Music History Ii Final!!!!

Front 1

Music for Strings, Percussion, and Celeste (CG)

Back 1

Bartok
Symphonic Suite

Front 2

General William Booth Enters Into Heaven (CG)

Back 2

Ives
Song

Front 3

Symphony Mathis der Maler (CG)

Back 3

Hindemith
Symphony

Front 4

Alexander Nevsky (CG)

Back 4

Prokofiev
Cantata (film score)

Front 5

Symphony No. 5 (CG)

Back 5

Shostakovich
Symphony

Front 6

Hyperprism (CG)

Back 6

Edgar Varese
Work for winds, brass, and percussion

Front 7

Appalachian Spring (CG)

Back 7

Copland
ballet suite

Front 8

String Quartet 1931 (CG)

Back 8

Ruth Seeger
String Quartet

Front 9

Afro-American Symphony (CG)

Back 9

William Grant Still
Symphony

Front 10

Quartet for the End of Time (CG)

Back 10

Messiaen
Quartet for Violin, Clarinet, Violoncello, and Piano

Front 11

Peter Grimes Act III (CG)

Back 11

Benjamin Britten
Opera

Front 12

Sonatas and Interludes (CG)

Back 12

John Cage
Suite for prepared piano

Front 13

Kreuzspiel (CG)

Back 13

Stockhausen
Chamber work for piano, oboe, bass clarinet and percussion

Front 14

Sequenza III (CG)

Back 14

Berio
Solo for female voice

Front 15

Black Angels (CG)

Back 15

George Crumb
Electric String quartet

Front 16

Philomel (CG)

Back 16

Milton Babbitt
Monodrama for soprano, recorded soprano, and synthesized sound

Front 17

Music for Prague (CG)

Back 17

Husa
Concert Band Suite

Front 18

Symphony No. 1 (CG)

Back 18

Ellen Taffezwilich
Symphony

Front 19

Rejoice! (CG)

Back 19

Sofia Gubaidulina
Sonata for Violin and Violoncello

Front 20

Conservatory training

Back 20

Composers received training at a conservatory.

Front 21

Nonsystematic Atonality

Back 21

Unlike Schoenberg who had an actual system that competed with tonality, a lot of composers started experimenting with atonality and doing it more like improvisation.

Front 22

Futurism

Back 22

Pieces inspired by the late industrial age. Uses sounds like train sounds and factory sounds. It is like a new kind of program music, with interest in the exploration of timbre.

Front 23

Neoclassicism

Back 23

Using old styles with new techniques. Take something from the 18th century and combine it with something modern.

Front 24

Trends of the 1920s

Back 24

Conservatory Training
Nonsystematic Atonality
Futurism
Neoclassicism

Front 25

Conservatory compositions

Back 25

Composers all get conservatory training. There is an obvious focus on technical craft.

Front 26

Eclecticism/quotation

Back 26

Quoting older pieces in modern works.

Front 27

The Great Beyond

Back 27

Extended techniques or new virtuosity; Different treatments of traditional instruments and the invention of new instruments (Electronic instrumental revolution/synthesizer)

Front 28

Total Serialism

Back 28

serialism turns into total serialism (organization of pitch and other things such as dynamics and rhythms). The application of the principles of the twelve tone method to musical parameters other than pitch such as intensity, duration, and timbres.

Front 29

Indeterminacy

Back 29

The composer leaves certain parts of the piece unspecified. (Ex: John Cage used graphic notation to indicate register rather than precise notation.)

Front 30

Trends Post 1945

Back 30

Conservatory Compositions
Eclecticism/quotation
The Great Beyond
Total Serialism
Indeterminacy

Front 31

Mathis der Maler

Back 31

Hindemith
Symphony
The harmony is neotonal (establishes a single pitch as tonal center but doesn't follow the traditional rules of tonality)
Arranged in phrases according to his theory of “harmonic fluctuation” in which relatively consonant chords move toward greater dissonance and then gradually or suddenly move back to consonance

Front 32

Music for Strings, Percussion, Celeste

Back 32

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Bartok
Symphonic Suite
A string orchestra with the battery in the center. Piano is written as a percussion instrument.
folk influences – Uses rhythms common in Hungarian folk tunes and chromatic vocal ornaments of Serbo-Croatian folk songs.
This piece is highly individual in style form and genre, but It is clearly related to the four movement symphony but differentiated from the symphony by its movement structure and prominent percussion and keyboard parts.

Front 33

“Concord” Sonata

Back 33

Ives
Piano Sonata
Uses bits of ragtime (interfaces with American popular music)
Regal chord sound/huge sounds on instruments
Programatic/impressionistic (Incorporates elements of baseball/hitting a home run in the music)

Front 34

Lady Macbeth of Mtsensk

Back 34

Shostakovich
Opera
The piece is ecclectic and has tragic and satiric elements.
Angered audiences by discordant modernist music and surrealistic often Grotesque portrayal of violence and sex (Attacked by a newspaper calling it chaos instead of music.)
Had a sex scene. Sex and violence were taboo in the 1930s

Front 35

West Side Story

Back 35

Bernstein
Musical
Contains many different styles of music (Latin, Classical, Jazz, etc.)
Was the most symphonic musical; the orchestral writing was so complex, he extracted a symphonic dances.

Front 36

Quatuor por le fin de temps

Back 36

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Messiaen
Quartet for clarinet, violin, piano, cello
Very free, almost unmeasured passages which simulates eternity
astonishing variety of textures
Duration pattern repeats every 17 chords; pattern of 29 chords overlapping a rhythmic pattern of 17 rhythmic values

Front 37

Threnody for the Victims of Hiroshima:

Back 37

-composer: Pendericki
-genre: tone poem for string orchestra
-style traits:
1. score gives few pulses/note values and measures time by seconds; graphic notation
2. each performer is required to use unusual performance techniques and notation (4-6 players enter at time on highest note and rapidly repeats series of sound effects like bowing behind bridge, bowing/plucking highest note, etc.)
3. distinctive timbres help to divide piece into 5 large sections

Front 38

Sequenzas:

Back 38

-composer: Berio
-genre: solo for female voice
-style traits:
1. graphic notation, used to convey vocal sounds from singing to humming, whispering, muttering, coughing, clicking the tongue, etc. à out of these sounds come vowels, consonants, occasionally words and phrases (all heard as sounds rather than carriers of meaning)
2. treats voice as instrument and places vowels and syllables in sequence based on phonetic alphabet (high/far forward when pronouncing)
3. solo voice is theatrical and musical; performer has leeway for dramatization

Front 39

Sonatas and Interludes for Prepared Piano:

Back 39

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composer: John Cage
-genre: suite for prepared piano
-style traits:
1. each movement explores different set of timbres and figurations (uses 45 preparation throughout work)
2. 13 of the 16 sonatas use simple binary form (comparison to Scarlatti keyboard sonatas); aside from forms based on repetition, each movement uses type of structure based on duration that Cage derived for percussion pieces square root form (features same number of units as there are measures in a unit)

Front 40

4'33”

Back 40

John Cage
3 movements each marked tacet in order for the audience to hear sounds of the environment around them
Implies that silence is simply openness to ambient sounds

Front 41

Philomel

Back 41

Babbit
monodrama for soprano, recorded soprano, and synthesized sound
Highly complex; interface with voice and machine (Sprechstimme)
explores the human and the non human
combines live performance with prerecorded tape and synthesized sounds
melody is extremely disjunct with leaps of major sevenths, 9ths, and 11ths

Front 42

Einstein on the Beach

Back 42

Phillip Glass
Opera
Avoids narrative
has no sung text other than solfege syllables
music consists mostly of repeated figures; mostly arpeggiated triads
Orchestra is made up of Electronic keyboard instruments, woodwinds, and solo violin

Front 43

“Howdy” Symphony

Back 43

P.D.Q. Bach
Symphony
First movement uses contrast of style to delineate form
Styles range from classic to Vaudeville, big band jazz and modernist dissonance
Witty incongruences and surprises typical of haydn become burlesque
Response to Haydn's Farewell symphony

Front 44

Rejoice!

Back 44

Sofia Gubaidulina
Sonata for Violin and violoncello
A study in chromaticism, glissandos, tremolos, and harmonics
reflects her interests in spirituality
movements inspired by 18ths century devotional texts and expresses transcendence from ordinary reality to a state of joy and relies on the passage from a fundamental note to its harmonics to depict a spiritual journey

Front 45

Scott Joplin

Back 45

Ragtime composer and performer best known for his piano rags.
His writing usually contains 8 bar phrases, chromaticism, and syncopation with hints of polymeter (2/4 in left hand; polymeter in right hand)
Starts to make a crossover when he makes his ragtime pieces into character pieces
He was a popular composer who dared to become a classical sheet music composer
He starts educating himself in harmony, form and orchestration
Wants to write an opera so he creates a ragtime opera called Treemonisha (uncompleted at time of death)

Front 46

George Gershwin

Back 46

roots are in musical theatre and song composition
Rhapsody in Blue begins to open the door for him to become a composer but he did not orchestrate it himself so he wrote and orchestrated the Piano Concerto in F.
His biggest project is the opera Porgy and Bess.
Unusual opera that is heavily influenced by popular trends

Front 47

Charles Ives

Back 47

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He was the first great experimentalist
His music has different layers (standard 19th century tonal composition, hymns, popular songs, band music)
Dabbles with the whole tone scale and atonality and experiments with rhythm
His orchestral works are programatic, impressionistic and pull away from standard meter

Front 48

Aaron Copland

Back 48

Wants a mainstream sound for American music
In the 1920s he is strongly influenced by jazz, Schoenberg and Stravinsky. His music at this time is quite dissonant
First major work was Piano Variations which contains extreme ranges, polymeter, and free use of 20th century dissonances
In the 1930s he thinks of music as art for the people. He believed the job of the composer was to meet the audience half way. He took steps to make music accessible to a broad new audience. He returns to the musical language of the 19th century and writes program music, ballet music and soundtracks
He created the sound of the American West (Ex: Billy the Kid)
Fanfare for the Common Man
Instrumental Lyricism (hard to sing)
has tonal intervals but not a tonal chord progression

Front 49

William Grant Still

Back 49

First to write an Afro-American symphony
He wants to bring blues to the symphony
Introduces non traditional instruments to the orchestra like the banjo and saxophone
Does a lot with the orchestra to remind us of vocal blues
His Afro American Symphony contains native american motives and each movement is a different mood of the blues

Front 50

New Timbres and effects from traditional instruments and voices after 1945

Back 50

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Edgar Varese wrote Poem Electronique which was a landmark electronic piece. It is recorded in a studio and it is performed by coming out of an array of speakers.
Stockhausen wrote music concrete which deals with prerecorded sounds with magnetic/electronic tape technology.
John Cage wrote a lot of pieces using prepared piano. This is where you put objects in the piano to affect the sound of each string. Sonatas and Interludes for Prepared Piano, sounds like electronic music but it is an acoustic piano that has been altered.
George Crumb uses extended techniques for voice and instruments like prepared piano and a wide variety of bowings and sounds made by the human voice
George Crumb used electronic string quartet in his piece Black Angles. Players sometimes whistle or speak.
Berio wrote Sequenza III using graphic notation to convey vocal sounds from singing to humming, whispering, muttering, coughing, clicking the tongue, etc
Babbit wrote Philomel mixing live