History III Test 1
Terms
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- Impressionism
- 1. Monet (Impression Sunrise 2. Debussy 3. Captures a fleeting moment. Art: Color and light more important than subject. Music: mood and atmosphere more important than subject.
- Symbolism
- 1. Mallarme 2. Debussy (Faun) 3. Abstract images/sounds suggest ideas that convey the truth beyond the material world.
- Exoticism
- 1. Picasso 2. Ravel (Daphnis et Chloe) 3. Melodies, rhtyhms, or instrumentation that evoke the atmosphere of far-off lands
- Neo-Primitivism
- 1. Roerich 2. Stravinsky (Rite) 3. Emphasis on the crude and uncultured as contrast to the modern sophisticated, stylish world.
- Decadence
- 1. Oscar Wilde 2. Strauss (Salome) 3. Fin de siecle anti-rationalist movement in which there was a focus on Eastern spirituality, dreams, imagination, and drugs.
- Expressionism
- 1. Munch 2. Schoenberg 3. Movement in which the emphasis was on emotions, not logic. Artists used strange colors to distort reality. Composers used atonality to free themselves from tradition.
- fin de siecle
- End of the culturally vibrant 19th century in Europe (mainly Paris/France). Has connotations of decadence. (Ex. Debussy)
- Melodie
- French art songs which were mainly based on serious contemporary poetry (Gounod, Massenet, Faure)
- Tone Poem
- An orchestral work in which a non-musical source is evoked (Ex. Strauss - Don Juan, Don Quixote)
- Sprechstimme
- Vocal technique of a combination between speaking and singing - a singer adheres to rhythms, but hits a pitch and immediately rises or falls off of it (Ex. Schoenberg - Pierrot Lunaire)
- atonality
- Mainly 20th century concept in which music lacks a tonal center (Ex. Schoenberg)
- Bitonality
- Music which has two total centers simultaneously (Ex. Stravinsky and Ives)
- Prelude to the Afternoon of a Faun
- 1. Debussy 2. 1890 3. Turning point in modern musical history - lack of tonality and harmonic function was monumental 4. Set to poems by Mallarme
- Salome: Salome's Final Aria
- 1. Strauss 2. 1905 3. Dissonance, chromaticism and lack of key were taken to extremes 4. Set to play by Oscar Wilde - decadent version of biblical story
- Pierrot lunaire: 21. O alter Duft
- 1. Schoenberg 2. 1910 3. Use of Sprechstimme, combination of classical style and atonality, and unique instrumentation 4. Set to poems by Giraud
- The Rite of Spring: Dance of the Adolescent Girls
- 1. Stravinsky 2. 1910 3. Unique rhythms and meter, timbres, and dissonance 4. Set design by Roerich, Ballet produced by Diaghilev
- Histoires Naturelles: 4. Le Martin-Pecheur
- 1. Ravel 2. 1905 3. Rowdy first performance due to unconventional word setting 4. Five poems by Renard
- Pictures at and Exposition: The Great Gate of Kiev
- 1. Mussorgsky 2. 1875
- Symphony No. 2: III Scherzo
- 1. Mahler 2. 1895
- Chansons de Bilitis: 1. La Flute de Pan
- 1. Debussy 2. 1900
- Gaspard de la nuit: 3. Scarbo
- 1. Ravel 2. 1910
- Firebird Suite: The Firebird and its Dance
- 1. Stravinsky 2. 1910
- Erwartung: Herrgott in Himmel
- 1. Schoenberg 2. 1910
- Daphnis et Chloe Suite No. 2: 1. Lever du Jour
- 1. Ravel 2. 1909-1912
- Three Places in New England: 1. Putnam's Camp
- 1. Ives 2. 1911-1914
- Violin Sonata: III. The Revival
- 1. Ives 2. 1914-1917
- Preludes, Book II.: 12. Feux d'artifice
- 1. Debussy 2. 1915