Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
13 Cards in this Set
- Front
- Back
|
Exoticism |
1. grew pretty large 2. Especially when showing where a character came from 3. Example: Madama Butterfly (pentatonic scale, national anthem) 4. Minstrel Shows (improvisation, bending pitches) |
|
|
Realism |
1. Included serious issues like politics, gaining freedom, sickness, death, suffering 2. Puccini was a realist composer 3. Italians big on this |
|
|
Nationalism |
1. Grew very large during this time 2. Especially in Germany 3. In concert programming, cataloguers began compiling works of German composers and concerts mostly consisted of German works |
|
|
Gesamtkunstwerk |
"total artwork" 1. Everything has to work together to tell story- the orchestra, music, lyrics, set, costumes, action 2. Germans big on this (Especially Wagner) |
|
|
Politics |
1. Shown in music in a variety of ways (subject matter, plot, characters, etc. ) 2. Wagner and Verdi into it 3. Censorship and sponsorship still came from government in many places |
|
|
The Mighty Five |
1. Balakirev, Cui, Borodin, Musorgsky and Rimsky-Korsakov 2. Stood against professionalism of conservatories 3. Sought fresh approach to music 4. Incorporated Russian folk songs, modal/exotic scales, folk polyphony 5. Nationalists |
|
|
The Bruckner Problem |
He had so many revisions to his works that the original is hard to find |
|
|
Operetta/ Little/ Light Opera
|
1. Some spoken dialogue
2. Shorter in length and scope than normal opera 3. Often make fun of operatic conventions and includes social/political satire/ happy endings/ funny 4. Ex: Offenbach- Orpheus in Underworld Sousa- El Capitan Gilbert and Sullivan |
|
|
Piano Music |
1. Still big at home and a big industry 2. Usually simple forms (verse-refrain) with a hook 3. Simple melodies 4. Most songs for the home about love but also satire and reflections on pop. culture 5. Tin Pan Alley produced a lot of these- NYC |
|
|
Chamber Works in Concert
|
1. canons (bodies of works) began being developed-Mostly by Germans 2. increase in inclusion of older works 3. audiences mostly all social classes because works were being performed everywhere |
|
|
Chamber Works in Band Music |
1. Military bands grew famous in late 18th century 2. Marches were big 3. Increase in marches because of development of brass instruments and inclusion of auxiliary percussion 4. Performed everywhere -funerals, weddings, concerts, etc. 5. Programming depended on audience 6. SOUSA |
|
|
Wagnerians |
1. "New German School"- Wagner, Liszt and Berlioz- ideas crafted by Franz Brendel 2. Progressive; inspired by Wagner and his philosophies 3. Wagner- endles melodies, leitmotifs, more instruments 4. Liszt- symphonic poems, thematic transformation 5. Berlioz- idee fixe and larger orchestras 6. Next generation: Bruckner, Wolf and Strauss |
|
|
Symphony |
1. grew more experimental with harmonies and melodies 2. Beethoven still model 3. Wagner wrote many and considered himself as greatest symphonist after Beethoven 4. Many used both Wagner and Beet. ideas (Ex: Bruckner) 5. Endless melodies and leitmotifs common |
