Introduction to Music Mu1001 Review Sheet #3

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Introduction to Music Mu1001 Review Sheet #3 Review the following terms and concepts for the test on Mon May, 7th (12:00pm). Please remember you are responsible for all the information in the assigned text as well as the accompanying CD’s. Post-Romantic Era Italian Post-Romantic Opera Rise of the Concert Band Verismo John Philip Sousa Giacomo Puccini Charles Ives Pietro Mascagni Aaron Copland Ruggero Leoncavallo George Gershwin German Post-Romanticism Rhapsody in Blue Gustav Mahler An American in Paris Richard Strauss Porgy and Bess Impressionism Early Jazz Claude Monet Ragtime Symbolism Scott Joplin Stéphane Mallarmé Blues Impressionism in Music Text form of the blues Claude Debussy New Orleans Jazz Primitivism Louis Armstrong Dadaism Scat Singing Surrealism Swing Era (Big Band Era) Cubism Edward “Duke” Ellington Neoclassism Bebop Expressionism Charlie Parker Second Viennese School Dizzy Gillespie (Schoenberg, Berg, Webern) Cool Jazz Polyrhythm Miles Davis Polychords Third Stream Jazz Atonality Free Jazz Serialism (Twelve Tone method) Ornette Colman Igor Stravinsky John Coltrane Serge Diaghilev Fusion (Jazz Rock) The Rite of Spring Development of Musical Theater Arnold Schoenberg Richard Rogers and Oscar Sprechstimme Hammerstein Alban Berg Stephen Sondheim Anton Webern Andrew Lloyd Webber Klangfarbenmelodie Jesus Christ Superstar Twentieth-Century Nationalism Rock Musical Ethnomusicology Leonard Bernstein Béla Bartók Early Rock Stephan Foster Rhythm and Blues Soul Microtonality The Beatles Performance Art Music Video Film Music World Music John Cage Oral Tradition Prepared Piano Improvisation Indeterminacy Chieftains 4’33’’ Paul Simon’s Graceland Album George Crumb Ladysmith Black Mambazo György Ligeti Sub-Sahara African Music Joan Tower Importance of music in African life Minimalist Music Music of India Arvo Pärt Sitar Philip Glass Chinese Traditional Music John Adams Japanese Music Tan Dun Aleatoric Music Listening Debussy: Prelude to “The Afternoon of a Faun” Stravinsky: The Rite of Spring Schoenberg: Pierrot lunaire - “The Moonflck” Bartók: Concerto for Orchestra – “Interrupted Intermezzo” Copland: Billy the Kid Joplin: Maple Leaf Rag Billie Holiday: Billie’s Blues Gillespie/Parker: A Night in Tunisia Baker: Sometimes I Feel Like a Motherless Child Gershwin: Piano Prelude No. 1 Bernstein: West Side Story Traditional Cajun Music: Think of Me Crumb: Ancient Voices of Children Ligeti: Disorder Eastern African Music: Ensiriba ya munange Katego Lansky: Notjustmoreidlechatter Tower: Fanfare for the Uncommon Woman Traditional Chinese Music: Abing, The Moon Reflected on the Second Springs Tan Dun: Farewell Pärt: Cantate Domino canticum novum Adams: Roadrunner .

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The Order of Numbers in the Second Viennese School of Music
The order of numbers in the Second Viennese School of Music Carlota Simões Department of Mathematics University of Coimbra Portugal Mathematics and Music seem nowadays independent areas of knowledge. Nevertheless, strong connections exist between them since ancient times. Twentieth-century music is no exception, since in many aspects it admits an obvious mathematical formalization. In this article some twelve-tone music rules, as created by Schoenberg, are presented and translated into math- ematics. The representation obtained is used as a tool in the analysis of some compositions by Schoenberg, Berg, Webern (the Second Viennese School) and also by Milton Babbitt (a contemporary composer born in 1916). The Second Viennese School of Music The 12-tone music was condemned by the Nazis (and forbidden in the occupied Europe) because its author was a Jew; by the Stalinists for having a bourgeois cosmopolitan formalism; by the public for being different from everything else. Roland de Candé[2] Arnold Schoenberg (1874-1951) was born in Vienna, in a Jewish family. He lived several years in Vienna and in Berlin. In 1933, forced to leave the Academy of Arts of Berlin, he moved to Paris and short after to the United States. He lived in Los Angeles from 1934 until the end of his life. In 1923 Schoenberg presented the twelve-tone music together with a new composition method, also adopted by Alban Berg (1885-1935) and Anton Webern (1883-1945), his students since 1904. The three composers were so closely associated that they became known as the Second Viennese School of Music.
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