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47 Cards in this Set
- Front
- Back
Symphonic poem |
One-movement orchestral works of contrasting character and tempo, presenting a few themes that are developed, repeated, varied, or transformed. |
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Thematic transformation |
A method devised by Liszt of providing unity, variety, and narrative-like logic composition by transforming thematic material to reflect the diverse moods needed to portray a programmatic subject |
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Tone poem |
An orchestral work in one movement on a descriptive or rhapsodic theme |
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Bel canto |
An elegant style of singing ("beautiful singing") pioneered by Rossini that focused on technique, beautiful tone, agility, flexibility, and allowed for improvisation. Reflected the idea of the voice as the most important element |
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Reminiscence motive |
Harkening back to an earlier theme or motive of an opera. Similar to leitmotif |
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Giuseppe Verdi |
Music is the epitome of Romantic drama and passion. Rigoletto, Il trovatore, La traviata |
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"Second Age of the Symphony" |
Bruckner, Tchaikovsky, Mahler, Brahms; produced symphonies that are equal or competitive to Beethoven |
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Tombeau |
Work of homage to someone who is dead |
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Mahler Symphony No. 1 |
1. Creates a musical "space" and a sound world 2. Movement 1 creates a forest world w/ high drone, horn calls, etc. 3. Symphonic poem in two parts; mimetic music masquerading as absolute music |
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Charles Baudelaire |
French poet and creator of symbolism |
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Symbolism |
1. Allegory: x = y 2. Symbolism is more than that; has multiple meanings |
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"A Faun in the Afternoon" |
1. Poem about absence 2. Stéphane Mallarmé 3. paroles vacante: void of words, wordless 4. "Mental" theater: the life of the mind 5. Poetry is evocative like music |
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"All art constantly aspires towards the condition of music" |
1. Quote by Walter Pater 2. Highlights the reversal of the trend where music follows other art; instead, music goes abstract first |
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Impressionism |
1. Indistinct outline (impression of figures through play of light & shadow) 2. Fragmentary motifs (full of suggestion and illusion) 3. Emphasis on color and strikingly visible brushstrokes (tactile surfaces) 4. Less importance given to human subjects and "subjectivity" |
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Erik Satie |
1. Avante-garde composer 2. Parodies Romanticism and the Austro-German musical tradition |
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"Dried Embryos" |
Piece by Erik Satie that parodies Romanticism and their fixation on nature by writing about crustaceans |
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The Rite of Spring |
1. Piece by Stravinsky about a sacrificial dance of primitive peoples 2. Focuses on primitivism and crude and uncultered elements, casting aside the sophistication and stylishness of modern life 3. Clashes against the grace and beauty associated with ballet |
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Igor Stravinsky & Erik Satie |
Both composers go against the subjectivity of the Austro-German musical tradition; subvert elements of the tradition |
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Arnold Schoenberg |
1. Second Viennese School 2. Developing variation (influenced by Brahms) and non-repetition 4. Twelve-tone technique 5. "Emancipation of the dissonance" 6. Integration of melody and harmony 7. Chromatic saturation 5. Viewed himself as part of a tradition |
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Chromatic saturation |
All twelve chromatic pitches within a segment of music |
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Developing variation |
Technique where development and variation are united in that variations are produced by developing existing material |
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Twelve-tone technique (dodecaphony) |
1. 12 pitches of chromatic scale arranged in order chosen by the composer 2. Tones can be used harmonically or melodically 3. Row can be used in prime (original) form, inversion, retrograde, or retrograde inversion 4. Composer states all twelve pitches of the series before going on to use the series in any of its forms again |
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Abstraction |
Enables use to listen to line, contour, gesture and timbre instead of focusing on pitch |
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Charles Ives |
1. Experimental music 2. Composed in isolation 3. Quoted American hymns and popular tunes in collages; General William Booth Enters Into Heaven 4. Fascinated by place & memory, national identity 5. Wanted to forge a unique American voice in the European tradition |
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Charles Ives 4 Stylistic Regions |
1. European classical 2. Protestant church hymns 3. American vernacular music 4. Experimental music |
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Cumulative form |
Withholding the complete until the end of the piece w/ the development coming first |
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Henry Cowell |
1. Chord clusters 2. Direct playing of strings of piano in The Banshee, The Tides of Manaunaun |
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Diastematic |
Musical notation in which the pitch of a note is represented by its vertical position on the page |
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Edgard Varèse |
1. Not interested in discrete pitch intervals but continuous pitch 2. Uses rhythmic cells and develops them spatially 3. Thinks of music spatially; as bodies of intelligent sounds moving in space 4. Electroacoustic music 5. Poème électronique, Ionisation |
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Experimental music |
Forces us to rethink music and its practice; radically new |
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Tomorrow Never Knows |
1. Musique concrète 2. Harmonically static, drone, Mixolydian 3. Imitates chant, no chorus just verse 4. Rotating leslie speaker 5. Wanting to sound like Dalai Lama "chanting from the top of a mountain" 6. First psychedelic song in the tradition |
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Musique concrète |
Music built on recorded materials; not performed |
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Eleanor Rigby |
1. String octet 2. Changes parameters of a rock song beyond entertainment into art music 3. Dorian |
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I am Sitting in a Room |
1. Conceptual art 2. Acousmatic invisible sound sources/displacement of sound sources 3. Turns his room into a vocoder 4. Exploring properties of speech, sound, and space |
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Pierre Schaeffer |
1. Musique concrète 2. Mimetic, but Schaeffer was unsatisfied with that and aspired towards abstraction 3. Aims to use sound as the material for composition in service of abstraction -> requires manipulation of sound material |
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Minimalism |
1. Reduction, repetition, process, pulsation 2. Reaction against serialism and chance music 3. Changes the way in which we listen 4. Intelligibility |
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Steve Reich |
1. Minimalism 2. Interested in perceptible processes that unfold over time 3. Phase music |
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Phase music |
Music that uses phasing as a composition technique; merging in and out of synchronicity by patterns offset in time/tempo |
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Prolation canon |
Canon that adds a note duration, increasing rhythmic prolongation |
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Éliane Radigue |
1. Electronic music compuser 2. Used ARP 2500 as her primary instrument 3. Viewed music as an exploration of sounds with subtle changes |
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Gustav Mahler |
1. One of the leading Austro-German composers of symphonies after Brahms and Bruckner 2. Heavy use of musical topics 3. Interested in presenting a sound world; Symphony No. 1 |
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Brahms |
1. Pathbreaker in that he saw the music of the past and present as material to draw upon 2. Had to write music similar to the classics but that offered something new and attractive |
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Olivier Messiaen |
1. Extended techniques from Debussy and Stravinsky to create unique post-tonal music 2. Sought to embody in music a stance of ecstatic contemplation 3. Modes of limited transposition (octatonic, whole tone scales, etc) 4. Influenced Boulez, etc |
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Alban Berg |
1. Combines Romantic lyricism with atonality and 12-tone technique 2. Wozzeck |
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Sprechstimme |
"Speaking voice"; approximating written pitches in the gliding tones of speech, while following the written rhythm |
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Anton Bruckner |
1. Sought to absorb Wagner's style and ethos into the traditional symphony and of church music that united the technical resources of the 19th century with a reverent approach to the texts 2. Fourth Symphony |
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Richard Strauss |
Influenced by Wagner, Liszt, and Berlioz, drawing on colorful orchestration, types of program and transformation of themes |