music section 4

Home > Flashcards > Print Preview

The flashcards below were created by user dog on FreezingBlue Flashcards. What would you like to do?

  1. two characteristics of early 1900s classical music
    dissonant and complex (UMRG:87,1,1)
  2. musical modernism
    an early 20th century classical style that abandoned tonality (UMRG:87,1,2)
  3. By what definition did musical modernists measure progress?
    an ever‐advancing musical language (UMRG:87,1,2)
  4. What attitude distinguishes a modernist work from a modern one?
    self‐conscious (UMRG:87,1,2)
  5. How did the goal of American classical music change in the 1930s?
    aimed to create music that sounded American (UMRG:87,1,1)
  6. the Armory show
    a famous art show that brought modernism to America (UMRG:87,1,3)
  7. What artistic style did modernist composers reject?
    emotional expressivity (UMRG:87,1,3)
  8. artistic autonomy
    the idea that each work is a self‐contained entity (UMRG:88,1,1)
  9. modernist artistic autonomy
    idea that art is a self‐contained entity that does not need a function (UMRG:88,1,1)
  10. experimentalist composers
    1920s modernist composers who experimented with new ways to create music (UMRG:88,1,1)
  11. To what THREE elements did experimentalist turn to create new music?
    rhythm, timbre, and mechanical invention (UMRG:88,1,1)
  12. Whose approval did modernist composers seek?
    discerning specialists (UMRG:88,1,1)
  13. main goal of modernist composers
    moving the field of music composition forward (UMRG:88,1,1)
  14. Ruth Crawford Seeger
    a famous modernist composer (UMRG:88,3,1)
  15. Aaron Copland
    a famous composer who began as a modernist but moved into folk‐based compositions (UMRG:88,2,1)
  16. What TWO motivations does Alan Copland give for composing outside the modernist school?
    the public was not used to hearing modernist work; the excitement of the avant‐garde (UMRG:88,2,1)
  17. To what composing school did Ruth Crawford Seeger’s teachers belong?
    modernist (UMRG:88,3,1)
  18. In what THREE musical elements does Ruth Crawford Seeger use serial techniques?
    pitch, rhythm, and form (UMRG:88,3,1)
  19. In what musical activity other than composing did Ruth Crawford Seeger engage?
    collecting folk music (UMRG:88,3,1)
  20. dissonant counterpoint
    a method of structuring pitch without relying on tonal relationships (UMRG:88,3,2)
  21. serial composers’ definition of melody
    a series of successive pitches perceived by the human ear as a coherent whole (UMRG:88,3,3)
  22. For which FOUR instruments did Ruth Crawford Seeger write “String Quartet”?
    2 violins, viola, and cello (UMRG:88,3,4)
  23. What interval unifies the four melodic ideas in Ruth Crawford Seeger’s “String Quartet”?
    major seventh (UMRG:88,3,4)
  24. What instruction did Ruth Crawford Seeger put on the front page of the “String Quartet” score?
    “The melody line must be heard continuously throughout the music.” (UMRG:88,3,4)
  25. interval indicating a cadence in Ruth Crawford Seeger’s “String Quartet”
    major seventh (UMRG:88,3,4)
  26. What aspect of her compositions did Ruth Crawford Seeger hope listeners would grasp?
    the inner logic (UMRG:88,3,2)
  27. With what linguistic device does Ruth Crawford Seeger compare repeating a given interval?
    rhyme (UMRG:88,3,5)
  28. In what TWO unusual ways does Ruth Crawford Seeger present the two melodies of “String Quartet”?
    backwards and upside down (UMRG:88,3,5)
  29. How does Ruth Crawford Seeger combine the two melodies of “String Quartet”?
    the pitches of one with the rhythm of the other (UMRG:88,3,5)
  30. harmonic system of Aaron Copland’s “Piano Variations”
    atonal (UMRG:89,1,2)
  31. “String Quartet, 1931”
    a famous modernist piece by Ruth Crawford Seeger (UMRG:88,3,1)
  32. “Piano Variations”
    a famous modernist piece by Aaron Copland (UMRG:89,1,2)
  33. structure of Aaron Copland’s “Piano Variations”
    theme and variation (UMRG:891,2)
  34. From which part of the piece is the harmony and melody in Aaron Copland’s “Piano Variations” derived?
    the first motive (UMRG:89,1,2)
  35. cell
    a motive that is the basis of the harmony and melody in serial music (UMRG:89,1,2)
  36. How many notes does each cell of Aaron Copland’s “Piano Variations” contain?
    4 (UMRG:89,1,2)
  37. octave displacement
    moving notes of a motive into different octaves (UMRG:90,1,3)
  38. How does the first variation of Aaron Copland’s “Piano Variations” differ from the motive?
    addition of another melody in the bass (UMRG:90,1,2)
  39. melodic technique in the second variation of Aaron Copland’s “Piano Variations”
    octave displacement (UMRG:90,1,3)
  40. harmonic technique used in the third variation of Aaron Copland’s “Piano Variations”
    counterpoint (UMRG:90,1,3)
  41. rhythmic pattern in the fourth variation of Aaron Copland’s “Piano Variations”
    short‐long‐long (UMRG:90,1,4)
  42. harmonic element dominating the fifth variation of Aaron Copland’s “Piano Variations”
    quick block chords (UMRG:90,1,5)
  43. function of the low register of the sixth variation of Aaron Copland’s “Piano Variations”
    evoke thunder (UMRG:90,1,6)
  44. What part of “Piano Variations” returns in slightly altered form in the sixth variation?
    the original motive (UMRG:90,1,6)
  45. How does Aaron Copland alter the melody in the seventh variation of “Piano Variations”?
    using octave displacement to create an ascending contour (UMRG:90,1,7)
  46. chord ending Aaron Copland’s “Piano Variations”
    a C major triad (UMRG:90,1,7)
  47. Edgard Varese
    a famous experimentalist composer (UMRG:90,2,1)
  48. Edgard Varese’s country of birth
    France (UMRG:90,2,1)
  49. To what city did Edgard Varese move in his early twenties?
    New York City (UMRG:90,2,1)
  50. With what TWO instrumentations did Edgard Varese mainly experiment?
    percussion ensembles and electronic sounds (UMRG:90,2,1)
  51. pitch continuum
    a spectrum of every possible pitch (UMRG:90,2,0)
  52. goal of Edgard Varese’s “Hyperprism”
    to make the entire pitch continuum available (UMRG:90,2,0)
  53. “Ionisation”
    Edgard Varese’s first major composition (UMRG:90,2,0)
  54. For what instrumentation did Edgard Varese write “Ionisation”?
    13 percussionists (UMRG:90,2,0)
  55. Where did Edgard Varese premier “Ionisation”?
    Carnegie Hall (UMRG:90,1,1)
  56. “Ecuatorial”
    a famous composition by Edgard Varese (UMRG:91,1,0)
  57. What electronic instrument does Edgard Varese’s “Ecuatorial” feature?
    ondes martenot (UMRG:91,1,0)
  58. Henry Cowell
    a famous experimentalist composer (UMRG:91,1,1)
  59. What TWO musical devices did Henry Cowell famously use?
    “tone clusters” and special effects on the piano (UMRG:91,1,1)
  60. What technique does the pianist use in Henry Cowell’s “Aolian Harp”?
    strumming inside the piano (UMRG:91,1,1)
  61. What THREE techniques does the pianist use in Henry Cowell’s “The Banshee”?
    plucking, rubbing, and hitting the string, all while holding the damper pedal (UMRG:91,1,1)
  62. To what objects did Paul Rosenfeld compare Aaron Copland’s compositions?
    modernist skyscrapers (UMRG:89,1,1)
  63. How did Henry Cowell learn music?
    self‐taught (UMRG:91,1,2)
  64. To what THREE types of music did Henry Cowell listen before discovering classical music?
    Chinese opera, Gregorian chant, and Anglo‐Celtic folk tunes (UMRG:91,2,0)
  65. Why was Henry Cowell unable to work for most of the 1930s?
    incarceration (UMRG:91,2,1)
  66. What THREE traits made Henry Cowell welcome in the modernist community?
    his talent, dedication, and fresh perspective (UMRG:91,2,1)
  67. How did Henry Cowell contribute to modernist music, besides his compositions?
    publishing modernist scores (UMRG:91,2,1)
  68. From which TWO ethnic traditions did Henry Cowell draw material?
    Near East and Far East (UMRG:91,2,1)
  69. profession of Henry Cowell’s wife
    ethnomusicologist (UMRG:91,2,1)
  70. With which TWO teams of folk music collectors did Henry Cowell and his wife collaborate?
    the Lomaxes and the Seegers (UMRG:91,2,1)
  71. How educated was Henry Cowell?
    very little education (UMRG:91,1,2)
  72. In which state did Henry Cowell spend his childhood?
    California (UMRG:91,1,2)
  73. John Cage
    the most famous experimentalist composer (UMRG:91,2,2)
  74. With which THREE famous composers did John Cage study?
    Arnold Schoenberg, Edgard Varese, and Henry Cowell (UMRG:91,2,2)
  75. In what area did John Cage develop his own approach to composing?
    unconventional instrumentation (UMRG:92,1,0)
  76. “First Construction (In Metal)”
    a famous John Cage composition (UMRG:92,1,0)
  77. “Imaginary Landscape No. 1”
    a famous John Cage composition (UMRG:92,1,0)
  78. In which TWO pieces did John Cage first use unconventional instrumentation?
    “First Construction (In Metal)” and “Imaginary Landscape No. 1” (UMRG:92,1,0)
  79. For which instrument type did John Cage write “First Construction (In Metal)”?
    percussion (UMRG:92,1,0)
  80. For which FIVE instruments did John Cage write “Imaginary Landscape No. 1”?
    muted piano, two variable‐speed turntables, cymbal, and frequency recordings (UMRG:92,1,0)
  81. What TWO methods did John Cage use to give his music shape?
    timbre changes and mathematically derived time limits (UMRG:92,1,0)
  82. What instrument did John Cage invent in the early 1940s?
    the prepared piano (UMRG:92,1,0)
  83. In what TWO ways did modernist composers react to the Great Depression?
    continuing to write experimental music or questioning the value of “art for art’s sake” (UMRG:92,1,1)
  84. Why did classical composers begin to aim for broader appeal during the Great Depression?
    to contribute music that had a clear purpose in American society (UMRG:92,1,2)
  85. What societal change inspired Aaron Copland to write more broadly appealing music?
    creating a new listening public (UMRG:92,1,2)
  86. How did Aaron Copland move away from “absolute” music?
    by connecting his compositions with an extra‐musical plot, image, or concept (UMRG:92,1,2)
  87. “The Second Hurricane”
    a child play‐opera by Aaron Copland (UMRG:92,1,2)
  88. “Music for the Radio”
    a famous Aaron Copland piece (UMRG:92,1,2)
  89. What THREE difficulties did modernist composers face during the Great Depression?
    expense of hiring performers, difficulty of selling tickets, and lack of funding (UMRG:92,1,2)
  90. What THREE types of folk tunes did Aaron Copland use in his compositions?
    cowboy songs, Shaker songs, and Latin American dances (UMRG:92,2,0)
  91. What FOUR musical elements did Aaron Copland use to keep his populist compositions interesting?
    dissonance, mixed meter, unexpected harmonies, and syncopation (UMRG:92,2,1)
  92. populist or American compositions
    compositions written to appeal to a broad American audience (UMRG:92,2,1)
  93. What THREE musical elements did Aaron Copland use to make his populist compositions appealing?
    sing‐able melodies, unambiguous tonic pitches, and harmonies that move predictably (UMRG:92,2,1)
  94. What compositions made Aaron Copland wealthy between 1939 and 1949?
    commercial film scores (UMRG:92,2,1)
  95. Why was socialism and communism particularly attractive during the Great Depression?
    its belief that unchecked capitalism had led to the stock market crash (UMRG:92,2,2)
  96. Which two groups strongly favored left‐leaning groups during the Great Depression?
    artists and intellectuals (UMRG:92,2,3)
  97. Which American city had the largest Jewish population during the Great Depression?
    New York City (UMRG:92,2,3)
  98. To which American city did many Jews come to escape from Hitler?
    New York City (UMRG:92,2,3)
  99. What FIVE music‐related industries had their centers in New York City during the 1930s?
    popular song, classical music, theatre, broadcasting, and recording (UMRG:92,2,3)
  100. the American Communist Party
    a communist political organization that sponsored anti‐fascist cultural groups (UMRG:92,2,4)
  101. the Popular Front
    American communist attempt to tone down military rhetoric and garner broader support (UMRG:93,1,0)
  102. the Composers’ Collective
    an organization that encouraged composers to write music compatible with socialist ideology (UMRG:93,1,1)
  103. the Daily Worker
    a newspaper that held weekly song contests (UMRG:93,1,1)
  104. What THREE rewards did winners of the Daily Worker’s song contests receive?
    publicity, performances, and sometimes money (UMRG:93,1,1)
  105. mass songs
    broadly appealing songs that agreed with communist ideology (UMRG:93,1,1)
  106. What music industry job disappeared after sound film caught on?
    musicians accompanying silent films from the orchestra pit (UMRG:93,2,0)
  107. percentage of musicians unemployed between 1929 and 1934
    about 70% (UMRG:93,2,0)
  108. What government program increased employment opportunities for musicians during the Great Depression?
    the New Deal (UMRG:93,2,1)
  109. number one employer of musicians during the Great Depression
    the Works Progress Administration (UMRG:93,2,1)
  110. four arts projects created by the Works Progress Administration
    Federal Art Project, Federal Theatre Project, Federal Writers’ Project, and Federal Music Project (UMRG:93,2,1)
  111. How many musicians did the Federal Music Project employ?
    about 16,000 (UMRG:93,2,2)
  112. In which FOUR kinds of ensembles did the Federal Music Project employ musicians?
    dance bands, choruses, folk music concerts, and chamber ensembles (UMRG:93,2,2)
  113. How many symphony orchestras did the Federal Music Project sponsor?
    28 (UMRG:93,2,2)
  114. How did the Federal Music Project change towards the end of the 1930s?
    began to emphasize education and recreation over performance (UMRG:93,2,2)
  115. the Composers’ Forum‐Laboratory
    a branch of the Federal Music Project that employed classical and modernist composers (UMRG:94,1,1)
  116. What FOUR musicians’ jobs did the Federal Theatre Project offer?
    composer, music director, conductor, and pit musician (UMRG:94,1,2)
  117. Mark Blitzstein
    a composer employed by the Federal Theatre Project (UMRG:94,1,2)
  118. How did some government agencies publicize their activities and rationale?
    created documentaries (UMRG:94,2,1)
  119. Why did government agencies commission soundtracks for their documentaries?
    cheaper than getting sound on‐location (UMRG:94,2,1)
  120. Virgil Thomson
    a famous populist composer of the 1920s and 1930s (UMRG:94,2,2)
  121. In what city did Virgil Thomson live for much of the 1920s and 1930s?
    Paris (UMRG:94,2,2)
  122. What belief about music did Virgil Thomson adopt in Paris?
    deliberate simplicity (UMRG:94,2,2)
  123. What style of music did Virgil Thomson take credit for creating?
    the “Americana” sound (UMRG:94,2,2)
  124. What TWO musical styles did Virgil Thomson combine to create his “Americana” sound?
    French simplicity and American folksong (UMRG:94,2,2)
  125. “The Plow that Broke the Plains”
    a famous documentary scored by Virgil Thomson (UMRG:94,3,1)
  126. subject matter of “The Plow that Broke the Plains”
    the Dust Bowl (UMRG:94,3,1)
  127. Which government agency funded “The Plow that Broke the Plains”?
    the Resettlement Administration (UMRG:94,3,1)
  128. goal of the Resettlement Administration
    assisting or relocating victims of the Dust Bowl (UMRG:94,3,1)
  129. How does “The Plow that Broke the Plains” begin?
    a four‐minute prelude (UMRG:94,3,3)
  130. What role does the narrator play during the prelude of “The Plow that Broke the Plains”?
    describing the geography and history of the Great Plains (UMRG:94,3,3)
  131. What events does the narrator cover after the prelude of “The Plow that Broke the Plains”?
    how poor management and bad weather ruined the land and forced farmers west (UMRG:94,3,3)
  132. What kind of harmonies did Virgil Thomson use for the score of “The Plow that Broke the Plains”?
    clear and diatonic (UMRG:94,3,1)
  133. texture of the score of “The Plow that Broke the Plains”
    light (UMRG:94,3,1)
  134. key of “Pastorale (Grass)” from the score of “The Plow that Broke the Plains”
    major (UMRG:94,3,3)
  135. What TWO elements create a sense of optimism in “Pastorale (Grass)” from the score of “The Plow that Broke the Plains”?
    rising, diatonic motives and robust brass orchestration (UMRG:94,3,3)
  136. What TWO elements move “The Plow that Broke the Plains” forward?
    the narration and the music (UMRG:95,1,1)
  137. What TWO cowboy songs did Virgil Thomson use in the score of “The Plow that Broke the Plains?”
    “I Ride an Old Paint” and “Get Along Little Dogies” (UMRG:95,1,0)
  138. Which composer used the same cowboy tunes as the score of “The Plow that Broke the Plains” in one of his compositions?
    Aaron Copland (UMRG:95,1,0)
  139. “I Ride an Old Paint”
    a cowboy song borrowed by 1930s populist composers (UMRG:95,1,0)
  140. “Get Along Little Dogies”
    a cowboy song borrowed by 1930s populist composers (UMRG:95,1,0)
  141. structure of the documentary “The Plow that Broke the Plains”
    a series of tableaus (UMRG:95,1,1)
  142. five recurring images in “The Plow that Broke the Plains”
    horse‐drawn wagons, desolate buildings, broken fences, winds across sand dunes, and blades of grass struggling to survive (UMRG:95,1,1)
  143. In what kind of key does the section “Drought” begin in the score of “The Plow that Broke the Plains”?
    minor (UMRG:95,1,2)
  144. What TWO instrument families are used in the section “Drought” in the score of “The Plow that Broke the Plains”?
    stringed and woodwind instruments (UMRG:95,1,2)
  145. What TWO musical elements add a jazz tinge to the section “Drought” in the score of “The Plow that Broke the Plains”?
    syncopation and a muted trumpet near its end (UMRG:95,1,2)
  146. George Stoney
    a government employee who analyzed the effect of “The Plow that Broke the Plains” (UMRG:96,1,1)
  147. For which government department did George Stoney work?
    the Farm Security Administration (UMRG:96,1,1)
  148. To what other kind of rhetoric did George Stoney compare the effect of “The Plow that Broke the Plains”?
    an evangelical sermon (UMRG:96,1,1)
  149. What TWO elements did “The Plow that Broke the Plains” use to elicit an emotional response?
    powerful images and music (UMRG:96,1,1)
  150. What message did audiences draw from “The Plow that Broke the Plains”?
    that the struggles of rural Americans were respected and understood (UMRG:96,1,1)
  151. What popular tune is used in the section “Wind and Dust” in the score of “The Plow that Broke the Plains”?
    the Doxology or “Ole Hundredth,” a well‐known hymn (UMRG:96,1,0)
  152. How is the tune of the Doxology altered in the section “Wind and Dust” in the score of “The Plow that Broke the Plains”?
    changed to a minor mode (UMRG:96,1,0)
  153. With what other communist group was the Composers’ Collective affiliated?
    the Workers’ Music League (UMRG:96,2,2)
  154. Which TWO German composers most influenced the Composers’ Collective?
    Kurt Weill and Hanns Eisler (UMRG:96,2,2)
  155. What documentary did Virgil Thomson score following “The Plow that Broke the Plains”?
    “The River” (UMRG:96,1,3)
  156. Why did Kurt Weill and Hanns Eisler reject modernism?
    felt that it was elitist and bourgeois (UMRG:96,3,0)
  157. two main characteristics of the first efforts of the Composers’ Collective
    vigorous rhythms and unapologetic dissonances (UMRG:96,3,0)
  158. What effect did the Composers’ Collective wish to convey with strong rhythms and dissonances?
    a militant rejection of the bourgeois (UMRG:96,3,0)
  159. Why did the Composers’ Collective abandon its early efforts?
    realized it lacked broad appeal (UMRG:96,3,0)
  160. What harmonic system did the Composers’ Collective use to achieve a broad appeal?
    common practice tonality (UMRG:96,3,1)
  161. “The Cradle Will Rock”
    a famous music‐theater by Mark Blitzstein (UMRG:97,1,1)
  162. What dilemma did Mark Blitzstein address in “The Cradle Will Rock”?
    the role musicians could or should play in improving the economic situation (UMRG:97,1,1)
  163. In what fictional town is “The Cradle Will Rock” set?
    Steeltown, U.S.A. (UMRG:97,1,2)
  164. Mr. Mister
    the wealthy magnate in “The Cradle Will Rock” (UMRG:97,1,2)
  165. Mike Foreman
    the union leader in “the Cradle Will Rock” (UMRG:97,1,2)
  166. In what city did Mark Blitzstein begin his career?
    Philadelphia (UMRG:97,1,3)
  167. Which composer converted Mark Blitzstein to writing music for the general public?
    Hanns Eisler (UMRG:97,1,3)
  168. From where did Mark Blitzstein derive his music?
    Broadway and American popular song (UMRG:97,1,3)
  169. Which government organization funded “The Cradle Will Rock”?
    the Federal Theatre Project (UMRG:97,1,4)
  170. Orson Welles
    a famous director who worked on “The Cradle Will Rock” (UMRG:97,1,4)
  171. John Houseman
    the producer of “The Cradle Will Rock” (UMRG:97,1,4)
  172. Why did the Federal Theatre Project postpone the premiere of “The Cradle Will Rock”?
    current events began to correspond to the plot (UMRG:97,1,4)
  173. How did Mark Blitzstein react to the postponement of the premiere of “The Cradle Will Rock”?
    finding another theatre in which he could perform it himself (UMRG:98,1,1)
  174. Who played the music for the first performance of “The Cradle Will Rock”?
    Mark Blitzstein (UMRG:98,1,1)
  175. How did the actors in “The Cradle Will Rock” circumvent union rules in its first performance?
    speaking their lines from seats in the audience (UMRG:98,1,1)
  176. Dauber the Artist
    a major character in “The Cradle Will Rock” (UMRG:98,1,2)
  177. Yasha the Violinist
    a major character in “The Cradle Will Rock” (UMRG:98,1,2)
  178. From what piece does Mrs. Mister’s car horn play a motive in “The Cradle Will Rock”?
    Beethoven’s Egmont Overture (UMRG:98,1,2)
  179. inspiration for Beethoven’s Egmont Overture
    a play by Wolfgang von Goethe (UMRG:100,1,2)
  180. What moment in Goethe’s play is signaled by the notes sung as “yoo hoo” by Mrs. Mister in “The Cradle Will Rock”?
    Count Egmont’s execution (UMRG:100,1,2)
  181. rhythm of Dauber and Yasha’s lines in “The Cradle Will Rock”
    dotted (UMRG:100,1,2)
  182. rhythm used in the Egmont Overture motive played by Mrs. Mister’s car horn in “The Cradle Will Rock”
    dotted (UMRG:100,1,2)
  183. In which scene does the title song of “The Cradle Will Rock” appear?
    scene seven (UMRG:100,1,7)
  184. six characters appearing in scene seven of “The Cradle Will Rock”
    Mike Forman, Moll the prostitute, and the four members of the Liberty Committee (UMRG:100,1,7)
  185. What THREE musical elements of the title song of “The Cradle Will Rock” echo a workers’ chorus?
    a march‐like bass line, strong rhythms, and emphatic beat (UMRG:101,1,4)
  186. What kind of person usually sings a workers’ chorus?
    a worker who has some musical ability and signed up to be part of the chorus (UMRG:101,1,4)
  187. Silvestre Revueltas
    a famous Mexican composer (UMRG:101,4,1)
  188. “Ocho por Radio” or “Eight Musicians Broadcasting”
    a famous Silvestre Revueltas piece (UMRG:101,4,2)
  189. For what EIGHT instruments was “Ocho por Radio” written?
    a trumpet, two violins, a double bass, a cello, a clarinet, a bassoon, and percussion (UMRG:101,4,2)
  190. Which famous composer was inspired by “Ocho por Radio”?
    Aaron Copland (UMRG:101,4,2)
  191. neoclassical
    a musical style developed and popularized in the 1920s (UMRG:102,1,1)
  192. three characteristics of the neoclassical style
    clarity of form, playfulness, and balance (UMRG:102,1,1)
  193. Igor Stravinsky
    a famous composer who founded the neoclassical style (UMRG:102,1,1)
  194. ostinati
    short, repeated melodic fragments (UMRG:102,1,1)
  195. bitonality
    melodies in two different keys occurring simultaneously (UMRG:102,1,1)
  196. What structure best describes the form of “Ocho por Radio”?
    ABA (UMRG:102,1,2)
  197. What TWO stylistic elements do the two A sections of “Ocho por Radio” share?
    quick tempo and festive mood (UMRG:102,1,1)
  198. How does the B section of “Ocho por Radio” differ stylistically from the A sections?
    slower and languid (UMRG:102,1,2)
  199. Why is “Ocho por Radio” relatively difficult to follow?
    polyrhythms and mixed meters obscure the downbeat (UMRG:102,1,2)
  200. Why was Aaron Copland put on the government watch list for communists?
    “following the party line” by moving toward folk music (UMRG:104,1,1)
  201. What invention made Western art music available to all Americans?
    the phonograph (UMRG:103,1,3)
  202. What TWO styles of music did over 62% of people prefer on the radio in 1938, according to “Fortune” magazine?
    classical or opera (UMRG:103,2,0)
  203. How did the Metropolitan Opera stay afloat during the Great Depression?
    by taking part in radio broadcasts (UMRG:103,1,4)
  204. What type of classical music was usually performed in the United States during the 1930s?
    masterpieces from the past (UMRG:103,2,1)
  205. What TWO musical styles did Arturo Toscanini prefer?
    Classical and Romantic (UMRG:103,2,2)
  206. three famous 1930s orchestra conductors
    Serge Koussevitzky, Arturo Toscanini, and Leopold Stokowski (UMRG:103,2,2)
  207. What TWO musical styles did Serge Koussevitzky prefer?
    French and Russian music (UMRG:103,2,2)
  208. What kind of compositions did Leopold Stokowsky prefer?
    contemporary (UMRG:104,1,0)
  209. Which TWO orchestras did Arturo Toscanini conduct in the 1930s?
    the New York Philharmonic and the NBC orchestra (UMRG:103,2,2)
  210. Which orchestra did Serge Koussevitzky conduct in the 1930s?
    the Boston Symphony (UMRG:103,2,2)
  211. Which orchestra did Leopold Stokowski conduct in the 1930s?
    the Philadelphia Orchestra (UMRG:103,2,2)
  212. arguably the most popular modern composer in 1930s United States
    Igor Stravinsky (UMRG:104,1,1)
  213. William Grant Still
    “the Dean of African‐American Composers” (UMRG:104,1,2)
  214. “Afro‐American Symphony”
    a famous piece by William Grant Still (UMRG:104,1,2)
  215. Why was “Afro‐American Symphony” groundbreaking?
    first symphony by a black composer to be performed by a major orchestra (UMRG:104,1,2)
  216. With which famous composer did William Grant Still study?
    Edgard Varese (UMRG:104,1,2)
  217. At which TWO colleges did William Grant Still study?
    Wilberforce University and Oberlin College (UMRG:104,1,2)
  218. What FOUR subjects did William Grant Still study in college?
    violin, cello, oboe, and composition (UMRG:104,1,2)
  219. With which blues musician did William Grant Still study?
    W. C. Handy (UMRG:104,1,2)
  220. For what THREE formats did William Grant Still arrange music in the 1920s?
    dance bands, radio, and vaudeville (UMRG:104,1,2)
  221. From which organization did William Grant Still receive an award in 1934?
    the Guggenheim Foundation (UMRG:104,1,2)
  222. What TWO musical elements did William Grant Still combine in movie scoring?
    symphonic string sections and jazz orchestra writing (UMRG:104,1,2)
  223. the Harlem Renaissance
    a 1920s and 1930s African‐American arts movement (UMRG:104,2,1)
  224. three prominent Harlem Renaissance intellectuals
    W.E.B. Du Bois, Alain Locke, James Weldon Johnson (UMRG:104,2,1)
  225. goal of the Harlem Renaissance
    show that African Americans were as capable of cultural achievement as other races (UMRG:104,2,1)
  226. Paul Laurence Dunbar
    a famous poet who contributed a verse to “Afro‐American Symphony” (UMRG:104,3,1)
  227. What instrument dominates the development of “Afro‐American Symphony”?
    violin (UMRG:105,1,2)
  228. two jazz instruments used in William Grant Still’s “Afro‐American Symphony”
    banjo and vibraphone (UMRG:105,1,3)
  229. What form does William Grant Still use for “Afro‐American Symphony”?
    12‐bar blues (UMRG:105,1,2)
  230. beginning section of William Grant Still’s “Afro‐American Symphony”
    English horn solo (UMRG:104,1,1)
  231. What section of the piece does the bass clarinet mimic in William Grant Still’s “Afro‐American Symphony”?
    the English horn solo (UMRG:104,1,3)
  232. Harry Pace
    W. C. Handy’s source of business knowledge (UMRG:39,2,1)

Card Set Information

music section 4
2010-09-20 01:19:26
music section

music section 4
Show Answers:

What would you like to do?

Home > Flashcards > Print Preview