Download Music Cram Kit

2013
2014
19
YE
AR
S
EDITION
MUSIC
MUSIC
Music in the
Early 1900s
CRAM KIT
EDITOR
ALPACA-IN-CHIEF
Tania Asnes
Daniel Berdichevsky
®
the World
Scholar’s Cup®
DO
I
NG
OU
RB
EST
, SO
YO
U
CA
N
DO
YO
UR
S
M US I C
CRAM KIT
®
I.
WHAT IS A CRAM KIT?.............................................................
2
II.
CURRICULUM OVERVIEW........................................................
2
III.
BASIC ELEMENTS OF MUSIC THEORY .................................. 3
IV. CLASSICAL MUSIC & MODERNISM......................................... 15
V.
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC......................... 24
VI. MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’....................... 37
VII. CRUNCH KIT……………………......................................................... 45
VIII. ABOUT THE AUTHOR..............................................................
52
BY
N I C OL E CH U
THE UNIVERSITY OF TEXAS AT AUSTIN ‘16
DEDICATED TO CRHS ACADEC, PAST AND PRESENT.
DUCK, DUCK… MONGOOSE.
© 2013 DEMIDEC --- WWW.DEMIDEC.COM --- WWW.SCHOLARSCUP.ORG
MUSIC CRAM KIT | 2
WHAT IS A CRAM KIT?
A Word from the Editor
COMPETITION APPROACHES…
The handful of days before competition can be the most
overwhelming. You don’t have enough time to review
everything, so you need to study strategically. Cram Kits
are designed to help you achieve that goal-----to offer you a
quick snapshot of both the most testable and most easily
forgotten facts in each event.
Of course, they don’t contain all the information on which
you could be tested-----it would be impossible to squeeze it
all in here in a legible size font, serif or sans serif. For that,
you should turn to the original USAD resources, or to the
DemiDec Power Guides, which catalogue every testable
fact, one bullet at a time.
CRAM KIT STRUCTURE
The main body of the Cram Kit is filled with charts and
diagrams for efficient studying. You’ll also find helpful
quizzes to reinforce the information as you review.
The concluding Crunch Kit condenses the entire subject
into a few final pages of need-to-know facts-----followed by
a series of glossary-like lists to help you organize key
information.
More extensive lists are included in the Music Power
Guide, written by the same author with an eye toward
comprehensiveness rather than crunch-time
effectiveness.
CRAMMING FOR SUCCESS
A Word from the Author
EXPLAINING THE OVERVIEW
PIECES OF THE MUSIC PIE
SUMMARY
This year’s music curriculum is divided into four parts:
I: Basic Elements
of Music Theory
 Section I provides basic information about music
theory. 20% of test questions should come from this
section.
 Section II focuses on Modernist musical styles and
the various art movements that shaped them. 30% of
questions should come from this section.
 Section III discusses the new styles of popular music
that emerged in the 20th century. 30% of questions
should come from this section.
 Section IV gives an overview of music during WWI.
20% of questions should come from this section.
When you find yourself in a time crunch, you may
consider studying the sections separately in the following
order: II, III, IV, and I.
As time grows shorter, don’t spend too much cramming
time memorizing minor details. Make sure you’re
comfortable with the big picture first.
20%
30%
20%
30%
II. Classical
Music &
Modernism
III: Early 20thCentury
"Popular" Music
IV: Musical
Response to "The
Great War"
TIME IS TICKING!
If you have…
 A weekend left: read the USAD guide, listen to the



CD, and review this cram kit
A day left: read a few sections of the USAD guide,
listen to the CD, and review this cram kit
An hour left: read the cram kit and focus on the
crunch kit
A minute left: take a deep breath and exhale --- you
got this
MUSIC CRAM KIT | 3
BASIC ELEMENTS OF MUSIC THEORY
Introduction and Instruments
DEFINING KEY TERMS
THE GOLDEN RULE DEFINITION
Music is ‘‘ss ound o rgan ized i n t ime.’’
TYPES OF INSTRUMENTS
HORNBOSTEL-SACHS CLASSIFICATIONS
Chordophones
• Strings vibrate to produce
sound
MORE BASIC DEFINITIONS
THE ‘‘BARE NECESSITIES’’ OF MUSIC
Required
Common
(Optional)
Time
frame
Composer
Sound
waves
Performers
Perceptive
mind
Recording
equipment
Aerophones
• Air column vibrates to
produce sound
Membranophones
• Skin or membrane vibrates
to produce sound
Idiophones
• Instrument itself vibrates to
produce sound
ELECTROPHONES
Later, ethnomusicologists identified ele ctro phones, which
require electricity to produce sound. The theremin ranks
among the best-known electrophones.
ALL IN THE ‘‘FAMILY’’
MAKING MUSIC
 A composer organizes sounds to create
music
 Human and/or mechanical perfo rmers
produce the imagined music
 Simultaneous composition and performance
constitutes im provis at ion
PROFESSIONAL MUSIC NERDS
Ethnom us ico logis ts study music of other cultures or
compare the music of various cultures.
C urt S achs an d E rich von Ho rn bo s tel classified four
types of instruments:
1.
2.
3.
4.
Chordophones
Aerophones
Membranophones
Idiophones
String Instruments
•Chordophones
•Usually bowed or plucked
Brass Instruments
•Metal aerophones
•Performer's buzzing lips vibrate the air column
Woodwind Instruments
•Aerophones that may require one or two reeds
•Performer's breath vibrates air column
Percussion Instruments
•Membranophones
•Idiophones
•Chordophones that are struck
Keyboard Instruments
•Includes the piano
MUSIC CRAM KIT | 4
BASIC ELEMENTS OF MUSIC THEORY
Musique Concrète, Pitch, and Tuning
MUSIQUE CONCRÈTE
PITCH PERFECT
After World War II, Parisian musicians used wartime
technologies to create musique concrete. The trend
spread from there.
PITCH
Live instruments
and electrophones
produce sounds
Music equipment
records sounds on
tape
P itch refers to the relative highness or lowness of a
sound.
RELATIONSHIP TO FREQUENCY
Most pitches consist of multiple frequencies. The lowest
(and loudest) frequency forms the f undam ent a l. Higher,
fainter pitches called o vertones ‘‘color’’ the fundamental.
EQUAL TEMPERAMENT TUNING
Composers
mechanically edit,
manipulate, and
recombine sounds
By 1750, equal temperament tuning dominated
Western music. This system divides the octave into
12 equal parts, creating 12 distinct pitches. Today,
this system is so common that most musicians
simply assume its use.
Loudspeakers
"perform" the
completed musical
collages
PROPERTIES OF SOUND
An isolated musical sound exhibits four properties.
Duration
Volume
ADJUSTMENTS
 Two notes that sound identical despite different
notation are called enh arm onic pitches
 In musical notation, f lat (♭) means ‘‘lowered’’

Pitch
Timbre
In musical notation, s ha rp ( ) means ‘‘raised’’
RAPID REVIEW
Sound
A LITTLE PHYSICS
Sound is a wave of en ergy. The am plit ude determines the
decibel level, or the sound’s loudness. The f requen cy of a
sound wave determines its pitch.
QUESTIONS
1. Broadly defined, what is music?
2. Curt Sachs and Erich von Hornbostel worked as
______.
3. Hornbostel and Sachs would classify an instrument
with vibrating strings as a ______.
4. A sound wave’s ______ determines its pitch and its
______ determines its loudness.
5. Which system of tuning does most Western music
use?
ANSWERS
1. Sound organized in time
2. Ethnomusicologists
3. Chordophone
4. Frequency; amplitude
5. Equal temperament
MUSIC CRAM KIT | 5
BASIC ELEMENTS OF MUSIC THEORY
Scales and Intervals
LEAPS AND BOUNDS
SIX SEVEN DEGREES OF SEPARATION
THE ORIGINAL 12-STEP PROGRAM
The ch rom a ti c s ca le consists of all 12 different pitches in
ascending order.
SCALES
A s cale contains an arrangement of pitches in ascending
order. Western scales usually use seven of the twelve
pitches.
INTERVALS
An interva l describes the distance between any two
pitches. The h alf s tep (aka s em itone) is the smallest
interval. A half step separates any two consecutive
pitches in a chromatic scale.
# OF HALF
STEPS
SCALE DEGREES
The seven pitches in any Western scale follow a hierarchy
of scale degrees.
IN TE R VA L
(A B BR E V IA T ION )
1
Half step (V or m2)
2
Whole step (M2)
3
Minor third (m3)
4
Major third (M3)

5
Perfect fourth (P4)

6
Augmented fourth (aug4),
diminished fifth (d5), or tritone (TT)
7
Perfect fifth (P5)
8
Minor sixth (m6)
9
Major sixth (M6)
10
Minor seventh (m7)
11
Major seventh (M7)
12
Octave (P8)


The important t on ic begins each scale; it sounds like
a point of rest
Musicians also call the tonic the ‘‘rres t ing t one’’ or
‘‘Do’’
The dom inan t (scale degree 5) is the second most
important pitch; it pulls melodies away from tonic
The unstable leading tone lies a half step below the
tonic; it ‘‘resolves’’ to the more stable tonic
SOME MAJOR CONSTRUCTION
The seven pitches of a m ajor s cale follow this pattern:
Two Whole Steps
One Half Step
TYPES OF INTERVALS
Three Whole Steps
Harmonic
•Both pitches sound simultaneously
Melodic
•Pitches sound in succession
•Ascending (lower pitch ® higher)
•Descending (higher pitch ® lower)
One Half Step
A major scale can begin on any of the 12 pitches, so 12
different major scales exist. The C m ajo r scale is perhaps
the most common.
MUSIC CRAM KIT | 6
BASIC ELEMENTS OF MUSIC THEORY
More About Scales
SOME (NOT SO) MINOR NOTES
A THEORY OF RELATIVITY
MINOR SCALE
R elativ e major and minor scales contain the same pitches
but begin on different tonics. P aralle l major and minor
scales begin and end on the same tonic pitches.
Three types of minor scale exist: natural, harmonic, and
melodic. All three include a lowered third scale degree.
THE NATURAL MINOR SCALE
One Whole Step
One Half Step
Two Whole Steps
One Half Step
One Whole Step
UNNATURAL DEVELOPMENTS
 A whole step separates scale degree 7 from the tonic
in a natural minor scale
 Thus, the natural minor scale lacks a leading tone
 The h armonic mino r scale raises scale degree 7 to
create a leading tone
 This alteration creates an augmented second
between scale degrees 6 and 7
 The melodic m inor s cale eliminates this awkward
interval by raising scale degree 6 as well as 7
MINOR
SCALE
LOWERED
SCALE DEGREES
RAISED SCALE
DEGREES
Na tu r al
3, 6, 7
N/A
Ha r mo n i c
3, 6
7
M e lo d i c
3
6, 7 (ascending)
FEELING BLUE
A b lues sc ale combines characteristics of major and
minor scales. Such a scale typically uses pitches between
the keys of a piano, called b lues i nf lect ions.
SCALING MOUNTAINS OF PROGRESS
QUESTIONS
1. A(n) ______ describes the difference between any
two pitches.
2. The first note in a Western scale is known as the
______, the ______, or ______.
3. All minor scales contain a lowered ______ scale
degree.
4. ______ major and minor scales contain the same
seven pitches.
ANSWERS
1. Interval
2. Tonic; resting tone; “Do”
3. Third
4. Relative
MUSIC CRAM KIT | 7
BASIC ELEMENTS OF MUSIC THEORY
Melody, Range, and Rhythm
MELODY, CONTOUR, RANGE
A THEORY OF RELATIVITY
MELODY
A melody consists of a sequence of individual pitches.
Only one pitch sounds at a time.
TERMS TO KNOW
To tran s pos e a melody…
1. Start the melody on a different note
2. Keep the sequence of intervals constant
3. The melody remains recognizable
SHAPING UP
C ontour describes a melody’s shape or profile.
Conjunct
•Smooth,
stepwise
•Mostly whole
and half steps
TERM
DEFINITION
R hy th m
Audible set of durations
B e at
A steady underlying pulse
T e m po
The beat's speed
M e te r
Organizes beats into groups
M e asu r e s/ B a r s
Groups of strong/weak beats
D o w n be a t
First beat in a measure
A n a cr u s is /
’’Pickup n otes’’
Note(s) that occur before the
first beat of a measure
T i m e s i g n at u re
Indicates the meter
TERMINI ITALIANI: TEMPO
Composers commonly include Italian terms in musical
scores to indicate tempo. They also use Italian phrases to
denote changes in tempo.
Disjunct
•More "leaps"
•Intervals
larger than
major second
ITALIAN TERM
P r est o
A lle g ro
M o d e r ato
HOME, HOME ON THE RANGE…
R an ge describes the highest and lowest possible
notes on an instrument (including the human
voice). The high, middle, and low regi ste rs refer to
the different parts of an instrument’s range.
TESSITURA
 A piece with high tessitura involves more pitches in
the high register than the middle or low registers
 This Italian term typically describes vocal music
A n d an te
A dag i o
Le n to ( Gr av e )
R i t ar d an d o
DEFINITION
Very fast
Fast
Moderate
‘‘Walking speed’’
Slow
Very slow
Slow down
A c c e l e r a n do
Speed up
P o co a p o c o
Gradually
S u b ito
Suddenly
MUSIC CRAM KIT | 8
BASIC ELEMENTS OF MUSIC THEORY
Meters
SIMPLE AND COMPOUND INTEREST METERS
90S BOY BANDS?
‘‘*N SYNC’’
NANO-REVIEW
R hythm involves an audible series of notes of
varying lengths. Meanwhile, b eat refers to a
steady underlying pulse; though felt, it is not
always heard. A m eter groups beats into patterns
of strong and weak beats.
Synco pat io n involves emphasis on weak beats or notes
between beats.
ANATOMY OF A TIME SIGNATURE
Top Number: Beats
per Measure
Time Signature
Bottom Number:
Length of the Beat
NOT SO SIMPLE ANYMORE, IS IT?
The top number indicates the number of beats per
measure in simple meter
Bottom numbers of 2 or 4 usually indicate simple
meter
A compound meter (like 6/8) divides beats into
three parts
The top number instead indicates the number of
subdivisions per measure
The bottom number indicates the length of each
subdivision
MIXING THINGS UP
M ixed m eter features a rapid-fire sequence of different
meters. Ir regul ar m et er (or as ym met rica l met er)
alternates two different meters in an erratic pattern.
NON-SCIENTIFIC METERS AND MEASURES
POLY- (WANTS A CRACKER)
P oly meter occurs when two or more meters operate
simultaneously in a piece.
P olyrhyth m occurs when two different rhythmic patterns
appear simultaneously in a piece.
QUESTIONS
1. A(n) ______ melody moves in whole and half steps.
2. A note that occurs before the first beat of a measure
is called a(n) ______.
3. Which Italian term denotes “walking speed”?
4. ______ meter divides beats into three parts.
5. Which term describes an emphasis on weak beats or
notes between beats?
ANSWERS
1. Conjunct, 2. Anacrusis, 3. Andante
4. Compound, 5. Syncopation
MUSIC CRAM KIT | 9
BASIC ELEMENTS OF MUSIC THEORY
Harmony
CHORDS AND TRIADS
KEYS TO SUCCESS
COMMON GROUND
Two or more pitches sounding at once produce
h arm ony. An organizational system known as
co m mon-pract ice t onal ity governs the harmonies
in most Western music. This method developed in
the Middle Ages and became prevalent by 1750.
CHORDS AND TRIADS
C ho rds involve three or more simultaneous pitches. A
triad contains exactly three notes arranged in two
intervals of a third each.
Fifth
Highest note
Third
Middle note
Root
Lowest Note
TYPES OF TRIADS
TRIAD
ROOT-THIRD
THIRD-FIFTH
M aj o r
Major Third
Minor Third
M i no r
Minor Third
Major Third
D i m in i sh e d
Minor Third
Minor Third
A u g m en te d
Major Third
Major Third
TRADING SPACES (INVERSIONS)
BOTTOM
NOTE
CHORD
POSITION
R oo t
Root position ( )
Th ird
First inversion (
Fi f t h
TERMS TO KNOW
Diatonic:
pitches from
within the key
ANATOMY OF A TRIAD
Triad
KEYS: FAST FACTS
 A key determines the pitch relationships within a
piece or section of music
 Keys center around the tonic pitch of a scale (for
instance, the key of D or the key of C minor)
 They mostly use the seven pitches of the
corresponding scale
)
Second inversion (
)
Chromatic:
pitches from
outside the key
THE CIRCLE OF LIFE FIFTHS
A key signa tu re designates a key by using sharps and
flats to indicate which notes will be consistently raised or
lowered throughout the piece.
The circl e o f f ift hs visually represents the relationship
between major keys.
MUSIC CRAM KIT | 10
BASIC ELEMENTS OF MUSIC THEORY
Harmonic Progression
MOVING ON
STILL MOVING…
CH-CH-CH-CH-CHANGES
A h arm onic progress ion involves a series of chords that
move from dis so nan ce (tension) to cons onan ce
(resolution).
FOLLOW THE LEADER
Composers often invert chords to create smoother voi ce
lea din g. Three people can sing the top, middle, and
bottom notes in a progression without leaping excessive
intervals.
LIKE NAILS ON A CHALKBOARD
MORE BASS LINE
One extremely dissonant interval in music contains
three whole tones (whole steps). The aptly named
triton e lends a particularly tense sound to a chord.
Musicians call the lowest ‘‘voice’’ in a chord progression
the b as s line. It typically contains the root of the chord.
DID YOU KNOW?
Composers create s eventh ch o rds by adding a
seventh above the root to any triad. The do m inan t
s event h c hord contains scale degrees 5, 7, 2, and 4.
It contains a tritone and pulls strongly to the tonic.
MORE ABOUT CHORDS
Spread-out chords are in open pos ition. Chords with
pitches very close together are in close d pos ition.
SWAPPING OUT
DIATONIC TRIADS
 Diatonic triads use only the pitches in the key
 The ton ic triad (I) is the most stable and most
important; it is always major in a major key
 The dominan t triad (V) is the second most
important; it resolves to the tonic
 Capital Roman numerals (I, IV, V) represent major
triads
 Lowercase numerals (ii, iii, vi) represent minor triads
 The diminished vii° triad is highly unstable
 The supertonic (ii) and subdo minan t (IV) form
p r e d o m i n a n t h a r mo n i e s
MOST COMMON CHORD PROGRESSION
Predominant
(II or IV)
Dominant
(V)
Tonic
(I)
Composers sometimes alter one or two pitches in a triad,
causing m odal m ixtu re. Usually, these alterations occur
between parallel keys.
To m odula te means to change keys.
MAKING PROGRESS(IONS)
QUESTIONS
1. ____ is two or more pitches sounding simultaneously.
2. Two minor thirds stacked on top of one another
create a ______ triad.
3. The supertonic and subdominant serve as ______.
4. Modal mixture usually occurs between ______ keys.
ANSWERS
1. Harmony
2. Diminished
3. Predominant harmonies
4. Parallel
MUSIC CRAM KIT | 11
BASIC ELEMENTS OF MUSIC THEORY
Assorted Elements of Musical Sound
TEXTURE AND INSTRUMENTATION
DYNAMICS AND ARTICULATION
SOFT, ROUGH, OR FLUFFY?
Dyn am ics refers to the relative loudness or softness of a
sound. Articul at ion involves the mechanics of starting
and ending a sound.
Textu re describes the number of layers in a piece
of music and how those layers interact.
FOUR TEXTURES IN WESTERN MUSIC
Monophony
•One melody, no accompaniment
•Same pitches at the same time (unison)
Heterophony
•One melody with simultaneous variations
Homophony
•Melody with subordinate accompaniment
Polyphony
•Two or more melodic lines
•Possible because of counterpoint (a complex
system of combining melodic lines)
MAKING ARRANGEMENTS
An arran ger takes an existing piece and divides it among
different individual voices.
INSTRUMENTATION
 In s trumentation refers to the instrument(s) a
composer uses in a piece
 Each instrument possesses a unique sound, or
t i m b re
FACTORS AFFECTING TIMBRE
 Relative strength of overtones
 Density and thickness of instrument material
 Amount of resonance
MUSIC CRAM KIT | 12
BASIC ELEMENTS OF MUSIC THEORY
Musical Form
BUILDING BLOCKS
Memory
and
anticipation
Tension and
release
Audience's
Listening
Experience
COMMON FORMS
CAPTAIN OBVIOUS TO THE RESCUE
R epetit ion involves repeating the exact same
pitches, rhythms and harmonies. If a short motive
repeats at a different pitch level, a sequen ce results.
CAPTAIN OBVIOUS TO THE RESCUE
R epetit ion involves repeating the exact same
pitches, rhythms and harmonies. If a short motive
repeats at a different pitch level, a sequen ce results.
FORM
Fo rm refers to the overall organization of a musical
piece. Like architecture, form combines smaller units to
create a larger structure.
Motives
•The smallest unit of form
•Smallest noticeable repeating
musical idea
Phrases
•Present unified musical ideas
•Usually end in a cadence
•Often appear in related pairs
Themes
•Phrases combine to form themes
•Themes create coherent melodies
SHAKIN’ IT UP --- VARIATION FORMS
Repetition with significant alterations creates v aria t ion.
The listener notices both continuity and contrast.
TYPES OF VARIATIONS
Th eme an d v ariat ions form varies a set melody
12 -b ar b lues vary the melody over a 12-measure
chord progression
Jazz performers spontaneously vary a melody over a
steady accompaniment in im prov is ation
CONTRAST AND DEVELOPMENT
In tern ary (three-part) form, two very similar sections
frame a contrasting middle section. Another form using
contrast, 32 -ba r f orm, frequently appears in the
choruses of popular songs.
A LITTLE POTPOURRI
Piece
•As a whole, the piece follows a
certain form
•It consists of one or more themes
REST STOP
Musical resting points are called caden ces. They
appear at the end of most musical phrases,
themes, and pieces. A h alf caden ce ends on a
dominant (V) harmony; this progression results in
an inconclusive sound. The f ull (authentic)
caden ce resolves from the dominant to the tonic;
it sounds far more final.
QUESTIONS
1. Which term describes the mechanics of starting and
ending a sound?
2. Many phrases end in a(n) ______.
3. A _______ occurs when a short motive repeats at a
different pitch level.
4. The ____________ form varies a melody over a 12measure chord progression.
ANSWERS
1. Articulation
2. Cadence
3. Sequence
4. 12-bar blues
MUSIC CRAM KIT | 13
BASIC ELEMENTS OF MUSIC THEORY
Musical Form (continued)
FUGUES AND SONATAS
JUST A ‘‘FUGUE’’ FACTS
 Though not a form in itself, f ugue largely determines
the form of a piece
 This technique centers on a single theme called a
f u gu e s u b je ct
 Scholars refer to a companion theme, if any, as the
c o u n t e r s u bj e c t
 Fugal technique relies on im it at ion and count erpo int
COPYCAT
Im i tation approximately repeats a melodic idea at
a different pitch level.
SONATA FORM
The first movements of multi-movement works
frequently exhibit s ona t a f orm. Early on, it was known
solely as ‘‘first movement form.’’
Exposition
SONATA CYCLES
Long classical compositions often include three or four
shorter pieces called m ovem en ts. The most common
multi-movement form is the s ona ta cy cle.
THREE-MOVEMENT VERSION
1. Fast
sonata
2. Slow
ternary
3. Fast
sonata
or rondo
FOUR-MOVEMENT VERSION
Pre-19th Century
19th Century
1. Fast sonata
1. Fast sonata
2. Slow ternary
2. Fast scherzo
•Idea #1 (tonic key)
•Transition (modulates)
•Idea #2 (dominant key)
3. Minuet and trio
3. Slow, lyrical
movement
Development
4. Fast sonata or
rondo
4. Fast sonata or
rondo
•Exploratory
•Harmonically unstable
Recapitulation
•Idea #1 (tonic key)
•Transition (no modulation)
•Idea #2 (tonic key)
DIAGRAMMING: AN OVERVIEW
Scholars diagram sections of music with capital letters.
FORM
DIAGRAM
Repetition form
AAAA
Theme and variations
form
A A’ A’’ A’’’
Ternary form
ABA
Rondo form
ABACA or ABACABA
32-bar form
AABA
MUSIC CRAM KIT | 14
BASIC ELEMENTS OF MUSIC THEORY
Flash-Forward: The 20th Century
MORE 20TH CENTURY DEVELOPMENTS
BEYOND COMMON PRACTICE
NANO-REVIEW
Common-practice tonality focused on the
resolution of dissonance to drive harmony.


TOUGH STUFF

th
Beginning in the 19 century, composers equated
complexity with expressivity. They deviated from
common practice as they sought greater complexity.

OTHER CHALLENGES TO COMMON PRACTICE
Lu igi R us solo worked to create and classify ‘‘noises’’
C laude D ebu ss y and Igor S travins ky used n onf un ction al h armon ies that never resolved
Sometimes these composers used two keys
po l y t o n a l i t y )
simultaneously (p
They used unusual scales like pentatonic, octatonic,
and whole-tone
ONE LAST THING…
Chromatic
harmonies
Rich
seventh
chords
Frequent
modulation
NOBODY’S PERFECT
Delay of
resolution
Musical
Complexity
CHALLENGING COMMON PRACTICE
Arno ld Schoenb erg challenged common-practice
tonality in the 20th century.
1910
•Schoenberg advocated "eem an ci pation of t he
d iss o nance"
•He urged contemporaries to abandon
common-practice progressions
•The resulting aton al m us ic lacks a central
tonic
Music notation and recording technology both have
certain limitations. Music necessitates
performance. Thus, C hris to pher S m all advocates
Mus ick ing.’’
study of human musicianship, or ‘‘M
FORMS AND FIRSTS
QUESTIONS
1. ______ relies on imitation and counterpoint.
2. The first movements of many multi-movement works
often exhibit ______ form.
3. What are the three parts of a sonata?
4. The diagram ABA corresponds to ______ form.
5. ______ advocated “emancipation of the dissonance”
in the 1920s.
6. The ______ centers on a tone row instead of a
traditional Western scale.
7. ______ refers to the use of two different keys at once.
8. Critic Christopher Small calls the human aspects of
music “______.”
1925
•Schoenberg proposed the 12 -tone m eth od
•Instead of a scale, he uses a "tone row" to
determine pitch relationships
Schoenberg’s protégés, Alban Berg and Ant on We be rn,
used this method in the 1930s.
However, the 12-tone techniques only truly caught on
after World War II.
ANSWERS
1. Fugue
2. Sonata
3. Exposition; development; recapitulation
4. Ternary
5. Arnold Schoenberg
6. 12-tone method
7. Polytonality
8. Musicking
MUSIC CRAM KIT | 15
CLASSICAL MUSIC AND MODERNISM
Musical Eras and the Development of a Canon
THAT’S, LIKE, SO LAST ERA
READY THE CANON!
Scholars divide music history into six broad s ty le
perio ds, or eras. Overall, the music of each era shares
similar characteristics. Large-scale changes in
compositional style mark the start of a new era.
European-born conductors like Leo na rd Stoko wsk i
fueled the establishment of a musical canon.
THE MUSICAL ERAS
Note: Dates are approximate.
A musical can on refers to a body of works with
enduring popularity across the eras. In the early
20th century, a canon of Baroque, Classical, and
Romantic works developed in reaction to the
Modern era’s revolutionary experimentation.
THE CANON
Middle Ages (800-1400)
•Also called the Medieval period
•First Western attempts to write down music
(notation)
EFFECTS OF THE CANON
Renaissance (1400-1600)
Before Canonization
•Composers challenged the Church's musical
conventions
•Humanism became the dominant ideology
•Audiences favored fresh
compositions
Baroque (1600-1750)
•Baroque means "misshapen" or "distorted"
•Composers argued between the new stile moderno
and the old stile antico
After Canonization
•Composers competed
with past generations,
not just with peers
Classical (1750-1830)
•Ambiguous beginning and end
•Baroque composer Johann Sebastian Bach died in
1750
•Composers wrote Classical music as late as 1830
Romantic (1800-1900)
POST-ROMANTICISM
In response to audience preferences, Pos t-Rom a nt ic
composers combined 19th-century techniques with
Modern-era innovations.
•Music featured vivid harmonies and emotional
expressiveness
•Romantic styles continued into the Modern era
Modern (1900-present)
•Eventually, future historians will rename this era
•Emphasizes experimentation and originality
R o m a n t i c I n f l u e n ce
M o d e r n I n f l u e n ce
Common-practice
harmony
Expressive melodies
Variety of timbres
(tone colors)
Extended chords
THEY LIKE US! THEY REALLY LIKE US!
Renewed musical interest benefitted 20 th-century
musicians.
 New opera companies appeared
 Concert societies created series of canonical and


canon-like works
Communities increasingly sponsored professional
orchestras
Demand for performers increased demand for music
education programs in colleges and conservatories
MUSIC CRAM KIT | 16
CLASSICAL MUSIC AND MODERNISM
Audio Recording and Film Technology
CAN YOU HEAR ME NOW?
Advances in radio technology dramatically transformed
20th-century culture.
FOR THE RECORD…
Benefits of Recording
Guglielmo
Marconi
•Achieved wireless radio
•First broadcast of speech: December
23, 1900
•Ethnomusicologists recorded folk
and ethnic music from many
countries
•Composers used these folk songs
as inspiration
Lee De
Forest
•First public radio broadcast featuring
the Metropolitan Opera
Recording limitations
THE ‘‘UNSINKABLE’’ TITANIC
The Titanic tragedy in 1912 revealed the non-musical
importance of radio. The nearby S.S. Californian did not
receive the Titanic’s distress signal due to an understaffed
radio room.
COMING SOON TO A THEATRE NEAR YOU
The earliest films consisted of silent moving images
projected on a screen. Early 20th-century inventors tried to
synchronize film and sound technology.
THE RADIO ACT OF 1912
American
radio stations
require federal
licenses
Ship radio
room must be
manned at all
times
•Only short snippets fit on each disk
•The recordings thus are not very
authentic
President can
close radio
stations during
wartime
Radio
Act of
1912
Sound-on-Disk Method
• Coordinated phonograph or
gramophone with projector
Sound-on-Film Method
• Embedded sound directly onto
film strip
After WWI, Lee De Forest finally achieved audio
synchronization. The J az z Singe r, the first full-length
‘‘talkie,’’ premiered in 1927.
BEFORE THE IPOD
New audio recording devices enabled customers to buy
and listen to music recordings.
Phonograph
Graphophone
Gramophone
•Inventor:
Thomas Edison
•First made in
1877
•Used tinfoil
cylinders to
record sound
•Marketed by
Columbia in
late 19th
century
•Used wax
cylinders
instead of tinfoil
•Played flat-disc
recordings
instead of
cylinders.
•WWI soldiers
took portable
“trench
models” to the
front lines
LEAVE NO GAPS IN MEMORY
FILL IN THE BLANK
1. “Baroque” means “______” or “_______.”
2. A body of musical works with enduring popularity is
called a _____.
3. Thomas Edison created the _______ in 1877.
ANSWERS
1. Misshapen; distorted
2. Canon
3. Phonograph
MUSIC CRAM KIT | 17
CLASSICAL MUSIC AND MODERNISM
Impressionism and ‘‘Voiles’’
A BIT HAZY ON THE DETAILS?
TRACK 1: PRÉLUDES, NO. 2 ‘‘VOILES’’
THE BIRTH OF IMPRESSIONISM
 Impressionism was one of the first modernist art
movements
 It began as a style of painting in late 19th-century
France
 Claude Mo net sparked the trend with his piece
I m p r e s s i o n : s o l e i l l e v a n t (I m p r e s s i o n : S u n r i se )
 French composers imitated the new artistic approach
in their music
THE BASIC BREAKDOWN
M a j o r Wo r k
Préludes, Book 1 (of 2)
Fe at u r e d E x ce r p t
‘‘Voiles’’ (No. 2 of 12)
C o m po s e r
Ge n re
In s t ru me nt at i o n
Ye ar
Impressionism in
Painting
Musical
Impressionism
Emphasis on light and
color
Emphasis on timbre
(tone color)
Less focus on line and
form
Less focus on rhythm
Indefinite, unclear
images
Unclear musical
forms (structures)
Claude Debussy
Character piece / miniature
Solo piano
1909
PRELUDE TO… NOTHING!
 The term "prelude" originally referred to a piece that
introduced another piece
 Romantic composer Frédéric Ch opin turned the
prelude into a stand-alone character piece (aka
miniature)
 A ch aract er piece uses musical techniques to depict
a visual image, often indicated by the piece's title
 Debussy wrote the Préludes as a tribute to Chopin
DOUBLE ENTENDRE?
SYMBOLISM: GIVE IT A BREAK
An earlier French movement called Sy mb olism also
influenced Impressionism. Symbolist poets
emphasized imagery over narrative form. Frequent
interruptions in the syntax of their works produced
a dreamlike quality. Impressionist composers
included similar breaks in their music.
IMPRESSIONIST COMPOSERS
C l a u d e D e b u ss y
M au ri ce R av e l
Li l i B ou l an g e r
Fr e de ri ck D e l i u s
C h ar l e s Gr i ff es
FORM
Though ‘‘Voiles’’ is an Impressionist work, scholars agree
that the piece conforms to AB A t ernary fo rm. Shifts in
the use of scales mark the boundaries of each section.
Wrote Prelude to the
Afternoon of a Faun (1894)
French contemporary of
Debussy
A
•Whole-tone scale
•Three motifs: downward cascade, slow ascending,
zigzag
B
•Pentatonic scale
•An upward gl is s a ndo (sweeping motion) features
the pentatonic notes
A
•Whole-tone scale
•Glissandos continue, but with whole-tone pitches
•Conclusive cascades create a coda to end the piece
First woman to win Prix de
Rome
Ot t o ri no
R e s p igh i
The title ‘‘Voiles’’ can be interpreted several ways. It
could be the plural of ‘‘le voile’’ (the veil) or of ‘‘la
voile’’ (the sail). This imprecision emphasizes
Impressionism’s ambiguous nature.
Italian composer of
Fountains of Rome (1916)
English Impressionist
composer
U.S. Impressionist composer
of ‘‘The White Peacock’’
from Roman Sketches
MUSIC CRAM KIT | 18
CLASSICAL MUSIC AND MODERNISM
Expressionism and Pierrot lunaire
EXPRESS YOURSELF
TRACK 2: PIERROT LUNAIRE, ‘‘NACHT’’
Express ion ism depicted strong emotions in an attempt
to convey the struggle of human reality.
THE BASIC BREAKDOWN
M a j o r Wo r k
EXPRESSIONISM IN ART
Sense of
unease
Nonnaturalistic
colors
Warped,
exaggerated
shapes
Fe at u r e d E x ce r p t
C o m po s e r
Ge n re
In s t ru me nt at i o n
ELEMENTS OF MUSICAL EXPRESSIONISM
To create an
unsettling
effect
Avoided
recognizable
cadences
Used
unbalanced
phrases
To evoke
emotion
Used erratic
and forceful
rhythms
Emphasized
dissonance
Ye ar
Pierrot lunaire, Op. 21
No. 8 ‘‘Nacht’’
Arnold Schoenberg
Song cycle
Singer, cello, piano, bass clarinet
1912
ALL ABOUT PIERROT
 Based on a stock character from commedia dell’arte
 Wore white make-up and a white costume
 Characterized as a foolish troublemaker
 Also called Petrushka and Pagliacci
IT’S A MAD, MAD WORLD
FATHER OF THE FEELS
Arnold Schoenberg pioneered musical Expressionism. His
composition Erw artung exemplified the ideas of the
movement. Schoenberg also painted Expressionist works.
WE’LL ALWAYS HAVE PARIS VIENNA
Vienna served as the unofficial headquarters for musical
Se con d V ien nese S chool ’’ dabbled
Expressionists. The ‘‘S
in Expressionism.
Like many Expressionist pieces, Pierrot lunaire
centers on a theme of madness. Superstition often
blames erratic behavior on the moon. The title of
the piece translates to ‘‘Moonstruck Pierrot.’’
THE BIRTH OF A PIECE
Albe rt Girau d published a set of 50
Symbolist poems about Pierrot in
1884
Alban Berg
Arnold
Schoenberg
Anton
Webern
Second
Viennese
School
In 1912, cabaret singer Albert in e
Zeh m e commissioned Schoenberg to
write a song cycle
Schoenberg chose 21 of Giraud’s
poems for the work
VICIOUS OR VIRTUOUS?
A song c ycle is a set of vocal pieces connected by
musical motifs and text. Pierrot lunaire tells the story of
Pierrot’s drunken exploits.
MUSIC CRAM KIT | 19
CLASSICAL MUSIC AND MODERNISM
Pierrot lunaire (continued) and Primitivism
TRACK 2: ‘‘NACHT’’ (CONTINUED)
RECIPE FOR MUSICAL EXPRESSIONISM
In addition to a reciter (singer), Schoenberg’s score calls
for five performers who play eight different instruments.
Cello
Clarinet &
bass clarinet
Piano
Violin &
viola
Flute &
piccolo
Reciter
Each song features a different combination of instruments.
The instruments used in ‘‘Nacht’’ are underlined above.
SPRECHEN SIE DEUTSCHE?
BLAST FROM THE PAST
P rim itiv ism focuses on the contrast between humans
and nature, usually centering on ancestral images.
 Primitivist art features bold colors and simple lines
 The ‘‘barbaric’’ art often seems to hold symbolic


power
Many Primitivists drew inspiration from traditional
art of Africa and the Pacific Islands
Primitivist artists included Paul Gauguin, Henri
Rousseau, and Henri Matisse
BACK TO THE BASICS
Musical Primitivism emphasized primal sounds and
elemental power. Composers rejected elements of
cultured concert music.
The reciter uses a vocal technique called Sprechs timm e
(German for ‘‘spoken song’’). The performer half-sings and
half-speaks the notes, creating a spooky singsong effect.
Musical Primitivism
PROGRAMMATIC DEVICES
Percussive
rhythms
Ostinato
motifs
Simplified
harmonies
Text Imagery
•"Nacht" depicts an ominous image of black
moths eclipsing the sun, creating artificial night
•In true Expressionist fashion, the moths swoop
down toward human hearts
Passacaglia Form
•Baroque variation form that features a repeating
b ass o o st i n at o)
bass line (b
•The ostinato in "Nacht" consists of three notes
•New melodies appear over this constant motif
MATCHMAKER, MATCHMAKER
MATCHING
Match the artist, composer, or piece to the correct
movement. Some answers may be used more than once.
1.
Alban Berg
A. Impressionism
2. “Voiles”
B. Symbolism
3. Lili Boulanger
C. Expressionism
Instrumental Effects
4. Albert Giraud
D. Primitivism
•FFerm at a: all performers hold pitches longer than
written value, as though frozen in fear
•Cellist plays o n the b ridge to create a glassy,
cold sound
•Rapid oscillations produce a trembling effect
5. Claude Debussy
6. Paul Gauguin
7. Arnold Schoenberg
8. Erwartung
9. Henri Matisse
Reciter's Role
10. Claude Monet
•Use of Sprechstimme for an off-putting effect
Wo rd-paint in g: musical setting matches literal
•W
meaning of the text
ANSWERS
1-C; 2-A; 3-A; 4-B; 5-A; 6-D; 7-C; 8-C; 9-D; 10-A.
MUSIC CRAM KIT | 20
CLASSICAL MUSIC AND MODERNISM
The Rite of Spring
TRACK 3: RITE OF SPRING
TRACK 3: RITE OF SPRING (CONTINUED)
THE BASIC BREAKDOWN
EVERYONE’S A CRITIC
M a j o r Wo r k
Fe at u r e d E x ce r p t
C o m po s e r
Ge n re
In s t ru me nt at i o n
Ye ar
The Rite of Spring
‘‘Introduction’’ and
‘‘Omens of Spring’’
The Rite of Spring’s premiere on May 29, 1913 triggered
mass uproar from the audience. Several factors played a
role in this response:
 The audience disliked the venue because it looked
Igor Stravinsky
Ballet score

too German and lacked air conditioning
Parisians did not like Nijinsky’s choreography in a
previous ballet, Debussy’s Jeux
Full orchestra
1913
BUT IF AT FIRST YOU DON’T SUCCEED…
1914
BACK BY POPULAR DEMAND
Before The Rite of Spring, Russian-born composer Igor
Stra vins ky had already enjoyed success in Paris.
 Se rgei Diag hilev commissioned him to write a


custom score for the 1910 B allet s R usse s
The resulting work, The Firebi rd, launched the
composer to fame
Stravinsky also wrote P et rushka (1911), based on the
same commedia dell’arte character featured in
Pierrot lunaire
•Conductor P ierre Mo nt eu x presented The Rite of
Spring as a concert piece
•It met with great acclaim in Paris
1987
•American dance historian M illicent Hods on
painstakingly recreated Nijinsky's choreography
•The Joffrey Ballet produced the reconstructed
work
•The audience reacted positively to the Primitivist
dances
THIRD TIME’S THE CHARM
Stravinsky’s third ballet, The Rite of Spring, explored
Primitivism in several ways.
Scenario
•Storyline focuses on a pagan ritual
in ancient Russia
Sacrif icial Dan ce: the Chosen One
•S
dances herself to death to appease
the gods
Costume
•Inspired by medieval Russian
peasants
•Resembled tribal wear
Dance
V aclav Nijins ky
•Choreographed byV
•Emphasis on ritualistic gestures
•Sudden hops and awkward leaps
Music
•Quoted folk melodies
•Avoided common-practice
harmony using a po ly cho rd
•Strong rhythms mimicked ancient
drums
•Three different ostinato rhythms
SPRING FORWARD-----DON’T FALL BACK
QUESTIONS
1. Where was Igor Stravinsky born?
2. Who commissioned Stravinsky to write The Firebird?
3. Which Expressionist work shares a character with
Stravinsky’s ballet Petrushka?
4. Who choreographed The Rite of Spring?
5. When did The Rite of Spring debut in Paris?
ANSWERS
1. Russia
2. Sergei Diaghilev
3. Pierrot lunaire
4. Vaclav Nijinsky
5. May 29, 1913
MUSIC CRAM KIT | 21
CLASSICAL MUSIC AND MODERNISM
Nationalism
MY COUNTRY, ‘TIS OF THEE
Unlike other 20th-century musical styles, Na tio nali sm did
not have a parallel art movement. This style dated back to
the Romantic era.
LOVE OF COUNTRY
SPAIN
Several French composers wrote music glorifying Spain.
Spanish nationalist composers followed their example.
Functions of Nationalism
Express
patriotism
Defy invaders
French Composers
•Claude Debussy: Iberia
•Maurice Ravel: Rapsodie espagnole, Bolero
Preserve culture
AROUND THE WORLD
Spanish Composers
FRANCE
Two nationalist musical organizations arose to promote
French music and reject Germanic conventions.
Société Nationale de
Musique
•Founded: 1871
•Motto: "Ars gallica"
(French art)
•Goal: restore
national pride after
losing AlsaceLorraine
•Isaac Albeniz: Iberia
•Enrique Granados: Goyescas (2 - a piano suite
and an opera)
Les Six
•Founded: 1917
•Goal: elevate French
artistry during and
after WWI
ENGLAND
 Some organizations rediscovered the ‘‘lost music’’ of
the past
 English composers also depicted their nation’s
heritage and landscape in music
 Nationalist composers included Ralph Vaughn
W illiam s and Gust av H ols t
FINLANDIA
Jea n Sib elius celebrated Finnish culture in his
piece Finlandia. The Finns adopted the piece
as an unofficial national anthem while under
Russian control. Sibelius was considered a
national hero.
THE UNITED STATES
Given canonical bias toward European works, American
‘‘classical’’ composers had few opportunities. C harles I v e s
only gained fame for his nationalist works later in life.
 Ives quoted American hymns and patriotic songs
 He also praised America’s heritage and landscape
 Ives named the movements of his Piano Sonata No. 2

after American Transcendentalist writers
Today, historians consider him one of the first great
American composers
USING FOLK SONG
Folk melodies inspired many nationalist composers.
Some, like Zo ltán K odály and Béla B artók, worked as
ethnomusicologists and collected folk songs, which they
then used in their own compositions.
5 TYPES OF FOLK MUSIC ADAPTATION
Scholar Benjam in S uch of f identified five ways Bartók
used folk music in his compositions.
1.
2.
3.
4.
5.
Folk tune highlighted (“jewel”) with original
inventions secondary (“mounting”)
Folk tune and invented material equally important
Folk tune occurs as “motto” and invented material is
more important
Composition based on imitation of folk tunes
“Spirit of folk music” pervades the piece, but no
specific folk tune is quoted or imitated
MUSIC CRAM KIT | 22
CLASSICAL MUSIC AND MODERNISM
Romanian Christmas Carols and Atonality
TRACK 4: ROMANIAN CHRISTMAS CAROLS
SOMETHING’S MISSING HERE
ATONALITY
THE BASIC BREAKDOWN
M a j o r Wo r k
Fe at u r e d E x ce r p t
C o m po s e r
Ge n re
In s t ru me nt at i o n
Ye ar
Romanian Christmas Carols
‘‘First Series’’ (10 tunes)
Béla Bartók
Solo piano
1915
KID-FRIENDLY AND FOLK-APPROVED
Bartók wrote the Romanian Christmas Carols as an
educational work for teaching children.
The composer emphasized the original folk tunes and
created original harmonization to spotlight each carol.
FOLK INFLUENCE


C ade n ce



R hy th m


D r o ne


COMPARABLE ARTISTIC MOVEMENTS
Folksong
DON’T JUDGE A BOOK BY ITS COVER NAME
 Despite its title, Romanian Christmas Carols is a
nationalistic Hungarian work
 In the early 20th century, Hungary included several
ethnic subcultures
 Romanians comprised the third largest ethnic group
 Bartók collected these tunes from Tran sy lvan ia
M o d al
Atona l music does not center on a tonic note (‘‘resting
tone’’). Unlike tonal music, atonal music does not come
to ‘‘rest’’ on a certain pitch.
A mo da l piece uses scales that were
abandoned with the adoption of
common-practice harmony
This work uses Do ri a n, Phry gi a n,
and M i xo ly di a n modes
Many of the co l in de (carols) end on
a high pitch
The resulting cadence sounds
incomplete
This technique occurs infrequently in
Western music
The rhythmic flexibility of the tunes
indicates Romanian influence
Changes in meter accommodate the
irregularity
The carols use a drone
accompaniment
This sound imitates the open pipes of
a folk bagpipe
Cubism
• Artistic style that
rejected the fixed
viewpoint used in
earlier art
• Aimed to show
multiple
perspectives of an
object at once
Early 20th Century
Literature
• Experimental
literature that
rejected linear
narratives
• Included works by
Ja m es Joyce and
T. S. Eliot
SUPPORTERS AND CHARACTERISTICS
Arno ld Schoenb erg heavily guided the movement toward
atonality. His avant-garde ideas included:
E m a n ci p a t i o n o f t h e D i s s o n a n c e "
“E
(1 911)
•Dissonance was just very chromatic consonance
•Chords did not need to serve a function
•Complicated chords did not need to resolve to
simpler ones
12 -t on e S e rialis m (19 20 s)
•Organizational structure for harmony
•See Section I for more details
EVERYONE’S SPECIAL
Schoenberg loathed the term ‘‘atonal’’ because it
identified the style by what it did not have (a tonic).
pant onal,’’ which suggested that all
He preferred ‘‘p
the notes mattered.
MUSIC CRAM KIT | 23
CLASSICAL MUSIC AND MODERNISM
Six Bagatelles for String Quartet
TRACK 5: SIX BAGATELLES FOR STRING QUARTET
SIX BAGATELLES (CONTINUED)
THE BASIC BREAKDOWN
Bagatelle No. 5 divides into two halves. The first half
presents the aggregate. The second half forms a can on.
M a j o r Wo r k
Fe at u r e d E x ce r p t
C o m po s e r
Ge n re
Six Bagatelles for String
Quartet, Op. 9
No. 5 ‘‘Äußerst langsam’’
Anton Webern
Bagatelle; miniature;
Klangfarbenmelodie
In s t ru me nt at i o n
Ye ar
String quartet (2 violins, 1
viola, 1 cello)
1913
SHORT AND SWEET
 A bagatell e is a Romantic-era genre
 The term means ‘‘trifle’’ or something of little value
 Webern suggests that the music has little meaning
 The short piece is also a mini ature
 As a Kl ang farbenmelodie, the bagatelle emphasizes
timbre more than the rise and fall of a melody
WHAT’S NEW?
Bagatelle No. 5 involves several Modernist ideas.
Pantonality
Unusual timbres
• The a ggrega te
contains all 12
pitches in the octave
• Webern introduces
the entire aggregate
in the first seven
measures
• The performers play
on the bridge or
pizzicato (pluck the
string)
• They also use mutes,
which inhibit string
vibration
TRYING TO MAKE A POINT HERE
Webern deliberately emphasizes the pitches. The
tempo, ‘‘Äußers t l angs am,’’ means ‘‘extremely
slow.’’ A light texture called point il lis m results:
each note becomes an individual ‘‘point’’ of sound.
REMEMBER ME?
QUESTIONS
1. What was the Société Nationale de Musique’s motto?
2. Which piece by Charles Ives contains movements
named after Transcendentalist authors?
3. Where did Bartók collect the carols for Track 4?
4. Which term did Schoenberg prefer over “atonal”?
5. What is the set of all 12 pitches in an octave called?
ANSWERS
1. “Ars gallica” (“French art”)
2. Piano Sonata No. 2
3. Transylvania
4. Pantonal
5. Aggregate
MUSIC CRAM KIT | 24
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
Folk Music and Stage Traditions
RELICS OF A SIMPLER TIME
WHEN THE FAT LADY SINGS
Fo lk m usic, also called vernacu la r m us ic, is one of the
oldest styles of music. It still appealed to audiences
during the 20th century.
OPERA
Oper a began in Italy during the Baroque period (17th
century). In 16 37, Venetian opera houses became open
to the public. Other countries soon followed suit.
FUNCTION OVER FORM
Scholars classify folk songs as f unct ional, since most
serve purposes beyond mere entertainment.
Songs for
ritual
occasions
Children's
and work
songs
Songs that
preserve
tradition and
knowledge
C o u n t ry
Op e r a- l i ke En t e rtai n m ent
E n g l an d
Ballad operas, comic operas
Ge r m any
Si ngs piel (‘‘sung play’’)
Fr a n ce
Opér a-ballets (emphasized dance)
LAUNCHING SPIN-OFFS
In time, new variations and spin-offs of opera appeared.
YE OLDEN DAYS
Folksong began as an oral tradition. It was difficult to
document without recording technology.
Italy
 Early scholars published compilations of folk music


starting in the 18th century
They transcribed each piece by ear
The books focused on vocal melodies and neglected
accompaniments and instrumental music
France
Opera seria
(serious)
Opéra-comique
(large theatres
only)
Opera buffa
(comic)
Opéra-bouffe
(smaller
theatres)
TECHNOLOGY: A MIXED BLESSING
COPYCAT, COPYCAT
Audio recordings
helped preserve
existing folk music
Austria and England created o pere tt a s, operatic
comedies based on the French opera-bouffe.
Industrialization and
urbanization
threatened folk
traditions
 Some operettas capitalized on nationalism
 William G ilbe rt and Arthur Su llivan were a

IN THE 20TH CENTURY
Folk music still impacted 20th-century audiences.
 Folk traditions influenced blues and jazz
 Record manufacturers like the Gramo phone


C om pany Lt d. advertised folksongs
Promotional essays and articles spotlighted different
genres of folk music
Some recordings of folk song proved extremely
profitable

successful British writing team
The United States developed opera much later than
many other countries (1794)
American theatres mostly imported operas and
operettas from abroad
THE RIGHT TO COPYRIGHT
Initially, many producers ‘‘pirated’’ foreign
productions without paying royalties to the original
composers. In 1887, the Berne C onve ntion passed
the first international copyright law to protect
composers’ rights.
MUSIC CRAM KIT | 25
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
Minstrel Shows and Music Halls
STEREOTYPES ON STAGE
‘‘THE HALLS ARE ALIVE…’’
The m instre l s how gained popularity in the United
States during the 19th century.
In 19th-century England, mus ic hal ls developed as an
outgrowth of taverns and pubs.
 Music halls featured many genres of musical
DEVELOPMENT

In 1 822, English actor Ch a rl es
M a tth ews exaggerated AfricanAmerican mannerisms on stage

He wore b la ck -f a ce m ak e-u p
during these acts

entertainment
Audience members typically ate and drank during
shows
Music halls regularly revised their programs to
incorporate current events (a la SNL)
The Ge rm an R eed Fa m ily worked to improve the
reputation of music halls and attract the middle class
White American actors called
Eth io pia n del in ea to rs" adopted
"E
his technique
Examples
Later in the century, black
minstrel troupes began touring
"My Old
Dutch"
JIM CROW
CHARACTERISTICS
 Minstrel shows often featured jokes, special skills,
and parodies of other genres
 The music used catchy rhythms and melodies
 These shows featured stock characters based on
Southern stereotypes
 Many minstrel shows included a cakewalk where the
characters imitated plantation owners
wal k-aroun d’’ featured the full cast
 A closing ‘‘w
EXAMPLES
Ste ph en F oster wrote many of the best-known minstrel
tunes. Americans still sing several of these songs today.
"Old Folks at
Home" ("Swanee
River")
"Ta-ra-ra
Boom-de-ay"
RAPID REVIEW
Ethiopian delineator Thomas Dart m outh R ice
created the character ‘‘JJim C row,’’ an arthritic old
man who danced awkwardly. In the 20th century,
the term was linked to racist laws in the South.
"My Old Kentucky
Home"
"I'm Henery
the Eighth, I
Am"
"Dixie"
FILL IN THE BLANK
1. Vernacular music is classified as _____ because it
serves a purpose beyond entertainment.
2. The record manufacturer _____________ advertised
folksongs in the 20th century.
3. Singspiel translates to “_________.”
4. One successful British operetta-writing team was
that of ___________ and ___________.
5. ____________ created the character “Jim Crow.”
6. During the ________ of a minstrel show, characters
imitated white plantation owners.
7. The _______________ attempted to make music halls
seem more reputable.
ANSWERS
1. Functional
2. Gramophone Company Ltd.
3. Sung play
4. William Gilbert; Arthur Sullivan
5. Thomas Dartmouth Rice
6. Cakewalk
7. German Reed Family
MUSIC CRAM KIT | 26
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
Vaudeville and Bands
A MUSICAL POTPOURRI
WE MUST BAND TOGETHER
A vau devil le show (also called a v arie ty show)
consisted of a series of diverse t urns (acts).
In the 19th century, a b and consisted of a standard set of
instruments.
ELEMENTS OF VAUDEVILLE
Circuit
Bill
Stock
Music
•Theatre owners created circuit s
similar to modern theater chains
•A circuit hired a performer, who
moved from theater to theater every
week or so
•The bi ll listed the turns
•The most famous performer
appeared first, hence the term "tt op
bi lling"
•Theater musicians accompanied
performers using s tock m us ic that
matched generic moods or situations
•The visiting performer then gave the
musician(s) a cue s h eet indicating
the type of music desired
B an d
In s t ru me nt at i o n
B r as s B an d
Brass, percussion
W i n d B an d
Brass, percussion, woodwind
Bands served a wide variety of functions.
Military
Community
Synchronized
marching
Music
education
Supported
routines
Informal social
gatherings
BAND OF BROTHERS (AND SISTERS, TOO)
Despite some questionable elements, vaudeville enjoyed
great popularity.
Bands provided early training for many African-American
instrumentalists.
 Jame s Reese Eu rope created an African-American
Harrigan & Hart
Stereotyping
•Vaudeville team Ha r rig a n
• D i a l e c t c o me d ia n s
a nd Ha r t broke a color
parodied and stereotyped
ethnic groups
barrier in American theatre
•In 1883, the production team •Vaudeville also stressed
allowed the first Africanlimited, predictable gender
American actors to perform
roles
military band for the 3 69 th U. S . In f ant ry Re giment
during WWI
 W.C. Handy played in several brass bands
 Lo uis Armstron g also got his start in a brass band
Women also participated in bands. Originally, only female
violinists, harpists, and vocalists were included.
Eventually, women formed their own bands.
MISS SOUSA JR.
POP CULTURE LEGACY
 A popular vaudeville skit originated the ‘‘Slowly I
turned… step by step… inch by inch’’ phrasing
 Comedy team Dran e and Ale xander popularized the
dynamic duo M ut t an d J eff
 Many famous 20th-century entertainers began their
careers in vaudeville
He len M a y Butler created the successful Ladies
B ras s B and. She led several all-female ensembles
and conducted hundreds of concerts. Butler’s
M is s Sous a J r.,’’ in
success led to the nickname ‘‘M
reference to famous American bandleader John
P h i l i p S o u s a.
MUSIC CRAM KIT | 27
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
Marches and Gospel Music
JANUARY, FEBRUARY…
GOSPEL
The m arch genre is well-suited to bands. It uses duple
meter, which is suitable for marching.
Congregational hymns and songs have a long history in
the United States.
THE REAL MR. SOUSA
Jo hn Ph ilip Sous a was the most famous American
bandleader. He composed over 100 marches for the
T he
Marine Band, earning him the nickname ‘‘T
M arch Ki ng.’’ Under Sousa’s direction, the Marine
Band became the premier American military band.
MARCHING IN PROPER FORM
1640
1700s
•The New England colonies printed The Bay
Psalm Bo ok, the first publication in the region
•It contained rhyming versions of Biblical
psalms
•New singing schools increased American
musical literacy
•These schools used new religious tunes as
exercises
th
19 -century marches usually adhered to m ul ti -themat ic
f orm. This form involves several melodies, or s trains,
each of which usually repeats at least one time.
"Trio"
THE GOSPEL TRUTH
•3rd strain, named for 17th- and 18th-century
dances
•Quiet, melodic
•Shifts harmony to subdominant key
•Usually features woodwind instruments
In the 19th century, religious hymns adopted features of
popular music. The resulting hybrid pieces became known
as gos pel h ym ns. Gospel music reached wide audiences.
 Religious evangelists used catchy gospel tunes to

"Break"
d o g f i g h t"
•4th strain, also called the "d
•Contrasting character: typically bombastic
•If no break, then trio repeats at louder dynamic
with more instruments
TOP HITS
 The United States adopted Sousa’s piece ‘‘TThe S tars
an d S tripes Forev er’’ as its national march
 Sousa’s 1889 march ‘‘tthe Wash ington Post’’ was
often played for two-step dancing
Colo nel Bo gey,’’ composed
 WWI soldiers enjoyed ‘‘C
by Lt. Fre deric J. R icke tts under the name Kenneth
J . A l fo rd

boost revival efforts
American soldiers often sang gospel songs during
WWI
Examples included ‘‘His Eye is on the Sparrow’’ and
‘‘The Old Rugged Cross’’
TERMS TO KNOW
FILL IN THE BLANK
1. Vaudeville accompanists usually used ______ that
matched generic situations.
2. James Reese Europe’s military band accompanied the
______________ Regiment.
3. Bandleader ______________ earned the nickname
“The March King.”
4. Religious songs with features of popular music were
called ____________.
BAND IMPACT
Classical composers like Gus tav Ho ls t wrote pieces for
concert bands. Ragtime adopted the multi-thematic form
found in marches.
ANSWERS
1. Stock music
2. 369th U.S. Infantry Regiment
3. John Philip Sousa
4. Gospel hymns
MUSIC CRAM KIT | 28
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
National Anthems and Ragtime
PRIDE AND PATRIOTISM
DON’T RAG ON ME, BRO
At the start of the 19th century, only a few countries used
national anthems.
R agtim e derived its name from its use of ‘‘ragged’’
syncopated rhythms. The style mostly applied to piano
pieces called rags.
C o u n t ry
A n th em
E n g l an d
‘‘God Save the King (Queen)’’
Fr a n ce
‘‘La Marseillaise’’
S p ai n
Royal March (instrumental)
During the Romantic era, more countries adopted
national anthems.
INFLUENCES
Ragtime took on characteristics from other musical styles.
Marches
and band
music
European
classical
piano
Latin
American
music
 Austria used a piece by Joseph Haydn as its
Ka i s e rhy mn e
 Germany initially used the tune ‘‘God Save the King’’
 In 1922, Germany adopted the Austrian Kaiserhymne
Minstrel
shows
Ragtime
African
music
AMERICA THE INDECISIVE
The United States took over a century to pick an anthem.
"America"
•More singable than "The Star-Spangled Banner"
•Used the same tune as "God Save the King"
OOM-PAH LOOM-PAH?
The bass line of a rag typically maintains a steady
eighth- or quarter-note beat. Musicians call this an
o om-pah’’ rhythm. It mimics the tubas of a
‘‘o
standard march. The rag’s melody then plays
syncopated rhythms over the bass line.
A New National Anthem
•Supported by the National Song Society
•Succeeded by "My Own United States"
"The Star-Spangled Banner"
•Written by Francis Scott Key in 1814
•Declared the official military air in 1916
•Formally adopted by Congress as anthem in 1931
HAIL TO THE KING
To m Turpin was the first black composer to publish a rag,
Ha rlem R ag.’’ However, it was later composer Sco tt
‘‘H
Jo plin who earned the nickname the ‘‘K
Ki ng o f Ra gtime.’’
Joplin was one of the first composers to negotiate
royalties for his music.
Joplin received a flat fee for his
Orien t al R ag" (1899)
"O
IT’S ALL POLITICS
Groups with political or social agendas used music to
support their campaigns.
Joplin negotiated for a royalty of a
M apl e Le af
penny for each copy of "M
R ag "
 The In dustrial Wo rkers of t he Wo rld published The
Little Red Songboo k in 1909
 Union members called Wobblie s adapted gospel

songs
Dam e E the l Smy th composed ‘‘T
T he M a r ch o f t h e
W omen’’ for British suffragettes
The first year, Joplin earned $4.00;
however, the work sold half a million
copies by 1909
Joplin’s success inspired Jam es S cot t and Jose ph La m b,
the first successful white ragtime composer.
MUSIC CRAM KIT | 29
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
Ragtime and ‘‘Maple Leaf Rag’’
RAGS TO RICHES
TRACK 6: ‘‘MAPLE LEAF RAG’’
Ragtime inspired new music and dance styles.
THE BASIC BREAKDOWN
CIRCLE ‘ROUND
M a j o r Wo r k
Couple
•Before the 20th century, couple dances like the
triple-meter w altz dominated ballrooms
C o m po s e r
Ge n re
In s t ru me nt at i o n
•In the Modern era, individual dances emerged
•Many of these dances used ragtime
Individual syncopation
Couple
•In the 1920s, the t ang o and the f ox trot
brought back couple dancing
SWINGING BY AND TAKING IT IN STRIDE
Sw ing music lengthens the first note of a pair and
shortens the second. Foxtrots often use swing rhythms.
Jam e s P. Johnso n gained fame as the ‘‘FFat h er o f Stride
P iano.’’ His most famous work is ‘‘T
The Ch arlest on.’’
Steady rhythm
Left Hand
Stride Piano
Large intervals
("strides")
Chords
Right Hand
Rag
Solo piano
(Scott Joplin)
1899
SPEED LIMIT
 The score indicates Tempo di Marci a (‘‘march
tempo’’)
 This marking emphasizes the rag’s connection to
band marches
 Many pianists played rags faster than feasible for
marching, a tendency Joplin despised
AND WE’RE ROLLING!
Before acoustic recordings emerged, pianists used
piano ro lls to record songs. The listening track
features Joplin’s 1916 piano roll recording of his rag.
FOR
The multi-thematic form of the piece offers tribute to
marches. ‘‘Maple Leaf Rag’’ includes four strains in a
AABBACCDD pattern.
A&B
Igor Stravinsky
C ("Trio")
• "Golliwog's
Cakewalk" included
ragtime rhythms
• This piece was part
of the piano suite
Children's Corner
Scott Joplin
Swing rhythms
RAGTIME AND THE OLD WORLD
Ragtime inspired several European classical composers.
Claude Debussy
Ye ar
‘‘Maple Leaf Rag’’
• Ragtime inspired one
of the three dances
in A Soldier's Tale
• Stravinsky also wrote
"Ragtime for 11
Instruments"
D
•Each A strain begins with a series of
upward sweeps
•These elegant sweeps reflect the
influence of classical piano
•Both strains are similar, but B lies in a
higher register
•Shifts to subddominant key of Db
m ajor
•Heavier than the previous strains
(more notes at once)
•Returns to tonic key of Ab major
•1st measure of strain involves no
syncopation
•Ragtime rhythms return in the 2nd
measure
MUSIC CRAM KIT | 30
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
All About the Blues
FEELING BLUE
CLASSIC VS. COUNTRY
Traits of African music play a key role in the b lues.
Compared to the country blues, cla ss ic blues had more
urban characteristics. Other names for this genre include:
C h ar act e r i s ti c
No t es
Call-and-response
Solo leader presents a statement
Chorus responds with an echo or
an answer
Melismatic
One syllable of text corresponds
to multiple pitches in the melody
BIRTH OF THE BLUES
The blues began in the M iss iss ippi De lta during the 19th
century. The genre acts as a form of catharsis to purge the
performer of negative emotions.
12-BAR BLUES
The 12 -b ar b lues form follows a basic progression using
three chords in a set manner.
Tonic (I)
Dominant
(V)
Urban
blues
Country Blues
•Informal audience
(party atmosphere)
•Solo male singer
•Accompaniment:
guitar or harmonica
•Subjects: love gone
wrong, politics
•More improvisation
Bessie
Smith
E m p re s s o f t h e B l u e s"
•Nickname: "E
•Inspired Ella Fitzgerald, Billie Holiday,
and Janis Joplin
William
Christopher
Handy
•Nickname: "FFat he r o f t h e Bl ues"
•Famous bandleader and cornet player
S t . L o u i s Bl u e s"
•Composed "S
The b lues s ca le shifts the third and seventh pitches
so they are no longer in tune. These b lue n ot es
reflect African influence and make it difficult to
determine if a piece is in a major or minor key.
GAME, SET, MATCH
QUESTIONS
Match the composer to the piece.
COUNTRY BLUES
Scholars call the oldest type of blues the country b lues.
Other names also exist.
Delta blues
•Audience sits and
listens
•Female vocalist
•Accompaniment:
piano or com b o
(ensemble)
•Subjects: love,
relationships
•Less improvisation
M o t h e r o f t h e B l u e s"
•Nickname: "M
•Toured the The atre O w ners Bo okin g
As so ciat ion vaudeville circuit
So ut h ern Blu es" (1923)
•Recorded "S
 Each phrase spans four bars
 The first line repeats with embellishments
 The poem thus follows the pattern AAB
Down home
blues
Classic Blues
Gertrude
"Ma"
Rainey
The singer sings three phrases of poetry over 12 bars.
Folk blues
Vaudeville
blues
BIG SHOTS IN THE BLUES
Subdominant
(IV)
BLUE NOTES
City blues
Southern
blues
1.
Dame Ethel Smyth
A. “St. Louis Blues”
2. W.C. Handy
B. “Harlem Rag”
3. Tom Turpin
C. “Oriental Rag”
4. James P. Johnson
D. “March of the Women”
5. Scott Joplin
E. “The Charleston”
ANSWERS
1-D; 2-A; 3-B; 4-E; 5-C.
MUSIC CRAM KIT | 31
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
‘‘St. Louis Blues’’ and the Development of Jazz
TRACK 7: ‘‘ST. LOUIS BLUES’’
LET’S SEE THOSE JAZZ HANDS!
THE BASIC BREAKDOWN
Three early approaches to jaz z appeared in the early
Modern era.
M a j o r Wo r k
C o m po s e r
Ge n re
In s t ru me nt at i o n
Ye ar
‘‘St. Louis Blues’’
W.C. Handy
New Orleans
Jazz
Dixieland
Jazz
Chicago Jazz
Blues
Singer --- Bessie Smith
Cornet --- Louis Armstrong
Reed-pipe organ --- Fred
Longshaw
TELL ME A STORY
Ne w O rlean s contained a dense ‘‘rred-ligh t dist rict’’
Sto ry ville.’’ The bars and brothels in Storyville
called ‘‘S
used music to attract customers. The resulting genre
became known as New O rlean s Jazz.
1914 (recording)
Characteristics
BREAKING THE MOLD
Handy does not conform completely to the 12-bar blues
format.
 He interrupts the A pattern after two statements
 The music then features an eight-measure B strain


that repeats one
A new C melody returns to 12-bar blues structure
Limited recording time probably cut off the repetition
of the C strain
Fast tempo
Swing
rhythms
Improvisation
Dissonance
Combos also incorporated heterophony and call-andresponse techniques.
BLACK AND WHITE
Scholars call the music of white jazz musicians
Dixie land.’’ In 1917, the Orig ina l Dix ielan d J az z B and
‘‘D
actually produced the first recording of jazz.
INFLUENCES
Handy blends characteristics of ragtime and classic blues
in ‘‘St. Louis Blues.’’
Ragtime
Classic Blues
• Multi-thematic
form with three
different strains
• Contrasting
harmonic shift to
minor mode in B
strain
• Tango style in B
strain (select
performances only)
• 12-bar blues form
• Combo
accompaniment
(small ensemble)
• Call-and-response
techniques (Smith
and Armstrong)
• Blue notes and
melismas
• Imitation of country
church organ
(Longshaw)
N e w O r l e a n s J a zz
D i x ie l an d
African-American
performers
White performers
Little formal musical
training
‘‘Proper’’ technique
and formal training
More improvisation
Less improvisation
TO THE WINDY CITY
In 19 1 7, Secretary of War Ne w ton W. B aker shut down
Storyville. Unemployed jazz musicians migrated to
Chicago, where they developed Ch ica go Jazz.
Compared to New Orleans Jazz, Chicago Jazz featured:
 Less improvisation and increased sophistication
 Longer solo breaks (entire strains)
 Reduced use of heterophonic texture
MUSIC CRAM KIT | 32
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
‘‘Dippermouth Blues’’
TRACK 8: ‘‘DIPPERMOUTH BLUES’’
‘‘DIPPERMOUTH’’ (CONTINUED)
THE BASIC BREAKDOWN
‘‘Dippermouth Blues’’ combines elements of New Orleans
and Chicago Jazz.
M a j o r Wo r k
C o m po s e r
Ge n re
In s t ru me nt at i o n
Ye ar
‘‘Dippermouth Blues’’
Joe ‘‘King’’ Oliver
• Heterophony
• 12-bar blues form
Blues
Combo
1923
Chicago
• Homophony
• St op-t im e choruses
The song also exemplifies some standard jazz elements.
A WINNING COMBO
‘‘Dippermouth Blues’’ used a standard New Orleans Jazzstyle combo.
Joe "King" Oliver
Cornet
Louis Armstrong
Combo Players
New Orleans
Trombone
Honoré Dutry
Clarinet
Johnny Dodds
Woodblock
Warren "Baby"
Dodds
Banjo & Vocals
Bill Johnson
Piano
Lillian Hardin
STICKS AND STONES
Several members of the combo had interesting nicknames.
Joe ‘‘King’’ Oliver
Oliver formed his own band,, K ing
O l i v e r ’ s C r e o l e J a z z B an d
The lead cornet player of a combo
was called ‘‘King’’
Louis Armstrong
Dippermo uth’’ refers to his
‘‘D
mouth, which was ‘‘big as a dipper’’
Sa tchm o’’ for
He was also called ‘‘S
‘‘Satchel Mouth’’
Lillian Hardin
As a girl, she was called ‘‘JJaz z
W onder C hild’’
After marrying Louis, she took the
name Lil Har din Arm st rong
 Swing rhythms pervade the piece
 Oliver uses the wah -wah mu te, which alters the
cornet’s timbre
BEATIN’ THE BLUES AND JAZZIN’ IT UP
QUESTIONS
1. Which instrument did Fred Longshaw play in “St.
Louis Blues”?
2. How many strains does “St. Louis Blues” feature?
3. What was the name of New Orleans’ infamous redlight district?
4. Who ordered the closure of the above district?
5. Which ensemble produced the first known recording
of jazz music?
6. What instrument did Warren “Baby” Dodds play for
“Dippermouth Blues”?
7. What were Louis Armstrong’s two nicknames?
8. What device did Oliver use to alter his cornet’s
timbre?
ANSWERS
1. Reed-pipe organ
2. Three
3. Storyville
4. Secretary of War Newton W. Baker
5. Original Dixieland Jazz Band
6. Woodblock
7. “Dippermouth” and “Satchmo”
8. Wah-wah mute
MUSIC CRAM KIT | 33
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
New Theatrical Music and In Dahomey
STAGING A COMEBACK
TRACK 9: IN DAHOMEY
OPERETTA
Originally, the United States imported foreign operettas
like The Merry Wi dow. However, by the 20th century,
American composers were creating their own operettas.
THE BASIC BREAKDOWN
M a j o r Wo r k
Fe at u r e d E x ce rp t
C o m po s e r
Characteristics
Ge n re
•Emphasized the trained voice
•Told romantic fantasies
•Used flowing waltz melodies
•Marketed tunes to dance orchestras
In s t ru me nt at i o n
Ye ar
Examples
Harry von Tilzer & Vincent Bryan
Musical comedy
Singer --- Aida Overton Walker
Orchestra
1902
‘‘I Wants to Be (A Actor Lady)’’ was an
in terpo lation, which means it was added after the
show began its Broadway run. The producers
decided Aida needed more stage time, so they gave
her this s tar-tu rn.
MUSICAL COMEDY
George
Edwardes
•English composer who created the genre
in the late 19th century
•Wrote believable characters who
delivered witty lines
George M.
Cohan
•American composer who popularized the
new genre
•Wrote patriotic shows like L ittle Joh n n y
Jo n es
•Wrote In Dah om ey (1902) starring
African-American actors
BREAKING THE COLOR BARRIER
In Dahomey was a major breakthrough. The musical was
created by African-American writers and starred AfricanAmerican actors.
 The show starred Bert Williams and George Walker
 Walker’s wife Aida Ov erto n Walke r played the role

‘‘I Wants to Be (A Actor Lady)’’
[INSERT SONG HERE]
•The Wizard of Oz
•Babes in Toyland
•Naughty Marietta
Will
Marion Cook
In Dahomey
of R os etta Li gh tfoot
P aul Lau rence Dunb ar and Jes se Shi pp helped Cook
write the script
Contrary to early fears, In Dahomey met critical success in
both the United States and England. It opened
successfully on Broadway. It then went on to run five
times as long on London’s W est En d.
LIST OF REFERENCES
In this song, Rosetta Lightfoot mocks Carrie Brown’s
Broadway hopes. The lyrics include many references.
Ly r i c
R e fe rs to
‘‘Miss Carter’’
A famous red-haired
actress
‘‘Laura Jean Libby’’
A romance writer
‘‘Maiden’s Prayer’’
A poem by Edith Nesbit
‘‘Troskeena Wellington,’’
‘‘Ha! The child’s in London’’
Climactic lines from
contemporary plays
BY POPULAR DEMAND
The song uses many typical features of popular songs.
 Vamp: short motif that repeats until performer is


prepared to sing
V erse-cho rus f orm: narrative verses alternate with a
refrain/chorus
Topical references and modern melodies (ragtime
rhythms
MUSIC CRAM KIT | 34
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
Revue, Tin Pan Alley, and ASCAP
THE YEAR IN REVUE
ASCAP
R evue began in 19th century Paris. Each year, French
performers staged a satirical ‘‘review’’ of the past year.
Early 20th-century composers recognized the need to
protect their compositions.
A PROTOTYPE FOR SNL?
American performers adopted the revue in the late 19th
century.
1909
Victor Herbert testified before
•V
Congress about the importance of
royalties
•His efforts led to the first major
American copyright law
1910
Giacom o P uccin i complained about
•G
restaurant orchestras playing pieces
from Madama Butterfly without paying
royalties
1914
•Nine composers formed the
A m e rican S o cie t y of Co mp os e rs ,
A u t h o r s , an d P u b l i s h e r s (A S C AP )
•Members included Victor Herbert
and Raymond Hubbell
1917
•The Supreme Court ruled that venues
had to license rights from ASCAP to
perform ASCAP music
 Th e Passing S how premiered in 1894
 The Zie gfeld Fo llies became the most famous


revues in the United States
Without a plot, revues easily incorporated new
interpolations
Go o dby e
The Passing Show of 1917 added ‘‘G
B roadw ay, He llo Fr ance ’’ when American soldiers
went overseas
GOING PLATINUM
The 1908 Follies was the first American revue to
Sh i ne On ,
debut a hit song. That song was ‘‘S
Ha rves t Moon ’’ by vaudeville team Nora B ayes
and Jack No rwo rth .
TIN PAN ALLEY
Tin P an A lley’’ songs dominated American popular
‘‘T
music from the 1880s to the 1950s.
The major American music
publishers clustered on 2 8th
St ree t in New Yo rk City
Each publishing house had
pianos so customers could try
the music
Hired s on g-pl ugge rs also
"pounded the piano" to
advertise new pieces
Journalist M onro e R os enf elt
compared the noise to tin
pans clanging together, hence
the nickname
The term became associated
with the catchy tunes
published in the area
LET’S REVUE THE FACTS
FILL IN THE BLANK
1. One popular operetta imported by the United States
was ________________.
2. Aida Overton Walker played ____________ in In
Dahomey.
3. A _______ repeats until a performer is ready to sing.
4. The ___________ were the most famous revues in the
United States.
5. ____________ and ____________ wrote “Shine On,
Harvest Moon.”
6. ASCAP stands for the _______________________.
ANSWERS
1. The Merry Widow
2. Rosetta Lightfoot
3. Vamp
4. Ziegfeld Follies
5. Nora Bayes; Jack Norworth
6. American Society of Composers, Authors, and
Publishers
MUSIC CRAM KIT | 35
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
‘‘Take Me Out to the Ball Game’’
TRACK 10: ‘‘TAKE ME OUT TO THE BALL GAME’’
THE BASIC BREAKDOWN
M a j o r Wo r k
C o m po s e r
Ge n re
In s t ru me nt at i o n
Ye ar
‘‘Take Me Out to the Ball Game’’
Jack Norworth & Albert von Tilzer
Tin Pan Alley popular song
‘‘TAKE ME OUT’’ (CONTINUED)
COMPARE AND CONTRAST
Like many Tin Pan Alley songs, ‘‘Take Me Out to the Ball
Game’’ and ‘‘I Wants to Be’’ have some elements in
common. There are some differences, however.
Similarities
Differences
Singer --- Ed Meeker
1908
•Both songs include an
introduction and a vamp
•Both songs follow
verse-chorus form
•"Take Me Out" is set in
T em po di
triple-meter "T
Vals e" (waltz tempo)
•"I Wants to Be" uses
ragtime rhythms
NICKELODEONS AND DIMES
This song was popular in nick elodeo ns and movie houses.
 Nickelodeons were small movie theaters with seated



rows and a shared screen
Theatre owners displayed m agi c-lan tern sho ws to
entertain the audience between films
Song-pluggers advertised new music during this time
The Yo rk M us ic C o mpany created an innovative
‘‘ss ong play’’ for ‘‘Take Me Out to the Ball Game’’
Models recreated the storyline
The producers shot photographs
at New York's Polo Grounds, a
baseball stadium
The song play set these
photographs to the tune
Sheet music sales for "Take Me
Out to the Ball Game"
skyrocketed
MOVING UP TO THE BIG LEAGUES
Within ‘‘Take Me Out to the Ball Game,’’ the shape of the
melodic line differs between the verses and the chorus.
Verses
•First phrase is very stepwise
•Second line repeats the
melody a step higher,
creating a s equ ence
•Most of the melody uses
four-bar phrases
•The shift to two-bar phrases
demands attention
Chorus
•The first two lines feature a
disjunct melody
•The third line returns to a
conjunct contour
•However, it incorporates
chromatic notes that do not
belong in D major
BUY ME SOME PEANUTS AND…
‘‘Take Me Out to the Ball Game’’ reached great popularity.
 Baseball crowds began to sing the song during the



seventh-inning stretch
The American and National Leagues made the tune
their official song in 1913
Today, ‘‘Take Me Out to the Ball Game’’ is the third
most-recognizable American song
In his will, Jack Norworth donated his royalties to the
ASCAP foundation, benefiting future songwriters
’’Take Me Out to the Ball Game’’ popularized
C racke r Jack s, a treat consisting of popcorn,
peanuts, and molasses.
MUSIC CRAM KIT | 36
EARLY 20TH-CENTURY ‘‘POPULAR’’ MUSIC
The Development of Film Music
COOKIE-CUTTER MUSIC
MACHINE OVER MAN
Like live vaudeville entertainments, the earliest public
films used stock music.
Inventors devoted their attention to synchronizing
recorded sound with film.
 German filmmaker Max Skladon owsky hired an



orchestra to play classical music
The Lu m ière b rothers paid a pianist to mask the
sound of their Cinématographe projector
Publishers created books of movie cues for movies
Using live accompanists created inconsistency, so
film directors looked for another solution
HAVE IT YOUR WAY
Customization of film scores came in stages.
Arrangements
of preexisting
classical music
Custom scores
for orchestra
Sound-onfilm
Sound-ondisc
After WWI, the vacuum tube enabled directors to
produce ‘‘talkies.’’
Film studios decided to pursue the "soundon-film" approach
Theaters invested in equipment for
displaying the new "sound" films
Custom scores
for solo piano
More than 100,000 musicians lost their jobs
Fi l m (d i r e ct o r )
A cco m p l i sh me n t
Kingdom of the
Fairies
First newly composed
cu s tom film score for solo
piano, 1903
(Georges Méliès)
The Assassination of
the Duke of Guise
The Birth of a Nation
(D.W. Griffith)
The Fall of a Nation
First custom score for
orchestra, 1908
Written by Camille SaintSaëns
First hit song from a movie,
1915
‘‘The Perfect Song’’ by Joseph
Carl Breil
First custom score for an
American movie, 1916
Written by Victor Herbert
PITCHING AND REELING
QUESTIONS
1. Who sings “Take Me Out to the Ball Game” on the
USAD recording?
2. Which company created the “song play” for “Take
Me Out to the Ball Game”?
3. What is the tempo of “Take Me Out to the Ball
Game”?
4. Which film used the first custom orchestral score?
5. Who wrote the first custom score used in an
American film?
ANSWERS
1. Ed Meeker
2. York Music Company
3. Tempo di Valse
4. The Assassination of the Duke of Guise
5. Victor Herbert
MUSIC CRAM KIT | 37
MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’
Musicians at War and on the Home Front
SERVICE WITH A SMILE…
…OR WITH A SIGH
Several musicians eagerly participated in the war effort.
Other musicians were more reluctant to serve.
Maurice
Ravel
(France)
•Rejected from air force because he
was underweight
•Served as a driver for the motor
transport corps
•Contracted dysentery in Fall 1916
Anton
Webern
(Austria)
•Originally rejected from military due
to poor eyesight
•Later trained new recruits for service
•Discharged in December 1916 after
army reevaluated his eyesight
Béla Bartók
(Hungary)
George
Butterworth
(England)
Ralph
Vaughan
Williams
(England)
Alban Berg (Austria)
•Drafted by Austrian army in June 1915
•Assigned to office job in Vienna due to asthma
•Wrote Expressionist opera Wo z zec k after the
war, painting war in unfavorable light
Arnold Schoenberg (Austria)
•Drafted in 1915
•Discharged in October 1916 due to poor health
•Failed military physical exams again
and again
•Collected folk songs from soldiers
instead of taking up arms
Irving Berlin (United States)
•Drafted in 1918
Oh ! Ho w I Hate to Get U p i n the
•Wrote "O
M o r n i n g"
•Promoted to sergeant
•Wrote the revue Yi p , Yi p, Yap han k to raise funds
for a community house for soldiers' loved ones
•Served as an officer in the 13th
D u r h a m Li g h t I n f a n t r y
•Earned the M ilitary Cro ss for valiant
leadership in July 1916
•Died in combat in August 1916 at a
site later named B utterwort h Tre nch
in his honor
‘‘THOSE PEOPLE’’
WWI inspired different opinions about ‘‘foreign’’ music
among composers and musicians.
•Worked as a wago n o rderly in
France and Salonika
•Later served as an artillery officer in
France
•Conducted troops as Director o f
M us ic for the First Army of the Britist
Expeditionary Force after WWI
Gustav
Holst
•Served as a musical director for the
YMCA and demobilized troops
Lili
Boulanger
•Founded the Franco -Ame rican
Co m mi tt e e o f t h e Nat i o n a l
Co ns ervato ry to support musicians
in the war
WOMEN IN THE WAR
Barred from the front lines, women helped in other ways.
 Some served as battlefield nurses
 Others took traditionally male jobs on the home front
Yo u’ d B ett er Be Ni ce t o Them Now ’’ referred
The song ‘‘Y
to the shifting roles of women in the workforce.
Some rejected all
"imported" music
Others believed
music transcended
national boundaries
Supporters of the ‘‘transcendental’’ view included:





Arnold Schoenberg
Jean Cocteau
Claude Debussy
Vincent d’Indy
Maurice Ravel
MUSIC CRAM KIT | 38
MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’
Attitudes toward Foreign Music
‘‘US’’ VS. ‘‘THEM’’
SOLIDARITY THROUGH SONG
Many musicians worked in lands far from their home
countries. They faced varying levels of xenophobia.
Some composers and musicians resisted xenophobia by
playing foreign works.
ENGLAND
Some performers changed names to mask their origins.
Basil
Hindenburg
Basil
Cameron
Gus Scholz
Gus
Barret
M u s i c i an
W ork
Vincent d’Indy
(France)
Conducted Beethoven’s Mis sa
So lemnis (Germany)
Paul Hindesmith
(Germany)
Performed Debussy’s St ring
Qu artet (France)
ALL I WANT FOR CHRISTMAS
The C hristm as Truce of 19 14 revealed the unifying power
of music.
HYPHEN-AMERICANS
h yph en-Am erican s’’ refers to
The term ‘‘h
naturalized citizens who acknowledged their
heritage with hyphenated terms (e.g. GermanAmericans, Italian-Americans).
UNITED STATES
Foreign-born musicians faced difficulty finding work in the
United States during the war.
Violinist Frit z Kreis ler served
in the Austrian army at the
start of the war
A spontaneous cease-fire spread
across the trenches
Soldiers on both sides sang carols
shared between their cultures
A German band played both British
and German anthems
Soldiers were told not to repeat the Christmas Truce in
1915.
He left after a combat injury
and moved to the United
States
Performance venues refused
to host him due to his service
in an enemy army
Ka rl M uck, the German-born conductor of the Bos to n
Sympho ny, was another victim of American xenophobia.
 In 1917, newspapers published rumors that Muck



refused to play ‘‘The Star-Spangled Banner’’
In reality, his manager Charles Ellis had not told him
of the public’s request for the song
The authorities demanded proof that Muck had never
served in the German army, which he provided
Regardless, he was arrested as ‘‘a dangerous enemy
alien’’ and stayed in jail for the rest of WWI
NOT AS BAD AS A MILITARY EXAM
QUESTIONS
1. Which award did George Butterworth receive?
2. Which opera was inspired by Berg’s military service?
3. Which revue did Berlin write for fundraising purposes
in 1918?
4. Which orchestra did Karl Muck direct?
ANSWERS
1. Military Cross
2. Wozzeck
3. Yip, Yip, Yaphank
4. Boston Symphony
MUSIC CRAM KIT | 39
MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’
War-Inspired Musical Works
IN MEMORIAM
CHARITY BOOKS
Claude Debussy wrote two works to honor fallen troops.
KING ALBERT’S BOOK
In 1914, the German Kaiser
planned to march through
Belgium to attack France
En blanc e t noir
Belgian Kin g Albert refused
Germany permission to enter
his country
Germany invaded Belgium
anyway and strictly
oppressed Belgian citizens
•Title translates to In
white and black
•Written in 1915
•Meant for two pianos
•Each movement had a
short epigraph
" N oë l d es en fants qui
n’ont plus de mais ons "
•Title translates to
"Christmas Carol of the
Homeless Children"
•Art song published in
French and English
•Debussy's last
composition
Other composers also wrote memorial songs.
As Belgium's ally, England
entered WWI
The S pirit of En gland (1917)
Writer Ha ll C ain e worked with the Daily Teleg raph to
compile Kin g Albert’ s Book.
 237 writers, politicians, and composers sent works


for publication
Caine donated the proceeds to the Belg ian F un d
Later, King Albert made Caine an officer in the Or der
o f L e o po l d o f B e l g i u m
C o n tr i bu t o r
C o n tri bu t i on
Edward Elgar
C arillo n, a choral piece
Claude Debussy
B e r c e u s e h é r o ï qu e , a
•Composed by Edward Elgar
•Instrumentation: soprano, chorus, orchestra
•Dedicatory title for each movement
L e Tombe au de Coupe r in (1917)
•Composed by Maurice Ravel
•Tombeau means "tombstone" or "grave" in
French
•Each movement honored a specific war victim
Toccat a, " commemorates
•The final movement, "T
J o se ph d e Mar l i av e
piano piece
Still others composed works that reflected general despair
of the war.
LE LIVRE DES SANS-FOYER
Novelist Edith W h arton compiled a book called Le liv re
des s ans- fo yer in 1916.
LEFT TO HIS OWN DEVICES
 The French title means ‘‘The Book of the Homeless’’
 The book included 52 essays, drawings,
After having his right arm amputated, pianist P aul
W it tgens tein sent out a call for pieces written for
left hand only. Many composers of all nationalities
responded to his request.


compositions, and art pieces
Igor Stravinsky wrote Souve nir d’une m arche b o che
(‘‘Recollection of a Kraut March’’) for the anthology
Wharton donated the proceeds to two causes
American
hostels for war
refugees
The Children of
Flanders Rescue
Committee
Stravinsky
Ravel
•A Soldier's Tale (1918) did not focus
on any particular individuals or
groups
•"Three Beautiful Birds from Paradise"
represented the French flag
•This piece appeared in Three Songs for
Unaccompanied Mixed Chorus
MUSIC CRAM KIT | 40
MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’
Wartime Popular Music and ‘‘It’s a Long, Long Way to Tipperary’’
MANY ROLES
TRACK 11: ‘‘IT’S A LONG… TIPPERARY’’
Appealed
to
sentiment
THE BASIC BREAKDOWN
M a j o r Wo r k
Built
morale
Evoked
nostalgia
C o m po s e r
Ge n re
Music
In s t ru me nt at i o n
Ye ar
‘‘It’s a Long, Long Way to
Tipperary’’
Jack Judge
Popular song
Singer --- John McCormack
1912
TEARING UP OVER HERE
Several popular pieces tugged at listeners’ heartstrings.
The song began as an obscure music
hall piece
Wh e n t h e Ro ll is Calle d U p
"W
Yo nd e r" (" I' ll B e T he re " )
•Written by Jam es M. B lack in 1893
•Focused on comforting thoughts of the future
" H e l l o , C e n t r a l , Gi v e M e N o
M an' s Land "
•Lyrics by Sam M . Lewis and Jo e You ng
•Music by Jean Sch wartz
•1918 song that featured a young toddler
asking a telephone operator to connect her to
her father overseas
•Included the relatively new invention of the
telephone
An Irish regiment popularized the
song while marching through
B ou logn e, France
The British army quickly adopted the
T he M archin g A nt he m o n
song as "T
t h e B a t t l e f i e l d s o f E u r o p e"
MUSICAL ELEMENTS
T h e R o s e o f N o M a n ' s L a n d"
"T
•Verse-chorus form reveals Tin Pan
Alley influence
•Includes introduction and vamp
(vamp omitted in recording)
•Written by Georg e Go rdo n & R ob ert Bru ce
in 1918
•Honored Red Cross nurses on the front lines
•Commonly featured at concert parties
•Accompaniment resembles military
band
•Back-up singers use ba rb ers ho p
ha rmo nie s
Form
Soldiers favored songs that lamented the distance
between home and the war front.
"There's a Long, Long
Trail"
•1912 piece by Zo Elliott
and Sto ddard Kin g
•Used by British soldiers
as a battle march
"Keep the Home Fires
Burning"
•1915 piece by pilot Ivo r
Novel lo
•Caused the British
Home Office to
commission Novello to
write more moraleboosting songs
Instruments
Rhythm
•Duple meter suited to marching
•Use of fermatas
I’D LIKE A SHAVE, PLEASE
B arbe rsho p singing involved four voices without
instrumental accompaniment. This style often
featured tritone intervals and seventh chords.
MUSIC CRAM KIT | 41
MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’
More Wartime Popular Songs
TEARS AND LAUGHTER
Both sides wrote songs to express grief.
Song
No t es
‘‘Cathédrale de
R eims’’
Expressed French grief at the
German destruction of Rheim s
C at hedral in 1914
Set to the popular tune ‘‘ C’es t si
jo lie la f emme’’
‘‘The B raves t
He art o f All’’
‘‘Af ter the W ar I s
O v e r ( Wi l l T h e r e
B e A n y ‘ Ho m e
Sweet Ho me’ ?)’’
Written by Arthu r J. La mb and
He n ry C l i q ue
Tribute to Edith C av ell, a Red
Cross hospital matron who
helped Allied prisoners escape
to the Netherlands
Written by E. J. P ourmo n,
Jo se ph Woo druf f, and Henry
A n d ri eu
Lyrics offered a depressing
prediction for postwar Europe
PACIFIST MUSIC
P acif is t s ongs urged the United States government to
remain neutral. Many of the most popular songs spoke
from a parent’s point of view.
Some pleaded
with sons not to
go to war
Others begged the
government not to
take their sons
"Don't Take My
Darling Boy Away"
• Lyrics by Will Dillon
• Music by Alb er t von
Tilzer
• Lyrics from a
mother's point of
view
"Stay Down Here
Where You Belong"
• Written by Irving
Berlin in 1914
• The Devil's point of
view
• "Down Here" refers
to Hell
POP(ULAR) QUIZ
MORE THAN A RIVER IN EGYPT
American soldier John J aco b Niles collected the
music of African-American troops during WWI. He
served in the America n Expedit ionary Force . One
Grav e- Diggers.’’
song he collected was ‘‘G
LAUGH IT OFF
Humorous songs helped many soldiers face the prospect
of battle. One such song was the French tune ’’ Qu and
M adel on’’ (‘‘When Madelon’’). C amille Ro be rt composed
the music and Louis B ou sq ue t wrote the lyrics.
PLAY ALONG
Instrumental music also raised soldiers’ spirits.
 Soldiers found instruments in wrecked villages
 Some troops brought instruments like harmonicas

and violins
Makeshift orchestras played repertory by famous
composers
FILL IN THE BLANK
1. Writer _______ compiled King Albert’s Book.
2. Stravinsky contributed ___________ to Le livre des
sans-foyer.
3. Ravel’s “Toccata” commemorates _________.
4. ____________ sings “It’s a Long, Long Way to
Tipperary” on the CD.
5. ____________ features four voices singing without
instrumental accompaniment.
6. John Jacob Niles served in the _______________.
ANSWERS
1. Hall Caine
2. Souvenir d’une marche boche
3. Joseph de Marliave
4. John McCormack
5. Barbershop singing
6. American Expeditionary Force
MUSIC CRAM KIT | 42
MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’
‘‘I Didn’t Raise My Boy to Be a Soldier’’ and Recruitment Songs
THE BASIC BREAKDOWN
When the war began, composers wrote pieces
encouraging men to enlist. American entry into the war
inspired a new wave of recruitment songs.
M a j o r Wo r k
‘‘I Didn’t Raise My Boy to Be a
Soldier’’
C o m po s e r
Alfred Bryan & Al Piantadosi
Ge n re
Pacifist popular song
In s t ru me nt at i o n
Piccolo, barbershop quartet
(Peerless Quartet)
Ye ar
1915
PARENTAL GUIDANCE SUGGESTED
 The song was subtitled ‘‘A Mother’s Plea for Peace,
respectfully dedicated to every Mother --everywhere’’
 The song became a rallying cry for pacifist parents
MUSICAL FEATURES
Allusion
Style
•First phrase sounds like an older Irish tune,
Th e M o r e en"
"T
•Unlike that song, this melody uses versechorus form
Mar z ial e" (march-like) tempo
•"M
•Upbeat, energetic popular tune
•Refrain ends with forceful rallying cry
Your King a nd
"Y
Your Count ry
Wa nt You" by Paul
A. Rubens
premiered this year
British recruitment
rallies regularly
used this song
France played two songs from the French Revolution to
rally its citizens.
"Chant du départ"
•Parisian crowds sang it
the night before the
French army mobilized
Song
‘‘I’ll Do Without Meat and
I’ll Do Without Wheat But
I Can’t Do Without Love’’
The sinking of the Lu s itania in 1917 decreased the
popularity of pacifist tunes. That year, the United
States entered WWI. The V ict o r Talki ng M a chin e
C om pany withdrew ‘‘I Didn’t Raise My Boy to Be a
Soldier’’ shortly after.
"La Marseillaise"
•The French national
anthem
NOT-SO-SUBLIMINAL MESSAGING
•Barbershop harmonies reinforce the lively
sound
I RETRACT MY STATEMENT
What Kind of
"W
A m e r i c a n A re
You?"
"For Your Country
and My Country"
(Irving Berlin)
"Let's All Be
Americans Now"
(Irving Berlin)
PATRIOTISM
‘‘Keep Cool! The
Country’s Saving Fuel’’
Quartet
1917
YOUR COUNTRY WANTS YOU
1914
TRACK 12: ‘‘I DIDN’T RAISE… A SOLDIER’’
‘‘The Makin’s of the
U.S.A’’
M e ss ag e
Subtitled ‘‘And I had to
Come Home in the Dark’’
Urged Americans to walk
instead of drive
Premiered in 1918
Promoted ‘‘belttightening’’
Advertised a campaign to
send cigarettes to soldiers
abroad
MUSIC CRAM KIT | 43
MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’
Morale-Boosting Songs and ‘‘Over There’’
A MUSICAL PEP SQUAD
Ernst
Lissauer
John Philip
Sousa
TRACK 13: ‘‘OVER THERE’’
•German private
H as s ge s a ng ge ge n
•Composed "H
England" (Hymn of Hate against
England)
THE BASIC BREAKDOWN
M a j o r Wo r k
C o m po s e r
•Wrote "Sabre and Spears" and "Solid
Men to the Front"
•Reimagined "Over Hill, Over Dale" as
the U. S. Field Artille ry March
TAKING LEAVE FROM REALITY
Different armies entertained soldiers with theatrical
performances.
RUSSIA
 Allowed theatrical entertainments called estradas
 Began in public theaters, then moved to hospitals and
areas close to the front lines
Ge n re
In s t ru me nt at i o n
Ye ar
‘‘Over There’’
George M. Cohan
Popular Song
Singer --- Nora Bayes
1917
HISTORICAL CONTEXT
The
declaration
inspired
Cohan to
write "Over
There"
The United
States
entered the
war on April
6, 1917
Many
listeners
considered it
the ultimate
patriotic
song
GERMANY
GIVING BACK
Germany used stage musicals to justify its actions during
the war.
Cohan donated the royalties from ‘‘Over There’’ to
war charities. In 1936, he received a Co ngress io nal
Go ld M edal for his contributions.
Some claimed that Belgium's
Flemish people were Germanic
MUSICAL ELEMENTS
The Germans rationalized that
these people deserved
independence from Belgium
The shows depicted romances
between Flemish girls and
German soldiers
FRANCE
The French army imposed strict standards on performers.
1. A troupe could have no more than six performers
2. Tours could only last two to three days
3. Performances could only occur in encampments
behind the line of fire
Cohan called the piece a dramatization of a bugle call. He
opened the chorus with a second-inversion triad:
D (third)
F (fifth)
Bb (root)
Most of Cohan’s melodies used the same four major and
minor chords. However, he made up for this lack of skill
with a keen sense for audience preferences.
 He used the standard verse-chorus form of catchy



popular tunes
He incorporated patriotic references
His phrases were short and repetitive
He set the piece to a quick duple meter
YOUR MILEAGE MAY VARY
Foreign listeners did not react as favorably as
Americans. They disliked the blatant patriotism.
MUSIC CRAM KIT | 44
MUSICAL RESPONSE TO ‘‘THE GREAT WAR’’
Groundbreaking Music and ‘‘On Patrol in No Man’s Land’’
SOLDIERS OF COLOR
TRACK 14: ‘‘ON PATROL IN NO MAN’S LAND’’
Non-white American soldiers faced prejudice.
Soldiers of color had participated in the
U.S. army since the Revolution
THE BASIC BREAKDOWN
M a j o r Wo r k
‘‘On Patrol in No Man’s Land’’
C o m po s e r
The 1 0th C ava lry consisted of AfricanB uf fa l o S ol dier s” during
American “B
the Spanish-American War
Ge n re
In s t ru me nt at i o n
Ye ar
Despite this history, prejudice
persisted even during the Great War
James Reese Europe, Noble
Sissle, & Eubie Blake
Popular song
Singer --- Noble Sissle
1918
EUROPE, THE AMERICAN
CASE IN POINT
C olonel L ina rd of the American Expeditionary Force
exemplified this discrimination.
 Linard sent a letter to the French military
 He titled it Secr et Information Con cerning Black
A m e ri ca n T roo ps
Early Life
Adult
Musical
Career
•Conducted a New York orchestra
•Founded the Cl ef C lub, a union of
African-American musicians
•Directed the first black orchestra to
perform at Carnegie Hall
Military
Career
•Enlisted as a private in the all-black
15 th In fa n t r y Re g i m e n t
•Later transferred to the 36 9th
In fan t ry Re g im e nt "He llf ig h t e rs "
•Created the army's finest band
•The first African-American officer to
lead troops into combat during WWI
•Injured in a 1918 gas attack, inspiring
"On Patrol in No Man's Land"
 The letter contained instructions for the treatment of

black soldiers (e.g. segregation)
The more open-minded French soldiers largely
ignored Linard’s warnings
SMALL STEPS
They may seem condescending and stereotypical to us
now, some Tin Pan Alley songs highlighted the patriotism
of minority soldiers.
"The Ragtime
Volunteers Are Off
to War"
"When the Lord
Makes a Record of a
Hero's Deeds, He
Draws No Color Line"
"They'll be Mighty
Proud in Dixie of
Their Old Black
Joe"
"You'll Find Old
Dixieland in
France"
"Indianola"
•Studied piano and violin with John
Philip Sousa's Marine Band
THE SONG
Tin Pan Alley
influence
Introduction and vamp
Repeated refrain
Contemporary sayings
Unusual
elements
Instruments and voices imitate
explosions and guns
Realistic sounds of an attack
during repetition of refrain
MUSIC CRAM KIT | 45
CRUNCH KIT
Music in Four Pages (1)
BASICS OF SOUND AND MUSIC
 Music is broadly defined as ‘‘sound organized in time’’
 A sound wave’s frequency determines its pitch; its
amplitude determines decibel level (relative loudness)
 Ethnomusicologists study the music of foreign cultures
and/or compare music of multiple cultures
 Sachs and Hornbostel identified four classifications of
instruments:
 Chordophones (vibrating strings) membranophones
(vibrating membranes), aerophones (vibrating columns of
air), and idiophones (vibrating body)
 String, brass, woodwind, percussion, and keyboard
‘‘families’’ also group Western instruments
PITCH
 Pitch refers to a sound’s relative highness or lowness
 Overtones of higher frequency ‘‘color’’ the fundamental
pitch to produce timbre
 Equal temperament tuning divides the octave into 12 equal
parts separated by half steps
SCALES
 An interval describes the distance between any two
pitches; the half step is the smallest interval
 A scale contains an arrangement of pitches a set pattern of
whole and half steps, beginning on a tonic pitch
 The fifth scale degree, the dominant, serves as an alternate
organizational center
 The leading tone lies a half step below the tonic and
resolves, or ‘‘leads,’’ to the tonic
 Western ears are most familiar with the major scale
 Three varieties of the minor scale exist: natural, harmonic,
and melodic
 Relative major and minor scales include the same pitches
but begin on different tonics
 Parallel major and minor scales begin on the same tonic
but contain different pitches
MELODY AND RANGE
 A melody consists of a sequence of individual pitches
perceived as a coherent whole by the listener
 A melody’s contour describes its shape or profile; it may be
conjunct or disjunct
 Range describes the highest and lowest possible notes on
an instrument (including the human voice)
 Registers describe different parts of range (high, low)
 A piece with high tessitura requires more high pitches
RHYTHM AND METER
 Rhythm refers to an audible set of varying durations
 A steady pulse used in most music constitutes a beat
RHYTHM AND METER (CONTINUED)
 Tempo indicates the rate of the beat
 Composers group beats into measures (bars) of strong
and weak beats
 The meter dictates the pattern of beat emphasis in the
piece; it may be simple or compound
 The time signature indicates the meter of each measure
 Mixed meter features a series of different meters
 Irregular meter alternates two different meters in an
erratic pattern
 Polymeter features two or more meters simultaneously
 The simultaneous presence of two different rhythmic
patterns creates polyrhythm and cross-rhythm
HARMONY
 Two or more pitches sounding at once produce harmony
 Common-practice tonality governs the harmonies in nearly
all Western music
 Three or more notes sounding at once create a chord
 A triad contains exactly three notes in two intervals of a
third each
 Four qualities of triad exist: major, minor, augmented, and
diminished
 A key determines the pitch relationships within a piece; it
centers on the tonic pitch of a scale
 Pitches in the key are diatonic; pitches outside the key are
called chromatic
 A key signature indicates the pitches consistently raised or
flattened in a piece
 The circle of fifths depicts the relationship between keys
HARMONIC PROGRESSION
 Dissonance produces tension and instability; consonance
sounds stable and restful
 A chord progression consists of a series of triads, each
leading to the next
 The most common chord progression is predominantdominant-tonic
 Composers often modulate (change) keys
BEYOND COMMON PRACTICE
 In the early 20th century, Arnold Schoenberg created
atonal music, which lacked a central tonic pitch
 He also made the 12-tone method
MORE ELEMENTS OF MUSICAL SOUND
 Texture refers to the interaction of musical layers
 The four basic textures include monophony, heterophony,
homophony, and polyphony
 Dynamics indicate relative loudness and softness
 Articulation refers to the mechanics of beginning,
sustaining, and releasing a note
MUSIC CRAM KIT | 46
CRUNCH KIT
Music in Four Pages (2)
MUSICAL FORM
 Form refers to the overall organization of a musical piece
 The smallest recurring musical idea is a motive; it is the
most basic unit of form
 A phrase consists of a unified musical thought
 Musical resting points are called cadences; they end many
musical phrases, themes, and pieces
 Themes include complete melodies
 Variation forms change the theme; however, it must
remain recognizable
 Changing-background variations form alters the
accompaniment while keeping the melody constant
 Ternary form includes three parts
 Fugue uses imitation to develop a single fugue subject
 First movements often feature sonata form
 Long classical compositions often include several
movements; the sonata cycle is most common
MUSICAL STYLE PERIODS (ERAS)
 Scholars divide music history into six broad style periods
 Composers of the same era write music with similar
characteristics
 During the first musical era, the Middle Ages (c. 8001400), the first attempts at music notation occurred
 The Renaissance period succeeded the Middle Ages
 The next eras were the Baroque, Classical, and Romantic
eras, respectively
 The sixth style period, called the Modern era, began in the
early 1900s and continues today
 A canon refers to a body of works with enduring popularity
 A canon of art music developed in the early 20th century
NEW TECHNOLOGICAL INNOVATIONS
 Advances in radio technology dramatically transformed
20th-century culture
 After the Titanic sank, the Radio Act of 1912 established
federal regulations for the use of radio
 Thomas Edison’s phonograph and Columbia’s
gramophone revolutionized audio recording
 Many WWI soldiers brought portable gramophones with
them to the front lines
 Ethnomusicologists used the new audio recording
technology to collect folk and ethnic music
 Innovators also worked to synchronize film and sound
technology using sound-on-disk and sound-on-film
techniques
 Lee De Forest used a vacuum tube to achieve audio
synchronization with film, allowing the first ‘‘talkies’’
IMPRESSIONISM
 Impressionism emerged as a style of painting in 19th
century France
 Claude Monet sparked the trend with Impression: Sunrise
 The movement emphasized light and color over form,
resulting in indefinite images
 French composers imitated the style by deemphasizing
rhythm and form in favor of timbre
 The Symbolist movement in French poetry also influenced
musical Impressionism
TRACK 1: PRÉLUDES, ‘‘VOILES’’
 Romantic composer Frédéric Chopin reinvented the
prelude as a stand-alone character piece
 A character piece musically depicts a visual image
 Debussy wrote two volumes of Préludes as a tribute to
Chopin, each containing 12 works for solo piano
 ‘‘Voiles’’ follows ABA ternary form, but the boundaries of
each section are unclear
 The A section uses a whole-tone scale, while the B section
uses a pentatonic scale
EXPRESSIONISM
 Expressionism evokes unease and other strong emotions
 Expressionist art features warped, exaggerated figures and
non-naturalistic colors
 Composers of this style aimed to create an unsettling
effect with dissonance and erratic rhythms
 Arnold Schoenberg pioneered the movement with his
composition Erwartung
 The Second Viennese School also dabbled in the style
TRACK 2: PIERROT LUNAIRE, ‘‘NACHT’’
 Pierrot is a stock character from commedia dell’arte
 Symbolist poetry inspired the song cycle
 Cabaret singer Albertine Zehme commissioned the piece
 Schoenberg specifies unconventional instrumentation: five
players and eight instruments, plus a reciter
 ‘‘Nacht’’ is a passacaglia, a form that features a repeating
basso ostinato motif
 The reciter and instruments employ various techniques to
create a dark, frightening atmosphere
PRIMITIVISM
 Primitivism focuses on the contrast between humans and
nature, emphasizing ancestral images
 Primitivist art draws inspiration from traditional art of
Africa and the Pacific Islands
 Primitivist music emphasized primal sounds like
percussive rhythms
 Musical Primitivists avoided elements of cultured concert
music, including common-practice tonality
MUSIC CRAM KIT | 47
CRUNCH KIT
Music in Four Pages (3)
TRACK 3: RITE OF SPRING
 Before Rite of Spring, Stravinsky successfully debuted two
other ballets in Paris: The Firebird and Petrushka
 Rite of Spring focuses on an ancient Russian pagan ritual
 Vaclav Nijinsky’s choreography instructed the dancers to
appear awkward and inelegant, a Primitivist approach
 The Introduction includes a folk melody
 Stravinsky avoids common-practice harmonies using an
octatonic scale and a polychord
 Stravinsky uses strong percussion to imitate ritual drums
 Though initially unsuccessful, Rite of Spring eventually
achieved great acclaim
NATIONALISM
 Nationalism allowed musicians to express patriotism and
defiance of invaders
 Two nationalist French organizations emerged: the Société
Nationale de Musique and Les Six
 English nationalists focused on their nation’s heritage and
landscape
 Spanish nationalism arose with French encouragement
 Charles Ives was one of the first great American classical
composers
 Many nationalists incorporated folk material in their works
TRACK 4: ROMANIAN CHRISTMAS CAROLS
 Béla Bartók wrote this collection of 20 teaching pieces for
solo piano in 1915
 It is a nationalistic Hungarian work containing folk tunes
from the Transylvanian region of Romania
 Bartók created original settings to highlight each carol
 The carols are modal and rhythmically flexible, reflecting
ethnic influence
ATONALITY
 Atonality resembles the artistic style Cubism, which tried
to show multiple views of an object at once
 Atonal music does not center on a tonic note
 Arnold Schoenberg heavily guided this movement
 He championed ‘‘Emancipation of the Dissonance’’
TRACK 5: BAGATELLE NO. 5
 A bagatelle is a short character piece
 Anton Webern, one of Schoenberg’s protégés, composed
this piece
 The piece demonstrates atonality and introduces the
aggregate (the set of all pitches in the octave)
 This Klangfarbenmelodie (‘‘tone-color melody’’)
emphasizes timbre more than the rise and fall of a melody
MUSICAL TRADITIONS FROM THE 19TH CENTURY
 Technological progress helped spread folk music,
originally a rural tradition, to urban audiences
 Spin-offs of the traditional opera included the operetta
 Minstrel shows featured actors in black-face make-up who
exaggerated African-American mannerisms on stage
 Music hall tunes were popular with British soldiers
 A vaudeville show involved a series of diverse acts (turns)
accompanied by stock music indicated by a cue sheet
 Military and community bands often played marches
 Gospel hymns were religious hymns that adopted features
of popular music
 In the early 20th century, many nations adopted anthems
RAGTIME
 Ragtime featured ‘‘ragged’’ syncopated rhythms over a
steady ‘‘oom-pah’’ rhythm
 The style mostly applied to piano pieces called rags
 Scott Joplin was called the ‘‘King of Ragtime’’
 Ragtime inspired swing rhythms, which lengthened the
first note in a pair to create a sing-song effect
 Stride piano resulted when pianists added swing to
ragtime pieces
 Ragtime also inspired European classical composers
TRACK 6: ‘‘MAPLE LEAF RAG’’
 The listening track features a piano roll recording of Scott
Joplin performing his composition
 The score indicates Tempo di Marcia (‘‘march tempo’’)
 The multi-thematic form pays tribute to marches
BLUES
 The blues emerged as a form of catharsis that purged the
performer of negative emotions
 The 12-bar blues form is commonly used
 The ‘‘blues scale’’ features blue notes that reflect African
tribal influence
 Country blues are more improvised than the urbanized
classic blues
TRACK 7: ‘‘ST. LOUIS BLUES’’
 W.C. Handy combined elements of classic blues with
characteristics of ragtime in this piece
 He used multi-thematic form and 12-bar blues structure
 The recording features Bessie Smith (singer), Louis
Armstrong (cornet) and Fred Longshaw (reed-pipe organ)
JAZZ
 The earliest form of jazz, New Orleans Jazz, began in the
red-light district ‘‘Storyville’’

‘‘Dixieland’’ refers to the music of white jazz musicians
 Chicago Jazz was more sophisticated and planned than
New Orleans Jazz
MUSIC CRAM KIT | 48
CRUNCH KIT
Music in Four Pages (4)
TRACK 8: ‘‘DIPPERMOUTH BLUES’’
 The title refers to Louis Armstrong’s mouth
 The song combines New Orleans and Chicago styles
 Like Chicago Jazz, the piece uses extended solos and
shows evidence of advanced planning
 The song also uses a standard New Orleans combo
NEW THEATRICAL TRENDS
 Musical comedies featured believable characters who
delivered clever lines
 George Cohan popularized the genre in the United States
 Will Marion Cook’s In Dahomey was a major breakthrough
for African-American playwrights and actors
TRACK 9: ‘‘I WANTS TO BE (A ACTOR LADY)’’
 Harry Tilzer and Vincent Bryan wrote this interpolation for
In Dahomey after it began its Broadway run
 Aida Overton Walker played the role of Rosetta Lightfoot
 The lyrics feature many contemporary references
 Like many popular songs, ‘‘I Wants to Be’’ follows versechorus form with an introduction and a vamp
TIN PAN ALLEY AND ASCAP
 ‘‘Tin Pan Alley’’ refers to a New York City street that
housed the major American music publishers
 The term then became associated with the catchy popular
tunes published in the area
 The American Society of Composers, Authors, and
Publishers (ASCAP) aimed to collect fees for public
performances of music
TRACK 10: ‘‘TAKE ME OUT TO THE BALL GAME’’
 Jack Norworth wrote the lyrics and Albert von Tilzer the
music
 This song became popular in nickelodeons (small movie
theaters) due to an eye-catching ‘‘song play’’
 Ed Meeker performs the version included on the CD
FILM MUSIC
 Initially, vaudeville accompanists played stock music to
accompany film showings
 Over time, custom film scores developed --- first for solo
piano and then for orchestra
MUSICAL RESPONSE TO WWI
 Many composers and musicians eagerly enlisted or
otherwise served in the war effort
 Some musicians rejected all ‘‘foreign’’ music, while others
believed music could transcend national boundaries
 ‘‘Hyphen-Americans’’ faced xenophobia during the war
 Several composers contributed to charity books
 Others wrote memorial works to commemorate the dead
POPULAR MUSIC DURING WWI
 Popular songs built soldiers’ morale and evoked nostalgia
 Many soldiers liked songs that lamented the distance
between home and the war front
 Both sides used music to grieve the dead
 Humorous songs like ‘‘Quand Madelon’’ helped soldiers
face the prospect of war
TRACK 11: ‘‘IT’S A LONG, LONG WAY TO TIPPERARY’’
 Jack Judge and Harry Williams wrote the song in 1912
 An Irish regiment popularized the song while marching
through France
 The British army adopted the song as a marching anthem
 John McCormack performs the version on the CD
 Back-up singers use barbershop harmonies
 The duple-meter piece follows verse-chorus form
TRACK 12: ‘‘I DIDN’T RAISE MY BOY TO BE A SOLDIER’’
 Pacifist songs urged the American government to remain
neutral in the conflict
 Alfred Bryan wrote the lyrics and Al Piantadosi the music
 The recording features the Peerless Quartet
 This song became a rallying cry for pacifist parents
 It was withdrawn in 1917 when the United States entered
the war
PATRIOTIC SONGS
 Composers wrote pieces to encourage men to enlist
 Songs encouraged civilians on the home front to conserve
resources during shortages
 Armies provided soldiers with musical entertainments to
raise morale
TRACK 13: ‘‘OVER THERE’’
 The American declaration of war on Germany led George
M. Cohan to write ‘‘Over There’’
 Cohan appealed to the expectations of American listeners
 He used patriotic references and catchy rhythms
 Nora Bayes sings the version featured on the USAD CD
TRACK 14: ‘‘ON PATROL IN NO MAN’S LAND’’
 James Reese Europe wrote this song after being injured by
a gas attack in 1918
 The song follows the conventions of a Tin Pan Alley song
 Noble Sissle sings the solo verses in the featured version
 The song uses real military terms and even features
sounds of a realistic attack during the refrain’s repetition
 Instruments and voices mimic the sounds of gunfire,
explosions, and mortar attacks
 The bright tempo emphasizes that life goes on despite the
horrors of war
MUSIC CRAM KIT | 49
CRUNCH KIT
List of Lists
12 HIGH PRIORITY COMPOSERS
Bartók, Béla
Cohan, George
M.
Debussy, Claude
Europe, James
Reese
Handy, William
Christopher
Joplin, Scott
Judge, Jack
Oliver, Joe ‘‘King’’
Schoenberg,
Arnold
Stravinsky, Igor
von Tilzer, Albert
Webern, Anton
Hungarian composer and
ethnomusicologist who used folk tunes as
inspiration for his compositions; wrote
‘‘Romanian Christmas Carols’’
Composer of ‘‘Over There’’; popularized the
musical comedy
French composer who spearheaded
Impressionism; wrote ‘‘Voiles’’
Founder of the Clef Club and composer of
‘‘On Patrol in No Man’s Land’’
Self-declared ‘‘Father of the Blues’’ who
wrote ‘‘St. Louis Blues’’
American composer known for ‘‘The Maple
Leaf Rag’’; nicknamed ‘‘the King of Ragtime’’
Composer of ‘‘It’s a Long, Long Way to
Tipperary’’
Composer of ‘‘Dippermouth Blues’’
German composer who pioneered musical
Expressionism and wrote Pierrot lunaire
Russian composer of The Rite of Spring
Composer of ‘‘Take Me Out to the Ball
Game’’
Composer of the atonal work Six Bagatelles
10 MEDIUM PRIORITY COMPOSERS
Berlin, Irving
Bryan, Alfred
Cook, Will
Marion
Ives, Charles
Matthews,
Charles
Norworth, Jack
Piantadosi, Al
Sousa, John
Philip
Turpin, Tom
von Tilzer, Harry
Prolific Tin Pan Alley composer who wrote
‘‘Stay Down Here Where You Belong’’
Lyricist of ‘‘I Didn’t Raise My Boy to Be a
Soldier’’
Composer of In Dahomey
The first great American composer
English actor who inspired ‘‘Ethiopian
delineators’’ and minstrel shows
Lyricist of ‘‘Take Me Out to the Ball Game’’
and ‘‘Shine On, Harvest Moon’’
Composer of ‘‘I Didn’t Raise My Boy to Be a
Soldier’’
American bandleader who conducted the
U.S. Marine Band; nicknamed ‘‘The March
King’’
The first black ragtime composer; wrote
‘‘Harlem Rag’’
Composer of ‘‘I Wants to Be (A Actor
Lady)’’
for String Quartet
10 LOW PRIORITY COMPOSERS
Butterworth,
George
Chopin, Fréderic
Edwardes,
George
Foster, Stephen
Gershwin,
George
Herbert, Victor
Johnson, James
P.
Puccini, Giacomo
Smyth, Dame
Ethel
Williams, Harry
English composer and folk song collector
who received the Military Cross in WWI
Romantic composer who reinvented the
prelude as a stand-alone character piece
English composer who pioneered the
musical comedy genre
Most prominent American composer for
minstrel shows
Composer of Rhapsody in Blue who began
his career as a Tin Pan Alley song-plugger
Composer of Babes in Toyland; vocal
supporter of composers’ legal rights
‘‘Father of Stride Piano’’ and composer of
‘‘The Charleston’’
Italian composer who wrote the opera
Madama Butterfly
Composer of Songs of Sunrise, the finale of
which became an anthem for English
suffragettes
With Jack Judge, composer of ‘‘It’s a Long,
Long Way to Tipperary’’
7 HIGH PRIORITY CLASSICAL PIECES
‘‘Nacht’’
The eight song in Schoenberg’s song cycle
Pierrot lunaire
‘‘Voiles’’
Bagatelle No. 5
Pierrot lunaire
Préludes
Romanian
Christmas Carols
The Rite of
Spring
The second song in the first volume of
Debussy’s Préludes
Atonal miniature by Anton Webern
Song cycle written by Arnold Schoenberg,
commissioned by Albertine Zehme
Collection of 12 pieces for solo piano by
Claude Debussy
Collecction of 20 Transylvanian folk
melodies compiled by Béla Bartók in 1915
Stravinsky’s third ballet for the Ballets
Russes, a Primitivist work
MUSIC CRAM KIT | 50
CRUNCH KIT
List of Lists
7 MEDIUM PRIORITY CLASSICAL PIECES
En blanc et noir
Erwartung
Finlandia
La Marseillaise
Madama
Butterfly
Symphony of
Negro Music
The Spirit of
England
1915 piece for two pianos by Debussy; each
movement includes an epigraph
1909 Expressionist work by Arnold
Schoenberg
Patriotic composition by Jean Sibelius;
became an unofficial national anthem
The French national anthem
1904 opera by Puccini
Symphony performed by James Reese
Europe and the Clef Club orchestra at
Carnegie Hall in 1912
1917 work by Edward Elgar for soprano and
orchestra
9 HIGH PRIORITY POPULAR SONGS
‘‘Dippermouth
Blues’’
‘‘I Didn’t Raise
My Boy to Be a
Soldier’’
‘‘I Wants to Be
(A Actor Lady)’’
Song that combines elements of New
Orleans Jazz and Chicago Jazz; performed
by Joe ‘‘King’’ Oliver and the Creole Jazz
Band
Pacifist song created by Alfred Bryan and
composer Al Piantadosi in 1915
Interpolation for the character Rosetta
Lightfoot in the musical comedy In
Dahomey
‘‘It’s a Long, Long
Way to
Tipperary’’
Music hall tune by Jack Judge popularized
by an Irish regiment during WWI
‘‘Maple Leaf Rag’’
Piano piece composed by Scott Joplin in
1899
Popular song by James Reese Europe
inspired by a 1918 gas attack
Popular song composed by George M.
Cohan in 1917
Piece by W.C. Handy; performed by Bessie
Smith, Louis Armstrong, and Fred
Longshaw
The third most popular song in the United
States, composed by Albert von Tilzer with
lyrics by Jack Norworth
7 LOW PRIORITY CLASSICAL PIECES
‘‘The March of
the Women’’
Allegro barbaro
Goyescas
Hassgesang
gegen England
Le Tombeau de
Couperin
The Tides of
Manaunaun
Three Pieces in
the Form of a
Pear
Finale of Ethel Smyth’s Songs of Sunrise;
anthem for British suffragettes
1911 Primitivist composition by Béla Bartók
1911 piano suite by Enrique Granados in
honor of Francisco Goya
‘‘Hymn of Hate against England’’ written by
German Private Ernst Lissauer
1917 piece by Ravel; ‘‘Toccata’’ is dedicated
to Captain Joseph de Marliave
Piano piece by Henry Cowell infamous for
its use of tone clusters
Composition by Erik Satie in response to
criticism by Claude Debussy
9 MEDIUM PRIORITY POPULAR SONGS
‘‘Harlem Rag’’
‘‘Quand
Madelon’’
1897 rag published by Tom Turpin
Humorous French song by Camille Robert
and Louis Bousquet
‘‘Rosebud
March’’
‘‘Shine On,
Harvest Moon’’
‘‘Stay Down Here
Where You
Belong’’
‘‘The Perfect
Song’’
1905 piece by Scott Joplin dedicated to
Tom Turpin
Hit song written and premiered by Nora
Bayes and Jack Norworth
1914 pacifist song written by Irving Berlin
The first hit song that originated from a
film; written by Joseph Carl Breil for The
Birth of a Nation
‘‘On Patrol in No
Man’s Land’’
‘‘Over There’’
‘‘St. Louis Blues’’
‘‘Take Me Out to
the Ball Game’’
‘‘What Kind of
American Are
You?’’
‘‘Your King and
Your Country
Want You’’
U.S. Field
Artillery March
Aggressive WWI-era song used in the
United States to recruit soldiers
Tune written by Paul A. Rubens to recruit
British soldiers
March adapted from ‘‘Over Hill, Over Dale’’
by John Philip Sousa
MUSIC CRAM KIT | 51
CRUNCH KIT
List of Lists
ESSENTIAL PITCH AND SCALES
Chromatic
Diatonic
Equal
temperament
Fundamental
pitch
Half step
Interval
Key
Melody
Overtones
Pitch
Scale
Tritone
Using pitches outside the key of a piece
‘‘Within the key’’; using pitches in the key
System of tuning that divides the octave
into twelve equal parts
The lowest, strongest and loudest
frequency creating a pitch
The unit of measure for any interval; also
called a semitone
The distance between any two pitches
Determines the pitch relationships in a
piece
A sequence of individual pitches
interpreted as a coherent whole
Higher pitches that ‘‘color’’ the fundamental
pitch to create timbre
Relative highness or lowness of a sound;
determined by the sound wave’s frequency
An arrangement of pitches arranged in a
set pattern of intervals
An extremely dissonant interval consisting
of three whole steps
VITAL ASPECTS OF HARMONY AND RHYTHM
Beat
A steady underlying pulse; it can be audible
or inaudible
Chord
Commonpractice tonality
Compound
meter
Consonance
Three or more pitches sounding at once
An organizational system for harmony that
governs nearly all Western music
A meter in which the beat is subdivided
into three parts
The quality of a pitch, interval, or chord
that creates a sense of resolution or rest
The quality of a pitch, interval, or chord
that creates a sense of tension or instability
A sequence of chords or intervals that
moves from dissonance to consonance
Occurs whenever two or more pitches
sound at the same time
A group of beats in a piece; also called bars
A series of audible, varying durations
A meter in which each beat is divided in
half
Accented notes on weak beats or between
beats
The speed of the beat
A chord consisting of three notes spaced in
two intervals of a third each
Dissonance
Harmonic
progression
Harmony
Measures
Rhythm
Simple meter
Syncopation
Tempo
Triad
TYPES AND ELEMENTS OF FORM
12-bar blues
32-bar form
Cadence
Form
Fugue
Motive
Movement
Phrase
Sonata form
Ternary form
Theme
A variation form consisting of a 12-measure
chord progression
A form that adheres to AABA format, with
each section consisting of two four-bar
phrases
A resting point in a musical piece
Describes the organization of music on a
larger scale
Musical device that develops a theme using
counterpoint and imitation
The smallest distinguishable recurring
musical idea within a piece
One of several shorter pieces that make up
a longer musical work
A coherent musical thought; often appear
in related pairs
A three-part form; often used in the first
movement of multi-movement works
A form consisting of three parts; also called
ABA form
A group of phrases that form a complete
melody
OTHER IMPORTANT MUSICAL DEFINITIONS
Music
Articulation
Dynamics
Frequency
Instrumentation
Ornamentation
Range
Register
Timbre
Sound organized in time
The mechanics of beginning and ending a
sound
The loudness and softness of sound; varied
for expressive purposes
Aspect of a sound wave that determines its
pitch
The instrument or combination of
instruments featured in a given piece
Local embellishments added to a piece;
usually not written down
The pitches an instrument (including the
human voice) can produce
A portion of an instrument’s range;
typically divided into high, middle and low
An instrument’s distinct sound as
distinguished from other instruments
MUSIC CRAM KIT | 52
FINAL TIPS AND ABOUT THE AUTHOR
FINAL TIPS
 Make sure you recognize all 14 listening selections





and know the basic facts (title, composer, genre,
instrumentation) about them
Focus on the big ideas, especially those in Sections II
and III
Do not get hung up on the nitty-gritty details of
music theory; the questions will most likely
encompass more ‘‘big picture’’ ideas
Understand the characteristics and contributions of
major historical eras and artistic movements
Expect at least a few questions comparing and
contrasting pieces and composers; study the
relationships
When you reach competition, take a deep breath --and just do your best! 
ABOUT THE AUTHOR
Nico le Chu competed as an
Honor student with C inco
R an ch High S choo l at the
Texas State Competition in
2012. She placed 2nd overall
with a score of 9,190.6; her
team placed 5th. Given the boot
(and a graduation cap) far too
soon, Nicole joined DemiDec to
combat her Decathlon
withdrawal symptoms. She
currently attends the
Unive rs ity o f Texas at Aus tin, where she is majoring in
Business Honors, Plan II Honors, and Management
Information Systems. A self-proclaimed extrovert, Nicole
welcomes the opportunity to meet other Decathletes.
Thus, she humbly offers her email address
([email protected]) in hopes of hearing from you. Yes,
you. Questions, concerns, random musings, and funny
anecdotes are all welcome. Happy studying!