Set of Artsongs Arranged Intentionally as a Cycle to Depict an Ongoing Story
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Modern Terms
Aria : A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work.
Atonality : In modern music, the absence (intentional abstention) of a tonal center.
Avant Garde : (French for "at the forefront") Mod music that is on the cutting edge of innovation..
Canon : In counterpoint, strict echoing of a melodic "leader" and its "follower(s)".
Counterpoint : Combining two or more independent melodies to brand an intricate polyphonic texture.
Form : The musical pattern or shape of a movement or complete work.
Expressionism : A style in modernistic painting and music that projects the inner fear or turmoil of the artist, using annoying colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg).
Impressionism : A term borrowed from 19th-century French art (such as Claude Monet) to loosely describe early 20th-century French music that focuses on blurred atmosphere and proposition. Debussy "Nuages" from Trois Nocturnes (1899)
Indeterminacy : (likewise called "Run a risk Music") A generic term practical to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer).
Klangfarbenmelodie : A multi-colored tune produced when private pitches that are isolated and presented in different instruments are taken as a whole, every bit in Webern'due south pointellistic works.
Metric Modulation : A technique used past Elliott Carter and others to precisely modify tempo by using a notation value in the original tempo as a metrical time-pivot into the new tempo. Carter Cord Quartet No. v (1995)
Minimalism : An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams.
Neo-Classicism : Mod music that uses Classic gestures or forms (such equally Theme and Variation Grade, Rondo Course, Sonata Form, etc.) but nonetheless has modern harmonies and instrumentation. Copland "Variations on a Shaker Hymn" from Appalachian Spring (1944)
Neo-Romanticism : Modern music avoids harsh avant garde experimentation to sound more lyrical and Romantic in style, but stil uses more mod harmonies or tone colors. Hairdresser Adagio for Strings (1936)
Orchestral Soundmass : A musical texture that obscures the boundaries between sound and dissonance, focusing more on dynamics, texture and tone color than on individual pitches. Xenakis Metastaseis (1954)
Pointillism : A musical texture promoted past Webern in which the pitches of a tune are presented just a few at a time (isolated "points" of sound) rather than in a traditional continuous melodic line in the aforementioned musical instrument. This technique is closely associated with Klangfarbenmelodie (which is the multi-colored melody that is produced when the pitches played by the instruments are taken as a single melodic whole).
Polytonality : The simultaneous use of more than than one harmonic center.
Mail-Minimalism: A term (borrowed from art) that describes music that starts with minimalist concepts merely goes across them, usually using a steady pulse throughout the motility/work, diatonic hamonies and melodies without tonal function, and steady or slowly-changing dynamics.
Mail-Modernism : The borrowing of forms, procedures, and/or values of the past that tin can be found in the works of many 20th-century composers. Post-modernism comes after modern (and react to it), and it is not a mode or historical period--it is an attitude that has a disdain for structural unity, can simultaneously blend elements of the past and nowadays, and encompass contradictions.
Prepared Piano : The process of installing every-twenty-four hours objects at strategic places between the strings of a piano in order to allow it to create a myriad of new sounds.
Primitivism : A movement in modernistic Western art and music that evokes images of prehistoric peoples. Stravinsky The Rite of Jump (1913)
Programme Music : ("programmatic music") Instrumental music intended to tell a story, or give an impression of an prototype or specific idea.
Recitative : A voice communication-like manner of singing in a free rhythm
Second Viennese School : The term associated with the early on 20th-century "school of idea" centered in Vienna of Schoenberg and his most prominent students--Berg and Webern. (The "Outset Viennese Schoolhouse" was Haydn, Mozart and Beethoven in the Classic era.)
Serialism : The ordering of pitch so that all twelve chromatic tones (and their octave equivalents) are given equal emphasis. A 12-tone row and 12 ten 12 pitch matrix are synthetic and used to control the melodic and harmonic sonority of the work. All iv forms of the 12-tone row can exist used and transposed to any chromatic pitch as a starting signal:
- Prime number (forward gild of pitches #0-11)
- Retrograde (backwards, #11-0)
- Inversion (frontward guild, just the intervals of the Prime row are inverted)
- Retrograde Inversion (astern order with the intervals inverted)
Sprechstimme : A vocal mode somewhere between agitated speaking and expressive singing, which uses broad leaps and glissandos. (Half-sung, one-half-spoken melodramatic vocal commitment, indicated in the musical score by "x" note-heads).
Stochastic Music : A slowly-evolving mass of audio that gradually makes "a symptotic (based on probability theory) evolution towards a stable state." (In Probability Theory, a "Stochastic System" is one whose state is not-deterministic). Xenakis Metastaseis (1954)
Theme : In the Classic era, a "theme" is a melodic idea that stands on its ain (has a complete harmonic progression and cadence).
Third Stream : In 1961, Gunther Schuller defined the third stream as "a new genre of music located nigh halfway between jazz and classical music." It incorporates jazz instruments, jazz phrasing, jazz rhythms, and improvisation into mod orchestral and chamber music--Instance: Concertino (1959) for jazz quartet and orchestra.
Tone Cluster : The use of groups of pitches in an unbroken continuum of microtonal gradation in voices or string instruments, or striking a big continuous department of black and white keys equally a block (cluster of tones) on a piano. Cowell The Banshee (1925)
Full Serialism : (Multi-Serialism): Using the relative digits within a 12-tone row and 12 x 12 pitch matrix to command many ("multi-serialism") or all ("full serialism") structural aspects of a work (melody, harmony, rhythm, dynamics, articulation, pick of instruments, etc.). Webern experimented with multi-serialism in some of his later works (such as Cantata No. 1 Op. 29), and so full serialism was promoted past mathematician/composers such as Babbitt ( Philomel , 1964).
Genres Used in the Modern Era
Ballet : A fully-staged programmatic theatrical piece of work for dancers and orchestra. In the modern era, ballet became an important format for new kinds of musical sound and dance. Stravinsky The Rite of Bound (1913), Copland Appalachian Spring (1944)
Cantata : Traditionally this is a short, unstaged multi-movement Lutheran liturgical sacred work for solo singers, chorus and pocket-size orchestra, simply in the Modernistic Era, Schoenberg also used this genre (with chorus, orchestra, and a narrator/soloist reciting in Sprechstimme) equally the inspiration for a different blazon of religious commentary about the genocide of Smooth Jews during the Holocaust of World War II ( A Survivor from Warsaw , 1946).
Character Piece : A one-motility programmatic work for solo pianoforte.
Concerto : A 3-movement piece of work that pits a soloist vs. orchestra.
Electro-Acoustic Music : Modern music that blends electronic or computer-generated sounds with traditional voices/instruments.
Lied : A German art song, performed by ane singer accompanied by either piano or orchestra.
Musical Theatre : A type of stage work that combines songs, trip the light fantastic toe, spoken dialogue, and an orchestral or or other instrumental ensemble accompaniment .
Musique concrète : Recording sounds from the natural world and manipulating them electronically to create entirely new sounds. Varese Poème électronique (1958)
Nocturne : A programmatic piano genre suggesting quietness of night. In the Modern Era, Debussy expanded the term to draw orchestral works that evoked similar imagery. Debussy "Nuages" from Trois Nocturnes (1899)
Opera : Invented by Italians in the early Baroque, this is a large-calibration fully-staged dramatic theatrical work involving solo singers, chorus, and orchestra. In the Modernistic era, traditional types of serious and comic opera notwithstanding thrived, but more experimental and sometimes controversial models likewise arose such every bit
- Debussy Pelléas et Mélisande (1902-Impressionist opera)
- Berg Wozzeck (1922-Expressionist opera)
- Gershwin Porgy and Bess (1935-called "an American folk opera" that uses the blues and other Afro-American musical developments as its inspiration)
- Bernstein West Side Story (1957-Musical Theatre, and a merging of classical, pop, jazz in a street-gang rivalry modernization of Shakespeare's Romeo and Juliet )
- Drinking glass Einstein on the Beach (1975-Minimalist opera)
Song Bicycle : A set of fine art-songs arranged intentionally as a wheel to depict an ongoing story, or based on the same literary source. They are for one singer accompanied by either piano or orchestra. Schoenberg Pierrot lunaire (1912)--a cycle of Lieder
Cord Quartet : A chamber ensemble of four string players (2 violins, viola, cello); also the term for a multi-motility work for string quartet. Bartók: String Quartet No. v (1934); Carter String Quartet No. 5 (1995); Crumb amplified his ensemble with special furnishings and used unusual performance techniques in his cord quartet Blackness Angels (1970).
Suite : In previous eras this was a collection of dances performed by a solo keyboard instrument or orchestra. In the Modern Era, the structure was loosened to go beyond courtly dance movements or ballet excerpts, and so it could include picturesque or programmatic movements oftentimes of an exotic or international flavour. Villa-Lobos Bachianas Brasilieras No. 7 (1942)
Symphony : In the Modern era, this was still a multi-motion work for orchestra, but now written with mod harmonies and instrumentation. Webern Symphonie Op. 21 (1928)
Symphonic Poem : a one-movement programmatic piece of work for orchestra. Debussy "Nuages" from Trois Nocturnes (1899)
Forms Used in the Modern Era (internal designs of individual movements)
Curvation Form : A design that creates a symmetrical curvation with its structure - Within a sonata form movement: - In a multi-movement construction:
(Exposition) | (Recapitulation in reverse order)
|_____________________|
|______________________________________|
(similar to 5) (similar to 4) | (similar to ii) (similar to 1)
|_____________________|
|______________________________________|
Coda : A (means "tail" in Italian) A brief, final musical section often appended to a motion to bring it to a satisfying determination.
Cyclic Grade : The same motive or theme used in more than i movement of an instrumental work.
Rondo Grade : A form that has its principal melodic thought--the fast and catchy "rondo" theme [A])--return two or three times after contrasting melodic fabric and key.
In that location is a 5-part Rondo (ABACA) used in slower movements, and a vii-function Rondo (ABACABA, used in fast movements):
Sonata Course : (as well chosen "sonata-allegro form") The most important structural design of the Classic era, denoted by three dramatic divisions (in the Modern Era, composers who used sonata form expanded the harmonic distance between the opposing keys):
- Exposition: Two themes in opposing keys--Theme 1 (home key), Theme 2 (other central)
- Development: Harmonically unstable (explores distant keys from home)
- Recapitulation: Return of Theme 1 and Theme 2 in the home key
Ternary Form : A form having both opposition and render ("A B A")--it is the musical reflection of a circle (start at "A" at the pinnacle, go around the circle to "B" at the bottom, and then proceed effectually the circumvolve back to "A
Theme & Variations Form : A course that presents a musical "theme" and then a series of variations on that theme:
- Theme 1 - Variation 1 - Variation 2 - Variation 3 - Variation four (etc.)
Through-equanimous Design : A musical structure that has no discernible form--the music keeps changing as it goes on, with no returning themes.
Modern Art Music Composers (in chronological gild)
Claude Debussy (1862-1918): This basis-breaking leader of the French "impressionist" movement is known for his colorfully-evocative pianoforte works, symphonic poems, and songs. "Nuages" from Trois Nocturnes [impressionist nocturne] (1899)
Maurice Ravel (1875-1937): An important composer of French impressionism, and one of the greatest orchestrators in history. Pictures at an Exhibition (orchestration of Musorgsky's piano suite) [orchestral suite] 1922
Arnold Schoenberg (1874-1951): This Austrian composer promoted the revolutionary early 20th-century concepts of atonality, serialism, expressionism, and Sprechstimme. Pierrot lunaire [song bicycle] 1912; A Survivor from Warsaw [cantata] 1947
Anton von Webern (1883-1945): He was among Schoenberg'due south most famous pupils and is known for the brevity of his works, as well as his creative apply of serialism and pointillism. Symphonie, Op. 21 [pointillist symphony] 1928
Alban Berg (1885-1935): He was also among Schoenberg's most famous pupils and is known for his lyrical approach to atonality and serialism. Wozzeck [expressionist opera] 1925
Charles Ives (1874-1954): The first American composer to blueprint an innovative, nationalistic approach to art music. He used polytonality and experimental textures, harmonies, and rhythms while incorporating American themes.
Igor Stravinsky (1882-1971): This Russian-built-in composer participated in and gave impetus to most of the significant musical developments of the first half of the 20th century. The Rite of Leap [primitivist ballet] 1913
Henry Cowell (1897-1965): This American composer was one of the primeval experimental composers of the 20th century. Primarily known for The Banshee [character piece] 1925, played straight on the strings inside the piano.
Samuel Barber (1910-81): This American composer promoted neo-Romaticism (the new Romanticism). Adagio for Strings [symphonic verse form] 1936
Béla Bartók (1881-1945): He was a daring pioneer in the scientific written report of folk music in Hungary and other eastern European countries. String Quartet No. 5 [string quartet] 1934
Sergei Prokofiev (1891-1953): A leading Russian composer of the kickoff one-half of the 20th century, known for his intense symphonies, piano works, and his narrated symphonic poem for children--Peter and the Wolf (1936).
Paul Hindemith (1895-1963): He was the leading German composer of the first half of the 20th century, and an of import music theorist.
Heitor Villa-Lobos (1887-1959): This mid-20th century composer was the chief representative of musical nationalism in Brazil. Bachianas Brasilieras No. 7 [orchestral suite] 1942
Edgard Varèse (1883-1965): This French-born, American-raised composer was an early on avant garde visionary. Poème électronique [musique concrète, electronic music] (1958)
Aaron Copland (1900-1990): The starting time truly internationally-renowned American composer, known for his nationalistic ballets, songs, choral music, and orchestral works. Appalachian Leap [ballet] 1944
Dmitri Shostakovich (1906-75): A leading Russian composer in the mid-20th century, known for his intense symphonies, sleeping accommodation music, and piano works.
Benjamin Britten (1913-76): He was the leading British composer of the 20th century, known for his operas, choral, orchestral and chamber music.
Olivier Messiaen (1908-92): A French 20th-century composer, known for his circuitous rhythmic and harmonic orchestral, chamber and organ works.
Karlheinz Stockhausen (1928-2007): The leading High german composer of the late 20th-century avant garde. Known for his electronic music, electro-acoustic music, serial compositions, bedroom and orchestral works.
Leonard Bernstein (1918-ninety): A multi-faceted and highly influential American composer, conductor, writer and teacher. West Side Story [jazz-influenced musical theatre] 1957
John Cage (1912-92): Perhaps the most of import philosopher-composer of modern times, he challenged everything most musical sound and construction. He is by and large remembered for his works for "prepared piano" such as Sonatas and Interludes for Prepared Pianoforte (1948), and those based on indeterminacy ("chance music") such as 4'33" (1952)--but he did much more than than simply that, constantly searching for "the music I haven't heard yet."
Milton Babbitt (1916-2011): This Princeton University professor of mathematics and music composition was associated with the compositional principles of total serialism. Philomel [electro-acoustic music] 1964
Iannis Xenakis (1922-2001): This Greek-born, French-naturalized composer, theorist and architect-engineer was one of the most of import post-Earth War II avant garde thinkers. He is most known for his post-modernist stochastic music and orchestral soundmass compositions based on probability theory. Metastaseis [orchestral soundmass] (1954)
Elliott Carter (1908-2012): A Pulitzer-Prize winning American composer, who wrote an enormous amount of music in almost every traditional classical genre. Known for his apply of metric modulation. String Quartet No. 5 (1995)
Pierre Boulez (born 1925): This composer/usher is the leading French avant garde composer, known for his complex total-serialized works.
Gunther Schuller (born 1925): This contemporary American composer coined the phrase "third stream" music (blending art music and jazz into a third category), and has incorporated jazz elements into many of his works. Sketch for Double String Quartet (1959) with Schuller conducting the Modern Jazz Quartet and the Beaux Arts String Quartet [3rd stream work]
George Crumb (born 1929): This professor emeritus at Princeton is one of the leading figures of the American avant garde move. Black Angels [electrified cord quartet] 1970
Steve Reich (born 1936): 1 of the leading composers of the American avant garde minimalist movement. Violin Phase [minimalist composition] 1967 (click to see score; click here to spotter youTube extract)
Philip Glass (born 1937): One of the leading composers of the American avant garde minimalist movement. Glassworks [minimalist composition] 1970
John Adams (born 1947): One of the leading composers of the American minimalist and avant garde movements.
Source: https://wmich.edu/musicgradexamprep/ModernTerms.html
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