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Terms in this set (21)
High violins, , downward melody, major, accompanied by staccato lower strings. Sudden . Melody repeated by violins, .
Hector Berlioz: Symphony Fantastique "March to the Scaffold"
Listen for the pervasive rhythmic pattern long-long-long-long-short-long and the strophic form of "La donna è mobile." In the quartet, four conflicting emotions are projected simultaneously as the Duke, Maddalena, Gilda, and Rigoletto each sing different melodic lines.
Giuseppi Verdi: Rigoletto "La donna é mobile and Quartet"
Listen for the descending chromatic scale that begins the main melody in a minor key. Notice the second carefree, lilting melody in a major key and the choral responses to Carmen's solos. (Text sung by chorus is in parentheses.)
Georges Bizet: Carmen "Habeñera"
introduced by an upward slide (glissando) in the solo clarinet, the accented repeated-note theme in the French horns, the jazzlike theme in a low register, and the romantic theme played by the strings in a slower tempo. Notice the extended piano solos in which variations of the main themes combine with virtuoso passages.
George Gershwin: Rhapsody in Blue
Listen for the shrill, fragmentary sounds of the nightmarish orchestral introduction and the French horn melody (at "the old prayer") that is later proclaimed by the chorus. When the Nazis counted their victims ("They began again, first slowly: one, two, three, four, became faster and faster") the music becomes faster and louder.
Arnold Schoenberg: Survivor from Warsaw
Listen, in the Introduction, for the high solo bassoon repeating melodic fragments with slight changes of pitch and rhythm. In Omens of Spring—Dances of the Youths and Maidens, notice the "ticking" four-note ostinato and pulsating dissonant polychord punctuated by irregular accents.
STRAVINSKY, Le Sacre du printemps (The Rite of Spring), Part I Igor Stravinsky- The Rite of Spring introduction and Dance of the youths and maidens ???
Listen for the way one singer creates the effect of narrator, son, father and the Erlking through changes in the music and shifts among higher and lower vocal registers. Notice how the tension of a wild ride is evoked by the piano's rapid octaves and menacing bass motive in this through-composed song
SCHUBERT, Erlkönig (The Erlking) (1815)
La bohème is an opera in four acts, composed by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger.
Giacomo Puccini; La Boheme
The term refering to "realism" in late 19th century Italian opera is:
The composer most closely associated with verismo and "exoticism" was:
This style of music ran parallel with Impressionism. It was basically taking music from conquered areas and applying it their own music. Music was stolen from Asian, American, and less developed European countries.
21 Nocturnes - Inspired by Whistler
In music, modernism is a philosophical and aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time.
Prélude à l'après-midi d'un faune, known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration
Claude Debussy- Impressionism, Afternoon of a Faun
the use of several different keys at the same time
An early 20th century artistic movement which was attracted to the directness, instinctivness and exoticism nonurban cultures
A vocal style in which the melody is spoken at approximate pitches rather than sung on exact pitches; developed by Arnold Schoenberg.
Expressionism in music
early 20th-century German style; marked by extreme dissonance, angular melodies, irregular rhythmic grouping; explored deeply psychological themes (Schoenberg & Pierrot lunaire)
Atonality in music
The musical notes in a given piece were no longer united and organized by a key; instead they were independent and unrelated. Schonberg's twelve-tone music of the 1920's arranged all twelve notes of the scale in an abstract, mathematical pattern, or "tone row." This pattern sounded like no pattern at all to the ordinary listener and could be detected only by a highly trained eye studying the musical score. Accustomed to the harmonies of classical and romantic music, audiences generally resisted modern atonal music. Only after the Second World War did it begin to win acceptance. (938)
specific series of notes is used to purposely avoid tonality. Developed mostly by Schoenberg, developed the system where a tone row was established and alternating sets of harmony and melody (twelve-tone row, inversion, retrograde, retrograde inversion, twelve-tone matrix)
Throughout his life the one genre in which Stravinsky expressed himself repeatedly was ballet music. The three early ballets,The Firebird, Petrushka and The Rite of Spring (all commissioned by Diaghilev for the Ballet Russe, resulted in world wide recognition for Stravinsky by the year 1912) represent a sequence of works in which a thread of continuous growth can be observed. Even today his works have influenced many to take local music and singing lessons. It is on these three three works that this paper will focus; firstly, by discussing the influences which effected Stravinsky in his formative years; secondly, by examining the foundations of his compositional technique; and finally, by an analysis of the innovations which Stravinsky introduced in his three early ballets.
Please write a short essay (about half a page) about either Stravinsky or Schoenberg, and his contributions to Modernist music of the 20th Century.
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