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| published 610 lieder, established German Lied as most important form of art song- a "miniaturized opera"; German |
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| Romantic art song; nature and the emulation of folk art; a strophic poem/song that tells a story - frequently a tragic or creepy tale |
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| poem by Wolfgang von Goethe, music by Schubert; through-composed form; scored for 1 vocalist with piano accompaniment; tonality- keys: minor key for boy; major for father and Erlkonig (until last stanza) |
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| virtuoso of orchestration; operas had little success so turned to instrumental music; French |
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| Written by Hector Berlioz; inspired by his love for Harriet Smithson; Inspired by Beethoven's five movement Sixth "Pastorale" Symphony |
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5 movements, programmatic;
1: Dreams -Passions
2: A Ball
3: Scene in the country
4: March to the Scaffold
5: Dream of a Witches' Sabbath |
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| obsessive idea (and musical theme) |
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| demonic prowess on the violin, used extended techniques; Italian |
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| 24 works written by Paganini for virtuoso violin |
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| invented the piano recital and symphonic tone poem; lisztomania, exploit chiseled features, slept around |
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| demonstrate Liszt's "three hands" illusion; 24 etudes just like caprices; German- Hungarian |
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| wrote nearly exclusively for piano; Mazurka in B-flat Minor; Polish |
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| slight pushing and holding back of tempo in the right hand part, while the left hand accompaniment continues a strict regular time; Fredrick Chopin |
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| 26 operas; most numerous by any single composer represented in the standard operatic repertoire; La Donna e mobile; Italian |
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| "Woman is Fickle"; strophic form and catchy tune; clear balanced phrases; simple harmonies & chord progressions firmly establish a key; written by Joe Verdi |
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| rejected by operatic establishment; became composer, conductor, stage designer, director, impresario, & librettist; The Ring Cycle; Tristan und Isolde; German |
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| (total-art-work); "music drama" |
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| music drama; two lovers whose love can never be realized; no resolution of the music's dissonant tension for hours; Richard Wagner |
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| The Ring of the Nibelung (The Ring Cycle) |
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| 4 music dramas occupied him for over twenty six years; Germanic gods, demigods, & other creatures greed for a gold ring created by dwarfish race: Nibleungs; Richard Wagner |
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| "leading motif" creates unity and coherence |
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| not nationalistic; music is heavily operatic (heavily melodic and has Italian opera influence) |
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| premiered as a "Comic Opera"; ostinato bass always there stubborn; melody is like a snake; extended opera into psychological exploration of sexual passion & obsession |
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| bell instrument that has a keyboard like a piano used in Tchaikovsky's Dance of the Sugar Plum Fairy |
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| Russian; no education in music; wrote pictures at an exhibition; part of the mighty five/ mighty handful |
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| first modernist composer;French |
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| a symbolist poet who wrote the Afternoon of a Faun |
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| only use certain instruments in order to achieve a certain timbre |
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| what is stated in a poem is no longer literal meaning but represents something larger than the poem |
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| Debussy used these chords in his harmony |
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| a piece of orchestral music, typically in one movement, on a descriptive or rhapsodic theme; invented by Franz Liszt |
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| student of Rimsky-Korsakov; wrote Rite of Spring Russian; primitivism; |
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| impresario and director of Ballets Russe |
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| a means by which European art might re-energize itself in the modern age |
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| Theatre des Champs-Elysees |
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| theater that right of spring opened at on May 29, 1913 |
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| several rhythmic units piled up on top of one another; two "disassociated" triads stacked on top of one another |
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| part of the 2nd Viennese School; student of Schoenberg; wrote Wozzeck; Austrian |
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| Written by Alban Berg; opera libretti; driven insane and murders wife drowns himself |
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| first masterpiece of atonal composition (not 12 tone); melodrama; written with sprechstimme (notes with x's on the staff don't sing exact pitches; written by Arnold Schonberg; |
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| programmatic vs. absolute music |
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| music based on a story or poem vs. music for musics sake |
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| with the dissolution of the common practice, 20th-century composers felt a sense of loss as well as liberation; George Gershwin |
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| explored atonality, bi-tonality, polytonality, tone clusters, & aleatoric (random) procedures, went into life insurance to make a living; ear stretching exercises |
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| "Ear-Stretching exercises" |
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| Ives' dad trained him on these exercises as a child |
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| Porgy and Bess "Summertime" |
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| Opera; set in South Carolina; influenced by Alban Berg's Wozzeck |
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| Grew up in New York; exposed to American pop and classical piano; Rhapsody in Blue: symphonic jazz |
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| Hungarian Composer; father of ethnomusicology; collected thousands of folk tunes; used palindromes (ABCBA symmetry); Concerto for Orchestra (1945) Mvt 2 "Game of Pairs" |
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| wrote Tombeau; complex chord structures; very traditional music (neoclassical); French |
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| Poeme electronique; French-born American; musique concrete (take a sound from environment and record and distort it) |
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| John Lennon, Paul McCartney, George Harrison, Ringo Starr; Imitation, emulation, innovation |
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| Musicals: Westside Story & Oklahoma |
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Oklahoma: first integrated (book) musical; Richard Rodgers & Oscar Hammerstein II
Westside Story: Leonard Bernstein, Stephen Sondheim, "Cool" uses a fugue |
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| sound, look: highly stylized and dress similar or the same to perform, attitude |
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| Sgnt Pepper's Lonely Hearts Club Band selections: including "Within You, Without You" |
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| designed to be experienced as an album rather than a set of singles; 40 instruments 4 taped tracks stream of notes |
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| Stravinsky's stylistic fingerprints: meters that are neither reducible by 2 nor by 3 beats per measure |
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| aleatory (chance) procedures |
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| John Cage tossed coins to consult the I Ching the Chinese "Book of Changes" and relied on chance outcomes to determine dynamics, rhythm, pitch rests, and duration |
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| alterations of the piano produced sonorities akin to that of an ensemble of tuned and untuned metallophones; John Cage |
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| Paganini's virtuosic violin techniques such as: col lengo; harmonics; pizzicato; scordatura; ricochet bowing; double and triple stops |
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| ostinato (in 20th century music) |
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| motive or short phrase that is repeated persistently (Stravinsky) |
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