Final

39.  How did Schoenberg view Mahler? As a teacher.

40.  How did Schoenberg view Stravinsky? As a charlatan and a threat.

41.  How would you describe the relations between Shoenberg and Stravinsky?

a.      They were locked in a power struggle that began before the onset of the First World War and that lasted until 1951.

42.  What was the real significance of Le Sacre du Printemps (1912)?

a.      The reaction the work created against atonal methods.

43.  What were the three aspects of his style derived from Russian traditions? Stravinsky derived his unique style from Russian traditions: undermining meter through unpredictable accents, rests, and rapid changes of meter; frequent ostinatos; layering and juxtaposition of static blocks of sound; discontinuity and interruption; dissonance based on diatonic, octatonic, other note collections; and a dry, anti-lyrical, but colorful use of instruments.

44.  What fundamental idea did Stravinsky abandon in his music?

a.      The development of a motive in the traditional symphonic sense.

45.  With whom did he associate in Paris? Debussy.

46.  What was the effect of Stravinsky’s works composed between 1910 and 1914?

a.      Shifting the focus of the musical world away from Germany to Paris and the Diaghilev Ballet.

47.  What three ballets did he write for the Ballets Russes? The Firebird, Petrushka and The Rite of Spring

48.  Stravinsky’s works of this period adhered to what basic system?

a.      Tonality.

49.  In what work did he create neo-clacissism?  Pulcinella (1919)

50.  How would you define this new style? A movement originating in France which rejected the excesses of German Romanticism. Neo-classicism (1910-1950) revived, imitated, or evoked the styles, genres, and forms of pre-Romantic music.

51.  Why did Stravinsky prefer to set text in Latin for Symphony of Psalms? Stravinsky claimed to prefer the language for its ritualistic, phonetic quality, which could be interpreted without expressive tendencies.

52.  In what way is Symphony of Psalms neotonal? It uses reiteration or other means to establish a tonal center, rather than traditional functional harmony.

53.  What Stravinsky’s last great neoclassical work?

54.  The Rake’s Progress.

55.  How did his music change after 1953? Stravinsky adapted techniques from serial music (an extension of twelve-tone methods to parameters other than pitch) to his characteristic idiom.

56.  Janacek composed primarily in what medium? Opera.

57.  Janacek’s first great success was Jenufa.

58.  The impetus for Janacek composing Katya was a performance of  Madama Butterfly.

59.  Jenufa is in the tradition of social realism.

60.  Janacek proved the continuing vitality of tonality;

61.  The pentatonic scale is a five note scale based on what two intervals?

a.      Whole tone and minor third.

62.  Who were the first modern composers to use these scales extensively in their works?

a.      Bartok and Kodaly.

63.  Describe Kodaly’s orchestration.

a.      Lush, romantic.

64.  In Bartok, simultaneous use of superimposed tonal motifs leads to what?

a.      Atonality; specifically, polytonality.

65.  Bartok’s recitative style in Bluebeard has affinities with whom?

a.      Mussorgsky.

66.  It is in the sharpest contrast to whom? Schoenberg.

67.  How did Bartok create an individual modernist idiom? by synthesizing elements of Hungarian, Romanian, and Bulgarian peasant music with elements of the classical tradition

68.  What do peasant music and classical music have in common, that Bartok used in his own music? a pitch center, diatonic scales, and motives that are repeated and varied

69.  What did Bartok take that was unique to classical music? the classical tradition’s forms and counterpoint

70.  What traits did he take from specific folk traditions? the irregular meters, modal scales, melody types and ornamentation

71.  What is the form of “Legato and staccato”? It is like a Bach two-part invention

72.  From where does the melody derive? Hungarian song, with short phrases, rising and falling within the interval of a fourth

73.  How would you describe his neo-tonality? It alludes both to the chordal motions and tonic-dominant polarities of classical music and to the ways peasant melodies establish a tonal center.

74.  What is Ives chief claim to fame? the first to create a distinctly American body of art music

75.  In what four styles did he compose? American vernacular music, Protestant church music, European classical music, and experimental music

76.  Describe the experimental features in his music. He wrote several pieces that were polytonal (in two or more keys) and others that explored new ways to construct chords, layer multiple rhythms, or establish a tonal center.

77.  What is characteristic about his Unanswered Question? the first work to combine both tonal and atonal layers in one piece.

78.  What is cumulative form? cumulative form, uses the procedures of thematic fragmentation and development of European sonata form but reverses the normal course of events so that the themes are developed before they appear in full near the end.

79.  How did Ives use musical collage? He layered multiple borrowed tunes in a musical collage to suggest the process of remembering.

80.  What was the nationalist view of French music in the Interwar period? Nationalists argued that French music was intrinsically classic, as opposed to the Romanticism of the Germans

81.  What was Les Six? a group of French composers who sought to escape the old political dichotomies and wrote highly individual works that drew on a wide range of influences, including neoclassicism.

82.  Which composer of the earlier generation was their inspiration, and why? They drew inspiration as well from the iconoclasm and anti-Wagnerian sentiment of Satie

83.  Name three of Les Six. Poulenc, Honegger, Milhaud

84.  Which one of Les Six was largely self-taught? Poulenc.

85.  Did Les six all compose in more or less the same style? No.

86.  Who of les Six was inspired by Brazilian Jazz? Milhaud.

87.  Who was the outstanding French symphonist of the century? Honegger.

88.  Who rejected Satie? Honegger.

89.  Who was the great song composer of les Six? Poulenc.

90.  What do Hindemith, Krenek and Weill have in common?

a.      They were all Germans who emigrated to the U.S. because of the Nazis.

91.  Which composer was distinguished by a concern for social justice?

a.      Kurt Weill.

92.  Which composer made a style of not composing in any one style?

a.      Krenek. He was also the one who called Schoenberg’s students docile, spineless followers.

93.  Who was the most scholarly and intellectual in temperament?

a.      Hindemith.

94.  What composer inspired Hindemith’s neo-classicism?

a.      Bach.

95.  What was the Neue Sachlichkeit? The New Objectivity (Neue Sachlichkeit) of the 1920s opposed complexity and favored music that was widely accessible, objective in expression, and connected to current concerns.

96.  What piece embodies this idea, and by whom? Ernst Krenek (1900–1991) embodied the ideals of New Objectivity in Jonny spielt auf (Johnny Strikes Up the Band, 1927), which was attacked by the Nazis as “degenerate” for its use of jazz.

97.  Who was Weill’s collaborator on Mahagonny, and what is its’ theme? Bertolt Brecht collaborated on Rise and Fall of the City of Mahagonny (1930), an allegorical opera about the failures of capitalism.

98.  From what is the Three Penny Opera adapted? The Beggar’s Opera,

99.  Hindemith began in what musical style, and ended up in what style? he moved from expressionism to writing neotonal music that avoided Romantic expressivity

100.                  What is Gebrauchmusik? (music for use), music for young or amateur performers that was modern, challenging, and yet rewarding to perform

101.                  What is Carl Orff’s best-known work? In what ways does it owe a debt to Stravinsky? Carmina burana (1936), which draws on Stravinsky, folk songs, chant, and medieval secular song in a pseudo-antique style based on drones, ostinatos, harmonic stasis, and strophic repetition.

102.                  Describe “socialist realism” in music. accessible, melodic, folk-like music on patriotic or inspirational topics

103.                  What was Prokofiev’s initial reputation? a radical modernist

104.                  What was the character of his music written for the communist regime? works in a more popular style

105.                  Which work of Shostakovich that angered the Soviet authorities in the 30’s? Lady Macbeth of the Mtsensk District (1934)

106.                  What are the models for Shostakovich 5? Mahler and Tchaikovsky

107.                  Why is his music full of double meanings? The apparent double meanings in his music reflect the fact that he could never say precisely what he felt under Soviet rule.

108.                  Shostakovich related both public concerns and private issues in his music. Whose lead did he follow? Mahler.

109.                  How did he express social concerns in his music?  By using irony.

110.                  What opera of his was withdrawn by order of Stalin? Lady Macbeth of Mtsensk.

111.                  What work of his was dedicated to Britten? The 14th Symphony.

112.                  What was the event in 1948 that stalled the careers of Prokofiev and Shostakovich?They were denounced for formalism at the Party Congress, and fired form their positions.

113.                  Britten text setting was influenced by the expansive, declamatory utterance of which Baroque composer? Purcell.

114.                  What were two other influences on his musical language? Mahler and Shostakovich.

115.                  Britten’s own original style was founded on what formal principle?

116.                  The extended use of tonality.

117.                  Name one of Britten’s harmonic techniques.

118.                  Simultaneous use of tonic and dominant.

119.                  Name two of his operas.

120.                  Peter Grimes; The Turn of the Screw

121.                  From where did Olivier Messaien's draw his inspiration? What was the name of his great opera?

122.                  Birdsong, Indonesian gamelan, Gregorian chant. St. Frances of Assisi.

123.                  From where did Harry Somers draw his inspiration?

124.                  First Nations song, serial and expressionistic techniques.

125.                  What was the most powerful impulse in the initial development of new ideas in post-war Europe? The rediscovery of dodecaphony

126.                  Who was Messiaen’s most famous pupil? Boulez.

127.                  How did serialism handle compositional elements? Through total control.

128.                  Serialism was most influenced by which of the twleve tone composers of the previous generation? Webern

129.                  Which serialist said: “All art of the past must be destroyed.” Boulez.

130.                  Who tried to control every aspect of his compositions through serialism? Babbitt.

131.                  Name one of George Crumb’s vocal works. Ancient Voices of Children

132.                  Who wrote the Recital I, displaying the breakdown of a singer? Berio