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| A musical form which lacks a clear tonal center (however it may reference centers--Webern) |
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| (Impressionism of Music) The goal is to express one's primal and truest emotional states. |
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| Belgian poet upon whose work Schoenberg wrote Pierrot Lunaires. |
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| "Speechvoice." Found in Wozzeck. |
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| Playwright who composed Wozzeck (basis for Berg's work) |
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| A serial method of ordering all twelve chromatic pitches into rows to form the basis of a piece. |
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| A series 12 chormatic that generally do not repeat. Comprises the structure of most whole-tone pieces. |
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| The initial row, before retrograde and inversion are applied. The most basic unit of a twelve tone piece. Can be transposed. |
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| The reverse order of pitches in a row. |
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| The opposite intervals of each interval. |
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| Retrograde Inversion (RI) |
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| A row which has been retrograded and inverted. |
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| A tool used by 12-tone composers to organize rows in primes, inversions, and retrogrades. |
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| Emancipation of Dissonance |
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| Essay by Schoenberg, where he wanted people to accept lack of resolution for it's beauty. |
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| Schoenberg, Berg, and Webern |
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| The conception of using the notion of foreign melodies and techniques. |
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| Open 5th's, gamelan sounds, pentatonic scales, flute melodies |
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| Elizabeth Sprague Coolridge |
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| Patron of music. Commissioned Ravel "Chansons made'casses" and Copland "Appalachian Spring" |
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| Music using pitched brass percussion instruments. Most relating to SE Indonesia. Lower pitched instruments move at rates slower than higher instruments |
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| An era in which composers looked back to earlier forms and composers for influence in present works. |
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| The use of two meters simultaneously. |
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| The six French composers (paris conservatory), Poulenc, Lili Boulanger, etc. |
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| The response to Neoclassicism. Novelty at almost any different cost. |
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| Same forwards as backwards. Ruth Crawford. |
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