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170 Cards in this Set
- Front
- Back
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Nationalists, westernizers
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The Bartered Bride
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-Bedrich Smetana
-1866 -comic opera -two acts, spoken dialogue -Plot: true love wins over the combined efforts of ambitious parents -Czech national opera -Bohemian dance forms: polka and furiant |
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Ma Vlast: The Moldau
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-Bedrich Smetana
-1874 -one of six symphonic poems -tone painting emulating Bohemia river |
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Dumka
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-Antonin Dvorak (Slavic composers)
-"thought" -instrumental music involving sudden changes from melancholy to exuberance -gentle plodding, dreamy duple meter; can also be in triple -ex. Dvorak Piano Trio No. 4 in E minor, Op. 90 |
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furiant
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-Antonin Dvorak
-Bedrich Smetana (Bartered Bride) -rapid and fiery 2/4 or 3/4 Bohemia dance -often happens after dumka |
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Mikhail Glinka
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-1804-1857
-regarded as father of Russian classical music -inspired The Five and their distinctive Russian style |
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The Mighty Handful (Kuchka: The Five)
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1. Mily Balakirev
2. Alexander Borodin 3. César Cui 4. Modest Mussorgsky 5. Nikolay Rimsky-Korsakov |
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Pictures at an Exhibition
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-Modest Mussorgsky
-Ten movements, virtuoso showpiece -imaginary tour of an art collection |
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Nadezhda von Meck
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-supported Tchaikovsky financially for 13 years
-exchanged over 1200 letters -they were never to meet -Tchaikovsky dedicated Symphony No. 4 to her -also supported Debussy |
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Sleeping Beauty
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-Pyotr Ilyich Tchaikovsky
-1890 -choreographer Marius Petipa -leitmotif -longest ballet, nearly 4 hours -plot: on Aurora's sixteenth birthday she will prick her finger on a spindle and die; Lilac Fairy can't completely undo the curse, but the spindle instead causes a 100-year sleep for the princess, rather than death. At the end of those 100 years, she will be woken by the kiss of a handsome prince |
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Swan Lake
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-Pyotr Ilyich Tchaikovsky
-1875 -choreographer Julius Reisinger -leitmotif -plot: Odett cursed to be swan by day and human by night, can only be broken by faithful love by Siegfried; he's tricked into declaring his love for enchanter's daughter Odile |
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Nutcracker
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-Pyotr Ilyich Tchaikovsky
-1892 premier -choreographer Marius Petipa -libretto ETA Hoffman's story The Nutcracker and the Mouse King -noted for use of celesta -plot: Clara loves Nutcracker toy, it comes to life and battles with mouse king, she helps him win, he becomes a prince, they are together crowned the rulers of the Land of Sweets, she wakes up from her dream and goes back to bed |
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Impressionism
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Art
-Claude Monet -movement crucial element, depiction of light, unusual angles Music -Claude Debussy -Maurice Ravel -music that evokes moods and visual imagery through colorful harmony and instrumental timbre -short forms: nocturne, arabesque, prelude -whole tone scale -major 7th chords |
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Symbolism
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Poetry
-Edgar Allan Poe -Charles Baudelaire -Paul Verlaine -Stéphane Mallarmé -spirituality and mysticism -metaphorical and suggestive, ambiguity Music -Claude Debussy |
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Paris Conservatoire
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-College of music and dance founded in 1795
-Teachers included Guilmant, D'indy, Massenet |
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Prix de Rome
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-composition prize awarded annually by the Institut de France to a candidate selected by competition from among the students of composition at the Paris Conservatoire
-music added in 1803 -Maurice Ravel tried to win it five times and failed |
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Javanese gamelan
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-traditional musical ensemble (instruments) from Indonesia, built and tuned to stay together
-xylophones, drums and gongs, bamboo flutes, bowed and plucked strings -can be accompanied by vocalist -Heard by Claude Debussy and Erik Satie at the Paris World Exposition of 1889 and inspired them -may have inspired Debussy's use of whole tone scale |
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Paris World Exposition of 1889
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-held from May to October in Paris
-during 100th year anniversary of beginning of French Revolution -Debussy first heard Javanese gamelan -human zoo/negro village, 400 people displayed |
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Monsieur Croche
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-name Claude Debussy made up for his music critiquing
-his alter ego, loved because of his bluntness -short-lived |
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Chord streaming/planing
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-compositional device: frequent use of parallel chords
-parallel voice leading -obscures sense of directed motion found in traditional progressions -Claude Debussy and Maurice Ravel -ex. Debussy's Prelude to the Afternoon of a Faun or Ravel's Daphnis et Chloé |
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Pedal chord
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-sustained tone, typically in the bass, during which at least one dissonant harmony is sounded in the other parts
-chords are changing, bass note remains the same |
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Whole-tone scale
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-a scale in which each note is separated from its neighbors by the interval of a whole step
-no leading tone -used extensively by Debussy |
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Pentatonic scale
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-five notes per octave
-most common omits the 4th and 7th, so it's 1 2 3 5 6 -Claude Debussy |
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Octatonic scale
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-eight note musical scale
-most common is scale in which the notes ascend in alternating intervals of a whole step and a half step -also called diminished scale -Liszt, Rimsky Korsakov (claimed he discovered it), Stravinsky |
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Modal scales
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-each mode encompasses diatonic scale but with different tonic or tonal center
-Ionian is major scale -ex. Debussy's String Quartet in G minor uses the Phrygian mode and whole tone scales |
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Maurice Maeterlinck
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-Belgian playwright and poet, wrote in French
-symbolist -themes death and meaning of life -Faure, Debussy, Schoenberg, Sibelius all inspired by Pelléas and Mélisande |
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La Mer
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-Claude Debussy
-1905 -orchestral composition -depiction of ocean -three movements |
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Images for orchestra
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-Claude Debussy
-1912 -three sections -III. Round Dances of Spring includes two folk tunes |
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Jeux
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-Claude Debussy
-1912 -last work for orchestra -originally intended to accompany a ballet -eclipsed by Rite of Spring |
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Verismo
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-a style of Italian opera which used realistic subjects from every day life (often embellished with violent and theatrical incidents)
-the purpose of each bar is to convey or reflect scenery, action, or a character's feelings. -Puccini |
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Cavalleria Rusticana
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-Pietro Mascagni
-premiered 1890 -opera in one act -based on short story by Giovanni Verga -plot: Turiddu, a young villager, has returned from military service to find that while he was gone, his fiancée, Lola, has married. In revenge, Turiddu has seduced Santuzza, a young woman in the village. Lola, overcome by her jealousy of Santuzza, has begun an adulterous affair with Turiddu. |
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Pagliacci
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-Ruggiero Leoncavallo (music and libretto)
-opera, premiered 1892 -verismo style -plot: Nedda cheats on Canio; Tonio loves her as well but she's cheating with Silvio; Canio and Tonio join forces and Canio stabs Nedda and Silvio at the end |
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La Bohème
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-Giacomo Puccini
-opera, premiered 1896 -heroine death scene famous, Puccini even cried -reminiscence motive |
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Madama Butterfly
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-Giacomo Puccini
-premiered 1904 -reminiscence motive -plot: Japanese 15-yo "Butterfly" marries US naval officer and loves him a lot; she doesn't see him for years and he marries an American woman; she ends up killing herself |
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Turandot
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-Giacomo Puccini
-unfinished at death, completed by Alfano in 1926 -leitmotif |
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Reminiscence motive
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-early form of leitmotif: theme that represents a person, an emotion, an idea or a dramatic situation
-Giacomo Puccini uses these; they retain their melodic shape but sometimes changes in rhythm, harmony, and tempo |
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Morike-Lieder
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-Hugo Wolf
-Morike was a German poet |
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Eichendorff-Lieder
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-Hugo Wolf
-Eichendorff was a German poet |
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Goethe-Lieder
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-Hugo Wolf
-Goethe was a German writer |
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Italienisches Liederbuch
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-Hugo Wolf
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Spanisches Liederbuch
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-Hugo Wolf
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Don Juan
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-Richard Strauss
-1889 -tone poem: piece of orchestral music in a single continuous movement in which a poem, novel, painting, landscape, etc. (non-musical source) is illustrated or evoked. |
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Death and Transfiguration
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-Richard Strauss
-1889 -tone poem |
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Also sprach Zarathustra
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-Richard Strauss
-1896 -tone poem |
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Salome
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-Richard Strauss
-opera in one act -premiered 1905 |
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Elektra
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-Richard Strauss
-opera in one act -premiered 1909 -chord planing -modernist and expressionist |
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Der Rosenkavalier
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-Richard Strauss
-comic opera -premiered 1911 |
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Four Last Songs
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-Richard Strauss
-1948 -last works 1. Spring 2. September 3. Going to sleep 4. At sunset |
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Hugo von Hofmannsthal
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Des Knaben Wunderhorn
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Gustav Mahler
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Rückert Lieder
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Gustav Mahler
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“Symphony of a Thousand” (Symphony No. 8)
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Gustav Mahler
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Orchestral song cycle
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Enigma Variations
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Edward Elgar
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Pomp and Circumstance Marches
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Edward Elgar
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Leoš Janáček
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Edvard Grieg
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Finlandia
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Jean Sibelius
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Tapiola
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Jean Sibelius
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Kalevala
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Moscow Conservatory
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Rhapsody on a Theme of Paganini
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Rachmaninov
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Mysterium (“Final Mystery”)
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Alexander Scriabin
-Vision was for it to last seven days and nights, everyone would participate, it would transform the human race -He had many sketches of this |
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Mystic chord
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Société nationale de musique
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-Founded 1871 by Saint-Saens and Bussine
-Devoted to new works by French composers -Revival of French past -Promoted orchestral and chamber -Included Bizet, Massenet, Faure |
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Cyclical method, cyclic form
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-Cesar Franck
-movements linked through thematic cross references: -thematic transformation -recollection on past material -expands on motives -ex. Franck Violin Sonata in A |
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Camille Saint-Saëns
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Schola Cantorum
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-Founded 1894 by D'Indy, Charles Bordes, Alexandre Guilmant
-D'Indy wanted counterpoint; not allowed by Societe nationale -Promoted sacred music |
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Vincent d’Indy
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-Founder of Schola Cantorum
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Niedermeyer School
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-Faure studied here |
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Requiem
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Gabriel Fauré
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La bonne chanson
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Gabriel Fauré
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Nadia Boulanger
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-an influential French composer, conductor, professor
-taught many including Copland and Piazzolla |
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Boléro
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Maurice Ravel
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La Valse
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Maurice Ravel
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Daphnis et Chloé
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Maurice Ravel
-chord planing |
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“The Sorcerer’s Apprentice”
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Paul Dukas
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The Firebird
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Igor Stravinsky
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Les noces
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Igor Stravinsky
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Pulcinella
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Igor Stravinsky
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Histoire du soldat
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Igor Stravinsky
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Octuor (Octet)
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Igor Stravinsky
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Primitivism, Neoprimitivism
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-primitivism: heavy percussion and driving rhythms, a wild or unrefined state -ex. Rite of Spring |
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Ostinatos, juxtaposed blocks
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ostinatos: repeating motives, phrases, or themes |
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Petrushka chord
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-C and F# (octatonic scale) |
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Pantomime
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-Igor Stravinsky |
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Cubism
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-Igor Stravinsky |
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Collage technique
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Additive rhythm
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-adding successive bars with different number of beats (ex. 4+5+2+6+3) |
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Polytonality
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-two or more keys at once, each in a different layer (such as melody and accompaniment)
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Serge Diaghilev
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Ballets russes
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Choreography, choreographer
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Michel Fokine
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Vaslav Nijinsky
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Léonide Massine
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The New Objectivity
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-Movement associated with neo-classicism
-Igor Stravinsky 1923 Octet for Winds -Moving away from strings -Clarity in sound and form -Avoidance of Romantic sentiment -Tonal centers, but dissonant harmonic style -Mostly diatonic, but chromaticism through conflicting diatonic scales (major/minor mix) |
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Neoclassicism
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-trend from 1910-1950
-composers revived, imitated, or evoked the styles, genres, and forms of pre-Romantic music, especially those of the 18th century |
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Neotonality
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-establishes a single pitch as a tonal center, but does not follow the traditional rules of tonality
-nontraditional tonal conceptions like tonal assertion or contrapuntal motion around a central chord |
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Serge Koussevitzky
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William Hogarth
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W. H. Auden & Chester Kallman
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George Balanchine
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Robert Craft
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Vexations
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Erik Satie
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Relâche
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Erik Satie
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Wallpaper music
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Realist ballet (Parade)
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Le Coq et l’Arlequin
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Jean Cocteau
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Les Six
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1. Louis Durey
2. Darius Milhaud 3. Arthur Honegger 4. Germaine Tailleferre 5. Georges Auric 6. Francis Poulenc -name given in 1923 -music often seen as a reaction against style of Richard Wagner and impressionist music |
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Dada (Marcel Duchamp)
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Surrealism
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Surrealism artists
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Salvador Dali
Marc Chagall |
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“Mediterranean lyricism”
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Milhaud
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Second Viennese School
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-group of composers: Arnold Schoenberg and his pupils/associates (including Berg and Webern)
-Vienna, 1903-1925 -music included expanded tonality, then atonality, then twelve-tone technique. |
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Expressionism
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-portray extreme psychological states
-subjects: morbid, violence, eroticism -anxiety and fear, anguish conveyed through bold colors and jagged lines |
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Alexander Zemlinsky
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Gurrelieder
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-Arnold Schoenberg
-1900, orchestrated 1911 |
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Verklärte Nacht (Transfigured Night)
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-Arnold Schoenberg
-1899 -string sextet, tone poem -influenced by Brahams (counterpoint, developing variations) and Wagner (chromaticism, powerful emotions) from Tristan und Isolde |
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The Book of the Hanging Gardens.
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-Arnold Schoenberg
-1908 -song cycle |
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Five Pieces for Orchestra
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Schoenberg
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Moses und Aron
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Schoenberg
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Harmonielehre (1911)
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Schoenberg
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atonality
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-music that avoids establishing a tonal center
-Schoenberg -non-triadic harmonies, disjunct melodies, compound intervals |
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techniques of organization in atonal style
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-ostinato and pedal points
-three note cell (ex. B G# G) -contrapuntal devices like canons and fugues -“stream of consciousness” (text painting, imaginary inner drama) |
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“Emancipation of the Dissonance”
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-Arnold Schoenberg
-concept justifying atonality -quantitative vs. qualitative definition of the difference between dissonance and consonance |
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developing variation
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-variations with new themes, accompaniments, and other ideas are produced through the development of existing material
-Arnold Schoenberg |
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chromatic saturation
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-the appearance of all twelve pitch-classes within a segment of music
-Arnold Schoenberg |
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Albert Giraud
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Rondel
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Sprechstimme
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-expressionist vocal technique between singing and speaking.
-singer doesn't emphasize any particular pitches but follows the notated rhythm -small crosses through stem of note or full note head -Arnold Schoenberg |
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Melodrama
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Society for Private Musical Performances
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Hauptstimme, Nebenstimme
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Twelve-tone method/dodecaphonism
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-Arnold Schoenberg
-form of atonality -12 note row series of 12 chromatic pitches -order is important -the pitches don't repeat -can be arranged horizontally and vertically -provides unifying basis for composition's melody, harmony, and variations -ex. Variations for Orchestra Op 31 |
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Serialism
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-began with Schoenberg
-uses the twelve-tone method -extends the same general approach to series in parameters other than pitch (duration, dynamics, timbre) |
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Hexachordal inversional combinatoriality
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B-A-C-H (= B--A-C-B)
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Series, row
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-an ordering of specific durations, dynamic levels, or other non-pitch elements, used in serial music
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Magic Square/Matrix
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Sator arepo tenet opera rotas
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prime
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-in twelve-tone music based on a particular row, the original form of the row (as opposed to the inversion, retograde, or retrograde inversion)
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retrograde inversion
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-upside-down (inversion) and backwards (retrograde) statement of a melody or twelve-tone row
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Lulu
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-twelve-tone opera
-orchestration was not complete when Berg died -Alban Berg |
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Jugendstil
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Woyzeck
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Georg Buchner
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“Es ist geung”
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Bach chorale
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Pointillism
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-form of serialism
-melody and harmony replaced by complexes of isolated tones -inspired by Webern, adopted by Stravinsky |
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Klangfarbenmelodie
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-splitting a musical line or melody between several instruments, rather than assigning it to just one instrument
-adds color and texture -term coined by Arnold Schoenberg |
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What are some ways that nineteenth-century composers expressed their nationalism musically? Compare and contrast nineteenth-and twentieth-century nationalism, in Russia, for example. Discuss specific composers and musical works.
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Before this, Russia was dominated by foreign music. Glinka as inspiration, The Five (Balakirev, Borodin, Cui, Mussorgsky, Rimsky-Korsakov) avoided German counterpoint and perferred romanticism. They liked non-functional tonal progressions, asymmetrical meters, and a coloristic approach to orchestration. Example of a piece is Mussorgsky's "Boris Godunov"
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We can categorize nineteenth-century nationalists as true nationalists or Westernizers. What goals do they share and how do they differ? Choosing an example of each, explain how their goals are reflected in their music. In which countries was musical nationalism especially prominent? What political and aesthetic forces stimulated and encouraged it?
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Which composers do you associate with each of the following artistic styles or techniques: impressionism, symbolism, expressionism, cubism, dada, surrealism, and pointillism? Explain the nature of the connection with reference to specific compositions.
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Impressionism: Debussy (Voiles)
Symbolism: Debussy (Voiles) Expressionism: Strauss (Elektra) Pointillism: Igor Stravinsky Cubism: Erik Satie |
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What were Debussy’s four main influences? How and where did he encounter them? How are these influences
manifested in his music? Is Pelléas et Mélisande the ultimate Wagnerian opera or the ultimate anti-Wagnerian opera? Explain your answer. |
-Impressionism, symbolism (France), Russians (ex. Mussorgsky's Boris Godunov), Javanese Gamelan (World Exposition)
-It imitated Wagner and he admired him/mixed feelings, leitmotifs, love triangle/medievel, wanted to break away from Wagner though |
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Compare and contrast Debussy and Ravel.
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-Debussy was considered more spontaneous and casual in his composing while Ravel was more attentive to form and craftsmanship
-Debussy symbolism and Ravel not |
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What are the characteristics of verismo opera, and how is it linked to realism, naturalism, and Darwinism?
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-a style of Italian opera which used realistic subjects from every day life (often embellished with violent and theatrical incidents)
-the purpose of each bar is to convey or reflect scenery, action, or a character's feelings. -Puccini's Paggliaci |
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What features link Puccini to the nineteenth-century Italian opera tradition? Is Puccini a “traditional” or “progressive” composer? Explain your answer. How is Puccini’s use of thematic reminiscence different than or similar to Wagner or Debussy’s use of leitmotivs? How might a Puccini setting of Pelléas et Mélisande have differed from Debussy’s? Consider both the libretto and the music.
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-Puccini (Tosca) - death is perceived differently; very dramatic, ominous, darkness, yellow, intense; all dead at end (3 out of 3)
Debussy (Peleos) - gentle, spirit leaving body, can hardly notice where death begins; bariton lives in anguish (1 of 3 survive); domestic drama; realism with symbolism and fairytale |
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What are the major differences between Strauss’s and Mahler’s orchestral outputs? What kinds of orchestral music did each write, and what were their respective stances with respect to program music? In what respects is Strauss’s Don Quixote a tone poem, a concerto, and a theme and variations?
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How had Lieder composition changed by the end of the 19th century? For example, what are the differences between a Schubert or Schumann song and one by Wolf, Strauss, or Mahler?
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What is the significance of the Société nationale de musique (National Music Society)?
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What is cyclic form? Which composers used it and in which pieces or genres? How might it relate to other techniques that serve to unify musical compositions, whether instrumental or vocal (opera)?
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What impact did World War I have on the composers who lived through it, such as Elgar, Stravinsky, Schoenberg and
his students, Satie, and the members of Les Six? |
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-Elgar thought that the world was changing and he no longer felt a part of it |
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How did Stravinsky’s association with Diaghilev affect his compositional output?
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Name, date, and discuss Stravinsky’s three periods. What are some of the works of Stravinsky’s Russian period, and in what respects are the nationalistic (Russian) and/or neoprimitive? What are some of Stravinsky’s neoclassical works, and what makes them neoclassical? In particular, in what ways is The Rake’s Progress linked to music, especially opera, of the past?
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-Russian Period (Petrushka) - 1908 to 1919
-Neoclassical Period (Symphony of Psalms) - 1920 to 1954 -Serial Period (Cantana) - 1954 to 1968 |
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What is neoclassicism? To what does it react? Which twentieth-century composers display neoclassical characteristics in their works? Provide specific examples.
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Name the members of Les Six. Do they represent a real artistic movement? What political events moved Cocteau to call for “a French music for France” in Le Coq et l’Arlequin, and what aesthetic principles and musical characteristics did he advocate? How did Satie and Les Six incorporate those principles into their music? Provide specific examples.
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What are the four main techniques used to organize atonal compositions? Give a specific example of each. What is the difference between free atonality and serialism? What does “emancipation of the dissonance” mean? Compare and contrast Schoenberg, Berg, and Webern? Which of them influenced Stravinsky’s serial music the most?
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What was the Society for Private Musical Performances, to what was it a response, what were its rules and regulations, and what was it trying to accomplish?
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Why might Schoenberg be considered a neoclassicist, even though he “discovered” the 12-tone system? What about Berg and Webern? How and why was Bach important to all three as well as to Stravinsky?
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Why do you think there are so many disparate musical threads and styles during this period? What events in Europe may have led to all of these “isms?”
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Compare and contrast the operas we have studied: Boris Godunov, Pelléas et Mélisande, Tosca, Wozzeck, and The Rake’s Progress? Consider, among other things, questions of style and form: vocal styles, instrumentation and contributions of the orchestra, use of leitmotifs and reminiscence motives, formal musical units and musical continuity, and connections to national traditions or aesthetic movements.
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