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| Technique used by Debussy. Scale Built on whole steps. |
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| Scale that alternates between whole and half steps (used in Nuages--Debussy) |
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| 5 tone scale--traditional asian/gamalon. Duplicates intervals of black keys on piano. Often used in folk music. |
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| The musical use of more than one key simultaneously is polytonality |
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| chords that move in parallel motion, thereby eliminating any feeling of harmonic progression |
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| A motif or phrase which is persistently repeated in the same musical voice. |
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| Simultaneous sounding of two or more independent rhythms. |
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| Theatrical movement wherein audience is aware that they are watching a play--they're separated from what's going on in the plot. |
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| Emancipation of Dissonance |
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| Schönberg--dissonance shouldn't HAVE to be resolved. It can progress unconventionally. Dissonant chords could appear freely and be just as readily understood and enjoyed as triads had been. |
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Music that lacks a tonal center or key.
Harmonic basis--dissonance
Melodic Basis--Chromatic scale
Every tone is of equal importance
Usually no key signature as this indicates 7 notes as natural and the others as "accidental" |
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| 12-tone Matrix--12 tones backward |
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| 12-tone--upside down intervals |
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| Sound-color-melody--similar to pointilism. Involves distributing melody to several instruments. (coined by Schönberg.) Used by Webern and Schönberg. |
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| Protagonist is contrary to archetypal hero. Popular in epic theater (mac the knife in Three Penny Opera) also common in expressionist theater (Wozzeck) |
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| Furniture or Wallpaper music |
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| Music not intended to be listened to--Satie 1917. Pre-elevator music. |
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| Sprechstimme/Sprechgesang |
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| Speech-singing. Ambiguous melodic line rhythm and expression are most important. Appears in Wozzeck by Berg and Schoenberg pieces. |
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| Used by Josef Haer in the 12-tone law. Consisted of 12 pitches with none repeated. |
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| Six notes of basic tone row (half of an aggregate) |
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| Sung in a style suggestive of speech. Speech-like rhythms often used in folk music (Bartok). |
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| Invented in 1921 by Schoenberg. Uses 12-tone matrix: Inversions, retrogade, etc. |
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| Used by Josef Haur--made up of aggregates and triads. 12-tones were used in the melody--very technical. |
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| Set of guidelines for an ordered way of writing. Use of series for aspects such as duration, dynamics, and register, as well as pitch. |
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Musical Impressionism is the name given to a movement in European classical music that arose in the late 19th century and continued into the middle of the 20th century. Originating in France, musical Impressionism is characterized by suggestion and atmosphere, and eschews the emotional excesses of the Romantic era. Impressionist composers favoured short forms such as the nocturne, arabesque, and prelude, and often explored uncommon scales such as the whole tone scale. Perhaps the most notable innovations used by Impressionist composers were the first uses of major 7th chords and the extension of chord structures in 3rds to five and six part harmonies.
The influence of visual Impressionism on its musical counterpart is debatable. Claude Debussy and Maurice Ravel are generally considered the greatest Impressionist composers, but Debussy disavowed the term, calling it the invention of critics. Erik Satie was also considered to be in this category although his approach was considered to be less serious, more of musical novelty in nature. |
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Symbolists believed that art should represent absolute truths which could only be described indirectly. Thus, they wrote in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning.
Symbolist poems were attempts to evoke, rather than primarily to describe; symbolic imagery was used to signify the state of the poet's soul.
Peirrot Lunaire 1912 |
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Reflections on abstractness of primitive times.
Old Folk melodies
Percussive
Right of Spring--Stravinsky |
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Influenced by Freud and Darwin (no God).
Express the dark recesses of human emotion--nightmarish
Goal is Psychological truth not beauty
(Wozzeck-Berg) |
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Return to Classicism
Emphasis on melody, clear lines and texture, conventional forms, diatonic, triadic, simple--childlike.
Stravinsky--octet for wind instruments
Prokofiev--classical symphony |
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| Arnold Schoenberg and his pupils Alban Berg, and Anton Webern |
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Revolt against reason and embrace of chaos--reaction to WWI.
Primarily in France, Switzerland and Germany--1916-1920
What atonality and polytonality stemmed from. |
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| "Thing in itself"--not defined by its use. The idea of a "pure inner sound" |
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| "Klangfarbenmelodie" technique often used by Webern where musical textures were combined to create a whole picture--similar to pointillism. |
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Bela Barok, Vaughan Williams, Sibelius, Falla, Elgar, Copland--turn to composer's origins.
Musical ideas or motifs that are identified with a certain country, region, or ethnicity.
Folklore as theme for opera. |
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Study of cultural effects of music in local and global contexts.
Bela Bartok--collecting of ancient folk tunes. |
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Melodies go from High to Low
Parlando-Rubato
Pentatonic
Steady tempo
Ornamentation
Flexible melody
Strophic |
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Established the French music tradition
Considered impressionistic (though he didn't want to be)
His opera changed the opera tradition--very anti-Wagnerian
Gamelon--pentatonic scales (world's fair 1889) |
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French composer--Neo-classic
Drew upon many sources--Jazz, Liszt, Baroque, etc.
Also considered "impressionist" as he worked from themes rather than textures.
Brilliant Orchestrator
Turned to past for inspiration |
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French composer--forerunner of minimalism
Cabaret
Bitonality, Polytonality, non-triadic harmony
Muzak--"wall paper music"
Music has element of cynicism, has been described as "child like" and simple. |
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Atonality
At first tried to write by instinct as direct expression of subconscious.
12-tone method
He taught Anton Webern and Alban Berg
German/Jewish |
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Primitivism
Firebird Suite
Studied under Rimsky-Korsakov
Very clean breaks between compositional periods:
Student period
Nationalist Period
Neoclassic period
Serialist Period
He is nicknamed the "Chameleon"
He drops earlier elements of his composition completely as he changes styles. |
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Les Six were Darius Milhaud, Francis Poulenc, Arthur Honegger, Georges Auric, Louis Durey, and Germaine Tailleferre.
A group of six composers working in Montparnasse whose music is often seen as a reaction against the musical style of Richard Wagner and impressionist music.
They also wanted to write in a simple way instead of using complicated rhythms such as those of Stravinsky or twelve tone music like Arnold Schoenberg. Many of their pieces were quite short. They liked strong, masculine music, especially jazz.
ho drew much of their inspiration from the music of Erik Satie and the poetry of Jean Cocteau. |
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| Poulenc's music is fundamentally tonal; although he made use of harmonic innovations such as pandiatonicism, chromatically altered chords, and even 12-tone rows (in a few of his last works), Poulenc never questioned the validity of traditional tonic-dominant harmony. Lyrical melody pervades his music and underlies his important contributions to vocal music, particularly French art song. |
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| American Jazz and Brazillian Jazz rhythms. He was a member of Les Six—also known as The Group of Six—and one of the most prolific composers of the 20th century. His compositions are influenced by jazz and make use of polytonality (music in more than one key at once). Darius Milhaud is to be counted among the modernist composers. |
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Student of Schoenberg
Member of 2ne viennese school
xponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the musical techniqu elater known as total serialism. |
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Hungarian composer
Collector of Folk-music
Don't Quote folk-music--let it become a part of you |
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German composer-- Three Penny opera (critique of capitalism)
Big part of Epic Theater movement |
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| an English composer of symphonies, chamber music, opera, choral music, and film scores. He was also a collector of English folk music and song: this activity both influenced his editorial approach to the English Hymnal, beginning in 1904, in which he included many folk song arrangements set as hymn tunes, and also influenced several of his own original compositions. |
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2nd viennese school
Austrian Composer--own personal interpretation of 12-tone technique
Wrote Wozzeck--first success in public eye |
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Spanish composer
Felipe Pedrell, from whom he took composition lessons, 1901–4. Pedrell, who was working his way towards a specifically Spanish style based on folk music, also introduced Falla to the polyphonic music of Spain's golden age. |
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| Expressionist painter--corresponded with shchoenberg |
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| Russian art-critic, patron and ballet impressario--ballet russes ( |
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coreographer for Ballet Russes--invited by diaghilev.
Choreographed Fire bird |
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| Russian Ballet Dancer took over choreography once Fokine left Ballet Russes |
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Before WWI--impressionistic
AFTER WWI-Painter of non-representational art/neo-classic |
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Poet/novelist/artist
Writer that with Satie influenced the French six with his anti-romantic ideas.
Music should have tuneful and entertaining simplicity. |
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"discovered" 12-tone law
Post WWI |
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| German dramatist--wrote Woyzeck the play that Berg's Wozzeck was later based on. |
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| Play write--wrote Three penny opera with Kurt Weil. |
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Russian Ballet--Toured Europe with Stravinsky's Firebird and Right of Spring.
Ballet became legitimate art form. |
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Cabaret--satirical
arty atmosphere
Where Satie played |
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Beautiful Era in France
Good economy, peace, satisfaction with Government
Overall optimistic attitude |
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Prosperous time in Russia, time of changing tastes
Ballet Russe
Realist and traditional becoming less popular.
Modern developments from Europe
Symbolism |
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| Britain, France, Russia--allied against Germany in WWI. |
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| Treaty where Germany was forced to take economic responsibility for the War--leading cause of WWII. |
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| Austrian Empire that got whittled away during WWI. |
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"Clouds" Impressionistic peice written by Debussy
Use of pentatonic and octanic scales
Based on Nocturnes-impressionist painting |
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Scary Clown poem piece
Symbolist
Written by schoenberg
Uses 12-tone method and Basso Ostinato
Melodrama
Sprechgesang use |
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Primitivism
Stravinsky
a ballet with music by Igor Stravinsky; choreography by Vaslav Nijinsky; and concept, set design and costumes by Nicholas Roerich. It was produced by Sergei Diaghilev for his Ballets Russes ballet company and had its première in Paris on 29 May 1913.
The music's innovative complex rhythmic structures, timbres, and use of dissonance have made it a seminal 20th century composition. In 1973, composer and conductor Leonard Bernstein said of one passage, "That page is sixty years old, but it's never been topped for sophisticated handling of primitive rhythms...", and of the work as a whole, "...it's also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name."[1] |
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Written by Stravinsky
Controlled rhythmic chaos
Considered beginning of Neo classic compositions. |
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berg
Bruchner
Anti-Hero
Expressionism
Anti-hero
Sprechgesang
Commentary on society similar to distopian novels. |
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Written by Bartok
each section of instruments is treated in a soloistic and virtuosic way
Uses folk melodies
Hints at programatic music (each movement has a title) |
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