmic elements

A
  • cross rhythms
  • syncopations
  • hemiola
  • augmentation (particularly at cadence points)
169
Q

How did Handel’s music affect Mendelssohn’s style?

A

gleaned a variety of choral techniques from Handel’s oratorios

170
Q

Who had moderate use of chromaticism?

A

Schumann

171
Q

Why did Prokofiev have a reputation as an “enfant terrible”?

A

for his wild playing style and percussive, dissonant compositions

172
Q

Who further developed Romantic idioms such as the concert etude and lyric piano piece?

A

Liszt

173
Q

Describe Messiaen’s inspiration from non-Western musical sources. Give examples.

A
  • structural, harmonic, and particularly rhythmic elements were drawn principally from non-Western sources
  • influenced by his studies of ancient Greek poetry and Hindu music
  • drew from South American/Peruvian folk music (ex. “Harawi”)
  • used traditional songs and birdsongs of Japan (ex. “Sept haikai”)
174
Q

Who was fond of palindromic (mirror) forms, and formal structure was influenced by mathematical principles such as the Fibonacci series?

A

Bartok

175
Q

Why did “Pierrot lunaire” create a stir after its 1908 premiere in Berlin?

A
  • unorthodox instrumentation

- new Sprechstimme technique

176
Q

Describe Wagner’s music in his Dresden period (1843-1849).

A
  • “The Flying Dutchman” and “Tannhauser” marked dramatic departure from operatic tradition, showing the evolution of a new style
  • began formulating ideas for what would become “The Ring of Nibelung”
177
Q

What about Ravel does his ballet and opera show?

A
  • clever wit

- eye for the theatrical

178
Q

Who became increasingly disillusioned with the European political situation prior to WWII, and contemplated emigrating?

A

Bartok

179
Q

Unlike many piano composers of his time, who did not embrace virtuosity for its own sake?

A

Schumann

180
Q

The death of who’s mother was a crushing blow, and slowed his creative output?

A

Ravel

181
Q

Who was Wagner especially influenced by? What works in particular?

A
  • Beethoven
  • Symphony No. 9 and Fidelio (opera)
  • influence was apparent in Wagner’s earliest compositions
182
Q

In which works did Ravel use the poetry of French symbolists?

A

in his art songs (melody) and song cycles

183
Q

Who, unlike his contemporaries, showed little interest in program music, and no interest in opera or music for the stage?

A

Brahms

184
Q

Who developed Klangfarbenmelodie?

A

Schoenberg

J - Music History 3 (13 decks)

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