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54 Cards in this Set
- Front
- Back
Twelve tone or dodecaphonic method |
Music based on one or more twelve tone row. |
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Twelve-t one row or twelve-tone series |
An ordered arrangement of the twelve pitch classes. |
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Serialism |
The compositional technique in which a row or series is used, no matter what the size of the row may be. |
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The year 1924. |
Schoenberg composed his first twelve tone piece- the Suite, op.25 |
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Ordered pitch-class collection |
A row or series of the twelve tones |
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Order number and Twelve-count |
Twelve count= counting the pitch classes in the row and giving them an order number= 0-11 (shows position) |
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Basic forms of the row |
Prime, Inversion, Retrograde, Retrograde Inversion |
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Prime |
row in its original order (left to right) |
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Retrograde |
reverse order of original (right to left) |
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Inversion |
Inverted version of original (up to down) |
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Retrograde Inversion |
Inversion in reverse order (down to up) |
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Derived row |
A row built from several forms of a single trichord or tetrachord. |
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Discrete subsets |
those that divide the row into equal (adjacent and non-overlapping) segments |
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Twelve-tone matrix |
The best way to organize and list all forty-eight forms for a particular row |
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Hexachordal Combinatoriality |
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Haupstimme |
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Nebenstimme |
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Musical Borrowing |
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. |
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Segmentation |
The division of a musical surface into fragments that we can analyze as pitch class sets |
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Second Viennese School |
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. |
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Pitch class |
a group of pitches with the same name, in any octave. |
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Octave equivalence |
There is no distinguishing between notes of the same name in different octaves |
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Integer notation |
notating pitch classes as integers |
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mod 12 arithmetic |
0-11 for all pitches in a pitch class set |
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pitch class space or pitch space |
the realm of pitch classes or the realm of pitches |
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ordered pitch class interval |
the distance between two pitch classes considered in a particular order (always ascending) |
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unordered pitch-class interval |
the shortest span between two pitch classes |
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interval class |
an interval and its inversion (seven of them) |
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pitch-class set |
an unordered collection of pitch classes |
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cardinal number |
the number of elements in a set |
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trichord |
a set with a cardinal number of 3 |
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tetra, penta, hexa, septa, dyad, ect... |
4, 5, 6, 7, 8, (1 and 2 are monad and dyad)= number of elements in a set! |
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normal order |
an arranging of pitch classes in ascending numerical succession, and in such a way that they cover the shortest possible span. |
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rotation |
to rotate a set: place the first element last, and leave the remaining elements as they are, repeat util you have normal order again. |
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transpositional equivalence |
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) |
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adjacency interval series |
the set of ordered pitch-class intervals between adjacent pitch classes. In transpositionally equivalent cases the adjacency interval series will be the same |
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inversional equivalence |
two pitch-class sets are inversion ally equivalent if they can be mapped onto one another by inversion followed by transposition. |
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index number |
the transpositional operator applied to an inversion (the n in TnI) |
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set class |
the collection of equivalent forms of a same set |
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prime form |
represents the numerical arrangement of set class |
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interval-class vector |
a list of the complete interval-class content of a pc set |
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forte name |
the integer in forte name represents cardinal number |
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Z-related sets |
non-equivalent sets with identical interval-class vectors |
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Starts with piano creeping in, the strings. Female alto sings in German. |
Schoenberg "Nacht" from Pierrot Lunaire 1912 |
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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. |
Schoenberg Piece no. 1 from Three Piano Pieces, op. 11 1909 |
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Solo piano, short and jumpy. 1,2,3 in left hand then atonal melody in right hand. Sounds like horn beeping |
Schoenberg Pience no. 2 from Six Little Piano Pieces, op. 19 1911 |
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Singer singing in English with piano accompaniment. |
Ives The Things Our Fathers Loved 1917 |
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Opens with jazzy sounding piano chords for first half, singer singing in English, talking about cage. |
Ives The Cage 1906 |
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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. |
Varese Integrales 1925 |
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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 |
Crawford Diaphonic Suit no.4, III 1930 |
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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 |
Schoenberg String Quartet No. 4, I 1936 |
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Starts with fast scattered piano, then Soprano singing in German. |
Webern Wie bin ich froh 1935 |
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Prettiest slowest one |
Berg Violin Concerto 1935 |
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Just piano, slower than others |
Dallapiccola Quartina, no.11 from Quaderno musicale di Annalibra 1952-53 |