Music 1306

MUSI 1306 Study Guide- ordinal- degree centigrade & axerophthol Non-Western medical specialty The section on ordinal-century unison get out imply chapters 1-8, 15-17. Chapters 1-3 will be utilized for the discussion of Non-Western music. It will be necessary to study these chapters, as healthful as the hearing examples contained within, to achieve full cellular inclusion of these sections. Twentieth-Century Overview (Chapter 1) Within the music of the twentieth century depose be seen influences of folk and popular music, Asian and Afri atomic number 50 music, and European art music from the Middle Ages by the nineteenth century.The principal parameters of music tone color, harmony, tonality, rhythm, and course brook vast changes in relation to the music of earlier stages. New tuneful comedy innovations in this period let in the prominence of the percussion section, new ship canal of playing conventional peckers, polychords, fourth chords, tone clusters, polytonali ty, bitonality, atonality, and polyrhythms. (Chapt. 2) During the twentieth century, radio, television, and recordings had a direct impact on the listening habits of the public. Various institutions regularly commissioned new music.These include b everyet and opera companies, foundations, orchestras, performers, film studios, and wealthy music lovers. Also impacting the direction of Twentieth-Century music was the emigration of more famous composers to the United States because of World War II, the widespread dissemination of American do it and popular music, and the subprogram of universities in nourishing new music. (Chapters 3 & 4) Two chaste movements that were to have their musical counterparts in the work of Claude Debussy were impressionist painting and symbolist poetry. The painters Monet, Renoir, and Pissarro set the impressionist movement in painting.Symbolist poetry is equal by Mallarme, Verlaine, and Rimbaud. Debussy was influenced by Wagner and Asian music, an d he achieved some a(prenominal) artistic victores and underwent personal tragedies during the course of his c beer and his animateness in general. (Chapt. 5) Neoclassicism is aptly described as an artistic movement that emphasizes emotional restraint, balance, and clarity. Neoclassical composers used musical forms and stylistic elements of earlier periods, particularly of the eighteenth century. Neoclassicism withal reflects a reaction against romanticism and impressionism.Major contributions, outside of music, to the classical style are the poems of T. S. Eliot and the paintings of Pablo Picasso. (Chapt. 6) Stravinskys career is typically traced from his early years in St. Petersburg, his studies under Rimsky-Korsakov, to his uncovering by Sergei Diaghilev. The impact of the Ballet Russe on the integral cultural scene in Europe from 1909 to 1929, the success of Stravinskys three Russian ballets, including the famous 1913 riot, and his maturation as the twentieth centurys to the highest degree celebrated composer are also principal topics of discussion. Chapt. 7) Expressionism is be as an artistic movement that stressed intense, internal emotion. The movement is related to Freuds work with hysterical neurosis and the unconscious, and can be seen as a German reaction to French impressionism (Chapt. 8) Arnold Schoenberg, in his early years, can be seen as a musical autodidact. His artistic progression from the late romantic style of his soonest music through the atonal whole kit and caboodle to the knowledge of his twelve-tone system, are all-important(a) to the understanding of future musical developments. Chapt. 15) Aaron Coplands life spans from his early years in Brooklyn, his period of study in France, and his cultivation of the jazz idiom for a few years on his return to the United States. Coplands works undergo distinct stylistic changes, including jazz and twelve-tone styles. Among his better-known works today are the ballet Appalachi an Spring, and this chapter contains a Listening Outline for the seventh section, the theme and variations on unproblematic Gifts. (Chapt. 16) There have been distinct changes in musical styles since 1945.Among these are the increased use of the twelve-tone system, the evolution of serialism and its applications to musical parameters other than pitch, take on music, minimalist music, musical quotation, the return to tonality, electronic music, the liberation of sound, complex media, and new concepts of rhythm and form. (Chapt. 17) Some of the more youthful innovations since 1945 can be seen in two of many essential contemporary composers, and their representative compositions Edgard Varese (Poeme electronique), John Adams (Short compel in a Fast Machine). Twentieth Century Listening Claude Debussy Prelude to The Afternoon of a FaunIgor StravinskyThe sacrament of Spring Part I, Introduction Arnold Schoenberg A subsister from Warsaw, Op. 46 Aaron CoplandAppalachian Spring Th eme and Variations on Simple Gifts Edgard VareseElectronic Poem Opening Segment John AdamsShort mobilize in a Fast Machine Twentieth Century Terms glissandopolychordfourth chord tone clusterpolytonalitybitonality atonalitypolyrhythmostinato impressionismpentatonic outmatchwhole-tone scale neoclassicismprimitivismexpressionism Sprechstimmetwelve-tone systemtone row set series serialismminimalist music chance music aleatory music quotation musicmicrotonesNon-Western symphony Overview (Chapt. 1) While nonwestern music reflects the diversity of the worlds social and economic systems, languages, religions, and geographical conditions, there are some features common to most musical usances. A distinction can be drawn in the midst of the script tradition of European cultures and the oral tradition of nonwestern music. Also important are improvisational traditions and vocal techniques. In nonwestern music, melody, rhythm, and texture in contrast to harmony and polyphony, and the fundam ental interaction between nonwestern and western music, are all important topics. Chapt. 2) The African continent can be separate into two large geographical areas, and this chapter focuses on the music of the countries below the Sahara Desert. Topics of discussion also include the manoeuver of music in society, permeating virtually all aspects of African life, some of the more important instrument types and ensembles, including the mbira and talking drums, and African texture, vocal techniques, and performance practices. A representative work described in this chapter is Ompeh, a song from gold coast. (Chapt. 3)A brief survey of music and musicians in India typically focuses on the elements of Indian classical music. The mellifluous and rhythmic structures (ragas and talas), and the correct identification of the roles of typical Indian instruments, such as the sitar, tabla, and tambura, are also crucial topics in the understanding of music from this region. Ravi Shankars Maru-Bi hag is representative of Indian classical music. Non-Western Listening Song from Ghana Ompeh Ravi Shankar Maru-Bihag Non-Western Terms membranophonechordophoneaerophone idiophoneheterphonycall and response tamburaragatala sitartabla