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MUS 103 > Terms for Final > Flashcards

Terms for Final Flashcards

1
Q

Formalist filmmaking

A

Filmmaker’s task is to create an experience separate from reality

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2
Q

Realist filmmaking

A

Filmmaker’s job is to distort reality (French New Wave Cinema, Mis-en-scene)

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3
Q

Non-diagetic music

A

Music heard outside of the frame of the visual story space, otherwise known as background music. This is the music that the characters in the film cannot hear (usually)

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4
Q

Diagetic music

A

Music produced within the visual story space of the film, otherwise known as source music. This is the music that the characters in the film can hear (usually)

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5
Q

Meta-diagetic

A

Music that is dreamed, hallucinated, or imagined by one or more of the characters in the film

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6
Q

Displaced-diagetic

A

Music produced within the visual story space of the film, but that becomes displaced in time

Example: Teutonic Knights from Alexander Nevsky (1938))

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7
Q

Voix acousmatique

A

A term coined by Michel Chion (film composer and theorist)

Sounds or voices that float without anchor between the diagetic and non-diagetic realms

Example: Schoolhouse scene from The Birds (1963)

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8
Q

Minimalism

A

dates to 1960s

minimal harmonic and melodic shifts, subtle gradations in rhythm, meter, texture, phase shifting, feedback-genearting looping, “process music”

John Adams, Philip Glass, Steve Rich

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9
Q

Parallelism in scenes

A

Chief formal device in musics - hero and heroine will unite even when they are apart/haven’t even met, “fated to be mated”

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10
Q

Types of numbers found in musicals

A

Irrelevent to plot, spirit or ambience of plot, existence relevent ot plot but content not, advance the plot but not with content, enrich the plot but don’t advance it, numbers that advance the plot by content

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11
Q

Imposed Simplicity

A

A term associated with Copland that allowed his work to become more and more accessible

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12
Q

Igor Stravinsky’s ballets for Ballets Russes

A

The Firebird (A Russian Fairytale in Two Scenes”) (1910), Petrushka (“A Burlesque in Four Scenes”) (1911), The Rite of Spring (“Scenes of Pagan Russia” (1913)

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13
Q

Leon Bakst (1866-1924)

A

Artist and set designer Ballet Russes

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14
Q

Alexander Benois (1870-1960)

A

Art historian and theatre designer, supremacy of ballet over opera, puppet theater

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15
Q

Sergei Diaghilev (1872-1929)

A

Art exhibition organizer, theater impresario, exporting Russian opera and ballet ot Paris, produced three Stravinsky ballets

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16
Q

Michael Fokine (1880-1942)

A

Scenarist for Firbird, choreographer for Patrushka and Rite of Spring

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17
Q

Vaslav Nijinsk (1890-1950)

A

Dancer of title role in Petrushka, creator of choreo for Rite of Spring

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18
Q

Nikolai Roerich (874-1947)

A

Scholar of Russian pagan artwork, author of scenario of Rite of Spring

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19
Q

Ostinato

A

Short musical passage - often bass melody though sometimes a chord series

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20
Q

Ostinato chord

A

Heard in the first movement of Rite of Spring (Auguries of Spring)

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21
Q

Octatonic Scale

A

Stravinsky

Symbolizes the supernatural (pagan Russia in Rite of Spring),

Symmetrical scale made up of alternating whole tones and half tones

22
Q

Whole Tone Scale

A

Debussy, Stravinsky

Made up of 6 notes

Comprised only of whole tones

Sense of stasis

Perfectly symmetrical - when transposed by any of its constituent intervals it remains the same

Ex: C D E F# G# A# (C)

23
Q

Neoclassicism

A

Dominant in 1920s-40s, reaction against Impressionism and Expressionism in favor of forms associated with Baroque and Classical periods

Abstracts and estranges forms, may be largely consonant with them but it includes modern devices such as ostinato

24
Q

Neoclassicism (applications)

A

Music for children (Peter and the Wolf), music performed by children (Let’s Build a Town), music that concerns childhood reminiscence and childhood expereince (The Child and the Enchanted Objects), childlike mindset (Rejoice in the Lamb

25
Q

Gebrauchtsmusik

A

Utilitarian or “Workday” music, often bears socialist subtext, accessible and easy to play, Hindemeth (and somewhat Kurt Weil)

26
Q

3 Distinct Periods of Stravinsky

A
  1. Neonationalism (Primitivism): earthy, folklore subject matter - exaggerate exotic features, primitive and raw
  2. Neoclassicism (Thomist philosophy): back to Mozart, back to Bach, rebuttal to Schoenberg
  3. 12-tone/serial composition (after death of Schoenberg)
27
Q

Auger’s Chord

A

Eb-G-Bb-Db-Fb-Ab-Cb, 2 chords from 2 keys stuck together, sound comes from single octatonic scale but there is an element of chaos/violence/illogical, element of random and irrational, not one single point of consonance, ostinato pattern

28
Q

Music for Children

A

An attempt to return to music’s childhood/innocence, metaphor for retreat to the past

29
Q

3 qualities of Neoclassicism

A
  1. Radical simplification of musical materials, 2. Motionless, mechanical repetition (music doesn’t really go anywhere), 3. Block-like quality, the music isn’t organic, telling a story (block-like sum of parts)
30
Q

Chromatic Displacement

A

Some notes sound like they are out of place but they feet into the secret theme beneath the surface of the work

31
Q

2 trends in Germany in the 1920s

A
  1. neue sachlichkeit (new objectivity/matter-of-factness)
  2. Gebrauchtsmusik (everyday/functional music)
32
Q

Impressionism

A

L19th/E20th c. France and Russia

Portray things as they appear to the artist at the moment, not as they are thought or known to be

Scientific analysis of nature of light defraction/diffusion w/ photography –> new, more natural light renderings

33
Q

Symbolism

A

L19th/E20th c. France and Russia, use music and poetry to recall memories and stir premonitions in audience’s mind, no clear-cut structure - comprised of loosely organized and contrasting succession of images, a whole succession of images in different times and places, ex: depict cloudiness (all associations)

34
Q

Expressionism

A

Direct communication/feeling of emotion is the main intention, Schoenberg, feelings of dispair and anxiety, images of real world transformed so they correspond with these ideas or feelings, era of Freud

35
Q

Sprechstimme

A

Speech music, style of recitative in Schoenberg’s Pierrot Lunaire

Trying to recreate someone who had regressed to a childlike stage

36
Q

Free atonality

A

Does not have a key or tonal center, reliedo n poetic texts to give works sense of form and structure

37
Q

12-tone Composition

A

Method of composition developed by Schoenberg in 1923, manipuation of one or more 12-tone rows, combination of - standard (prime), retrograde (prime backwards), inverted (intervals in row reversed), retrograde inverted (intervals reversed and given backwards)

38
Q

12-tone Row

A

An ordered sequence of 12 tones (pitches) found on the piano keyboard, chromatic scale most familiar example

39
Q

Serialism

A

Often used as a synonym for 12-tone composition, but designates atonal composition not wit h12 tones but with subsets series of six

40
Q

Tchaikovsky vs. Wagner

A

Apollonian vs. Dionysian

41
Q

Leitmotif

A

An identification motif in Wagner’s music dramas. In an opera or music drama, it is a musical motif that is identified with some person, concept, or object

42
Q

Music drama

A

Wagnerian opera

43
Q

Tristan chord

A

The first chord in Tristan und Isolde. It belongs to no major or minor key, and thus expresses vaguenss and psychological unrest. Brings together two leitmotifs: yearning and fate

44
Q

Total artwork

A

Wagner’s term for a dramatic work in which drama, music, poetry, song and painting should be united into a new and complete art form

45
Q

Pas de deux

A

Dance for two, long and short forms

46
Q

Two geometrical (Apollonian) shapes

A

Attitude and Arabesque

47
Q

Program music

A

Instrumental music (usually for orchestra) that seeks to recreate in sound the events and emotions portrayed in a play, a story, a historical event, or even a painting

48
Q

Program symphony

A

A symphony with the usual four or five movements in which the individual movements together tell a tale or depict a succession of individual events or scenes

49
Q

Idee fixe

A

Literally, fixed idea, but more specifically the obsessive musical theme used to unify the movements in Berlioz’s Fantastic Symphony

50
Q

Dies irae

A

Literally, day of wrath, a Gregorian chant sequence written circa 1250 and used as the second part of a Roman Catholic Mass of the Dead. The 5th movement of Berlioz’s Fantastic Symphony, the Dream of a Witches Sabbath, features a parody of the chant played by 2 ophicleides (forerunners to the tuba)

51
Q

Mimesis

A

The representation of reality in art

MUS 103 (3 decks)

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