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MUSC History > *Final Exam Spring > Flashcards

*Final Exam Spring Flashcards

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1
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Arnold Schoenberg
  • Piano Piece, Opus 11, No.1
  • Atonal Character Piece
  • Early 1900s (1909)
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2
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Arnold Schoenberg
  • Excerpt from Pierrot Lunaire “Nacht (Passacaglia)”
  • Melodrama using Sprechgesang
  • Early 1900s (1912)
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3
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Anton Webern
  • Symphony, Opus 21
  • Second movement in theme-and-variations form (Sehr ruhig) using 12-tone method
  • 1928
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4
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Bela Bartok
  • Concerto for Orchestra
  • Slow introduction and first movement in sonata form
    -Mid 1900s (1943)
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5
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Sergei Prokofiev
  • Piano Sonata No. 7
  • Third movement in ternary form (Precipitato)
  • Mid 1900s (1939-1942)
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6
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Dmitri Shostakovich
  • Piano Concerto No. 1
  • First movement in Sonata form ( allegro moderato)
  • 1933
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7
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Benjamin Britten
  • War Requiem
  • Angus Dei
  • Mid 1900s (1961)
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8
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Krzysztof Penderecki
  • Threnody for the Victims of Hiroshima
  • Experimental piece for orchestra composed with graphic notation
  • 1960
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9
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Charles Ives
  • “Charlie Rutlage”
  • Song
  • 1920
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10
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Charles Ives
  • The Unanswered Question
  • Tone Poem
  • Early 1900s (1906)
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11
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Ruth Crawford Seeger
  • String Quartet
  • Third movement (Andante) using dissonant counterpoint
  • 1931
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12
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Aaron Copland
  • Appalachian Spring
  • Variations on a Shaker Hymn (theme-and-variations form) from an orchestral suite
  • Mid 1900s (1945)
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13
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • George Gershwin
  • “The Man I Love”
  • Popular song
  • 1924
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14
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Leonard Bernstein
  • “Cool” from West Side Story
  • Song/dance combining elements of Broadway musical and jazz with classical techniques (fugue)
  • Mid 1900s (1957)
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15
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • George Crumb
  • “De Donde vienes?” from Ancient Voices of Children
  • Experimental Song with mixed chamber ensemble
  • 1970
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16
Q
  • Composer
  • Title
  • Genre
  • Relative Date
A
  • Steve Reich
  • Clapping Music
  • Example of minimalism using “phasing” process
  • 1972
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17
Q

Analyze Alban Berg’s “Wozzeck” (1914 - 1922)

A
  • atonal serialism
  • three acts
  • Wozzeck killed his lover Maria
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18
Q

Analyze Paul Hindemith’s “Mathis der Maler” (1935)

A
  • opera
  • tonality and dissonance
  • neoclassism and expressionism
  • seven scenes
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19
Q

Analyze Louis Armstrong’s “West End Blues” (1928)

A
  • early jazz
  • New Orleans style
  • small ensemble: trumpet, clarinet, trombone, piano, banjo, and drums
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20
Q

Analyze “Duke” Ellington’s “Take the A Train” (1941)

A
  • swing style
  • big band eara
  • call and response pattern between horns and rhythm section
  • walking bass line
  • Harlem Renaissance
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21
Q

Analyze Charlie Parker’s “Koko” (1945)

A
  • Bebop jazz
  • improvisation
  • sax, piano, bass and drums
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22
Q

Why was music important to Vassili Kandinsky’s theories about painting?

A

He created abstract paintings when hearing Schoenerg’s pieces.

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23
Q

What did Schoenberg mean by the phrase “emancipation of the dissonance”?

A

Dissonant chords can appear freely and be easily understood just like triads and were be to be on main beats, not just offbeats.

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24
Q

How did Schoenberg’s early atonal style relate to nineteenth-century traditions, and how did his atonal style continue to evolve from c1908 into the 1920s?

A

Alma Mahler was a peer from Schoenberg’s teacher and, and Schoenberg used Free Atonality during this period (12 tone row did not exist)

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25
Q

How does Alexander Scriabin’s atonal style compare with that of Schoenberg?

A

Scriabin used a similar sense of atonality which was not tonal but not quite fully atonal either.

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26
Q

What were some of the cultural reasons that composers sought methods of greater control over their material during the 1920s?

A

WWI made composers want to regain control and freedom to do what they pleased

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27
Q

What are the basic principles of Schoenberg’s twelve-tone method?

A

Row- order of pitches as they are heard in a phrase

Can be played in Prime form, Inversion, Retrograde, Retrograde Inversion

Can be transposed

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28
Q

What was the source of Alban Berg’s “Wozzeck” and what sort of character is the opera’s central figure?

A

19th century play by Georg Buchner

  • Flawed
  • He kills the only person he had in the world, Maria
  • May have had a mental disorder
  • Naturalism: looking realistically at the lives of people from the lower social classes
29
Q

How did Berg approach the process of operatic composition?

A

Free atonal opera

30
Q

How does Berg’s opera compare with the Wagnerian model?

A

Wagner used 12-tone not free atonality

31
Q

How did Bela Bartok approach the study of Hungarian folk music?

A

Ethnomusicology - Discover music/culture from different regions

32
Q

Besides Bartok, who was the other Hungarian composer with an avid interest in collecting folk songs?

A

Zoltan Kodaly

33
Q

What were the circumstances surrounding the composition of Bartok’s Concerto for Orchestra?

What is the overall form of this work, and how does Bartok incorporate folk material into it?

A

He was living in the US and was unable to make a living in any way acceptable to him, and was plagued by failing health

Deterring from typical concerto style (solo w/ ensemble), multiple voices will be heard from the orchestra.

34
Q

What was musical life like in Nazi Germany?

A

Most composers fled the country during the rise of the Nazi party, so much was rare from Nazi Germany.

35
Q

How did the political and cultural situation in Nazi Germany affect composers like Paul Hindemith?

A

Much of Paul Hindesmith’s music was destroyed or banned during Nazi Germany, yet he fell in and out of favor of the Nazis, some of which believed he might be able to be a source of modern pride for the country.

36
Q

Why is the idea of Gebrauchsmusik important understanding Hindesmith’s musical outlook?

A
  • He wanted to make music more accessible for younger performers, rather than just for virtuosos.
  • It was also intended to have a social or political purpose
37
Q

Who was Mattias Brunewald and what musical work was inspired by his life and art?

A
  • Renaissance German painter, inspired by Paul Hindesmith’s oper “Mathis de Mahler”
38
Q

How are Benjamin Britten’s beliefs about war reflected in his “War Requiem”?

What are the most innovative features of this work?

A
  • He was anti-war
  • He speaks with a voice that refuses to take sides, condemning all war.

Written with poem by Wilfred Owen. He was actively anti-war also and combined the piece with religious Agnus Dei (Lamb of God who take away the sins of the world, grant us peace)

39
Q

What experimental methods are found in Krzysztof Penderecki’s response to the war in his “Threnody for the Victims of Hiroshima”?

A

Graphic Notation: Laying out a score in sections marked by a specific duriation.

40
Q

Why is the year 1917 significant in Russian history in general and to music history in particular?

A

Bolshevik Revolution started

Some musical composers fled Russia like Sergei Rachmaninov, others like Dmitri Shostakovich stayed.

41
Q

Who was Andrei Zhdanov?

A

A defined socialist realism, an ally of Dmitri Shostakovich.

42
Q

What was the difference between “socialist realism” and “formalism”?

A

Socialist Realism: Optimism and idealistic thinking, depict life through art

Formalism: Beyond understanding of the present day, music deviating from the norm in harmony, rhythm, tonality and form

43
Q

How did the political situation in Russia affect the careers of Sergei Prokofiev and Dmitri Shostakovich respectively?

A

Sergei Prokoviev: Stayed in Bolshevik Russia originally, continued composing but got bored of not being able to perform and moved to the US (San Fran)

Dmitri Shostakovich: Stayed in Russia, studied young, was not respected outside of Russia. He was originally despised because Stalin didn’t like some of his compositions, then he went on to be commissioned for pieces by higher ups in government.

44
Q

How did musical life develop in the United States during the eighteenth and nineteenth centuries?

A

In the nineteenth century, a modern musical culture was gradually created in the US.
- Its centerpiece was the symphony orchestra

45
Q

Who were some important musical figures during the eighteenth and nineteenth century time, and what institutions developed?

A
  • William Billings: fuguing tunes (a simple point of imitation usually inserted toward the end)
  • Leopold Stokowski: brought the Philiedelpheans to great prominence.
46
Q

Why is the idea of self-reliance important for understanding the life and music of Charles Ives?

A
  • He was trained in his youth to play piano and organ and received a good knowledge of European music. As he was young he began to compose in a vein that was experimental.
  • He moved to New York and in his spare time he composed and dispensed with European romantic style demanded by his teacher Parker to return to the experimental ideas of his youth.
47
Q

What experimental elements are found in the music of Ruth Crawford Seeger and Conlon Nancarrow respectively?

A
  • Seeger: Dissonant counterpoint
  • Nancarrow: Blues, boogie-woogie, used Player piano
48
Q

With whom did Aaron Copland study in Paris, and how did his time in Europe during the 1920s shape his early style?

A

Nadia Boulanger
The Parisian music culture exerted an influence on his style. Like Faure, Debussy, Ravel, and Stravinsky

49
Q

In contrast, what principles did Copland adopt in his second style during the 1930s and 1940s?

What are some works from this period?

A
  • In his second style, he appealed to the understanding of a large audience through familiar materials, Whitmanesque simplicity, and American themes.
  • Billy the Kid (1938)
  • Rodeo (1942)
  • Appalachian Spring (1944)
50
Q

Who was Martha Graham and what was her connection to Copland?

A

Dancer/ choreographer
She choreographed Copland’s “Appalachian Spring”

51
Q

Which European musical tradition most influenced Samuel Barber, evident in works such as his “Adagio for Strings”?

A
  • European Romantic tradition.
    -Melodiousness, free form, and extended harmonic language.
52
Q

What are some of the musical practices and genres that contributed to the development of jazz in the early twentieth century?

A
  • Ragtime: syncopated rhythm
  • Blues
  • Popular songs
  • Dance music
53
Q

Why did jazz emerge in New Orleans?

A
  • African American emancipation, southern AA churches, minstrelsy, ragtime.
54
Q

How did Louis Armstrong advance the New Orleans style in the 1920s?

A
  • Louis Armstrong participated in minstrelsy, was from uptown Orleans and given and cornet from Joe “King” Oliver (his teacher).
55
Q

What was the Harlem Renaissance and how did figures such as “Duke” Ellington contribute to jazz at this stage in its history?

A
  • Uptown New York movement as the 20s-30s led to a flourishing art scene.
  • Many night clubs with jazz performances, Duke Ellington participated/ Big Band/ Swing
  • He came up with the Jungle Style.
56
Q

What contributions did the members of the next generation make in jazz, especially Charlie Parker, “Dizzy” Gillespie, and Miles Davis?

A
  • Charlie Parker: Bebop (smaller band/chamber/jam sessions, high improvisation)
  • “Dizzy” Gillespie: trumpet player/ also contributed bebop
  • Miles Davis: cool jazz (close to bebop but without the breakneck tempo or aggressive virtuosity. The mood is relaxed and homogeneous, the tempo is moderate and calm dynamics)
57
Q

What is Tin Pan Alley, and how did it shape the career of George Gershwin?

A
  • Midtown New York where people would get popular music and people there would make transpositions.
  • Song pluggers worked there, Gershwin started his career as one of them
58
Q

What is distinctive about Gershwin’s musical style?

A

He blended jazz and popular song

59
Q

How did the Broadway musical develop from the 1920s through the 1940s?

What characteristics defined the American Musical as a distinctive genre?

A

Musicals shyed away from the operetta genre by combining speaking, as well as more elements of popular music

Rogers and Hammerstein’s Oklahoma! was probably the biggest piece of this era.

60
Q

What innovations did Leonard Bernstein’s “West Side Story” introduce into the American music tradition?

A

Bernstein used classical techniques (like a fugue in West Side Story) and popular song techniques to morph the opera into the American musical.

It was happy, though could be sad, and displayed many emotions

61
Q

Why did the end of World War II and the start of the Cold War lead to the reemergence of 12-tone music?

A

Similar to post - WWI, composers wanted control and freedom.

62
Q

What is total serialism and who were its leading practitioners in the United States and Europe?

A

Using series for elements other than only pitch (rhythm, timbre)

  • Webern
  • Berg
  • Boulez
  • Babbitt
63
Q

What is the significance of the German town of Darmstadt to musical composition after World War II?

A

The Darmstadt School of Pierre Boulez, Bruuno maderna, Luigi Nono and Karlheinz Stockhausen was a group associated with the Darmstadter Ferienkurse, summer courses taught by composers about new music (post WWII music)

64
Q

In contrast to total serialism, how did John Cage approach musical composition during the 1950s and beyond?

A

Rather than total control in total serialism, Cage went for total chance, leaving his compositions up to chance and being aleatoric.

65
Q

What were some techniques associated with electronic music, exemplified by Edgard Varese’s “Poeme electronique” from 1958?

A
  • musique concrete: electronic music made from recordings of natural or man-made sounds
  • was written for use in the Philips Pavilion at the 1958 World’s Fair in Brussels, where it was part of a visionary multimedia display conceived of by Swiss-French architect Le Corbusier.
66
Q

What were the reasons for the identity crisis facing modern music during the 1960s and 1970s?

A

After World War II, the impulse to forget the past had driven it in so many opposing directions that agreement among musicians was hard to find and the audience for new music was scarce.

Older styles of music were “old-fashioned”. Only pop music was going strong.

67
Q

What are extended techniques and how did George Crumb apply such techniques to the genre of song?

A
  • Singing with the mouth closed, on the breath, with phonetic symbols instead of words, or using imprecise pitch.
  • Bolero rhythm in “De Donde Vienes?”
68
Q

What is minimalism and who are some composers associated with this style?

A
  • Minimalism is music that is extremely repetitive
  • Long drones
  • “On the surface” music

Composers
- Terry Riley
- Steve Reich

69
Q

How does phasing work?

A
  • By putting a phrase of speach on a tape loop (by which is sounded over and over like a ostinato)
  • Kind of imitation
  • “Come out”

MUSC History (4 decks)

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