term derived from French poetry. A sense of detached observation; evoking a mood (or atmosphere, feeling, scene) through suggestion, connotation, and indirection rather than through intense emotional expression (i.e. Romanticism). As in poetry, the normal syntax is often interrupted. (Debussy has more symbolism than impressionism, actually)
Late-nineteenth-century term derived from art, used for music that evokes moods and visual imagery through colorful HARMONY and instrumental TIMBRE.
a style in which three-dimensional objects are represented on a flat plane by breaking them down into geometrical shapes, such as cubes and cones, and juxtaposing or overlapping them in an active, colorful design. (pg.778)
Musical style that features SYNCOPATED rhythm against a regular, marchlike BASS.
Jelly Roll Morton
an American ragtime and early jazz pianist, bandleader and composer. Developed New Orleans jazz (along with Joe "King" Oliver and Louis Armstrong) playing in clubs in Storyville (New Orleans' red - light district).
Term for music (and art) that is iconoclastic, irreverent, antagonistic, and nihilistic, seeking to overthrow established aesthetics. ballad (1) Long narrative poem, or musical setting of such a poem. (2) Late-eighteenth-century German poetic form that imitated the folk ballad of England and Scotland and was set to music by German composers. The ballad expanded the LIED in both FORM and emotional content.
Twentieth-century movement that created music based on noise. galant (French, "elegant") Eighteenth-century musical style that featured songlike MELODIES, short PHRASES, frequent CADENCES, and light accompaniment.
Terms for music that avoids establishing a central pitch or tonal center (such as the TONIC in TONAL music).
A form of ATONALITY based on the systematic ordering of the twelve notes of the CHROMATIC scale into a ROW that may be manipulated according to certain rules.
emancipation of the dissonance
a concept or goal put forth by Arnold Schoenberg (composer of atonal music and the inventor of the twelve tone technique) and others, including his pupil Anton Webern. May be described as a metanarrative to justify atonality.
pitch class set
A collection of PITCH-CLASSES that preserves its identity when transposed, inverted, or reordered and used MELODICALLY or HARMONICALLY.
Term coined by Arnold Schoenberg for the process of deriving new THEMES, accompaniments, and other ideas throughout a piece through variations of a germinal idea.
The appearance of all twelve PITCH-CLASSES within a segment of music.
(German, "speaking voice") A vocal style developed by Arnold Schoenberg in which the performer approximates the written pitches in the gliding tones of speech, while following the notated rhythm.
In TWELVE-TONE MUSIC, an ordering of all twelve PITCH-CLASSES that is used to generate the musical content.
(1) A ROW. (2) An ordering of specific durations, dynamic levels, or other non-pitch elements, used in SERIAL MUSIC.
In TWELVE-TONE music based on a particular ROW, the original form of the row, transposed or untransposed, as opposed to the INVERSION, RETROGRADE, or RETROGRADE INVERSION.
(1) In a MELODY or TWELVE-TONE ROW, reversing the upward or downward direction of each INTERVAL while maintaining its size; or the new melody or row form that results. (2) In HARMONY, a distribution of the NOTES in a CHORD so that a note other than the ROOT is the lowest note. (3) In COUNTERPOINT, reversing the relative position of two melodies, so that the one that had been lower is now above the other.
Backward statement of a previously heard MELODY, passage, or TWELVE-TONE ROW.
Upside-down and backward statement of a MELODY or TWELVE-TONE ROW.
Second viennese school
...Somewhat imprecise generalization, usually understood to mean the group of composers who worked in Vienna (and Berlin) between 1910 and 1930 under the moral leadership of Schoenberg (e.g. Berg, Webern, Skalkottas); their common ground being adoption of the 12-note method of comp.
(German, "tone-color melody") Term coined by Arnold Schoenberg to describe a succession of tone colors that is perceived as analogous to the changing pitches in a MELODY.
... (1872-1929), Russian ballet impresario. In 1909, he formed the Ballets Russes, which he directed until his death
...A belief in the value of what is simple and unsophisticated, expressed as a philosophy of life or through art or literature
Trend in music from the 1910s to the 1950s in which composers revived, imitated, or evoked the styles, GENRES, and FORMS of pre-ROMANTIC music, especially those of the eighteenth century.
Term for music since the early 1900s that establishes a single pitch as a tonal center, but does not follow the traditional rules of TONALITY.
Music that uses the TWELVE-TONE METHOD; used especially for music that extends the same general approach to SERIES in parameters other than pitch.
FORM used by Charles Ives and others in which the principal THEME appears in its entirety only at the end of a work, preceded by its DEVELOPMENT.
(1) African-American vocal GENRE that is based on a simple repetitive formula and characterized by a distinctive style of performance. (2) TWELVE-BAR BLUES.
Standard formula for the BLUES, with a HARMONIC PROGRESSION in which the first four-measure PHRASE is on the TONIC, the second phrase begins on the SUBDOMINANT and ends on the tonic, and the third phrase starts on the DOMINANT and returns to the tonic.
New Orleans Jazz
Leading style of JAZZ just after World War I, which centers on group VARIATION of a given tune, either IMPROVISED or in the style of improvisation.
Type of large JAZZ ENSEMBLE popular between the world wars, featuring brass, reeds, and RHYTHM SECTIONS, and playing prepared arrangements that included rhythmic unisons and coordinated dialogue between sections and soloists.
A style of JAZZ originating in the 1930s that was characterized by large ENSEMBLEs and hard-driving jazz rhythms.
diegetic music/ source music
In film, music that is heard or performed by the characters themselves.
In film, background music that conveys to the viewer a mood or other aspect of a scene or character but is not heard by the characters themselves. Compare DIEGETIC MUSIC.
...In film, background music that conveys to the viewer a mood or other aspect of a scene or character but is not heard by the characters themselves. Compare DIEGETIC MUSIC.