Music Theory Test #2

Front 1

Twelve tone or dodecaphonic method

Back 1

Music based on one or more twelve tone row.

Front 2

Twelve-t one row or twelve-tone series

Back 2

An ordered arrangement of the twelve pitch classes.

Front 3

Serialism

Back 3

The compositional technique in which a row or series is used, no matter what the size of the row may be.

Front 4

The year 1924.

Back 4

Schoenberg composed his first twelve tone piece- the Suite, op.25

Front 5

Ordered pitch-class collection

Back 5

A row or series of the twelve tones

Front 6

Order number and Twelve-count

Back 6

Twelve count= counting the pitch classes in the row and giving them an order number= 0-11 (shows position)

Front 7

Basic forms of the row

Back 7

Prime, Inversion, Retrograde, Retrograde Inversion

Front 8

Prime

Back 8

row in its original order (left to right)

Front 9

Retrograde

Back 9

reverse order of original (right to left)

Front 10

Inversion

Back 10

Inverted version of original (up to down)

Front 11

Retrograde Inversion

Back 11

Inversion in reverse order (down to up)

Front 12

Derived row

Back 12

A row built from several forms of a single trichord or tetrachord.

Front 13

Discrete subsets

Back 13

those that divide the row into equal (adjacent and non-overlapping) segments

Front 14

Twelve-tone matrix

Back 14

The best way to organize and list all forty-eight forms for a particular row

Front 15

Hexachordal Combinatoriality

Front 16

Haupstimme

Front 17

Nebenstimme

Front 18

Musical Borrowing

Back 18

The use of existing music quoted or integrated into your own music. 1. Modeling a work or section on some aspect of an existing piece. 2. Variations on an existing tune. 3. Paraphrasing an existing tune to form a new melody.

Front 19

Segmentation

Back 19

The division of a musical surface into fragments that we can analyze as pitch class sets

Front 20

Second Viennese School

Back 20

Early twentieth century atonal composers: Arnold Schoenberg, Anton Webers, Alban Berg. They are called the second school because Beetoven, Haydn, and Bach were the first.

Front 21

Pitch class

Back 21

a group of pitches with the same name, in any octave.

Front 22

Octave equivalence

Back 22

There is no distinguishing between notes of the same name in different octaves

Front 23

Integer notation

Back 23

notating pitch classes as integers

Front 24

mod 12 arithmetic

Back 24

0-11 for all pitches in a pitch class set

Front 25

pitch class space or pitch space

Back 25

the realm of pitch classes or the realm of pitches

Front 26

ordered pitch class interval

Back 26

the distance between two pitch classes considered in a particular order (always ascending)

Front 27

unordered pitch-class interval

Back 27

the shortest span between two pitch classes

Front 28

interval class

Back 28

an interval and its inversion (seven of them)

Front 29

pitch-class set

Back 29

an unordered collection of pitch classes

Front 30

cardinal number

Back 30

the number of elements in a set

Front 31

trichord

Back 31

a set with a cardinal number of 3

Front 32

tetra, penta, hexa, septa, dyad, ect...

Back 32

4, 5, 6, 7, 8, (1 and 2 are monad and dyad)= number of elements in a set!

Front 33

normal order

Back 33

an arranging of pitch classes in ascending numerical succession, and in such a way that they cover the shortest possible span.

Front 34

rotation

Back 34

to rotate a set: place the first element last, and leave the remaining elements as they are, repeat util you have normal order again.

Front 35

transpositional equivalence

Back 35

two pitch class sets with the same number of pitch classes are transpositionally equivalent if they can be mapped onto one another by adding the same number (transpositional operator) to each pitch class in the set. (NORMAL ORDER)

Front 36

adjacency interval series

Back 36

the set of ordered pitch-class intervals between adjacent pitch classes. In transpositionally equivalent cases the adjacency interval series will be the same

Front 37

inversional equivalence

Back 37

two pitch-class sets are inversion ally equivalent if they can be mapped onto one another by inversion followed by transposition.

Front 38

index number

Back 38

the transpositional operator applied to an inversion (the n in TnI)

Front 39

set class

Back 39

the collection of equivalent forms of a same set

Front 40

prime form

Back 40

represents the numerical arrangement of set class

Front 41

interval-class vector

Back 41

a list of the complete interval-class content of a pc set

Front 42

forte name

Back 42

the integer in forte name represents cardinal number

Front 43

Z-related sets

Back 43

non-equivalent sets with identical interval-class vectors

Front 44

Starts with piano creeping in, the strings. Female alto sings in German.

Back 44

Schoenberg

"Nacht"

from Pierrot Lunaire

1912

Front 45

Solo Piano, Oravitz plays it in class a lot. 1,2,3 chord la la la... then little chase-y parts. Repeats opening melody at end in different key.

Back 45

Schoenberg

Piece no. 1

from Three Piano Pieces, op. 11

1909

Front 46

Solo piano, short and jumpy. 1,2,3 in left hand then atonal melody in right hand. Sounds like horn beeping

Back 46

Schoenberg

Pience no. 2

from Six Little Piano Pieces, op. 19

1911

Front 47

Singer singing in English with piano accompaniment.

Back 47

Ives

The Things Our Fathers Loved

1917

Front 48

Opens with jazzy sounding piano chords for first half, singer singing in English, talking about cage.

Back 48

Ives

The Cage

1906

Front 49

Starts with clarinet playing same note then other wood winds come in and percussion does crazy stuff. The same note and pattern is played and expanded in more and more parts.

Back 49

Varese

Integrales

1925

Front 50

Fast little jumps in clarinet with a cello underneath it playing eighth notes. Then it goes brrr-ipp. Builds a crescendo through the whole thing

Back 50

Crawford

Diaphonic Suit no.4, III

1930

Front 51

Song we had to learn for aural skills. The melody is reflected for first 30 seconds then gets all atonal. ONLY STRING QUARTET. Plucking towards end of first 2 minutes

Back 51

Schoenberg

String Quartet No. 4, I

1936

Front 52

Starts with fast scattered piano, then Soprano singing in German.

Back 52

Webern

Wie bin ich froh

1935

Front 53

Prettiest slowest one

Back 53

Berg

Violin Concerto

1935

Front 54

Just piano, slower than others

Back 54

Dallapiccola

Quartina, no.11

from Quaderno musicale di Annalibra

1952-53