Modern Era

Question 1

dates of Modern Era

Answer 1

c. 1900-present

Question 2

Claude Debussy

Answer 2

1862-1918
“Prelude a l’apres-midi d’un faune”

entered Paris Conservatoire at age 10

awarded Prix de Rome in 1884 = study @ Villa Medici in Rome

varied career

traveled to Bayreuth, interested in Wagner

1889 attended Paris World Exposition; exposed to Asian art and music, including Javanese gamelan ensemble

Question 3

Igor Stravinsky

Answer 3

1882-1971

“The Rite of Spring” - Selections from Part 1: ‘Adoration of the Earth’

born in Oranienbaum (near St. Petersburg)

entered University of St. Petersburg in 1901 to study law.

visited US on several occasions in late 1930s; eventually settled in Los Angeles

important friendship w/ American composer/conductor Robert Craft

Question 4

Alexina Louie

Answer 4

b. 1949, Canadian, Chinese heritage

main teachers at UCSD were Robert Erickson, Pauline Oliveros

member of Women’s Ensemble

became founding director of Esprit Orchestra

won two Junos, SOCAN awards, Order of Canada

“Music for Piano” - ‘Changes’
“Music for Heaven and Earth” (orchestra)
“O Magnum Mysterium” (orchestral, in memory of Glenn Gould)
“Demon Gate” (chamber music)
“Dragon Bells”, “Scenes from a Jade Terrace” (piano)
“The Scarlet Princess”, “Toothpaste”, “Burnt Toast” (operas)
“Songs of Enchantment” (vocal)

Question 5

Leonard Bernstein - dates; Musical Style and Contributions

Answer 5

1918-1990

combined the spirit of African-American jazz with vibrant Latin dance rhythms that were popular at the time

broke down barriers separating “serious art music” from more popular styles

“West Side Story” - Act 1: ‘Maria’ & ‘America’

integrated American, Hispanic, Jewish elements

rhythms drawn from popular dance styles - ex: mambo, cha-cha

Question 6

John Adams

Answer 6

b. 1947

clarinetist, composer, teacher, conductor

finished his studies at Harvard

"Short Ride in a Fast Machine"
"Shaker Loops" (chamber music)
"Phrygian Gates" (piano)
"Nixon in China" (opera)
"The Gospel According to the Other Mary" (choral)

Question 7

Symbolism

Answer 7

French literary movement that began in the late 19th c.

Symbolist authors sought to suggest their subject matter rather than depict it outright.

began with “Les Fleurs du Mal” by Charles Baudelaire

Question 8

Impressionism

Answer 8

new way of painting

conscious reaction to earlier, more formal, “learned” styles

explored the interplay of light and color…in order to create impressions of their subjects rather than literal depictions of them

Question 9

characteristics of musical Impressionism

Answer 9

use of scales such as modal, whole-tone, pentatonic

introduced new colors not heard in music based strictly in major/minor

series of chords in parallel motion, resulting in looser harmonic structure

creative, innovative instrumentation

frequently obscured & varied metric pulses

Question 10

Early Years: 1882-1914

Answer 10

first of Stravinsky’s four musical periods

Russian nationalism expressed through choice of subject matter (folk song and dances)

influenced by rich orchestration of Rimsky-Korsakov

primitive style: driving rhythms, primal energy, percussive approach

use of dissonant harmony, polytonality, ostinato, syncopation, polymeter

“Firebird”
“Petrushka”
“Fireworks”
“The Rite of Spring”

Question 11

Transitional Years: 1914-1920

Answer 11

second of Stravinsky’s four periods

created more intimate works with reduced forces in response to the devastation wrought by WWI

seeds of Neo-Classical style are sown

“The Soldier’s Tale”

Question 12

Middle Years: 1920-1954

Answer 12

third of Stravinsky’s four periods

Neo-Classical style adopted with emphasis on formal design, emotional restraint, and absolute music

“The Rake’s Progress”
“Symphony of Psalms”

Question 13

Final Years: 1954-1971

Answer 13

last of Stravinsky’s four periods

embraced Arnold Schoenberg’s twelve-tone method

sparse textures inspired by Anton Webern

explored miniatures

“Canticum Sacrum”
“Agon”
“Eight Instrumental Miniatures”

Question 14

Adams’s Musical Style and Contributions

Answer 14

often described as “post-minimalist”

innate sense of theatrical; strives to balance with warmth of human emotion

usually tonal and/or modal

orchestral works often bear evocative titles and demonstrate programmatic elements

music frequently addresses controversial themes, and reflects the human experience

Question 15

Louie’s Musical Style and Contributions

Answer 15

combines traditional structures w/ contemporary languag

represents a pan-ethnic perspective, combining traditional Asian music w/ influences of Western style

influences of minimalism

some works incorporate electronic technology

include programmatic elements

influenced by Canadian First Nations music & natural imagery

musical influences include Stravinsky, Debussy, Messiaen

varied harmonic language embraces tonality, modality, extreme dissonance

piano: extensive use of pedal, delicate wind-chime-like fragmentation

Question 16

Debussy’s Music Style and Contributions

Answer 16

highly original and innovative; influential both in France and internationally

influenced by Impressionist painters

set the poetry of Symbolist poets Charles Baudelaire, Stephane Mallarme, Paul Verlaine

experimented w/ unorthodox approaches to grammar, syntax through formal structure and phrasing: evoking rather than narrating, suggesting rather than depicting

explored Western and non-Western scale systems, including whole-tone, pentatonic, modal scales

innovative approaches to harmony: parallel chord streams; open 5ths, 8ves reminiscent of the earliest polyphonic practices (organum); quartile harmony

varied use of rhythm (free-flowing, motor, dance-like)

programmatic elements

drawn to mythological subjects; often witty, satirical