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Final Exam Flashcards

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1
Q

Outgrowth of French Revolution

A

Transfer of power from hereditary landholding aristocracy to the middle class; increasingly democratic character; sympathy for the oppressed, interest in peasants, children; faith in humankind, human destiny; new society based on free enterprise; “Liberty, Equality, Fraternity” inspired artists

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2
Q

Romantic writers and artists

A

Revolt against Classical formalism; new lyric poetry and prose; Bohemian lifestyle: rejected dreamer; misunderstood by society; disenchantment; eternal longing; regret for lost happiness of childhood; discontent, pessimistic

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3
Q

Romantic themes

A

Conflict between individual and society; glamorization of the past; “strangeness and wonder”; longing of far-off lands; supernatural; profound meditations on life and death

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4
Q

Nationalism

A

Diversity of nationalistic expressions; increase use of folk songs, dances; enriched melodic, harmonic, rhythmic language

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5
Q

Romantic style traits

A

Highly lyrical melodies in instrumental and vocal music; more chromatic harmony and dissonance; new orchestral forms like the symphonic poem, choral symphony, works for solo voice with orchestra; music is drawing closer to the other arts

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6
Q

musicians/composers

A

music reached general public; supported by middle class; considered geniuses and stars idolized by the public (e.g., Fran Liszt and Niccolo Paganini)

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7
Q

Venues

A

Public concert halls and aristocratic salons

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8
Q

Patronesses

A

George Sand, Princess Carolyne Sayn-Wittgenstein, Nadeshda von Meck

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9
Q

“popular” vs “classical”

A

“highbrow” and “lowbrow” musical repertories

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10
Q

Lied

A

Romantic art song; German-texted solo song with piano accompaniment; emergence linked to the popularity of the piano; amateurs and professions, home and concert hall; unity of expression with text music

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11
Q

Art song composers

A

Schubert, Schumann, Brahms, Fanny Mendelssohn Hensel, Clara Wieck Schumann

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12
Q

Goethe and Hiene

A

Favored poets for lieder

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13
Q

Types of song structure

A

Strophic: same melody every stanza; through-composed: without repetitions of whole sections; modified strophic: features of strophic and through-composed

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14
Q

Franz Schubert

A

(1797-1828); Vienna-born composer; member of Vienna Boys’ Choir; rejected career as a schoolteacher to pursue music; impoverished; song-writing prodigy: melodic gift; confluence of Classical and Romantic styles; composed over 600 Lieder, song cycles, nine symphonies, piano and chamber music, choral music; private gatherings of writers, artists, and musicians

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15
Q

Elf-King

A

First published work; hugely popular; text was on a ballad by Goethe; dramatic poem based on Danish legend; four characters but one singer; piano provides extra character; through-composed

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16
Q

Robert Shumann

A

(1810-1856) German composer, critic; studied law, then piano with Friedrich Wieck; established Neue Zeitschrift fur Musik; married Clara Wieck in 1840; gradual mental collapse, entered asylum in 1854; true Romantic style with impassioned melodies, novel harmonic changes, driving rhythms, often attached literary meanings to his piano music; composed over 200 lieder, several song cycles, 4 symphonies, chamber music, piano music, one opera, choral music

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17
Q

Dichterliebe (A Poet’s Love)

A

Song cycle composed in 1840 by Robert Schumann; 16 poems by Heinrich Heine; cycle follows psychological progression of new love to complete despair; use of strophic form

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18
Q

“High art”

A

Cultivated repertoires introduced by European immigrants in the US including operas, chamber music, symphonie

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19
Q

American popular identity

A

Lighter music in the vernacular for dancing, singing at home, public events, parades; belonging “to the people”; great financial profit

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20
Q

Stephen Foster

A

(1826-1864) born in Pennsylvania; composed for Christy Minstrels; first American to make living as a professional songwriter but with little profit; famous songs include: Oh! Susanna, Camptown Races, Old Folks at Home, My Old Kentucky Home; accidental death; alcoholic

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21
Q

Parlor songs

A

Sweet, sentimental, nostalgic tunes in English for a singer and piano with simple homophonic textures; intended for amateur performances

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22
Q

Minstrelsy

A

Theatrical variety shows; stereotyping of African American culture; featured white performers in blackface; widespread popularity in 1800s; plantation songs by Foster

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23
Q

Jeanie with the Light Brown Hair

A

Lyrics and music by Foster; love song written for his wife; themes of lost youth and happiness; not popular during his lifetime; featured in a broadcast of “older” music in 1941; strophic parlor song

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24
Q

Character piece

A

Compact form; instrumental equivalent to song; inexhaustible ingenuity, expression, technical resources; fanciful titles (e.g. “Intermezzo”, “Impromptu”); dance-inspired (Polish mazurka, polonaise or Viennese waltz); descriptive titles (“Wild Hunt”, “Forest Murmurs”); virtuosic concert etudes

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25
Q

Composers of Character pieces

A

Schubert, Chopin, Liszt, Felix Mendelssohn, Fanny Mendelssohn Hensel, Robert and Clara Schumann, Brahms

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26
Q

Frederic Chopin

A

(1810-1849) Polish composer and pianist who moved to Paris at the age of 21; originated modern piano style; credited with the development of rubato; affair with George Sand; died at the age of 39 from tuberculosis

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27
Q

Revolutionary Etude

A

Composed between 1829 and 1832; part of Opus 10; dedicated to Franz Liszt; regarded as the finest of the genre; highly difficult; reflects composer’s distress over Poland’s war with Russia; very active left hand; dotted-melody in right hand

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28
Q

Program music

A

Instrumental music with literary or pictorial associations; information supplied by composer or indicated in title or notes; suggests specific characters and events, mood, etc; brought music closer to poetry, painting

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29
Q

Hector Berlioz

A

(1803-1869) French composer and conductor; first great proponent of musical Romanticism in France; left medical school to study music; influenced by Beethoven and Shakespeare; infatuated with Harriet Smithson; won Prix de Rome in 1830; style marked by intense passion; master or orchestration; composed overtures, program symphonies, choral music, three operas, writings about music

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30
Q

Symphonie fantastique

A

Five movement program symphony; autobiographical program; unified by the idée fixe; quoted the Dies irae chant in the last movement

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31
Q

Idée fixe

A

Recurrent theme; represents the composer’s beloved; unifying thread; literary and musical significance; thematic transformation; varied appearances

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32
Q

Opera arrangements

A

Piano four-hands; voice guitar; wind band medleys

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33
Q

Jenny Lind

A

Swedish soprano; international career; operatic roles; concert artist; debuted in America in 1850

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34
Q

Giuseppina Strepponi

A

Italian operatic soprano; married Verdi; musical teammate

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35
Q

bel canto style

A

florid melodic lines, great agility, purity of tone; masterpieces by Gioachino Rossini

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36
Q

Giuseppe Verdi

A

(1813-1901) Italian opera composer; his operas most frequently performed around the world; composed during Italian liberation from Austrian Hapsburg rule; figurehead for Italian unification movement; music associated with patriot cause, national hero; served one term in Italian Senate; founded and funded Casa Verdi (home for aged musicians); style noted by its appealing melodies and intense dramatic situations; 28 operas, vocal music, Requiem Mass

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37
Q

Rigoletto

A

Inspired by a play by Victor Hugo; lechery, deceit, treachery; set in a Renaissance-era ducal court in northern Italy; main character is a hunchback jester; features famous aria “La donna é mobile” and the quartet “Un dí”

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38
Q

“La donna é mobile”

A

strophic aria with refrain in triple meter with “oom-pah-pah” accompaniment; sung by tenor; “Woman is Fickle”

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39
Q

“Un di”

A

quartet sung by tenor, soprano, baritone, contralto; different emotional states; different melodic styles; “One Day”

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40
Q

Singspiel

A

Predecessor of German Romantic opera; light comic drama with spoken dialogue; Die Zauberflöte by Mozart)

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41
Q

Melodrama

A

German musical theater; spoken dialogue with minimal singing; striking orchestral accompaniment for dramatic effect

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42
Q

Richard Wagner

A

(1813-1883) German composer and conductor; greatest figure in German opera; wrote own librettos unifying music and drama; fled to Switzerland in 1849; married Franz Liszt’s daughter, Cosima; composed 13 music dramas; orchestral music, piano music, vocal and choral music, writings about music

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43
Q

Festival Theater at Bayreuth

A

Built specifically for the performance of Wagner’s works; funded by Ludwig II of Bavaria; premeire venue for “The Ring”

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44
Q

Gesamtkunstwerk

A

“total artwork”; music, poetry, drama, visual spectacle fused to make music drama

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45
Q

Music Drama

A

subjects from medieval German epics; noted for its natural inflections of the German language; no separate arias, duets, ensembles, choruses, or ballets; nature, supernatural, glorified Berman land and people; orchestra was the focal point; endless melody; chromatic harmony, dissonance; restless, intense, emotional

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46
Q

Leitmotifs

A

Concise recurring themes; specific meanings: person, emotion, idea, object; continual transformation, trace the course of the drama; “leading motives”

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47
Q

The Ring of the Nibelung

A

Cycle of four music dramas: integration of theater and music; performed in four consecutive evenings; story adapted from Norse sagas and medieval German epic poem; betrayal of love, broken promises, magic spells, corruption, lust for power

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48
Q

Die Walküre

A

Second work in the Ring cycle; main characters include twin brother and sister, offspring of the god Wotan by a mortal

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49
Q

Die Walküre leitmotifs

A

“magic fire”; “magic sleep”; “slumber”; “ride”; “Siegfried”

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50
Q

Verismo

A

Realism movement; subjects from everyday life; treated in down-to-earth fashion; counterparts in Germay, France

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51
Q

Giacomo Puccini

A

(1858-1924) Italian composer; main voice of verismo movement; son of a church organist; accessible style: soaring melodies, rich orchestral timbres, leitmotifs; major works include La bohéme, Tosca, Madame Butterfly, Turandot; also wrote choral works, songs, orchestral, chamber, and solo piano works

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52
Q

Madame Butterfly

A

Combines verismo and exoticism; story of tragic-heroic female protagonist, Cio-Cio-San; traditional Japanese melodies; whole-tone and pentatonic scales; evokes Japanese gagaku orchestra; harp, flute, piccolo, bells; contains a reference to The Star-Spangled Banner

53
Q

“Un bel di”

A

Butterfly’s aria in which she dreams of Pinkerton’s return

54
Q

Impressionism

A

French movement in painting in which the freshness of first impressions are captured; hazy, luminous style; Claude Monet, Edgar Degas, Auguste Renoir

55
Q

Impressionism in Music

A

greater subtlety, expressive ambiguity; modal and exotic scales (chromatic, whole-tone, pentatonic); dissonance as goal, freed from need to resolve; floating harmonies, ninth chords: hover between tonalities; rich orchestra color; free rhythm; subtle colors, veiled sounds: flutes and clarinets in lower registers, muted brass, use of harp ad celesta; small-scale programmatic forms

56
Q

Claude Debussy

A

(1862 – 1918) most important French composer of the late nineteenth century; attended Paris Conservatory at age 11; shocked teachers; defied rules; bizarre harmonies; won Prix de Rome at age 22; attended 1889 Paris Exhibition and became interested in non-Western styles; style marked by subtle expression, light airy textures, short flexible forms; composed orchestra works, dramatic works, chamber music, piano music, songs, choral music, cantatas; helped establish the French art song (mélodie)

57
Q

Prelude to “Afternoon of a Fawn”

A

Debussy’s best-known orchestral work; symphonic poem; based on symbolist poem by Mallarmé; symbolizes raw sensuality; later choreographed by Russian dancer, Vaslav Nijinsky

58
Q

Camp meetings

A

lasted days and/or weeks; African Americans and European Americans gathered; hymns of praise to popular or folk tunes; use of ring shout

59
Q

ring shout

A

extended call and response developed from African traditions

60
Q

Spiritual tradition of the Second Great Awakening

A

camp meetings of slaves; semi-improvisational tradition; worship, subversive political endeavor; coded messages; community, solidarity; monophonic singing and heterophonic elaboration

61
Q

Harry T. Burleigh

A

African American composer, singer, educator, worked with Dvorák in the 1890s; “art-song” arrangements of spirituals; voice and piano settings; first published in the 1910s

62
Q

Harlem Renaissance

A

movement celebrating African American culture and arts

63
Q

John Phillip Sousa

A

(1854 – 1932) most famous American bandmaster, “March King”, conducted U.S. Marine Band (1880 – 1892); toured North America and Europe with his own band; composed over 130 marches; created national music for America; hundreds of thousands of sheet music copies; mass-marketing of recordings

64
Q

Scott Joplin

A

(1868-1917) “King of Ragtime”; born in Texas; composer and pianist; son of a former enslaved man; at age 14, worked in honky-tonks and piano bars; 1893 World Exposition in Chicago recognition; studied composition at George R. Smith College; Treemonisha

65
Q

Maple Leaf Rag

A

1899 – one million copies sold; sectional form of 4 strains (A-A-B-B-A-C-C-D-D)

66
Q

Ragtime

A

vital precursor of jazz; African American piano style; syncopation

67
Q

Rags

A

pieces featuring balanced phrases and key structures; clear-cut sections, patterns reminiscent of Sousa marches; merged styles, elevated ragtime to serious art; gained worldwide recognition; some preserved by Joplin in piano rolls

68
Q

Sitar

A

long-necked plucked string instrument with metal strings and gourd resonators

69
Q

Raga

A

A series of pitches that also projects a particular mood and an association with a certain time of day and elaborated by expert performers in North Indian Classical music.

70
Q

Tala

A

Complex rhythmic cycle meaning “clap” played on a small set of hand drums in North Indian Classical music.

71
Q

Tabla

A

Small set of hand drums used to play the tala (rhythmic cycle) in North Indian Classical music.

72
Q

Beijing Orchestra

A

Blend of music, mime, and dance, with stylized gestures and movements as well as colorful costumes and masks; many examples reflect the country’s political and military struggles.

73
Q

Erhu

A

ethereal-sounding bowed-string instrument used in Chinese music

74
Q

Yang quin

A

instrument that resembles the hammered dulcimer used in Chinese music

75
Q

Pipa

A

A plucked instrument resembling a lute used in Chinese music

76
Q

Arnold Schoenberg

A

(1874-1951); Viennese conductor, composer, and educator; three style periods (post-Romantic; Atonality/Expressionism; 12-Tone); taught Alban Berg and Anton Webern emigrated to U.S.; composed orchestral music, operas, choral music, chamber music, piano music

77
Q

Expressionism

A

German movement initiated in painting that explored the darker depths of the human psyche; Edvard Munch; Franz Kafka in literature

78
Q

Pierrot Lunaire

A

Song cycle; atonal/expressionist; poetry by Albert Giraud; 21 poems arranged in three groups of seven; each poem is a rondeau; female vocalist and chamber ensemble

79
Q

Sprechstimme

A

speech-like melody

80
Q

Klanfarbenmelodie

A

Tone-color melody; each note of melody played by different instrument

81
Q

Instrumentation of Pierrot Lunaire

A

Female voice; flute/piccolo; clarinet/bass clarinet; violin/viola; cello; piano

82
Q

Igor Stravinsky

A

(1882-1971); Russian composer, pianist, conductor; collaborated with Ballets Russes; fled to Switzerland, then France and then the U.S.; evolving style (post-Impressionism, primitivism, neo- Classicism, twelve-tone works; revitalized rhythm; excellent orchestrator; composed orchestral music, ballets, operas, other theater works, choral music, chamber music, piano music, songs

83
Q

The Rite of Spring

A

“Scenes of Pagan Russia”; primitivism; composed for Ballets Russes; uproar at premiere; Dighilev, Nijinsky, and Roerich collaborations; later performed as independent concert piece; percussive use of dissonance; polytonality, polyrhythms; large orchestra; use of Russian folk tunes; few harmonic changes; use of ostinatos, pedal points, melodic repetition; unpredictable accents

84
Q

Bassoon solo

A

Awkward, strained, high-register opening to The Rite of Spring

85
Q

Second Viennese School

A

Arnold Schoenberg, Alban Berg, and Anton Webern

86
Q

12-Tone Method

A

method of composing by Arnold Schoenberg in the early 1920s; breakdown of traditional tonal system; also called serialism

87
Q

Tone Row

A

Particular arrangement of 12 chromatic pitches of equal weight; basis for themes, patterns, harmonies

88
Q

Alternative forms of the tone row

A

Transposition, inversion, retrograde, retrograde inversion

89
Q

West African musical traditions

A

Call and response, distinctive vocal inflections, storytelling techniques; work songs, ring shouts, spirituals

90
Q

Blues

A

Post-Civil War in the Mississippi Delta; derived from work songs of Southern Blacks; elements of folk songs; poor Eruo-Americans in Southern Appalachians

91
Q

New Orleans Jazz

A

Fusion of ragtime and blues with other traditional styles of spirituals, work songs, ring shouts, Caribbean and Euro-American styles; improvisation created polyphonic texture

92
Q

Music from Congo Square, pre-Civil War

A

Dance accompanied by drums, gourds, mouth harps, banjos; strong underlying pulse, syncopations, polyrhythms

93
Q

African-derived techniques in melody

A

Rhythmic interjections; vocal glides; percussive vocal sounds; use of blue notes

94
Q

Billie Holiday

A

(1915-1959) blues singer known as Lady Day; little formal education; no formal vocal training; at the age of 15 began singing in clubs in Brooklyn and Harlem; at age 18, recorded with white clarinetist Benny Goodman; broke the color barrier; during the 1940s health and voice suffered due to substance abuse

95
Q

Duke Ellington

A

(1899-1974) jazz pianist, composer, arranger, band leader; brought jazz art to new heights; major artistic figure of the Harlem Renaissance toured America and Europe in the 1930s and 40s; 1939 marked beginning of collaboration with Billy Strayhorn

96
Q

Swing/Big Band

A

Ensemble that performed for black white audiences; dance clubs, hotel ballrooms; reed section, brass section, and rhythm section

97
Q

Take the A Train

A

Epitomizes swing style; rich orchestral palette; 32-bar song form (A-A-B-A), 3 choruses; piano introduction, syncopated chromatic motive; recorded in 1941 with Duke Ellington on piano

98
Q

Cool Jazz

A

Laid-back style, dense harmonies, lower volume levels, moderate tempos, new lyricism; led by Miles Davis

99
Q

West Coast Jazz

A

Small group of mixed timbres often without piano; contrapuntal improvisations; Dave Brubeck Quartet, Gerry Mulligan Quartet

100
Q

William Grant Still

A

(1895-1978) African American composer and violinist; prominent musical voice of the Harlem Renaissance; worked in Memphis and New York as arranger for radio and musical theater; broke numerous racial barriers; his music was infused with elements of spirituals, blues, and jazz; deliberately moved away from avant-garde movement in art music; four symphonies, orchestral suites, film scores, stage works, operas, chamber music, vocal music, piano music, choral music

101
Q

Troubled Island

A

1949 first African American composer performed in major opera house

102
Q

African Dancer

A

Sculpture by Richmond Barthé; served as the inspiration for the first movement of Still’s Suite for violin and piano

103
Q

Mother and Child

A

Sketch of chalk on paper by Sargent Johnson; served as the inspiration for the second movement of Still’s Suite for violin and piano

104
Q

Gamin

A

Sculpture by Augusta Savage of a street-smart kid in Harlem; served as the inspiration for the third movement of Still’s Suite for violin and piano

105
Q

Harlem stride piano

A

Insistent bass pattern with chords on offbeats: 2 and 4; evolved from ragtime

106
Q

Chorus

A

Single statement of a melodic-harmonic pattern, like in a 12 bar blues or thirty-two-bar popular song, some of which are instrumental

107
Q

Langston Hughes

A

(1902-1967) African-American poet whose verses imitated the rhythms and flow of jazz; The Weary Blues (1926) included “The Negro Speaks of Rivers” (dedicated to W.E.B. DuBois, founder of the NAACP

108
Q

Musical Nationalism in the Americas

A

Immigrants, diverse cultural heritages; integration of vernacular traditions; modernists inspired by commercial and urban music; interest in rural or folk music

109
Q

Charles Ives

A

(1874-1954) Connecticut-born composer, successful business executive; “grand old man” of American music; son of a Civil War bandleader; studied composition at Yale; entered insurance business; music not well received; rarely heard his works performed; “visionary, progressive”; embraced vernacular music; composed in spare time; privately printed and distributed selected works; won the Pulitzer Prize in 1947

110
Q

Ives Modernist Style

A

Influenced by New England childhood music: hymns, patriotic songs, parlor ballads, marches, country fiddling; ideas from clashing marching bands; amateur bands playing out of tune, making incorrect entrances, playing wrong notes; love of dissonances; polytonality, polyharmony, polyrhythm

111
Q

Country Band March quotations

A

London Bridge, Yankee Doodle, Arkansas Traveler, Battle Cry of Freedom, British Grenadiers; Foster’s Massa’s in de Cold, Cold Ground, My Old Kentucky Home; Sousa’s Semper Fidelis, Washington Post

112
Q

Aaron Copland

A

(1900–1990) Brooklyn-born composer of Jewish immigrant parents; studied in Paris with Nadia Boulanger; victim of McCarthyism in 1950s; his music was recognized as the “American” orchestral sound; his music is often performed as a symbol of national pride; works include symphonies, piano concerto, ballets, operas, film scores (Academy Award), piano music, chamber music, choral music, songs

113
Q

Musical theater

A

Developed from variety show and European operetta; early to mid-1900s considered to be “golden age”; sentimental and contrived plots; serious dramatic elements added in the 1940s; more sophisticated elements in the 1970s and 1980s

114
Q

Mambo

A

Musical number when Tony meets Maria; fast-paced Afro-Cuban dance; highly syncopated Latin beat; bongos, cowbells; jazzy riffs

115
Q

Tonight

A

Ensemble number featuring a love duet between Tony and Maria on the fire escape (balcony scene); gangs sing in alternation; lyrical ballad over Latin rhythmic accompaniment

116
Q

Process Music

A

New harmonic approach; simple, harmonically clear, one or two chords; consonant snippet repeats, gradually changing or elaborating; came to be known as Minimalist music

117
Q

Phase Music

A

Early 1960s technology; music recorded on loop of magnetic tape; several copies of loop played simultaneously; tape speeds slowly change; loops combined in various ways

118
Q

Steve Reich

A

(b.1936) New York-born composer; one of the most influential musicians of the 20th and early twenty-first centuries; pioneer of minimalist music; attended Juilliard School, Mills College; in 1970, studied drumming in West Africa; influenced by Ewe drumming (polyrhythms, interlocking patterns), Balinese gamelan, Judaism, Stravinsky, Bach

119
Q

Movie Music

A

Reflects emotions of a scene; can be ironic/contradictory to scene; reflect a time period

120
Q

Underscoring

A

Unseen source of music to film

121
Q

Copland’s American Modernist Style

A

Designed for wide appeal; art should “serve the people”; well-crafted, classically proportioned; influences include jazz, Appalachian Anglo-American folk melodies, Mexican folk melodies, Stravinsky’s rhythm orchestration

122
Q

Appalachian Spring

A

Copland’s best-known ballet; Martha Graham choreographed danced; setting is early 19th century rural Pennsylvania before a wedding; quotations of Shaker melody Simple Gifts; premiere in 1944; performed as orchestral suite in 1945

123
Q

Simple Gifts Variations

A

Theme presented by solo clarinet; violas in augmentation with violins; trumpets and trombones; woodwinds, slower version; full orchestra, builds to dissonant fortissimo, dies out

124
Q

Source Music

A

Music functions as part of the drama as in Rear Window

125
Q

Musical tendencies in film scores

A

Wagnerian principle of leitmotifs; use of popular music trends; search for new sounds

126
Q

Farewell

A

Two melodies represent two main characters: cello and erhu; theme and variations

127
Q

Inura

A

Ballet in 8 movements; scored for mixed choir, strings, and percussion; written for DanceBrazil; “In Motion”

128
Q

Syncretism

A

Blended style drawing from Afro-Brazilian traditions: Yoruba and Brazilian text; invocation to Exu (Afro-Brazilian deity)

129
Q

Understanding

A

Fourth movement of ballet using traditional Brazilian drums, idiophones, musical bow; complex intersecting patterns; repetitions of short motives; call and response; SATB 12-voice chorus; pentatonic melodies built on short motives; vocal episodes return as refrains

Music History (3 decks)

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