Musical Representations
Places
Tradition and Innovation
People with Opinions
Random
100
In Franz Schubert's song Erlkönig, the piano represents this character in the story
Horse
100
Aaron Copland is known for composing in clear textures and wide, open intervals with some added dissonance and suspensions, a style that became known as the musical emblem of this place
America
100
Mid-late 20th century works that challenged the boundaries between music and noise, sound and silence, and life and art
Experimentalism
100
This Czech composer believed that the music of Black and Indigenous Americans should be the foundation of an "American" nationalist style of composition
Antonín Dvořák
100
This famous motif at the opening of Beethoven's Symphony No. 5 is often said to represent this.
Fate
200
This musical style, exemplified by Stravinsky's Rite of Spring, uses frequent ostinatos, irregular rhythmic pulses, dissonance, and dry, crunchy timbres to represent societies thought to be crude or uncultured
Primitivism
200
In the nineteenth century, where you sat in the opera hall depended on this factor
Social status and income
200
In developing his atonal style, this composer used developing variation, pitch class sets, and chromatic saturation to achieve unity in his compositions despite the lack of a tonal center
Arnold Schoenberg
200
Boston composer Amy Beach believed that this musical repertoire(s) should be the foundation of a national style, reflecting her own cultural heritage
English, Scottish, and Irish musics
300
The often inaccurate musical representation of people, places, or cultures perceived or imagined to be profoundly different from local norms.
Musical exoticism
300
During the 19th-century trend for nationalism, this composer wrote lots of mazurkas and polonaises, reflecting his Polish heritage
Fryderyk Chopin
300
Florence Price played with the traditional symphonic form by turning the third movement (normally a minuet and trio) into this kind of dance
Juba dance
300
Psychoanalyst Sigmund Freud met with this German composer, and determined that his tendency to "ironically" place cheerful, folk-like themes alongside dark, morbid ones was a result of his troubled childhood and issues with women
Gustav Mahler
300
John Cage’s Music of Changes (1951) created a “gamut” of possible musical elements and then used divination techniques from the Chinese book I-Ching in order to determine how the elements would be arranged in the score--an example of this Cageian technique
Chance music
400
The melody that Hector Berlioz used in each movement of Symphonie Fantastique to represent the image of the hero’s beloved, transforming it to suit the mood and situation at each point in the story
idée fixe
400
Composers from this place in the late 19th century realized Europeans liked how "exotic" their music sounded, and so they started emphasizing those highly localized musical elements to sell more tunes
Russia
400
The two sections of the new 19th-century aria structure made popular by Gioachino Rossini
cantabile and cabaletta
400
According to music critic Eduard Hanslick, this kind of music, thought to be pure sound and form unspoiled by narrative or imagery, was the most sophisticated and valuable music being written in the late 19th century
Absolute music
500
Russian composer Nikolai Rimsky-Korsakov used these kind of harmonies to represent magical creatures or supernatural settings, inspiring later composers such as Debussy
Octatonic and whole tone
500
In the 19th century United States, European concert music was associated with high class and refinement, leading to the phenomenon of original compositions by American composers printed under a famous German composer’s name, such as this song we listened to in class.
Mozart's Celebrated Oxen Waltz
500
Olivier Messiaen’s Quatour pour la fin du temps was composed in a German POW camp, leading him to this unusual instrumentation
Violin, clarinet, cello, piano
500
Composer Pierre Boulez stated that “The flute of the faun brought new breath to the art of music,” referring to this famous fin-de-siecle ballet
Prelude a l'apres-midi d'un faune by Claude Debussy
500
Pierre Schaffer's musical technique in which pre-recorded sounds are used to create a musical "collage"
musique concrète