Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

History > Romantic/20th Century > Flashcards

Romantic/20th Century Flashcards

You may prefer our related Brainscape-certified flashcards:
AP® U.S. History flashcards European History 101 flashcards AP® European History flashcards AP® World History flashcards World History 102 flashcards U.S. History 102 flashcards World History 101 flashcards U.S. History 101 flashcards
1
Q

The Romantic Era

A

• 1803-c. 1900
o Classical to Romantic is a seamless connection
• Begins in German Poetry
o Late 18th C – Early 19th C form of writing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

Musical Characteristics of the Romantic Era

A

• Musical Characteristics
• Orchestra grows larger -> more players, thicker texture 100+
• Piano takes modern form
• Sudden dynamic shifts
• Spontaneous – unpredictable
• Meter & tempo changes
• One melody at a time
• Increased chromaticism
• Expansion of large works and of miniature pieces
o Small works used in the home
• Forms (Stophic, modified-strophic, through-composed)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Lied

A
  • Romantic Era Miniature Piece
  • Means song
  • Plural – Lieder
  • Directly tied to the romantic literature and German romantic poetry
  • Focus placed on nature, the supernatural and human emotions
  • Subject matter most about personal emotion
  • Instrumental music best conveys the personal emotions
  • Lied, music and literature could be fused together
  • Franz Schubert, Clara Schumann, Fanni Mendelssohn
  • Schubert important -> married music and poetry
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Franz Schubert

A
  • Romantic
  • 600+ German Lied
  • Responsible for marrying the poetry and music
  • Prior to him, German songs were simple
  • Music was forwarded by the increased # of pianos in the home
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Robert Schumann

A

• Romantic
• Most responsible for bring the Character piece forward
• Wrote large collections of character pieces
o Bound them in cycles
• Not concerned with the physical scene
o Looks to the emotional state of the poet
• “Aufschwung” _> Uplifting, something that sparks an action
• 1840-1841
o Song Year – Wrote 200+ songs

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Cycle (instrumental, song)

A
  • Romantic
  • Something binds each piece together
  • Lyrics
  • Key signature
  • Themes
  • Etc
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Fredric Chopin

A 
•	Romantic
•	Born in Poland
•	Warsaw Conservatory -> Moved to Paris
•	Composed Piano Works
o	Wide Variety
•	Character Pieces
•	Dances (Mazurkas, Polonaisse, waltz)
•	Studies & Etudes (Preludes)
o	Well know for Nocturnes
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Absolute Music

A
  • Romantic

* Music with no story attached or intended

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Program Music

A 
•	Romantic Era
•	Instrumental music trying to display a picture
•	Some sort of title associated with it
•	Concert Overture
o	Sonata Form
•	Program Symphony
•	Incidental Music
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

The Program Symphony

A

• Symphony with a story tied with it
o Berlioz: Symphonie Fantastique
• By 1850 some felt the program symphony was in trouble -> absolute symphony -> not story attached
o Felt symphony died with the completion of Beethoven Sym No. 9

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Character Piece

A

• Romantic
• Get 1 idea out
• Solo piece for piano
o Nocture, fantasy, song without words, humoresque, Lyric Piece
o Many people learning to play
• Sonata Form -> Eventually ternary for dominates
• Robert Schumann
o Wrote character pieces -> bound in cycles
• Chopin -> composed dances, piano studies & etudes (all charater pieces)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Incidental Music

A
  • Romantic

* Music used to accompany a play

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Concert Overture

A
  • Ancestor to symphonic or tone poem
  • Single movement work usually in sonata form
  • Express general ideas focusing on literature, history, and nature
  • Mendelsohn - Mid Summer Nights Dream
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Symphonic Poem/Tone Poem

A

• Developed by Franz Liszt
o Looking for ways for music to move forward
o No formal constraints -> follow subject matter
o Part of New German School
• Originality
• Fuse music and Arts

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Franz Liszt

A 
•	Founder of the New German School
o	Originality
o	Fuse music and the arts
•	Tone Poems
•	Wrote 12 symphonic poems
•	Thematic Transformation
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Hector Berlioz

A

• Romantic era
• Symphonie Fantastique ~1830
o Referred to as the 1st great Romantic Symphony
o Inspired by his own artwork
o Cyclical
o Inspired by literary influence as well
• Goethe “Faust”
• Idee Fixe
o Term used when discussing Symphonie Fantastique by Berlioz
o Refers to the recurring themes
o Makes the Symphonie Fantastique cyclical because the recurrent theme is found in each movement

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

The New German School

A
  • Romantic Era

* Liszt, Wagner,Berlioz

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Thematic Transformation

A
  • Romantic
  • Process of altering themes to change their character without changing essential identity
  • Transformation without augmentation or diminution
  • Helps shift moods or programmatic ideas
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Johannes Brahms

A
  • Romantic
  • Believed that absolute symphony could still be composed
  • Developing variation
  • Used past ideas -> Baroque (Passacaglia)
  • Creates revival of the symphony
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

Developing Variation

A
  • Created by Brahms
  • Begins with small idea and develops over time by adding material
  • Single movement works
  • Brahms placed emphasis on bass as the core
  • Possible because of loosened compositional constraints during the 19th century
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

French Opera 19th Century

A
  • Some theater specialized in Opera comique
  • Elaborate and spectacle
  • Very long -> 4-5 acts
  • Characteristics include lower class
  • Plot includes rebellions themes
  • Grand staging
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Grand Opera

A
  • 19th century
  • Appropriate for performance @ Paris Opera
  • 4-5 Acts
  • Chorus & Ballet
  • Text fully set to music
  • Theme based on historical subjects, political, and religious themes
  • Elaborate staging, Machinery, crowd scenes
  • Catered to middle class
  • Aristocracy - > Bad
  • Those opposed to aristocracy -> good
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Italian Opera 19th Century

A 
•	Code Rossini (The Primo Ottocento Tradition)
o	Standards known by audiences as well
•	Subjects -> Star crossed lovers
•	Happy endings
•	Straight forward plot
•	Leading ladies – Soprano
•	Leading man – tenor – always a lavishly love-sick
- Late 19th Century: Giuseppe Verdi
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

“Double Aria”

A

• Romantic
• Two sections
o 1) Slow andante section (Cantabile)
o 2) Faster with flashy and simple components (Cabaletta)
• Sections combined form Bel Canto or elaborately decorated passage -> singing style
• Presents 2 emotions
• Later 3rd element was added
o Tempo de mezzo -> something to interrupt the action
o Helps transition between section
• Affects duets, trios, and other ensembles

25
Q

Bel Canto Singing Style

A
  • Romantic
  • Elaborately decorated passages
  • Used by Rossini
26
Q

Gioacchino Rossini

A
  • Romantic
  • 40+ Operas
  • Barber of Seville
  • Code Rossini
27
Q

German Opera in the 19th Century

A

Transformation of Singspiel into German Opera
• Start to have stories from German folktale
• Influence of Programmatic Music
o Helps set the scene
o Form breaks down -> structure gets in the way
• Glorification of the people
• Weber
• Closely related to literature

28
Q

Carl Maria von Weber

A 
Der Freischutz
•	Romantic Opera
•	1821 “The Free Shot”
o	Magical ballets
o	Nature
o	Supernatural
o	Glorification of the people (Flok Opers)
o	Closely related to literature (Faust)
•	Brought Opera forward
o	Orchestra depicts everything
o	Compilation of Opera and Program Music
29
Q

Richard Wagner

A

• The Music Drama
o Wagners operas -> He called them Music Dramas
o Music and drama fused together
• Romantic
• Started with Opera @ 20
• New German School Founder
• Wrote treatise on the nature of music/Opera
• His operas can also be referred to as music drama’s
• Wrote text backwards and the music forwards
• Gesmtkunstwerk (complete Artwork
• Der Ring des Niebelungen
o The Ring Cycle – 4 Massive operas

30
Q

Lietmotiv

A

• Romantic Era
• Term used to discuss the works of Wagner
• Musical fragment related to a drama
• Musical fragment is recurrent
• Combines 2 other 19th century compositional techniques
o Thematic Recollection
o Thematic transformation
• Designed to symbolize an emotion, object, Person etc.

31
Q

Gesamtkunstwerk

A

• Richard Wagner
o Wrote tracts on the nature of music
• The Artwork of the Future
• Opera and Drama
• Both of these referred to as Gesamtkuntswerk or complete work
o Music and Drama fused together to make a Music Drama
o Wagner credited Beethoven for pointing towards “complete work”
o Wagner wrote the music, text, and joined these with scenic design, staging, and acting to produce a unified art

32
Q

Gustav Mahler

A 
•	Post Romantic Era
•	Lieder and orchestral accompaniment
•	Strong interest in German Poetry
o	Das Knaben Wunderhorn
•	The Boy’s Magic Horn
•	Tries to “Construct a World”
o	Symphony develops over time
•	Music has the feeling of a story
•	Symphony No. 4
33
Q

Richard Strauss

A 
•	Romantic
•	Most known for his tone poems -> detailed story
•	Strong interest in Leitmotif
•	Very large orchestras
•	Music to some classical form
o	Theme and variations
o	Rondeau
•	Music should stand alone
o	Absolute music -> value in itself
•	Don Quixote
34
Q

The French Tradition

A

• Wanted music to go back to what made it famous on the first place
• Light and Delicate
• Diatonic
• Return to absolute music
• Eventually followed by Debussey in a new direction
• Gabriel Faure, Camille Saint-Saens
o Composers with a unique music
o From Societe Nationale de Musique
• Wanted simplicity -> German music to dramatic
• Didn’t like chromaticism

35
Q

French Impressionism (in painting and music)

A 
•	Music
o	Create an atmosphere
o	Depict  “static atmosphere
o	Sounds very indefinite
o	Modal, whole tone scales
o	Fluid rhythms
o	Simple meter
o	Focus on tone color & individual chords
o	Slower – Drawn out chords
•	Art
o	Depict landscapes & middle class
o	Painted with mesh of dots
o	Not concerned with realism -> just give impression of image
36
Q

Claude Debussey

A
  • Romantic
  • Whole tone scales/modal -> Used unusual scales
  • Led French Tradition in a new direction
  • Music sounds indefinite
37
Q

Igor Stravinsky

A 
•	Late 19th – Early 20th Century
•	Rite of Spring (1913)
o	Originally a Russian Ballet
•	Directed by Sergey Diaghilev
•	Progrmatic
•	Designed to depict Pagan Rituals in Russia
•	Based on Primitivism
•	Influenced by Debussey
38
Q

Primitivism (in art and music)

A 
•	Primitive subjects for subject matter
•	Rite of Spring ->Stravinsky
•	Art: Depict earlier works
o	Human form not realistically portrayed
•	Primitivism did not go far as a school of music or art
•	Instrumentation/Orchestration
o	Non-educated sound
•	Flutes, oboe: Pastoral sound
•	Limited range
•	Folklike quality
•	No string tonal center
o	Instrumental independence
o	Focus on rhythm -> organizational force
39
Q

Modernism (in art and music)

A 
•	Turn of the 20th Century
•	Evident in Painting, Art, Music, Sculpture
•	Artist/Musicians
o	Try to stand out -> be different
o	Experimentation with non-traditional art forms
•	Artwork -> challenges our thinking
o	Wanted people to think about the art
o	Stress extreme personal emotion
o	Distorted views
o	No attempt at Realism
•	Sparked Expressionism in Germany
•	Music In America
o	Charles Ives
40
Q

Expressionism (in art and music)

A

• Music: Second Viennese School -> Atonality
o Harsh Dissonance
o Abandon tonality
• Art: ?

41
Q

Second Viennese School

A 
•	20th C
•	Schoenberg, Berg, Webern
•	Harsh Dissonance
•	Abandonment of Tonality
o	Pitch classes
o	No rules @ chord progressions
42
Q

Arnold Schoenberg

A 
•	20th C
•	From the 2nd Viennese School
•	Atonal music -> Eventually abandoned
•	Philosophy of non-repetition -> Eventually abandoned
•	Develops 12 tone (serial) system
o	Eventually abandons
•	“Pierrot Lunaire”
43
Q

Alban Berg

A
  • 20th C
  • Contemporary of Schoenberg
  • 2nd Viennese School
  • Atonality
44
Q

Atonality

A

• 20th C
• 2nd Vieneese School
• Abandonement of tonality
• No Rules or Chord progression
• Do away with tonic -> lose organzing force
• Scheonberg develops new way of music organization
o Developing variation
o Chromatic situation
o Integration of Harmony & melody through pitch class sets -> small sets of notes that become the melody/chords in the piece

45
Q

Twelve-Tone (Serial) music

A

• 20th Century
• Developed by Schoenberg
• System expanded on Pitch Class
• Chromatic system for organization
• Tone Row
o Scale built from scratch using all pitches once
o Each piece could use a different matrix
o Prime -> Retrograde
o Inversion -> Retrograde inversion
o Transposition (Based on intervals from prime)
• System allowed for repeats of melody or melodic line
• Analytical appreciation

46
Q

Tone Row

A
  • 20th Century
  • Arnold Scheonberg
  • Prime, Retrograde, Inversion, Retrograde Inversion, Transposition
  • Systematic ordering of the 12 notes of the chromatic scale ->Prime -> others rows mathematical calculated from it
47
Q

Sprechstimme

A
  • 20th C -> Schoenberg
  • “Speech Voice”
  • ½ way between singing and speaking
  • The performer approximates the written pitches in gliding tones of speech, while following notated rhythms
48
Q

Charles Ives

A

• 20th century American composer
• Kept to himself
• Father taught him music
• Wrote music because he wanted to – did not have to
• Experimented with:
o Atonality
o Polytonality
o Ply Rhythm
o Quarter tomes
o Tone clusters
• Musical Borrowing - > Musical quotation
o Dissonance doesn’t bother listener because of familiarity in quotations
• Used older forms -> more traditional with experimental twist

49
Q

Neo-Classicism

A

• Jean Cocteau
o French Poet
o Called for a new French style that was unique
o Warned against primitive and impressionist music
• Eric Satie
o 2nd Gymnopedie
• Simple music
• Not Programatic
• Absolute music
• Restraint in music and reassimilation of European music from late Baroque, Classical, and early Romantic styles
o Constant triads, clear melody, lightness, absolute music
o Uses all of the old forms

50
Q

“Les Six”

A
  • 20th Centruy
  • Francis Poulenc
  • Darius Milhaud
  • Arthur Honegger
51
Q

Aaron Copeland

A 
•	20th Century
•	American Composer
•	Jazz inspired music
•	Integrated folk and folk-like music
•	Appalachian Spring
o	Used Shaker Hymn “Tis the gift to be simple”
o	Theme and variations
•	Theme remains -> Variations simply change the orchestration
52
Q

Twentieth Century

A
  • Leads to the distinctive American Musical forms -> Uses jazz, etc
  • Aaron Copeland
53
Q

Giusseppi Verdi

A

• The epitome of Romantic dram and passion
• Brusseto in Northern Italy
• First Opera – Oberto
• 1842 – Nabucco won him great acclaim – Commissioned to write more operas
o Wrote 1-2 operas a year for the next 11 years
• 26 total operas – Last opera: Falstaff

54
Q

Gabriel Faure

A

• Romantic Era
• Refined Music
• Wrote a few large works (Requiem) and two operas but was best know for his smaller works
• Songs: Piano music, impromptus, nocturnes, etc.
• The French Tradition
- Studied under Camille Sait-Saens

55
Q

Societe Nationale de Musique

A

French Tradition

  • Founded in 1871 gave concerts of works by French composers
  • Sought to revive the great French Music of the past (Gluck, Rameau)
56
Q

Les Six

A 
A name given to a group of six composers in the 20 C. Their music is often seen as a reaction against the musical style of Richard Wagner and the impressionist music of Claude Debussy and Maurice Ravel.
-Georges Auric (1899–1983)
Louis Durey (1888–1979)
Arthur Honegger (1892–1955)
Darius Milhaud (1892–1974)
Francis Poulenc (1899–1963)
Germaine Tailleferre (1892–1983)
57
Q

Bedrich Smetna

A

a Czech composer who pioneered the development of a musical style which became closely identified with his country’s aspirations to independent statehood
-best known for his opera The Bartered Bride, for the symphonic cycle Má vlast (“My Fatherland”), which portrays the history, legends and landscape of the composer’s native land, and for his First String Quartet From My Life.

58
Q

Antonin Dvorak

A
  • Czech Composer
  • Nationalistic components in his music
  • Folk Music of Moravia and Bohemia
  • best known works are his New World Symphony, the “American” String Quartet, the opera Rusalka

History (8 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions