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Music History > Diverging Traditions > Flashcards

Diverging Traditions Flashcards

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1
Q

french music 2

A
  • challenging to position, trying to establish french identity and repertoire
  • concerts of german classics and new french works
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2
Q

french politics 3

A
  • significant musical govt funding
  • political pressure
  • works associated with political movements
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3
Q

french music schools 3

A
  • conservertoire - prestigious, technical, focus on opera
  • niedermeyer - general instruction, focus on church music
  • schola cantorum - focus on historical studies
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4
Q

2 strands of composition france

A
  • cosmopolitan tradition (Franck and pupils)
  • more specifically French tradition (Faure)
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5
Q

counterpoint

A

note against note, not block chords

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6
Q

cesar franck style 3

A
  • counterpoint and classical forms
  • liszt’s thematic transformation
  • wagner’s harmony and cyclic unification
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7
Q

franck organ chorale style 2

A
  • improvisatory (new for organ)
  • orchestral colour
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8
Q

franck’s symphony in dm

A

cyclic form (themes recur in other movements, binds them together)

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9
Q

franck chamber music

A
  • he was founder of french chamber music
  • all chief works in cyclic form
  • violin sonata
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10
Q

franck violin sonata 8

A
  • renaissance and baroque procedures with romantic harmony and thematic structure
  • riternello combined with sonata, ternary, rondo forms
  • extended canon of main theme
  • modulated by 3 over A chord
  • main theme alternates with themes of previous mvmnts
  • tonal
  • accessible to average listener
  • violin and piano toss prominence back and forth
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11
Q

gabriel faure general style 4

A
  • drew primarily on earlier French composers
  • order and restraint, reserved and simple
  • subtle patterns of tones, rhythms, colours
  • stretched in new directions, provoked resistance from conservative establishment
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12
Q

faure songs

A

developed new language of fragmented melodic lines, harmony less directional, not sure where melodies will land as they move through chord modulation

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13
Q

avant que te ne t’en allies 6

A
  • song of faure’s la bonne chanson cycle
  • each poetic image set to melodic phrase in own tonal world
  • harmonic successions dilute need for resolution, prolong tension
  • chords fade into one another, linked through common tones
  • chromaticism as means to achieve equilibrium, restraint
  • symbolism where things are suggested instead of explicately said, listener interpreting for self
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14
Q

tchaiovsky general 4

A
  • cosmopolitan music renowned all over europe and north america
  • wide appeal, works at heart of repertoire
  • best known symphonies almost as performed as beet’s
  • funded by wealthy widow
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15
Q

tchaiovsky’s symphony no 4 4

A
  • classical form
  • draws from schubert: 3 key expositions, recapitulation behins away from tonic
  • private program
  • horn call in intro symbolizes inexorable fate
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16
Q

tchaiovsky’s symphony no 6 (pathetique) 3

A
  • private program left as a mystery
  • light scherzando character, evokes triumphant march
  • motivic fragments coalesce into main theme (theme emerges instead of being introduced right away)
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17
Q

borodin 3

A
  • devotee of chamber music
  • admired mendellson
  • melodies seldom quote folk tunes, but reflect their spirt
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18
Q

musorgsky

A
  • pictures at an exhibition (scenes instead of narratives)
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19
Q

rimsky-korsakov 4

A
  • known for programmatic orchestral works
  • genius for orchestration, musical characterization
  • capricccio espagnol, sceharzade exoticism from spain and arabia
  • russian esater overture - nationalist
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20
Q

smetana and dvorak 3

A
  • bohemia
  • better known outside of bohemia for instrumental music than operas
  • influenced by new german school
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21
Q

smetana 2

A
  • sought to create national music
  • ma vast (my country) - 6 symphonic poems
22
Q

dvorak 3

A
  • follows in brahm’s footsteps
  • international style
  • czech elements to achieve national idiom
23
Q

dvorak’s savonic dances 2

A
  • can hear dance beats
  • first in rhythm and style, widely knowsn czech dance
24
Q

dvorak’s symphony 9 in em 3

A
  • “from the new world”
  • elements of native and african american idioms
  • pentatonic melodies, syncopation, drones, plagal cadences
25
Q

edvard grieg 6

A
  • forged distinctly norwegian pieces
  • international style - but folk tunes and texts in some pieces
  • modal turns of melody and harmony
  • frequent drones in bass or middle register
  • combo of 3/4 and 6/8 meters
  • lyric pieces - short piano pieces similar to chopin
26
Q

britain 3

A
  • english musical renaissance - movmnt to created british musical tradition
  • start to become prominent internationally
  • foreign-born musicians and styles dominated
27
Q

parry 3

A
  • best known for choral music and 5 symphonies
  • drew on brahms, wagner, liszt - texchniques of development, thematic transformation, cyclic form
  • english influences - anglican church music, british folk songs, 16th and 17th english composers
28
Q

stanford 5

A
  • influence on church music
  • known for choral music, symphonies, concerts
    -modelled after brahms and mendellson
  • diatonic style
  • flavor of native irish folk tunes
29
Q

edward elgar 7

A
  • catholic (outsider in england)
  • no academic training led to unique personal style
  • first english composer with internation recognition in 200+ years
  • outsider to renaissance
  • harmonic approach
  • leitmotives in oratorios
  • symphonic output
30
Q

usa theories 2

A
  • dvorak said usa music would come out of african americans and native americans
  • others said it would be more international
31
Q

folk

A

passed through oral tradition

32
Q

classical 3

A

centered on composer
attention to notated score
now means serious, for thinking

33
Q

pop 4

A

written down
sold as commodity
focus on performer
composed by a specific person

34
Q

germans in usa 2

A

german style and teaching dominated bc of german immigrants up to wwi
fostered divide between classic and pop

35
Q

theodore thomas

A
  • one of most famous immigrant musicians
  • founded own professional orchestra
36
Q

native born usa composers 3

A
  • studied in germany and usa
  • styles rooted in german tradition
  • internationalism vs nationalism
37
Q

amy beach 3

A
  • most works engaged in traditions of german classics
  • style rooted in brahms
  • gaelic symphony
38
Q

beach’s gaelic symphony 5

A
  • ethnic and nationalist
  • in response to dvorak’s new world sympyony
  • based on irish tunes (lilting 12/8)
  • fast development
  • modulates around 2 circles of major 3rds
39
Q

bands 4

A
  • mix of serious and pop music
  • spread of bands related to divisions of us army having own bands
  • music to march and entertain
  • amateur and professional bands
40
Q

patrick s gilmore

A
  • founded own band
  • success led to flood of professional touring bands
41
Q

john philip sousa 2

A
  • “march king”
  • altered form for dramatic effect - build to climax instead of returning to beginning (no de capo), forward motion
42
Q

band repertory 2

A
  • marches, dances
  • classical composers encouraged transcriptions, arrangements, medleys
43
Q

march form 4

A
  • brief intro of 4 measures
  • 2 strains or periods, each repeated
  • trio in contrasting key (often 4th), 2 repeated strains
  • de capo repetition up to trio
44
Q

pop song4

A
  • late 1800s introed gulf between classic and pop
  • sought to entertain, sell, accomodate amateurs
  • interplay of convention and novelty
  • verse-refrain form, with catchy hook
45
Q

african american music 7

A
  • call and response
  • improvisation based on simple formula
  • syncopation
  • multiple layers of rhythm
  • bending or sliding pitches
  • spirituals had greatest impact - from bible with hidden meanings
  • many ethnic groups with different language and customs
46
Q

world music

A

dvorak’s idea that music is becoming less national in style

47
Q

usa diversity

A

stewpot, where each group maintained its own music while lending a flavour to the whole

48
Q

usa approaches to nationalism 4

A
  • music should transcend nationalism
  • composers should just write the best music they can
  • or nationalism important for international recognition
49
Q

art songs

A
  • required professional skill
  • artistic statement instead of entertainment
50
Q

chorus popular songs

A

used to mean group of singers, came to mean refrain

51
Q

spirituals 2

A
  • religious song of southern slaves, passed down through oral tradition
  • texts were usually based on images or stories from the Bible, but they often carried hidden meanings of enslaved people’s yearning for freedom

Music History (19 decks)

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