Bb Exam 2

Front 1

Auxiliary Members

Back 1

-musical structures which function as bridges from on theme or part to another
-modulation is a key factor
-change in key

Front 2

Introduction

Back 2

section at the begining of a composition, immediately preceding the statement of a theme or of a principal part

Front 3

Simple Introduction

Back 3

the establishment of an accompaniment pattern
-Set the mood

Front 4

Independent Introduction

Back 4

-three features distinguish: length, character, and cadance
-contain a melody of its own
-rhythmic, melodic, and accompanimental character will differ from that of the main body of the composition
-complete cadence before the first part of the composition

Front 5

Transition

Back 5

connecting passage leading from one theme or part to another
-modulatory and connective

Front 6

Bridge

Back 6

brief transition one to three measures in length

Front 7

Retransition

Back 7

connecting passage which leads to the return of a previously heard theme or part

Front 8

Anticipatory Retransition

Back 8

connecting passage which usues motivs from the aprt to which it is returning

Front 9

Codetta

Back 9

little coda, connecting passage following a theme or section which harmonically reaffirms the cadence

Front 10

Coda

Back 10

Tail
one or more sections summerizing the compositions main elements, new material may be used
-Beetoven invented it

Front 11

Interlude

Back 11

a bridge using new material

Front 12

Section

Back 12

a portion of a composition
(Section A, Section B)

Front 13

Episode

Back 13

Developmental passage used differently in homophonic and polyphonic forms

Front 14

Homophonic episode

Back 14

usually a fairly lengthy passage not derived from prebious thematic material and somewhat in the nature of a digression
-melody + harmony, many sections, new material

Front 15

Polyphonic Episode

Back 15

a fragment of thematic material is often used and the episode itsself is part of a section
-melodies against melodies; one section, derived material (we've heard b4)

Front 16

Dissolution

Back 16

1) Dissolves previous material
2) Bridges to a bridge

Front 17

Cadenza

Back 17

An unaccompanied pasage in free improvisational style, based on previous thematic material and exploiting the technique of the instrument
-synopsis of what you heard improvised by player

Front 18

Postlude

Back 18

section at the end of a work which usually contains independent material, a tag at the very end, rounding of the piece

Front 19

Franz Shoeburt

Back 19

greatest melody writer; wished he could connect(Auxiliary members) like Beethoven could

Front 20

Chopan

Back 20

pioneer of musical nationalism

Front 21

Romanticism

Back 21

1) emotion of love
2) something imaginative
3) refers to romance
-deals specifically with a heroic person or event
Aspects: -intrigued by the long ago (classism)- resented rules, therefore regarded classical period as cold and formal, pursuit of happiness-rural orientation (instead of urban)-highly subjective and very individualistic
Impact-end of patronage system-rise of personality performers-golden age of piano (19th century)

Front 22

Composers of Romanticism

Back 22

Beetoven, Schubert, von Weber, Chopin, Liszt, Mendelssohn, Schumann, Brahms, Tchaikovsky, Faure, Mussorgsky, Borodin, Rimsky-Korsakov, Wagner, Saint-Saens

Front 23

Opera Composers of Romanticism

Back 23

Verdi, Bizet, Puccini

Front 24

Romanticism Musical Characteristics

Back 24

-fluid, expressive line accompanied by harmonies, -a key center, -new instraments (english horn, bass clarinet, bass trombone, harp),-size of most sections of orchestra increased from 30-40 to 100-400-the viola was magnified in the use, given prominent parts

Front 25

Romanticism Music Effects

Back 25

frequent and dramatic changes of mood, large, explosively powerful, rich, highly expressive

Front 26

Romanticism Musical Forms

Back 26

Art songs, romantic opera/musical drama (Wagner invented) the character piece for piano,
Symphoic Tone- Poem (Liszt: "Les Preludes")

Front 27

Beethoven Musical Characteristics

Back 27

Abrupt mood shifts, outstanding motivic generation of thematic material, sudden modulations particularly to keys up or down a third, bold use of chromatic harmonies, flexible approach to form

Front 28

empfindsamer stil (Beetoven)

Back 28

sensitive or expressive style, constantly changing emotions

Front 29

Beethoven Classical aspects

Back 29

musical form is constructed in regualr phrases and periods; homophonic texture prebailed with counterpoint used form contrast and development purposes; very strong functional harmonic relationships and key relationships

Front 30

Beethoven's Early Period

Back 30

couldnt handle the tiny pianos, but already making an impact, Bonn
-Vienna, composed mostly piano works including 20 piano sonatas and two piano concertos. During this period he became progressively innnovative particularly in his use of colorful harmonies and bolder modulations (richness of content in early period)

Front 31

Beethovens Middle Period

Back 31

A growing maturity and depth; Creative strenth emanated from his mental anguish with his approaching deafness, wrote symphonies #3-8 and piano concertos 3-5; #5 his pasoral symphoney-the point when he realized his deafness was irrevcable

Front 32

Beethoven Late Period

Back 32

Creativity focuses more and more on meditative reflective aspects; his mastery over thematic development fully blossoms; increased use of counterpoint. Wrote his last 5 piano sonatas, last six string quartets and 9th symphony

Front 33

Why artists went to london

Back 33

concert houses, superior piano making

Front 34

The London School of Pianists

Back 34

Clementi, cramer, dusser, field, hummel, beethoven

Front 35

Clementi-London School of Pianists

Back 35

came from Italy, his music is performed by all aspring pianists-everybody studies it

Front 36

Cramer-London School of Pianists

Back 36

pioneered legato playing (connected, smooth)

Front 37

Dussek-London School of Pianists

Back 37

First pianist to play with his profile to the audience (see his hands) his reason was cus rly handsome

Front 38

Field-London School of Pianists

Back 38

(Ireland) pioneer of character piece

Front 39

Hummel- London School of Pianists

Back 39

influenced Chopan and Shuebert; was a child protege, studied with mozart

Front 40

Bizet

Back 40

wrote the most beloved opera of all time "Carmen" & brought realism into opera, died of broken heart cuz ppl didnt like his music

Front 41

cyclical writing

Back 41

the appearance of a theme in more than one movement, trying to tie everything together

Front 42

Rubato

Back 42

time taken from one note, use in another, allows for expression

Front 43

Classical Period

Back 43

suddle, refined, restrained, gradual cresendo, and decrescendo, intellectual, liberty and equallity became a reality

Front 44

Thematic transformation

Back 44

Franz Listz pioneer, over a period of time the theme metamorphosed

Front 45

Romanticism Musical Form: Art Songs

Back 45

piano/voice; reached its peak with Faure & Shubert

Front 46

Romanticism Musical Form:Opera/musical drama

Back 46

attempt to bring all the music together, wogner pioneer

Front 47

Romanticism Musical Form:Character Piece

Back 47

carries a wide variety names expanding characteristics

Front 48

Romanticism Musical Form:Symphonic tone poem

Back 48

single movement, piece for prchestra, programatic (tells own story)-litz

Front 49

Romanticism Musical Form:Symphonic Suite

Back 49

Rinsky-Korsakov, Scherezade-gorgeous, exotic melodies

Front 50

Liszt

Back 50

pioneer of symphonic tone and pioneer of lay prelude, a great teacher

Front 51

Mendelssohn

Back 51

used his wealth [no one knew about bach] to perform bachs work an then ppl got into it and he's now famous

Front 52

Schuman

Back 52

the person taht intro the world to the young brams; a concert pianist tried to strengthen the hand

Front 53

Brams

Back 53

the greatest symphony composer after beetoven

Front 54

Tchicovsky

Back 54

great russian composer, wrote in westurn, the nutcracker,

Front 55

The Russian 5

Back 55

Russian nationalism: mezorsky, bordin, rimsky-korsikov, balkirev, cui

Front 56

Balkirev

Back 56

leader, pursuaded the others to look into russian music
-one of the russian five

Front 57

Cui

Back 57

-one of the russian five, more of an engineer, wrote the first comprehensive book on russian music

Front 58

Borodin

Back 58

-one of the russian five; Chemist, opara

Front 59

Rimsky-Korsakov

Back 59

-one of the russian five; innovator of symphonic section, orchestrator master, two of his kids he taught

Front 60

Mezorsky

Back 60

-Greatest of the russian 5; wrote master pieces "Night on Bald Mountain"

Front 61

Mainstream

Back 61

music that is neigher experimental, not comited to a particular musical output, drawn from contempory musical trends, retains widespread artistic aclaim

Front 62

Mainstream Nationalism

Back 62

Neo-Romantic, Neo-Impressionsitic styles; coplands "Appelatrion spring" Gershwins "Rhapsody in blue"

Front 63

Mainstream Neo-Classism and Neo-Baroque styles

Back 63

charac. focuses preference for the objectivity of absolue music; stravinskys "the symphony of psalms"

Front 64

Mainstream Primitism

Back 64

style which focuses on style intrust in non-westurn contexts
-stravinskys "rite of spring"=savage primitism

Front 65

Mainstream Eclecticism

Back 65

experimentalism; a style which owes no allegiance to any one musical philosophy; merging and meshing; Crumb "A haunted landscape for orchestra"; Penderecki "passion according to st. Luke"

Front 66

Other Trends of 20th: Impressionism

Back 66

the music creates an atmosphere, suggests rather than defines; hints rather than stated; avoids sharp outlines
-Debussy "Prelude to the afternoon of a fawn", Ravel piano piece "Jeux d'Eay"

Front 67

Other trends of 20th:
Expressionism

Back 67

style which probes into the rhelm of the subconscious, want to shock; Shonburg "Pierrot Lunaire" Sprechshme-Song Speech

Front 68

Other Trends of 20th:
Atonality, Intellectualism, Serial Music

Back 68

Atonality: Shonberg invented; absence of tonal center,
Intellectualism =system of music based on the ordering of the 12 note scale called 12 tone music
Serial Music: all details controlled; Shonberg and Berg and Webern

Front 69

Anti-intellecualism

Back 69

style which rediculed the style of art, logic could never control the emo effect of music
-Milhaud "creation of the world"

Front 70

Chance and intermenate

Back 70

-reaction to intellectual music where all perameters are uncontrolled
-allows composer to maintain identity oso player doesnt become the composer

Front 71

Bartok

Back 71

1. Folk Materials
2. Polytonality
3.Contrapautal Designs
4. Significant thematic Transformation (listz)
5. outstanding montimic (beetoven)

Front 72

Classical Music of the 20th century reflected what i call:

Back 72

"The Age of Diversity"

Front 73

Promenant Composers of Classical Music

Back 73

Stravinsky, Bartok, Prokofiev, Debussy, Schonberg, Crumb, Copland

Front 74

Stravinsky

Back 74

Rhythmic Diversity is his trade mark, brings all his different styles together
1)rhythem highly potent
2) rhythems not goverend by meters
3) silence is important
4) much ostinato
5) master at syncopation

Front 75

Prokofiev

Back 75

1)mainstream nationalism; neo-classical
2) traditional musical form
3) reiteration tonality + motive Dev.
4) Lyrical but angular melodies
5) strong rhythmic contexts
6) sudden modulations
7) colorful orchestrations

Front 76

Aaron Copland

Back 76

the dean of american composers, 1. strong sense of tonality or bi-tonality, 2. simple chords with creative voicing + orchestras, 3. polyrhythems + synco patturns

Front 77

George Gershwin

Back 77

1) mainstream nationalism "neo-Romanticism" 2)integration of classical and pop/jazz/blues traditions; rhapsody in blue