Music History Exam

Music History Final Exam

Time in the 20th century

irregular meters, syncopation used more than the previous time periods

Melody in the 20th century

disjunct, irregular phrase lengths used more than previous time periods

Harmony 20th century

non-tonal, or tonal with non-traditional chord progressions. new systems developed to structure non-tonal music, like 12-tone or pitch class sets

P-0

original pitch-collection

P-1

P-0 transposed

R-0

P-0 flipped backwards

I-0

intervals flipped upside-down; major 3rd becomes a minor 7th

I-1

inversion of P-1

Color in the 20th century

percussive sounds are more important than in previous time periods

Texture in the 20th century

often homophonic or polyphonic (contrapuntal, fugal)

Form in the 20th century

sometimes based on the 18th century forms, sometimes based on a story, sometimes based on some design unique to the composer

Lyrics in the 20th century

often abstract, might be important for helping an audience to understand non-tonal music

Sprechtstimme

talk-singing; slide off pitch as soon as you hit it; expressionism- angsty

Scott Joplin “Maple Leaf Rag”

A famous ragtime composition that exemplifies Joplin's unique style, characterized by syncopated melodies and a lively tempo, reflecting the African American musical tradition

Ragtime rhythm

a musical style characterized by syncopated rhythms, typically played in a march tempo, and often associated with African American music.

Multi-sectional form

A musical structure that consists of multiple contrasting sections, often used in genres like ragtime and classical music to create variety and development.

Tin pan ally

popular song with verse and refrain, meant for dancing (ex: I’ve Got Rhythm)

Symphonies in the 20th century

Four movements; fast, slow, dance, slow

Minuet in trio

ABA structure

George Gershwin’s “I Got Rhythm”

A landmark composition blending classical music with jazz influences, known for its catchy melody and innovative rhythm.

Rhythm changes

the aaba phrase structure and chord progression of the refrain of “I Got Rhythm”

Big Band Jazz

A style of jazz that became popular in the 1930s and 1940s, characterized by large ensembles typically featuring brass, woodwinds, and rhythm sections, and marked by strong dance rhythms.

Head

The main melodic theme of a composition, typically played at the beginning and repeated throughout a performance.

Chorus in big band jazz

A repeated section of music in a song, usually featuring the main theme and lyrics, often following the verses.

“Cotton Tail” by Duke Ellington

is a jazz composition characterized by its lively tempo and features complex harmony and improvisation, often known for its distinctive swing style. Chord progression based on Rhythm Changes

Rhythm section in big band jazz

is a group of instruments that provides the harmonic and rhythmic foundation of the ensemble, typically including piano, bass, drums, and sometimes guitar.

Nuages by Claude Debussy

non-functional harmony (evient in Debussy’s harmony and in Debussy’s borrowing of a passage from Musorgsky), parallel melodies, octatonic scale, Javanese gamelan

Shostakovich and Copeland

responding to historical tragedies such as war, and the Great Depression; engaged with the politics of the time

Pierrot Lunaire by Schoenberg

Expressionism; pitch class sets as means to structure non-tonal music (this piece is not 12-tone); Sprechstimme

Prelude from the piano suite by Arnold Schoenberg

12-tone row; exploration of atonal music; innovative use of dissonance and structure.

How composers use 12-tone music (serial music) with rhythm, phrasing, formal structures, and other musical devices in relatively traditional ways

Arnold Schoenberg Piano Suite- Prelude is through composed, ABA, gives cadances that are rhythmic rather than harmonic; working within expected conventions for formal structure; expect it to have a certain form in each section

Vers la flamme by Alexander Sciabin

A symphonic poem that explores the emotional and spiritual journey, characterized by rich harmonies and dynamic contrasts, reflecting Scriabin's fascination with synesthesia and metaphysical themes.

Alexander Scriabin

Russian composer and a contemporary of Rachmaninoff; virtuosic pianist and composed primarily for piano; unlike Rachmaninoff, Scriabin was interested in non-tonal music and used techniques like repetition of a dissonant chord based in tritones to serve as a “tonic”

“Dance of the Adolescent Girls” from Rite of Spring by Igor Stravinsky

Dissonant harmonic structures (like the bitonal chord that opens this scene), although C is tonal center; unusual treatment of meter; colorful use of the orchestra with percussive sounds brought to the foreground; Stravinsky’s use of ostinatos to create comprehensibility through repetition; know the basics of the story of the ballet

Recording technology in the first half of the 20th century

Grew from wax cylinders to vinyl

Story of “Dance of the Adolescent Girls”

The story revolves around a group of young girls participating in a pagan ritual, which ultimately culminates in a sacrifice to the earth. It was super controversial!

Cadences are infrequent and phrase lengths are uneven

Romantic

Strings are the core of the ensemble

Classical

Winds and horns are equally as important to the structure of the piece as the strings

Romantic period

Percussion/noise are prominent

20th century

Diatonic is a part of the _____ period

Classic

Posttonal or neotonal

20th century

Chromantic

Romantic period

Frequent, regular cadences

Classical period

Melodic phrasing is not important in this musical style

20th Century

Percussion/noise are prominent

20th century

Winds and horns are equally as important to the structure of the piece as the strings

Romantic era

Rachmaninoff

20th century

Mozart

Classical Period

Schubert

Romantic period

Stravinsky’s “Right of Spring”

a groundbreaking ballet that premiered in 1913, known for its innovative rhythms and dissonant harmonies; 20th century; BUM bum bum bum BUM bum bum bum

Third movement of Music for Strings, Percussion, and Celesta by Bela Bartok

tritone and other arch/mirror/retrograde forms, focus on percussion section of the orchestra, use of European fold musics, including the concept of “parlando”, to create modernist harmonic language

Parlando

a vocal style that emphasizes rhythm and inflection of speech in music, often used to enhance the expressive quality of a performance.

Charles Ives and polytonality

The technique of using multiple keys simultaneously, creating complex harmonic textures and contributing to the American experimental music movement.

Rachmaninoff, Prelude in G Minor

A piano piece known for its dramatic contrasts and virtuosic passages, embodying Rachmaninoff's lyrical style.

Dmitri Shostakovich’s Fifth Symphony

A symphonic work composed in 1937, often interpreted as a response to political oppression and personal struggles, showcasing a blend of tradition and innovation in orchestration.

Aaron Copland’s ballet Appalachian Spring

A ballet score that reflects American themes, incorporating folk melodies and simplicity, celebrating the pioneer spirit. Controversial!

Bebop

A jazz style that emerged in the 1940s, characterized by fast tempos, complex chords, and improvisational techniques, often seen as a reaction to the simplicity of swing music.

“Anthropology” by Charlie Parker and Dizzy Gillespie

A bebop composition that integrates intricate melodic lines and innovative harmonic structures, reflecting the complex nature of jazz during the 1940s; based on “rhythm changes”and showcasing the improvisational skills of its performers.

John Cage

innovations with instruments (such as prepared piano, exemplified by Sonata V), indeterminacy (the famous 4’33”), and chance music

Minimalism

a style of music characterized by repetitive patterns, gradual changes, and the use of limited materials, emerging in the mid-20th century; Steve Reich’s Come Out is an example of phase technique

Classical period

1750-1820

Romantic Period

1820-1900

20th-Century

1900-2000