Text page: 393 Workbook Packet: VII-1 Page: 111. An overview of cultural, artistic and political events of the twentieth century

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1 Part VII Guided Study Notes The Twentieth Century and Beyond Twentieth Century and Beyond Test #1, chapters 1 11 Next Activity: Twentieth Century Overview, pages Read pages and list 3 general characteristics of Twentieth Century : 2 Discuss the extremes of violence and progress that marked the twentieth century 3 Discuss how extraordinary developments in technology and science transformed politics and society: 4 List a few prominent artists/ writers/ philosophers of the twentieth century : Listening Guide: NONE Text page: 393 Workbook VII-1 Page: 111 An overview of cultural, artistic and political events of the twentieth century : read pages in text, complete VII-1 in workbook (page 111), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 1: Musical Styles: Text page: 399 Workbook VII-1 Page: Composers in the twentieth century drew inspiration from: 1 Discuss some developments in science and the visual arts that paralleled the rise of the new music 2 Discuss the influence of jazz on twentieth century music 3 Why did tone color become a more important element of music than it ever was before? 4 Discuss new harmonic devices and approaches to tonality in the 20 th century 5 Discuss some new rhythmic procedures of 20 th century music This section contains a survey of the principal technical developments in music during the first half of the century After a brief discussion of parallel changes in the arts and sciences of the early 20 th century, the influences of folk and popular music, Asian and African music, and European art music from the Middle Ages through the 19 th century are traced The main body of the section considers the principal parameters of music tone color, harmony, tonality, rhythm, and melody in relation to the music of earlier periods Among the topics discussed are the prominence of the percussion section in 20 th century music, new ways of playing conventional instruments, polychords, fourth chords, tone clusters, polytonality, bitonality, atonality, and polyrhythm s Reference is made to a wide variety of music Page 1 of 11

2 6 Discuss music for percussion ensemble in the 20 th century 7 Discuss the rise of ethnomusicology as a discipline, and its influence on 20 th century music 8 What was the impact of radio and recordings on the listening habits of the public? Listening Guide: NONE : read pages in text, complete VII-1 in workbook (page 111), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 2: Music and Musicians in Society Text page: 407 Workbook VII-2 Page: What was the impact of radio and recordings on the listening habits of the public? 2 What was the impact of radio and recordings on the listening habits of the public? 3 Compare and contrast the attitudes toward new music of the audiences of Mozart s day with those of the early twentieth century 4 Describe opera for television 5 What are LP s, and what impact did they have on classical music? 6 Describe the influence of Arturo Toscanini and the NBC Symphony Orchesta: 7 Why did WW2 spark migration of composers, musicians & musicologists to America? This section discusses the impact of radio, television, and recordings on the listening habits of the public Also mentioned are the various institutions that have commissioned new music: ballet and opera companies, foundations, orchestras, performers, film studios, and wealthy music lovers Several of the most noted women among American composers are mentioned, as are leading African American composers The text also describes the emigration of many famous composers to the US because of WW2, the widespread dissemination of American jazz and popular music, and the role of universities in nourishing new music Listening Guide: None : read pages in text, complete VII-2 in workbook (page 114), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 3, Impressionism & Symbolism Text page: 410 Workbook VII 3 Page: 114 Page 2 of 11

3 1 Explain the origin of the term impressionism 2 Describe the work of the impressionist painters what effects were of primary concern to them? 3 Briefly describe the nature of symbolist poetry: 4 1--Who was Verlaine? 2--Briefly discuss Debussy s songs on texts by Verlaine This section provides background information on two artistic movements that were to have their musical counterparts in the work of Claude Debussy: impressionist painting and symbolist poetry The painters Monet, Renoir, and Pissaro represent the impressionist movement in painting Symbolist poetry is represented by Mallarme, Verlaine, and Rimbaud In which country did impressionism originate? Discuss water as subject for impressionist painting and music 6 Discuss the style of Debussy s Pelleas et Melisande 7 How is exocitism evident in the music of Claude Debussy? 8 Describe the work of the impressionist painters 9 Describe the nature of 1 0 symbolist poetry Debussy s songs on texts by Verlaine : read pages in text, complete VII 3 in workbook (page 80), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 4, Claude Debussy Text page: 412 Workbook VII-4 Page: Briefly describe the character of Debussy s music, and his musical output: 2 1 What was Debussy s home country? 2--In what country did Debussy spend 1 2 summers during his teens? 3 How did the Paris International Exhibition of 1899 influence Debussy? 4 Analyze Debussy s orchestral techniques 5 1 Debussy s career is traced from his entrance into the Paris Conservatory at the age of ten, to the summers spent as a pianist in Russia and his winning the Prix de Rome The influences of Wagner and Asian music on the young French composer are discussed, along with the artistic successes and personal tragedies that marked his life The elements of his musical style are described, and the section ends with a discussion of the Prelude to The Afternoon of a Faun, for which a Listening Outline is provided Page 3 of 11

4 List 3 ways that Debussy drowned the sense of tonality : 6 Describe the elements of Debussy s piano style 7 How is exocitism evident in the music of Claude Debussy? 8 1--Who wrote the poem that inspired Debussy s Prelude to The Afternoon of a Faun? 2 What is the poem about? 9 pages Title and movement: Debussy, Prelude a l Apres-midi d un faune (Prelude to the Afternoon of a Faun, 1894) 1 2 Listening Guide #2 pages Title and movement: Debussy, Voiles (Sails), from Preludes for Piano, Book I (1910) 1 2 : read pages in text, complete VII 4 in workbook (page 115), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 5, Maurice Ravel Text page: 419 Workbook VII-5 Page: Briefly discuss Maurice Ravel s career: This section opens with a brief biography of Maurice Ravel that traces the literary influences on his life, his law studies, his attempt to become a virtuoso, and his love for, and eventual marriage to, Clara Wieck His career as a critic and musical administrator and his eventual confinement in a mental institution are also discussed The characteristics of his musical style are represented by one piece, his famous Bolero 2 List 3 characteristics of Ravel s musical style: 3 Overall, can Ravel s music be considered impressionistic? Why or why not? Page 4 of 11

5 4 Ravel s Bolero originated as a(n): 5 Ravel s Bolero reflects Ravel s fascination with: pages Title and movement: Ravel Bolero (1928) 1 2 : read pages in text, complete VII 5 in workbook (page 116), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 6, Neoclassicism Text page: 422 Workbook 1 What was neoclassicism a reaction against? 2 Describe two characteristics of Neoclassical compositions: 3 List three types of compositions that neoclassical composers wrote: VII-6 Page: 117 Neoclassicism is 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 is described as a reaction against romanticism and impressionism The section concludes with a reference to neoclassicism in the poems of TS Eliot and the painting of Pablo Picasso Listening Guide: NONE : read pages in text, complete VII 6 in workbook (page 117), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 7, Igor Stravinsky Page in text: 423 Workbook VII-7 Page: Discuss Stravinsky s relationship with the Russian Ballet 2 Who was the director of the Russian Ballet? 2 1 Who was Stravinsky s composition teacher? Stravinsky s career is traced from his early years in St Petersburg, his studies under Rimsky-Korsakov, to his discovery by Sergei Diaghilev The impact of the Ballet Russe on the entire cultural scene in Europe from 1909 to 1929, the success of Stravinsky s three Russian ballets, including the famous 1913 riot, and his emergence as the twentieth century s most celebrated composer are discussed The elements of Stravinsky s various changes of style are described, and a brief survey made of his output The unit ends with a discussion of four sections of the Rite of Spring A Listening Outline is provided for the opening section Page 5 of 11

6 2 What did Stravinsky write during his Russian period? 3 Stravinsky s enormous influence on 20 th century music is due to his innovations in: 3 Discuss Stravinsky s rhythmic innovations 8 1 What were the years of Stravinsky s neoclassical period? 2--Discuss the neoclassical elements in the music of Stravinsky s middle period What was Stravinsky s relationship with the Woody Herman Jazz Band? Discuss Stravinsky s works for the ballet after Paris Discuss Stravinsky s serialism Pages Title and movement: Stravinsky, Part I: Introduction, Omens of Spring Dances of the Youths and Maidens from Le Sacre du printemps (The Rite of Spring, 1913) 1 2 Listening Guide #2 Pages Title and movement: Stravinsky, First Movement from Symphony of Psalms (1930) 1 2 : read pages in text, complete VII 7 in workbook (page 118), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 8, Expressionism Page in text: 434 Workbook Page 6 of 11 VII-8 Page: 120 Expressionism is defined as an artistic movement that stressed intense, subjective emotion The movement is related to Freud s work with hysteria and the unconscious, and is seen as a German reaction to French impressionism The section ends with a brief summary of the characteristics of expressionist art and music

7 1 Briefly define Expressionism : 2 The Expressionist Movement flourished in the years: 3 The Expressionist Movement was largely centered in: 4 20 th century Musical Expressionism grew out of: 5 Expressionist music is characterized by: 6 Compare the characteristics of expressionist art, literature, and music: 7 How did Expressionist painters, writers and composers shock and assault their audience? Listening Guide: NONE : read pages in text, complete VII 8 in workbook (page 120), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 9, Arnold Schoenberg Page in text: 435 Workbook 1 1 Who was Schoenberg s teacher? 2 What famous 20 th century composers did Schoenberg teach? 2 Schoenberg s career can be divided into 3 phases, briefly describe each: VII-9 Page 121 Schoenberg s early years as a musical autodidact are described, as is his artistic progression from the late romantic style of his earliest music through the atonal works to the development of his twelve-tone system Also discussed are his activities as a private teacher of theory and composition, and his later appointments to academic posts in Berlin and California An overview of his output is provided, and the characteristics of his music discussed along with explanations of atonality and the twelve-tone system Detailed descriptions of Premonitions his Five Pieces for Orchestra and A Survivor from Warsaw are provided Describe the characteristics of Schoenberg s atonal music 4 Compare and contrast the musical styles of Schoenberg s atonal Pierrot lunaire with his serial A Survivor from Warsaw 5 Discuss the methodology of the twelve=tone system 6 The text of A Survivor from Warsaw : Page 7 of 11

8 7 A Survivor from Warsaw used three languages: What is of A Survivor from Warsaw about? Pages Title and movement: Schoenbreg, Pierrot lunaire (Moonstruck Pierrot, 1912) Listening Guide #2 Pages Title and movement: Schoenbreg, A Survivor from Warsaw, Op 46 (1947) : read pages in text, complete VII 9 in workbook (page 121), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 10, Alban Berg Page in text: 445 Workbook 1 Briefly describe Berg s musical training and career: 2 List 3 characteristics of Berg s musical style: VII-10 Page: 123 The brief biographical portion of this section notes Berg s relationship to his teacher, Schoenberg, and surveys his output Berg s opera Wozzeck provides the basis for the discussion of his musical style, and the section ends with a description of and Vocal Music Guide for the last two scenes of the opera Why have audiences been attracted to Berg s music: 4 Briefly summarize the plot of Wozzeck 5 The vocal lines in Wozzeck include: Briefly discuss the formal organization and structure of Wozzeck Page 8 of 11

9 7 Which musical form provides the basis for the last act of Wozzeck? Vocal Guide #1 Pages Title and movement: Berg, Wozzeck, Act III, scenes 4 & 5 ( ) : read pages in text, complete VII 10 in workbook (page 123), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 11, Anton Webern Page in text: 450 Workbook 1 Briefly describe Webern s training, career, and tragic death: VII-11 Page: 123 In this section we learn of Webern s early musical training, his studies in musicology at the University of Vienna, and his private lessons with Arnold Schoenberg Also discussed are his experiences as conductor, his love of nature, his Christian mysticism, and his tragic death at the hands of an American soldier in the Austrian Alps The elements of his style are described, and the section ends with a discussion of his Five Pieces for Orchestra, Op 10 A Listening Outline is provided for the third piece 2 Briefly describe the most important elements of Webern s musical style 3 Contrast Webern s music with that of Schoenberg and Berg 4 Discuss religious mysticism in Webern s vocal works 5 1--Briefly discuss Webern s use of unconventional instruments 2--Briefly discuss musical pointillism : Webern s use of tone-color melodies 6 Contrast Webern s music with that of Schoenberg and Berg Pages Title and movement: Webern, Third Piece from Five Pieces for Orchestra (Very slow and extremely calm, ) 1 2 Scored for: Page 9 of 11

10 : read pages in text, complete VII 11 in workbook (page 123), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Next Activity: Chapter 12, Bela Bartok Page in text: 453 Workbook 1 Briefly discuss Bartok s training and career: 2 Discuss Bartok s interest in folk music and the influence of folk music on his compositions: 3 Provide a brief overview of Bartok s individual musical style: 4 Describe Bartok s use of traditional forms in the Concerto for Orchestra 5 Briefly discuss some of Bartok s innovations in the use of orchestral instruments VII-12 Page: 124 Bartok s career is traced from his early years as a piano student of his mother The text discusses the influence of the Hungarian nationalist movement on the young composer, and his absorption in peasant folk songs Bartok s successes are discussed, as is his emigration to the United States in 1940 and the commissioning of the Concerto for Orchestra in 1943, two years before his death The elements of his style are described, and the section ends with a discussion and Listening Outline of the second movement of his Concerto for Orchetra Pages Title and movement: Bartok, First Movement: Introduction (Andante non troppo; Allegro vivace), from Concerto for Orchestra (1943) 1 2 Listening Guide #2 Pages Title and movement: Bartok, Second Movement: Game of Pairs (Allegretoo scherzando), from Concerto for Orchestra (1943) 1 2 : read pages in text, complete VII 12 in workbook (page 123), and this guide, above Review learning objectives, terms, and listening guides above, read the text-book, and study workbook pages Page 10 of 11

11 Twentieth Century and Beyond, Chapters 1 12 Glossary Terms Define the following: # Term Page # from text: 1 Atonality Bi tonality Ethnomusicology Expressionism Fourth Chord Glissando Impressionism Neoclassicism Ostinato Pentatonic Scale Polychord Polyrhythm Polytonality Primitivism Sprechstimme Symbolism Tone Cluster Tone Row (set, series) Tone-Color Melody Twelve-Tone System Whole-Tone Scale Definition: Page 11 of 11

Unit 8 Practice Test

Name Date Part 1: Multiple Choice 1) In music, the early twentieth century was a time of A) the continuation of old forms B) stagnation C) revolt and change D) disinterest Unit 8 Practice Test 2) Which