During the 18th and 19th centuries, St.

Petersburg was the capital of Russia, and it was moved from Moscow to have closer access to western Europe. Glinka was the first Russian composer who incorporated nationalistic elements in his music. Some
traits of Tchaikovsky’s symphonic writings are: Orchestral doubling in the strings; Clear separation of orchestral choirs; Rhythmic material is in the wind; String pizzicato, woodwind lower register; Often uses filler material/busy figuration in strings
(rapid scalar passages). Members of the “Mighty Five” are: Mily Balakirev, Cesar Cui, Alexander Borodin, Modest Mussorgsky, and Nicolai Rimsky-Korsakov. Mussorgsky wanted to idiomatically capture the infections of Russian speech. The French
composer who virtually copied passages of Mussorgsky’s song “Within Four Walls” for his own symphonic work was Debussy. Mussorgsky’s harmonies are less implicative – they’re there for color rather than resolution. Liszt – Hungarian; Glinka –
Russia; Dvorak – Czech Republic; Grieg – Norway; Nielsen – Denmark; Albeniz – Spain. Dumka is a slow Czech folk dance and Dvorak is associated with the Dumka. Smetana lived in Czech Republic. Liszt influenced Smetana’s symphonic writing. Ma
Vlast means My Homeland, and it consists of a set of six symphonic poems composed between 1874 and 1879 by Smetana. Sibelius is a Finnish. Finlandia was written as a message of Finnish independence. Edward Elgar’s most famous piece of work is
either nimrod variation or pomp and circumstance. Ralph Vaughn Williams edited the English Hymnal, incorporating importantly earlier music. An importance on Vaughan Williams’ early music was the medieval and renaissance music of the English
Golden Age. Grand opera is longer – its 5 acts, featuring historical plots, and a style based on Italian operas, while opéra comique has small-scale, often comic elements, sentimental romantic plots, included strophic songs, combined existing popular
tunes with spoken dialogue. Meyerbeer was the leading composer of grand opera during the mid-19 th century. Leading composer of opera bouffe was Jacques Offenbach. Leading composer of lyric opera was Charles Gounod. Bizet Carmen has
elements of opera comique with spoken dialogue and comic relief, but the plot is tragic. Guiraud wrote recites to replace the spoken dialogue in the original. Three elements of Bizet’s aria Seguidilla: Seguidilla is a Spanish dance; Features Phrygian
intervals, half-step resolutions, augmented seconds; Has an orchestral accompaniment inspired by Spanish guitar. Puccini uses leitmotifs like Wagner, and Wagnerian harmony, and his melodies are lyrical like Verdi. 3 operas by Puccini are La Boheme,
Tosca, and Madame Butterfly. Verismo means “realism” and deals with everyday people and their struggles. In the late 19 th century, Vienna was the center of Austro-German Romanticism. One historian who has describe the character of the culture in
Vienna was Carl Schorske. The famous psychologist was Sigmund Freud. Asides from composing, Gustav Mahler and Richard Strauss were conductors. Mahler said that to compose a symphony is to “construct a world.” Mahler composed 9
symphonies. Mahler’s 8th symphony required large forces that Emil Gutmann came up with the nickname “Symphony of a Thousand”, which remained the symphony’s popular subtitle despite Mahler’s disapproval. What was essentially Mahler’s 9 th
symphony, he named it Das Lied von der Erde, but then numbered his 10 th symphony as number 9. Mahler’s symphonies 2-4 uses melodic content from his own song cycles Das Knaben Wunderhorn and Songs of a Wayfarer. One early song cycle by
Mahler: Knaben Wunderhorn (1888-1899). One late song cycle by Mahler: Kindertotenlieder (1904). The later cycles have huge orchestration, but are very transparent in their scoring. Two symphonies of Mahler that incorporate voices are Numbers 2
and 4. Richard Strauss’s favorite opera composer was Richard Wagner and Mozart. 4 symphonic poems by Strauss are: Death and Transfiguration (1889), Till Eulenspiegel’s Merry Pranks (1895), Ein Heldenleben (1898), and Don Quixote (1897). Liszt
influenced Strauss to write several of his own poems. One tragic opera by Strauss was Salome (1905). One comic opera by Strauss was Capriccio (1941). Strauss’s historical significance was that carried the Wagnerian opera tradition and the Romantic
Lisztian tone poem into the twentieth century. The Société Nationale de Musique was an important organization in late 19 th and early 20th century France to promote French music and to allow young composers to present their music in public. It was
founded on February 25, 1871 by Romain Bussine and Camille Saint-Saëns, who shared the presidency. César Franck (1822-90), best known for his organ works, carried on the Bachian tradition in 19th-century France. French symbolist poets include
Charles Baudelaire (1821-67) and Stephen Mallarmé (1842-98). Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through
metaphorical images and language mainly as a reaction against naturalism and realism. Impressionist Painters: Édouard Manet (1832-1883), Claude Monet (1840-1926), Edgar Degas (1834-1917), and Georges Seurat (1859-1951). The impressionist
painters constructed their pictures from freely brushed colors that took precedence over lines and contours, attempting to capture the momentary and transient effects of sunlight by painting outdoors or en plein air. Debussy (1862-1918) was termed
an "Impressionist" composer due to supposed stylistic similarities between his music and Impressionist art. Debussy was greatly influenced by hearing the Indonesian percussion ensemble. Debussy was heavily influenced by the music of the Russian 5,
especially Mussorgsky. French songs of late 19 th and early 20th centuries are called “melodies”. Two composers are Claude Debussy and Gabriel Faure. The three “isms” that were cultivated in Paris during the first two decades of the 20 th century are
Cubism, Dadaism, and Surrealism. Sergei Diaghilev was an art critic and founder of the Ballets Russes. Vaslav Nijinsky was a ballet dancer and choreographer that was called the best male dancer of the early 20 th century, as well as choreographing
revolutionary works. Michel Fokine was an Imperial Russian choreographic that fathered modern ballet technique. Stravinsky’s teacher was Rimsky-Korsakov. Stravinsky’s first three major ballets are: Firebird (1910), Petrushka (1911), and Le sacre du
printemps (1913). Notes in a Petruska chord are: C, E, G, F#, A#, C#. This chord makes up an octatonic scale. Le sacre du printemps is about a springtime ritual in early Russia. The performance resulted in the audience rioting. The audience seemed to
have been more affected by the choreography over the music. Stravinsky’s early orchestrations are large and used for mass special effects. Stravinsky’s early textures are contrapuntal and have varied ways of sound. Stravinsky’s early harmonies
feature tonality by assertion, polychord, and dissonance. Stravinsky’s early rhythms are syncopated with changing metric meters. Stravinsky’s early use of melody features traditional Russian folk tunes, whole tone scales, and octatonic scales.
Stravinsky’s dates of neoclassical period are 1920s-1950. Some neoclassical works are Symphony in C (1940), L’Histoire du soldat (1918), Oedipus rex (1927), and Octet (1923). Stravinsky’s serial period dates are 1950 and onward. Some of his serial
works are Septet (1951), In memoriam Dylan Thomas (1954), and Canticum sacrum (1955). Harmonically, Paris rejects tonality, where Vienna increases chromaticism to a level of atonality. Melodically, both are motivic - Parisian melodies are more
diatonic, while Viennese are chromatic and transform. The goal of Parisian music is sensuality and feeling - in Vienna, it's expression of deeper thoughts. However, both moved beyond the "constraints" of tonality . Four major composers who worked
in Paris during the first two decades of the 20 th century, not including Les Six are: Debussy, Stravinsky, Erik Satie, and Ravel. The six composers of Les Six: Jean Cocteau, Louis Audrey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine
Tailleferre. Satie is the primary representative of Dadaism in music. An artist who painted in the same tradition was Marcel Duchamp. Mihauld’s Creation of the world was heavily influenced by Jazz. Milhaud treats it in a primitivist way to depict an
African creation myth. Ravel wrote impressionist piano works such as Jeux d’eau. Later in his career, he turned to Neoclassicism, as is evidenced by works such as Le Tombeau de Couperin. Ravel also influenced by author Edgar Allen Poe. Vasili
Kandinsky was a painter associated with abstract expressionism. He was attempting to express inner emotions and touch the inner subjectivity of the observer. Kandinsky esteemed Schoenberg. Schoenberg's two disciples were Weber and Berg. These
three musicians comprised of the Second Viennese School. From 1898-1908, Schoenberg started with Wagnerian chromaticism, which would then turn into atonality. One work composed in this time period is Transfigured Night (1899). From 1908-22,
Schoenberg would eventually turn to atonality, what he called "The Emancipation of dissonance". Instead, he was more concerned with exploring colors and timbres. Two works composed in this time period are Five Orchestral Pieces/Farben (1909)
and Pierrot lunaire (1912). Schoenberg composed using serialism from 1923 and onwards. Two large-scale works composed during this time are Piano Suite Op. 25 and Variations for Orchestra. Schoenberg's first serial composition was Piano Suite Op.
25, written in 1923. Klangfarbenmelodie is a different way of organizing and writing melody that focuses on emphasizing timbre and colors. Tone row: a collection of 12 chromatic pitches, made up of two hexachords. When composing each 12
chromatic pitches must be stated in order before you repeat any previous pitches. Aggregate: An expression of all 12 chromatic pitches. Hexachord: A collection of six notes. Retrograde: A line or tone row written backwards. Partitioning: The notes of
the tone row being spread throughout a texture, not just in one part. Berg's approach to serial technique is looser than Schoenberg's. Where Schoenberg's serial technique resembled pure chromaticism, Berg tended to have 3rds, 4ths, and 5ths
aligned vertically, creating an appearance of harmonic stability. Berg's most famous work is the opera Wozzeck. The third act is organized with leitmotifs and developing new formal structures. The scenes of Act III are structured by picking a topic and
developing it. Weber's compositional style is compressed and precise. His music is nuanced and written with intention. His rows are typically distributed vertically, spreading pitches across octaves. Extremely compressed, intellectual music with a
different aesthetic effect than Berg or Schoenberg's music. Stravinsky’s neoclassical period was 1920-1950. Three neoclassical works by Stravinksy: Pulcinella (1920), Octet (1923), and Symphony of Psalms (1930). Serge Koussevitzky commissioned the
Symphony of Psalms. How does Stravinsky’s neoclassical style in the Symphony of Psalms differ from his style in Le sacre du printemps? The Symphony of Psalms demonstrates a traditional harmonic and melodic language in a similar context to the rite
of spring, while Le sacre du printemps is known for its revolutionary and dissonant sound. Bartok considered Hungary to be his home. The Hungarian composer who travelled with Bartok on trips to collect Slavic folksongs was Zoltan Kodaly. How did
Bartók’s approach to Hungarian folksong differ from Liszt’s? While Liszt romanticized the Romani music he heard growing up, Kodaly and Barton wanted to truly understand and represent the culture they were studying. This included microtones and
irregular meters. A palindrome is something that can be spelled the same either forwards or backwards. In music, it refers to using an ABCBA form. Bartok used palindromes in Music for Strings, Percussion, and Celesta, movements 1 and 3. The
interval that Bartok particularly favored were Tritone. German theatre was split between the sometimes complimentary, often contrasting Verisimo and Expressionism. One expressionist painter was Ernest Ludwig Kitchener. In Wozzeck, Berg used
more tonal rows, elements of romanticism, and motives to address the problem of form in serialism. Weill fled the Nazis, first to Paris and then to the US. Weill worked with Brecht on the Threepenny Opera. Threepenny is based on the Beggar's opera
- the title refers to the cost of a ticket. The German Nazis alternately criticized and praised Paul Hindemith in the 1920s. Gebrauchsmusik is music for the public or music that has a purpose. Hindemith had his own distinct theoretical system based on
the harmonic series, and it leads to a predominance of perfect intervals in his music. Hindemith favored fourths and fifths. The librettist for Mathis der Mahler was Hindemith. The central theme of the opera expressed in Scene 6 is made up of fourths,
fifths, and sixths. For most of his later life, Prokofiev lived in Moscow, Russia. Some works by Prokofiev: Love for Three Oranges (1919), Romeo and Juliet (1935), and Peter and the Wolf (1936). After Stalin's rise to power, the government's view of art
underwent a significant shift. Stalin, in contrast to Lenin, strongly opposed avant-garde and experimental art, viewing them as elitist and inaccessible. 3 characteristics of Prokofiev’s musical style: A blend of modernistic and classical elements,
showcase a unique blend of lyrical and harsh harmonic textures, and often features a “grotesque” sound. Early in his career, Shostakovich expressed his love for music and saw it as the most important part of his life. He believed in the Soviet
authorities and its future. However, his views shifted in the 1930s due to the increasing political pressure and the rise of Socialist Realism. The authorities reacted harshly to his ideas leading to public downside and threats to his life. Shostakovich
wrote 15 symphonies. The Austrian composer that was an important influence on Shostakovich was Gustav Mahler. Ives: Danbury, Connecticut, Insurance salesman. Symphonic: Three Places in New England, Symphony No.4. Trancendentalism of
Emerson and Thoreau: 1919 sonata for piano. Henry Cowell advances: Tone clusters, String piano (sound is produced by directly plucking the strings on piano, John Cage anticipates the use of extended techniques, sounds are produced in
unconventional ways) Rhythmicon (electro-mechanical musical instrument designed by Theremin for Cowell in early 30s.) Varese: using sounds recorded from the real world, rather than traditional musical instruments (musique concrète)

Symphony no. 6 in B minor op. 74 mvt. 3: Tchaikovsky; 1893; Symphony; A-B-A’-B’-Coda; Scherzo Form, Rhythmic Drive, Dynamic Contrasts, Dance-like quality. Bez
solntsa no. 3: Musorgsky; 1874; Song; Through-composed; Lyricism and Phrasing, Harmony, Piano Accompaniment, Deep, somber mood. Boris Godunov opera:
Coronation scene: Musorgsky; 1868-1874; Russian Opera; Through-composed; Folk influence, choral and vocal writing, psychological depth, innovative orchestration,
use of folk tunes and folk harmonies, choral mass. Slavonic Dances Op. 46 no. 1: Dvorak; 1878; Orchestra Suite; ABA-Coda; Dance-like quality, Folk melodies,
syncopation and irregular phrasing, bright orchestration, lively tempo. Finlandia: Sibelius; 1899-1900; Symphonic poem; Programmatic; Dynamic contrasts, lively
tempo, full of romantic, nationalistic, and dramatic scenes. Fantasia on a Theme of Thomas Tallis: Ralph Vaughan Williams; 1910; Symphony fantasy; Variations on a
theme; Has Neo-Renaissance Influence, large orchestra, has several textures, expresses counterpoint. Carmen, opera Act 1, no. 10, Seguidilla and Duet: Bizet; 1873-
74; Opera comique; Scene based on strophic song; Shows Spanish folk influence, romantic, high drama, opera buffa, shows melodic and rhythmic variations. Madame
Butterfly: Puccini; 1904; Italian Opera; Through-composed; Long and lyrical, use orchestra to incorporate harmony, Japanese influence. Symphony no. 4, mvt. 1:
Mahler; 1900; Symphony; SA; Sonata form, rich, dense, orchestration, complex rhythms, motovic development, slow pace. Kindertotenlieder no. 1: Mahler; 1904;
Orchestral song; AA’BA; Modified strophic, small orchestra, lyrical and deeply expressive, rich, chromatic harmonies, calm and flowing. Don Quixote: Strauss; 1897;
Symphonic poem; Theme and variations; Formal language, diction, contains humor and irony, romantic. Dans la foret de septembre: Faure; 1902; Melodie; Through-
composed; Rich harmonies, emotional storytelling; colorful harmonies; full of mood and textures. Clouds: Debussy; 1899; Impressionist symphonic poem; ABA; Tone
color, slow moving, whole tone, orchestral texting. En sourdine: Debussy; 1891; Melodie; Through-composed; Elegant, refined, indirect, themes of love, melancholy.
Reflets dans l’eau: Debussy; 1905; Impressionistic Piano Piece; Programmatic; Sensory imagery, impressionistic, symbolism, subtle, delicate movement. Le Sacre du
printemps, Introduction: Stravinsky; 1913; Ballet music; Through-composed; Free rhythm and meter, polytonality, mysterious, orchestra used for color. Le Sacre du
printemps, Danse des adolescentes: Stravinsky; 1913; Ballet music; Through-composed; Unsophisticated, has rhythmic innovation, music built in blocks, ostinato. Le
Sacre du printemps, Danse sacrale: Stravinsky; 1913; Ballet music; Through-composed; Very complex rhythm; mechanical; precise; block construction; dissonance;
orchestra is very percussive. Vers la flamme: Skryabin; 1914; Quartal Piano Piece; Through-composed; Symbolism, chromaticism, have tritones, dense, late-Romantic.
Parade, Excerpt: Satie; 1916-17; ballet; built around recurrent theme; Neoclassical, repetitive rhythms, playful, ironic, humorous. Embryon desseches no. 3: Satie;
1913; Piano character piece; Programmatic; satirical, dry humor and irony, repetitive, anti-romantic. La creation du monde: Milhaud; 1923; Ballet; Fugal; Jazz
influences, neoclassicism, polytonal. Botafogo: Milhaud; 1920; Polytonal samba for piano; ABA; Brazilian influence, polytonality, melancholy, French impression. Le
Tombeau de Couperin, Menuet: Ravel; 1919; Neoclassical orchestral suite; Minuet-trio-minuet; Neoclassicism, delicate, French, piano texture. Pierrot lunaire:
Schoenberg; 1912; Expressionist song cycle; Rondel; Expressionism, dissonance, chromaticism, chamber ensemble. Piano Suite Op. 25 Prelude: Schoenberg; 1921-23;
Serial piano suite; Serial; Atonality, Baroque influence, 12 tone. Piano Suite Op. 25 Minuet and Trio: Schoenberg; 1921-23; Serial piano suite; Serial; Classical form (A-
B-A), symmetrical phrasing, 12-tone, dance like rhythm. Wozzeck: Berg; 1921; Expressionist opera; Invention on a rhythm; Expressionism, atonality, 6-note bass line,
water sounds. Symphonie Op. 21: Webern; 1928; Serial Symphony; Serial SA; 12 tone row, intervallic, motovic, Baroque counterpoint. Symphony of Psalms:
Stravinsky; 1930; Choral symphony; Arch form; Neoclassicism, choral fugue, unusual orchestration, ritualistic repetition. Music for Strings, Percussion and Celesta
(Mvt. 1): Bartok; 1936; Nationalistic work for chamber orchestra; Fugal; Fugue, contrapuntal, arch form, Baroque. Music for Strings, Percussion, and Celesta (Mvt. 2):
Bartok; 1936; Nationalistic work for chamber orchestra; SA; Rhythmic, folk-inspired, motoric, dance-like. Music for Strings, Percussion, and Celesta (Mvt. 3): Bartok;
1936; Nationalistic work for chamber orchestra; Palindrome; Dark, eerie, night music, impressionism. Music for Strings, Percussion, and Celesta (Mvt. 4): Bartok;
1936; Nationalistic work for chamber orchestra; Rondo; Folk-dance energy, rondo-like, tonal. Ballad of Mac the Knife: Weill; 1928; Ballad opera; Strophic; Cabaret,
jazz, popular song, strophic, song form, ironic tone. Mathis der Maler: Hindemith; 1935; German opera; Rondo – modified strophic – 2 pt. invention; Polyphonic,
harmonically adventurous, clear and structured, expressive and refrained, tense and dramatic, rhythmically driven. Piano Sonata no. 7, 3rd movement: Prokofiev;
1939-1942; Piano sonata; ABA’; Aggressive and rhythmic; motoric energy; percussive piano writing; tonal, but dissonant; dance-like.