Reading...
Play button
Play button
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;
43 Cards in this Set
- Front
- Back
|
Impressionism
|
In music is characterized by exotic scales, unresolved dissonances, parallel chords, rich orchestral tone color, and free rhythm.
|
|
|
Neo-Classicism
|
Twentieth century style that combined elements of Classical and Baroque music with modernist trends.
|
|
|
Expressionism
|
Applied to music written by composers of the Second Viennese School.
|
|
|
Sprechstimme
|
A vocal style in which the melody is spoken at approximate pitches rather than sung on exact pitches; developed by Schoenberg.
|
|
|
Second Viennese School
|
Name given to Schoenberg and his pupils; represents the first efforts in the twelve-tone composition.
|
|
|
ostinato
|
A short melodic, rhythmic, or harmonic pattern that is repeated throughout a work or a section of one.
|
|
|
pedal point
|
Sustained tone over which the harmonies change.
|
|
|
polyrhythm; polymeter
|
The simultaneous use of several rhythmic patterns or meters; common in twentieth-century music and in certain African music.
|
|
|
pentatonic scale
|
Five-note pattern used in some African, Far Eastern, and Native American musics; can also be found in Western music as an example of exoticism.
|
|
|
whole-tone scale:
|
Scale pattern built entirely of whole step intervals; common in the music of the French impressionists.
|
|
|
atonality
|
Total abandonment of tonality. Atonality music moves from one level of dissonance to another, without areas of relaxation.
|
|
|
serialism
|
Method of composition in which various musical elements (pitch, rhythm, dynamics, tone color) may be ordered in a fixed series.
|
|
|
twelve-tone music
|
Compositional procedure of the twentieth century based on the use of all twelve chromatic tones without a central tone, or tonic, according to prescribed rules.
|
|
|
Blues
|
Late 1800's
>Developed from African American singing style >blending pitches and 'blues notes' >AAB form >'call and response' improvisation |
|
|
Ragtime
|
Late 1800's
>Developed from African American piano style >Syncopated melody in right hand and march style accompaniment in left hand. |
|
|
New Orleans Jazz (Dixieland)
|
Early 1900's
>Played by 5-8 players >3 melody players improvise >Tunes based on rag, blues, or pop styles >'Scat singing'= nonsense syllables (imitate instrumental style) |
|
|
Swing
|
1930's and early 1940's
>Big band >Music for ballroom dancing >Uses walking bass pattern and riffs |
|
|
Bebop
|
Late 1940's
>Developed in 'jam sessions' >Small combos >Improvised, fast rhythms |
|
|
Cool
|
Started early 1950's
>More relaxed jazz than bebop |
|
|
Debussy
|
Born: Near Paris; pianist
Life: Studied Paris conservatory Works: Books of piano 'Preludes'; orchestra (symphonic poems); 'Pelleas et Melisande' (opera) >Style: Influenced by impressionism >Died: Naturally during WWI when France was being bombed. |
|
|
Stravisky
|
>Born: St. Petersburg, Russia, pianist
>Life: Studied Rimsky-Korakov (Russian 5) >Works/Style 1: Influenced by Russian folklore >Works/Style 2: Lived in Paris; Neo-Classical style >Became a professor at UCLA |
|
|
Schoenberg
|
>Born: Vienna, the Second Viennese School
>Life: Served in Austrian military WWI, moved to USA to teach at USC >Style: Influenced by expressionism >Works: orchestra ('Five Pieces for Orchestra') |
|
|
Bartok
|
>Born: Hungary pianist, Budapest Academy of Music
>Life: Recording folk songs in Eastern Europe, emigrated to the USA during WWII. >Works: String quartets |
|
|
Ives
|
>Born: Connecticut, attended Yale
>Life: founded insurance co >Style: Influenced by village bands |
|
|
Gerschwin
|
>Born: Brooklyn, pianist
>Life: Writing Broadway musicals and popular songs >Style: Synthesis of jazz and symphonic styles |
|
|
Copland
|
>Born: Brooklyn, 'Dean of American Music'
Life: Studied with Nadia Boulanger (Paris); inspired by Western Folk (cowboy, mexican, etc.) |
|
|
"The Afternoon of a Faun"
|
Composer: Debussy
Genre: Symphonic poem |
|
|
"The Rite of Spring"
|
Composer: Stravinsky
Genre: Ballet Origin: Based on pagan legend where a young girl dances herself to death |
|
|
"Pierrot Lunaire"
|
Composer: Schoenberg
Genre: Song cycle Medium: Solo voice (mezzo soprano) and 5 instrumentalists |
|
|
"Concerto for Orchestra"
|
Composer: Bartok
Genre: Orchestral concerto |
|
|
"Billy the Kid"
|
Composer: Copland
Genre: Orchestral suite from ballet Basis: Actual story of outlaw William Bonney |
|
|
Scott Joplin
|
Ragtime
|
|
|
Bessie Smith
|
"Empress of the Blues"
|
|
|
Louis Armstrong
|
New Orleans Jazz (Dixieland)
|
|
|
Benny Goodman
|
"King of Swing"
|
|
|
Glenn Miller
|
Big Band
Clarinet |
|
|
Duke Ellington
|
Big Band
Piano Most Innovative Big Band Arranger/Composer |
|
|
Billie Holiday
|
Grew up in Harlem
Jazz |
|
|
Ella Fitzgerald
|
"Queen of Scat"
Jazz Grew up in Harlem 4 Grammys |
|
|
Dizzy Gillespie
|
Bebop
Trumpet |
|
|
Bird Parker
|
Bebop
Sax |
|
|
Gerry Mulligan
|
Cool
Bari Sax |
|
|
Miles Davis
|
Cool
Trumpet |
