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| How did Sousa feel about recordings of music? |
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| He didn't like them, recognized that they would permanently alter views of live performances |
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| Discuss Central Park in the Dark |
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| tone poem, similar to Unanswered Question. Experimental techniques, narrative. Using allusion. |
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| In 19th century, ______ was used to experiment. In 20th century, ______ was used to experiment. |
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| Harmony and narrative; sound and rhythm (sometimes text) |
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| What were some of the things composers did for experimentation in 20th century? |
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| Using: polytonality, non-diatonic borrowed melodies, odd meters, less standardization, etc. |
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| 'Bagpipers' from Sonatina on themes from Transylvania |
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| American composer and big band leader, "genius music in less than ideal conditions" |
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| Goals and strategies of nationalism |
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| To create a music for a cultural/ethnic group; borrowing, quotation, allusion, imitation |
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| Distinctive responses to the Common Practice period in 20th century music |
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| form, harmony, voice leading, rhythm, timbre |
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| T/F: The influence of non-traditional and non-Western music on European music was small. |
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| False; they used these influences for "new" sounds. Ex: Sousa conducting his band in Paris |
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| Impact of agricultural mechanization upon urban concert life |
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| Led to urbanization and exodus of African Americans from South to the North (esp. by train) |
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| Was there a relationship between composers and performers? |
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| Yes, esp. with singers. This leads to more experimental techniques. |
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| Symbolist poets and what they did |
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| Baudelaire, Mallarme, Rimbaud. They experimented with non-narrative and non-linear organization |
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| poem by Baudelaire, metaphor for poet |
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| Prelude to the Afternoon of a Fawn |
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| The visual arts did/did not influence Impressionist music. |
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| Name influences and common themes in 20th century music |
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| Subconscious, unconscious, the instinctive, night, sleep, the moon, the non-Western, hallunicatory, delusional, blood, violence, dreams/nightmares, the female, asymmetry |
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| Where did futurism hold on the longest? |
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| utopian, new sounds to reflect new technology. Vogue in pre-WWI Italy and France |
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| Important choreographer who collaborated with composers, esp. Stravinsky |
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| Pierrot Lunaire, Petrushka, Pagliacci |
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| Portrays extreme states of being, unconscious, subconscious, nightmareish |
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| Work for 5 inst and soprano, depicts lunatic. Uses extended technique such as sprechstimme. NOT tonal. Uses full ensemble on nos. 7, 14, 21. |
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| Who wrote poems Pierrot Lunaire? |
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| In absence of tonality, what can organize a piece? |
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| text, repetition of sound, dance (as in ballets) |
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| Who is associated with the 'emancipation of the dissonance'? |
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| Things distant in time, often more crude and simple. Ex: iconography of Hawaiian Madonna, Rite of Spring |
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| things different in geography. Ex: Le cafe Tchaikovsky |
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| What is the return to writing music with tonality, conventional genres and forms, and ideals of absolute music in the 20th century called? |
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| In the 20th century, making music for oneself and/or friends became more/less common. |
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Definition
| Less; recorded music started to replace performance |
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| What did the availability of recorded music do? |
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Definition
| Altered listener expectations, listeners became less tolerant of imperfections, live performances integrated recorded sounds, music became more passive experience, the recording studio was invented |
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| Uses of music in 20th century society |
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Use with the state (political reasons, nationalism, esp. around WWII in Europe)
use with race ("black" music like ragtime, jazz, r&b, rock and roll, the desegregation of race in these musics)
music in protest (protest songs against war and for civil rights)
music therapy was acknowledged
ambient music (background music) |
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| comes from visual arts, supposed to represent a sensation (or an impression) as opposed to an actual object. assoc. with Debussy. blurring of harmonies, rhythms, timbres, and forms. |
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| What is very important in impressionist music? |
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| from visual arts. focuses on the unconscious, intense emotional states. |
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| Central things making sitar music "classical" |
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-has a body of central repertoire
-presence of lineages of master musicians
-improvisation is central, virtuosic, and central to the music
-philosophical and spiritual connotations of music |
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| Instruments played for us in class (indian) |
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