Schoenberg – Three Piano Pieces, Op. 11, No. 1 (1909)- Intro to 12 tone Schoenberg – Five Pieces for Orchestra, III. Farben (1909)- Klangfarbenmelodie Schoenberg – Pierrot Lunaire, No. 8 “Nacht” (1912)- Sprechstimme; Numerology;

Passacaglia; rhythmic diminution; Schoenberg – String Quartet No. 3, Mvts. I and III (1927)- Using a tone row to create

accompaniment chords Webern – Symphony, Op. 21 (both movements) (1928)- Hexachordal

Commonatoriality (tone row made of hexachords with identical pitch class sets Webern – Concerto for Nine Instruments, Mvt. I (1934)- Berg – Violin Concerto (1935)- More lenient use of 12 tone, leads to a more tonal

sound; “Est ist Genung” Messiaen – Four Rhythm Studies: Mode of Durations and Intensities (1950)- TOTAL

serialism (pitches sound in same register, at same dynamic, in same rhythm) Cage – Third Construction (1941)- Numerical permutations, new percussion

instruments Cage – Sonatas and Interludes (1948)- prepared piano Cage – Music of Changes (1951)- I Ching, used to determine pitches Cage – Imaginary Landscape No. 5 (1952)- Tape recorders; indeterminacy Cage – Water Walk (1959)- He did it on TV?? More indeterminacy Varèse – Ionisation (1931)- Percussion Ensemble; futurism; timbre as central formal

element; Varèse – Poème électronique (1958)- Electronic music; specifically written to be

premiered in that specific hall (1958 World Fair) Penderecki – Threnody for the Victims of Hiroshima (1960)- Graphic notation Crumb – Black Angels (1970)- electric string quartet; extended techniques;

numerology Ligeti – Atmospheres (1961)- Sound mass; sonorism- Prevalence of texture and

general sound over individual melody Ligeti – Etude No. 1: Disorder (1985)- unaligned measures; rhythmic disentigration;

GOLDEN SECTION Lutosławski – Five Songs: No. 1, The Sea (1957)- Pitch Fields Lutosławski – Symphony No. 3 (1983)- Pitch Fields Riley – In C (1964)- controlled aleatoric: different cells, moving whenever the

performer wants Reich – Come Out (1966)- process music, overlapping recordings; phasing Reich – Piano Phase (1967)- process music; arranged for lots of different instrument

combos; very hard to perform live; phasing Reich – Clapping Music (1972)- process music; phasing Reich – Music for 18 Musicians (1976)- Move away from process, towards

minimalism. 80 minutes, really long Anderson – O Superman (1981)- Blur of popular and art music; video performance

Adams – The Chairman Dances (1985)- Minimalism Lang – Cheating, Lying, Stealing (1995)- Minimalism Greenstein – Change (2009)- minimalism

Important Terms, concepts, techniques, etc. (Post-serial first, by composer)

John Cage- Numerical permutation, prepared piano, indeterminacy, aleatoric music(chance), I Ching

Varèse- Futurism, electronic music, Philips Pavillion, Texture as primary formal guideline(also w/ cage)

Penderecki- Sonorism, Sound mass, Graphic notation Crumb- Extended techniques, palindromes, numerology, artistic score style Ligeti- Sound mass, micropolyphony, complex rhythmic diminution, “Golden

section” Lutoslawski- Pitch fields, aleatoric music Reich- Phasing, process music, rhythmic permutation Ades- Interval Cycles, Irrational Meter Avant-Garde Minimalism Atonality Chaconne Controlled Aleatoric (Lutoslawski) Expressionism- serialism Integral Serialism

Pre-Serial Atonal analysis (Webern 5 movements for String Quartet)

Give Prime Form and Interval Vector for noted pitch sets; be able to compare sets to each other

Serialism Essay

Is the 2nd Vienese school representative of a BREAK from tradition of the past, or a continuation of it?

Argue either side in 1 or 2 paragraphs, using 4 Works by Schöneberg, Webern, and/or Berg to support.

Webern Symphony- 1st mvt is a canon, sonata form, 2nd mvt is theme and variations

Arguments for breaking tradition- Serialism; atonality; lack of functional harmony; new instrumentations;

Arguments for continuing tradition- desire to conform to formal skeletons

Post-Serialism Score ID and analysis

4 score excerpts, ID Title and Composer Be able to explain techniques or concepts being used, and lump pieces in with

larger cultural movements MAY be asked to ID another piece by the composer of a given excerpt