Title Description rousical |GENRE of musical theater that features songs and dance numbers in styles [drawn from POPULAR MUSIC in the context of a spoken play with a comic lor romantic plot fgtime IMusical style that features SYNCOPATED rhythm against regular, lmarchlike BASS, azz A type of music developed mostly by African Americans in the early part of the twentieth century that combined elements of African, popular, and [European music, and that has evolved into a broad tradition encompassing many styles, st-tonal [General term for muste alter 1900 that does not adhere to TONALITY but instead uses any of the new ways that composers found to organize pitch rom ATONALITY to NEOTONALITY, Javant-garde [Term for music (and art) that is iconoclastic, imeverent, antagonistic, and hihilistic, seeking to overthrow established aesthetics, Jatonality [Terms for music that avoids establishing a central pitch or tonal center (such ls the TONIC in TONAL music. |rwelve-tone method A form of ATONALITY based on the systematic ordering of the twelve notes jof the CHROMATIC scale into a ROW that may be manipulated according to [certain rules. itch class Any one of the twelve NOTES of the CHROMATIC SCALE, including is JENHARMONIC equivalents, in any octave, fet A collection of PITCH-CLASSES that preserves its identity when transposed, inverted, or reordered and used MELODICALLY or HARMONICALLY, {developing variation [Term coined by Amold Schoenberg for the process of deriving new |THEMES, accompaniments, and other ideas throughout a piece through variations of a germinal idea, [chromatic saturation [The appearance of all twelve PITCH-CLASSES within a segment of music Sprechstimme [(German, ‘speaking voice’) A vocal style developed by Amold Schoenberg in lwhich the performer approximates the writen pitches in the gliding tones of speech, while following the notated rhythm, frow. lin TWELVE-TONE MUSIC, an ordering ofall t is used to generate the musical content Ive PITCH-CLASSES that series [CD A ROW. (2) An ordering of specific durations, dynamic eves, or other lnon-pitch elements, used in SERIAL MUSIC. ime lin TWELVE-TONE music based on a particular ROW, the original form of the row, transposed or untransposed, as opposed to the INVERSION, RETROGRADE, or RETROGRADE INVERSION. aversion \() In a MELODY or TWELVE-TONE ROW, reversing the upward oF [downward direction of each INTERVAL while maintaining its size; or the Ihew melody or row form that results. (2) In HARMONY, a distribution of the NOTES in a CHORD so that a note other than the ROOT is the lowest note, |3) In COUNTERPOINT, reversing the relative positon of two melodies, so thatthe one that had been lower is now above the other. retrograde [Backward statement of a previously heard MELODY, passage, or TWELVE- [TONE ROW. retrograde inversion [Upside-down and backward statement of a MELODY or TWELVE-TONE Row. Klangfarbenmelodie |(German, ‘tone-color melody’) Term coined by Amold Schoenberg to deseribe la succession of tone colors that is perceived as analogous to the changing pitches in a MELODY.[Musical style that represents the primitiveor elemental through pulsation rather than METER), static repetition, unprepared and unresolved [orimnitivism IDISSONANCE, dry TIMBRES, and other techniques. [Trend in music from the 1910s to the 1950s in which composers revived, imitated, or evoked the styles, GENRES, and FORMS of pre-ROMANTIC neoclassicism Imusic, especially those of the eighteenth century serial music IMusic that uses the TWELVE-TONE METHOD; used especially Tor music that extends the same general approach to SERIES in parameters other than pitch. fexperimental music A tend in twentieth-century music that focused on the exploration of new Jmusical sounds, techniques, and resources. [curmutative form IFORM used by Charles Ives and others in which the principal THEME larnears in its entirety only at the end of a work, preceded by its DEVELOPMENT. flues [CD Airican-American vocal GENRE that is based on a simple repetitive Jorrmula and characterized by a distinctive style of performance. (2) [TWELVE-BAR BLUES, jwelve-bar blues [Standard formula for the BLUES, with a HARMONIC PROGRESSION in| which the first four-measute PHRASE is on the TONIC, the second phrase begins on the SUBDOMINANT and ends on the tonic, and the third phrase starts on the DOMINANT and returns to the tonic. [New Orleans jazz [Leading style of JAZZ, just after World War I, which centers on group VARIATION of a given tune, either IMPROVISED or in the style of improvisation [tiythm section lin « JAZZ ENSEMBLE, the group of instruments that Keeps the beat and fills inthe background. Jcrorus [(D Group of singers who perform together, usually with several singers on Jeach part. (2) A MOVEMENT or passage for such a group in an ORATORIO,| OPERA, or other multimovement work. (3) The REFRAIN of a POPULAR ISONG. (4) In JAZZ, a statement of the HARMONIC PROGRESSION of the Jopening tune, over which one or more instruments play variants or new musical ideas. [cat singing [Technique in JAZZ in which the performer sings nonsense syllables to an liMPROVISED or composed MELODY, [Type of large JAZZ ENSEMBLE popular between the world wars, eaturing brass, reeds, and RHYTHM SECTIONS, and playing prepared arrangements that included rhythmic unisons and coordinated dialogue between sections and| ois band soloists A sivle of JAZZ originating in the 1930s that was characterized by large swing JENSEMBLEs and hard-driving jazz rhythms, lin JAZZ, « new MELODY composed over a HARMONIC PROGRESSION fcontrafact borrowed from another song. [New Objectivity [coined in the 1920s to describe a Kind of new tealisiy in music, in reaction 10 the emotional intensity of the late ROMANTICS and the EXPRESSIONISM lof Schoenberg and Berg. [socialist realism A doctrine of the Soviet Union, begun in the 1930s, in which all the arts were lequired to use a realistic approach (as opposed to an abstract or symbolic Jone) that portrayed socialism in a positive ight. In music this meant use of simple, accessible language, centered on MELODY, and patriotic subject ater: music [Term coined in the 1950s Tor music that reflected the tastes and styles popular with the teen and young adult market, [country music [also known as[iythm-and-blues African-American siyle of POPULAR MUSIC, originating in the 1940s, that Featured a vocalist or vocal quartet, PIANO or organ, electric guitar, bass, and {irums, and songs built on TWELVE-BAR BLUES or POPULAR SONG formulas Jrock and roll [or rock) A musical siyle that emerged in the United States in the mig-1950s as a blend of black and white traditions of POPULAR MUSIC, primarily IRHYTHM-AND-BLUES, COUNTRY MUSIC, POP MUSIC, and TIN PAN ALLEY, folk music ICD Music of unknown authorship from a particular region or people, passed [down through oral tradition. (2) In the decades after World War IL, a type of IPOPULAR MUSIC that drew on folk traditions, which included both genuine IFOLK SONGS and POPULAR SONGS, [soul [The leading African-American tradition of POPULAR MUSIC in the 1960s that combined elements of RHYTHM-AND-BLUES and gospel singing in songs on love, sex, and other secular subiecs salsa A type of dance music that emerged in the 1960s combining elements of [Cuban dance styles with JAZZ, ROCK, and Puerto Rican music. [bebop bebop (or bop) A style of JAZZ developed in New York in the 1940s that had la diversified RHYTHMIC texture, enriched HARMONIC vocabulary, and an lemphasis on IMPROVISATION with rapid MELODIES and asymmetrical IPHRASES. fre jazz [An experimental JAZZ style introduced in the 1960s by Omette Coleman, lusing IMPROVISATION that disregards the standard FORMS and {conventions of jazz [prepared piano An invention of John Cage in which various objects-such as pennies, bolls, screws, oF pieces of wood, rubber, plastic, or sit bamboo-are inserted between| jhe strings of a PLANO, resulting in complex percussive sounds when the piano is played from the keyboard Jcnance Approach to composing music pioneered by John Cage, in which some of the decisions normally made by the composer are instead determined through random procedures, such as tossing coins. Chance differs from INDETERMINACY but shares with it the result thatthe sounds in the music |do not convey an intention and are therefore to be experienced only as pure sound. indeterminacy [An approach to composition, pioneered by John Cage, in which the composer leaves certain aspects of the music unspecified. Should not be confused with |CHANCE, formance art A type of at that frst came to prominence in the 1960s, based on the idea thal performing a prescribed action in a public place constitutes a work of art otal serialism |The application of the principles of the TWELVE-TONE METHOD to musical parameters other than pitch, including duration, intensities, and [TIMBRES, See SERIAL MUSIC, [synthesizer [Electronic instrument that generates andprocesses a wide variety of sounds. Jconcert band [Large ENSEMBLE of winds, brass, and percussion instruments that performs seated in concert halls, like an ORCHESTRA, wind ensemble [Large ENSEMBLE of winds, bras, and percussion instruments, mostly with Jone player per part, dedicated solely to serious music, rather than to the mix of MARCHES and other fare typically played by BANDS. [sampling A process of creating new COMPOSITIONS by patching together snippets of lnreviously recorded music. rixed media [Trend of the fate twentieth Century that combines two or more of the arts, including music, to create a new kind of PERFORMANCE ART ot musical theater:JOne of the leading musical styles ofthe late twentieth century, in which Imaterials are reduced to a minimum and procedures simplified so that v leoing on in the music is immediately apparent. Often characterized by a constant pulse and many repetitions of simple RHYTHMIC, MELODIC, or at is rinialisn HARMONIC pattern. [Musical style that uses techniques ofMINIMALISM in combination with stminimalism raditional methods, more varied material, and greater expressivity. [Trend in the late twentieth century that blurs the boundaries between high and popular art, and in which styles of all epochs and cultures are equally stmodernism available for creating music. [Term coined by Alfred Schnittke for a combination of newer and older lystylism musical styles created through QUOTATION or stylistic allusion. neo-Romanticism. A trend of the late twentieth century in which composers adopted the Familiar tonal idiom of nineteenth-century ROMANTIC music and incomporated its sounds and gestures