FINAL EXAM Flashcards by Connor Gill

PIZZICATO

Plucking the strings of a bowed instrument

Used by Webern

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ANTON WEBERN

Austrian

APOHORISM/APHORISTIC STYLE

Very short works

Utilized bowed string instrument techniques

Taught by Schoenberg

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HARMONICS (string harmonics)

Very high and delicate pitches that are created by lightly placing one’s fingers at specific points on a string of an instrument

This can cause the string to sound 2 octaves higher than normal

Utilized by Webern

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COL LEGNO

Turning the bow over and playing the strings with the wood of the boy instead of the horsehair, as would be normal.

This causes a vary strange and unstable sound quality

Utilized by Webern

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DISJUNCT melodic lines

Webern’s 12-tone (serial) works

Wide difficult leaps

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PIERRE BOULEZ

French

Darmstadt School

Argued for rational music

Advocated INTEGRAL SERIALISM

Created ABSTRACT works

Created POINTILLISTIC works

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INTEGRAL SERIALISM

“Control music”

Expands serial procedures beyond pitch to control/order all musical parameters

Not only pitch but rhythm, dynamics, instrumentation, form, etc

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ABSTRACT

Non-representational

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POINTILLISTIC

A type of texture

Seemingly random (but actually very carefully if abstractly organized) points of sound, each of which are isolated in a separate range (high or low) and timbre

Wokrs like these have nothing that can be called a melody

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JOHN CAGE

American avant-garde composer

Student of Schoenberg

Invented PREPARED PIANO

Advocate of ALEATORY/ALEATORIC MUSIC (chance music)

Created the multi-media HAPPENING

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PREPARED PIANO

John Cage

A type of extended technique for piano, accomplished by inserting objects between the piano’s strings according to the composer’s specific instructions (screws, etc)

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ALEATORY/ALEATORIC MUSIC (INDETERMINACY/CHANCE MUSIC)

John Cage advocated this

Chance elements come into play either during composition or during performance or BOTH

Occasionally accomplished using GRAPHIC NOTATION

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GRAPHIC NOTATION

Aleatoric music

Makes great demands on performers’ abilities to improvise as they interpret the images in the score

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The Multi-Media HAPPENING

John Cage

Multiple forms of art are simultaneously performed or displayed without strict coordination

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ELECTROACOUSTIC MUSIC

Originated in Western art music after WW2

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MUSIQUE CONCRETE

Earliest electroacoustic music developments took place in 1948 at French National Radio by Pierre Schaeffer

Based off of ‘real world’ sounds (train, water, piano, etc)

Any natural sound has a potential ‘sound object’

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FOUR CLASSIC MANIPULATIONS OF TAPED SOUND

1) Editing out portions of the sound = “filtering out”
2) Varying the playback speed = “manipulation”
3) Playing the sound backward = “sound reversal”
4) Combining different sounds = “overdubbing”

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“PURE” ELECTRONIC MUSIC

Music created in a studio designed to create electronic music (Cologne, Germany)

Electronic sound-producing devices

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ELECTRONIC SOUND-PRODUCING DEVICES

Oscillators

NOISE (SINE-WAVE) GENERATORS

ADDITIVE SYNtheSIS

Sounds are created by combining SINE WAVES in order to create artificial overtone structures and thus new timbres

SINE-WAVE

“Pure” pitches with no overtones

SUBTRACTIVE SYNTHESIS

Components of a complex sound (usually WHITE NOISE) are filtered out to produce new timbres

WHITE NOISE

Electronically generated

Contains the entire audible spectrum of frequencies

MIXED MUSIC

Live performers play along with a pre-recorded tape

Electronic music

GYORGY LIGETI

Hungarian Influenced by the serial methods of the Darmstadt School Lux Aeterna SOUND-MASS COMPOSITIONS MICROPOLYPHONY

SOUND-MASS COMPOSITION

Eschew conventional melody, harmony, and rhythm in favor of 'sound masses' Merges orchestral clusters, creating a succession of various timbres

MICROPOLYPHONY

A textural effect in which individual parts are lost within a complexity of sonic activity Often accomplished by having individual instruments within a large ensemble play either imitative or non-imitative polyphony that is so closely spaced that the individual parts cannot be discerned

What invention allowed for music in movies?

Vitaphone system by Warner Brothers

Max Steiner

King Kong Gone with the WInd Casablanca

FILM SCORE

Genre

SCORING A FILM

Act of creating a film score

Functions of music in film

Establishes mood Use of common musical tropes Sets place and time of action Running counter to the action = music that is inappropriate for the action LEITMOTIFS

LEITMOTIFS in film

Musical motives that symbolize or are otherwise associated with a particular character/scene/situation/idea etc

2 PRINCIPAL TYPES OF FILM MUSIC

SOURCE MUSIC UNDERSCORING

SOURCE MUSIC (diegetic music)

Music that comes from a source that is part of the action of the movie

UNDERSCORING (aka "nondiegetic music")

Music that comes from an unseen source and "outside" the action of the movie

TAN DUN

Chinese Leading figure of the "New Wave" of Chinese composers

TAN DUN's musical style

Combines Western styles with Chinese styles Set texts by Chinese authors from ancient to modern sources Inspired by nature, Chinese philosophy, rituals Features theatrical elements

PIPA

Traditional Chinese string instrument

4 BASIC FUNCTIONS OF MOVIE MUSIC

1) Establishes mood of scene/characters 2) Sets time and place of action 3) "Running counter to the action" 4) Character establishment/development

MINIMALISM

The incessant repetition of short musical motives with little variation STYLE TERM ONly

PHASE SHIFTING

A slow, sybtle rhythmic change Used in minimalist works "Process music"

CLASSIC MINIMALISM

A term used to refer to the early works of minimalism, some of which were experimental Many are explorations of phasing or phase shifting

Post-minimalist

Minimalist works with multi-media, around mid-1970s Keeps the transparency of earlier works but features more dynamic and active textures + multimedia

JOHN ADAMS

Post-minimalist composer American

ARVO PART

Estonian Experimented with neoclassicism, quotation music, and serial techniques SPIRITUAL MINIMALISM in his works

QUOTATION MUSIC

A work that borrows musical material from a far older, well-known composer