Composers in the twentieth century drew inspiration from |
folk and popular music from all cultures, European art music from the Middle Ages through the nineteenth century, & the music of Asia, Africa, and Latin America. |
The combination of two traditional chords sounding together is known as |
a polychord. |
Among the unusual playing techniques that were widely used during the twentieth century is the ___, a rapid slide up or down a scale. |
glissando. |
Who were some of the composers that were stimulated by the folklore of their land. |
Igor Stravinsky, Béla Bartók, & Charles Ives. |
A chord made of tones only a half step or a whole step apart is known as |
a tone cluster. |
The absence of key or tonality in a musical composition is known as |
atonality. |
One of the most striking elements of twentieth-century music that is used to generate power and excitement is |
rhythm. |
The use of two or more keys at one time is known as |
polytonality. |
A motive or phrase that is repeated persistently at the same pitch throughout a section is called |
ostinato. |
In twentieth-century music, melodies are often difficult to sing because |
of the wide leaps & rhythmic irregularity. |
One of the most important teachers of musical composition in the twentieth century was |
Nadia Boulanger. |
The best-known American ensemble created in the 1930s by a radio network to broadcast live music was the |
NBC Symphony Orchestra. |
The most influential organization sponsoring new music after World War I was |
the International Society for Contemporary Music. |
Recordings of much lesser-known music multiplied in 1948 through |
the appearance of long-playing disks. |
The first opera created for television was Gian-Carlo Menotti’s |
Amahl and the Night Visitors. |
Radio broadcasts of live and recorded music began to reach large audiences during the |
1920s. |
In order to drown the sense of tonality, Debussy |
turned to the medieval church modes, borrowed pentatonic scales from Javanese music, & developed the whole-tone scale. |
The poem which inspired the Prelude to The Afternoon of a Faun was written by |
Stéphane Mallarmé. |
At the Paris International Exhibition of 1889 Debussy was strongly influenced by the |
performances of Asian music. |
Debussy’s opera Pelléas et Mélisande is an almost word-for-word setting of the symbolist play by |
Maurice Maeterlinck. |
As a result of his trips abroad, Debussy developed a lifelong interest in the music of |
Russia. |
The faun evoked in Debussy’s famous composition is a |
creature who is half man, half goat. |
Debussy’s music tends to |
sound free and almost improvisational. |
A painter who went through a neoclassical phase, and who designed sets for Stravinsky’s first neoclassical work, was |
Pablo Picasso. |
Neoclassical composers favored |
tonality. |
Characteristics of neoclassicism. |
balance, restraint, & clarity. |
Neoclassicism was a reaction against |
romanticism & impressionism. |
Neoclassical compositions are characterized by |
forms and stylistic features of earlier periods. |
A more appropriate term for "neo-classicism" might be |
neo-Baroque. |
The famous riot in 1913 was caused by the first performance of Stravinsky’s ballet |
The Rite of Spring. |
In the 1950s Stravinsky dramatically changed his style, this time drawing inspiration from |
Anton Webern. |
Stravinsky’s second phase is generally known as |
neoclassical. |
Stravinsky’s composition teacher was |
Nikolai Rimsky-Korsakov. |
Stravinsky’s Rite of Spring is scored for |
an enormous orchestra. |
Sergei Diaghilev was the director of the |
Russian Ballet. |
Le Sacre du printemps (The Rite of Spring) is an example of |
neoclassicism. |
During the period from about 1920 to 1951, Stravinsky drew inspiration largely from |
eighteenth-century music. |
Music Appreciation Pt 6 Ch 1-17
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