BIOM 121 1nd EditionExam # 3 Study Guide Lectures: 25-34 Lectures 25, 26, 28, 29, 31 (March 31- April 14, 2014)Know, understand, and be able to understand all the “-isms”…o Modernism- the testing and breaking of boundaries. Responding to modernity Working in extremes Technical aggressiveness o Serialism- music composed in 12-tone rows Designed to be far removed from any sense of emotion in the musico Realism- the setting of music in real life scenarios and situationso Expressionism- Showing the dark things that are under the surface; anindividual’s distorted perception of reality expressed through real life imageso Symbolism- flashes of images or ideas that communicate an overall idea of aconcept without presenting a linear or clear-cut reality. A focus on dreams and the imaginationo Impressionism- an impression of something that is commonly understood tomake sense in the real worldo Ultra-modernism- super modern music that sometimes can only be playedelectronically because it is so difficult and sometimes impossible to playo Cubism- hard lines and the juxtaposition of multiple different styles/ideas inclearly defined sectionso Formalism- Soviet anti-modernism Against anything that breaks tradition or involves the testing ofboundariesLecture 27 (April 2, 2014)Identify the Four Musical Traditions that inform Ives’ compositions1. Protestant Hymnody- the use of Protestant hymns in Ives worksThese hymns were commonly known in America and used often in church.2. American Popular Music3. Western Art Music- Ives studies this under the instruction of Horatio ParkerThis became the art form he used most in all his compositions.4. Experimental Music- “stretching the ears” with all sorts of new harmonies and experimentations…just to see what happensPresenting new material as a joke to audiences so they would receive and listen to it in an unjudgemental manner.Describe the Role Irony Plays in Ives’ Compositional StyleTonality- Ives sees that the language of Western Music must involve some atonality. He does this by re-hearing the language of traditional harmonies from the past. Not completely atonal because Ives does see traditional harmonies that stem from traditional European art forms. Ives simply re-hears them in a way that is Western, reflective of American traditions, and new without being completely atonal and unfamiliar. Lecture 30 (April 11, 2014)Understand Jazz Music and its form.Jazz begins to be recorded around the 1920s. It was influenced in part by:- “Music” of the “Western” “Art” “Tradition”- Aspects of African-American Musico Oralityo Performer-centeredo Call-and-response textureso Short figures repeated and varied with embellishmentso Syncopation and swingo Bent pitches - Blue notes- “Sliding” between major and minor thirds or othercharacteristically “jazzy” pitches/harmonies)- Friction between multiple rhythmic layersAlso understand Blues music and its form.- Uses AABA song form - The head is the main melody for the tuneo This is all that will be seen on a piece of musico Lots of improvisation after the head has been completed- Notation on sheet music is completely insufficient to communicate howcomplexities can only be understood by actually hearing the music. Scoreanalysis essentially does nothing to communicate the music to the audience. - Characterized by a “rocking” accompaniment and a swung bassLecture 32 (April 16, 2014)Be able to understand, define, and describe “American music” in great detail.American composers wanted to compose in a style completely American, yet,they struggled to define what this “uniquely American music” was made up of.America’s very existence is one of a melting pot of cultures and people from differentlands. Therefore, composers strove to express ideas of nationalism in their music,however, because America was created and influenced by many other different lands(see Lecture 32 notes). Lectures 33 and 34 (April 18-20, 2014)Be familiar with the music and composition styles of John Cage and Milton Babbitt, as well as other ultra-modernist composers of this time period. John Cage (1912- 1992) was a true experimental composer, however, he was even moreof an inventor. A student of Arnold Schoenberg, Cage was especially interested in rhythm andduration, and not as interested in pitches or harmony. His music is not only about the sounds,but about the silence in between the sounds too. Milton Babbitt (1916-2011) was a American Composer, music theorist, and composer known for his serial and electronic music. Composers like Milton Babbitt experienced the terrorand nightmare of World War II. They emerged from a generation trying to recover from the rubble of WWII and wished to create a type of music that had no connection and bared norecollection to any music of the past. They wished to create a hyper-serialist type of music with the idea of returning to Year 0 so that it could be free from totalitatianism and totalitarianist rule. Milton Babbitt aimed for total efficiency in the five basic dimensions of music:- Pitch-class- Register- Dynamics- Duration-