The term that is not widely recognized as the name of a twentieth-century school of composition is maximalism. While minimalism, atonality, and experimental music are established movements in the context of 20th-century music, maximalism is more of a descriptive term for certain styles that extended beyond minimalism rather than a formal school of composition.
Which one of the following is not the name of a twentieth century school of composition?
Responses
minimalism
atonality
experimental music
maximalism
11 answers
The twelve-tone technique is one way of organizing _________ compositions.
Responses
atonal
minimalist
aleatoric
chance
Responses
atonal
minimalist
aleatoric
chance
The twelve-tone technique is one way of organizing atonal compositions. This method, developed by Arnold Schoenberg, is used to create music that does not adhere to traditional tonal frameworks.
Multiphonics are an example of an _________________.
Responses:
aleatoric technique
extended technique
organizing structure
unexpected cadence
Responses:
aleatoric technique
extended technique
organizing structure
unexpected cadence
Multiphonics are an example of an extended technique. This term refers to unconventional methods of producing sounds on traditional instruments, going beyond the normal playing techniques.
Debussy and Ravel are categorized as _________ composers.
Responses
Impressionist
Classical
Neoclassical
computer
Responses
Impressionist
Classical
Neoclassical
computer
Debussy and Ravel are categorized as Impressionist composers. They are known for their contributions to the Impressionist movement in music, which emphasizes atmosphere, texture, and tone color over traditional harmonic progressions and structure.
Debussy’s Prélude à “L’Après-midi d’un faune” was inspired by _________.
Responses
a song by Schubert
a painting by Renoir
a poem by Mallarmé
a play by Goethe
Responses
a song by Schubert
a painting by Renoir
a poem by Mallarmé
a play by Goethe
Debussy’s Prélude à “L’Après-midi d’un faune” was inspired by a poem by Mallarmé. The work is based on the symbolist poem "L'après-midi d'un faune" by Stéphane Mallarmé.
7. Which of the following is one of the ways in which Debussy’s Prélude à “L’Après-midi d’un faune” breaks with the compositional styles of the past?
Responses
It is only loosely in a key.
It has no meter signature.
It uses graphic notation.
It is played by a computer.
Responses
It is only loosely in a key.
It has no meter signature.
It uses graphic notation.
It is played by a computer.
One of the ways in which Debussy’s Prélude à “L’Après-midi d’un faune” breaks with the compositional styles of the past is that it is only loosely in a key. This work is known for its innovative harmonic language and tendency to avoid traditional tonality, contributing to its impressionistic character.
1 answer