Chapter 49. Mythical Impressions: Program Music at the End of the Nineteenth Century

Which of the following are true of Impressionism?

-it was rebuffed by the academic salons of Paris -it developed in parallel with the Symbolist movement in poetry -it was initially a term denoting scorn of the new style

Match the meter description to the piece it describes.

Avaz of Bayate Esfahan (Iran): rhapsodic, free meter Gota (Ghana): polymetric(multiple simultaneous patterns) Gankino horo (Bulgaria): CA: dancelike, shifting meter

The most important French Impressionist composer was -.

Claude Debussy

Which French painter is credited with starting the Impressionistic movement with his painting Impression: Sunrise?

Monet

which french symbolist poets were highly influenced by Edgar Allan Poe, a poet from the United States?

Paul Verlaine and Stephane Mallarme

Which best describes the character of the opening theme of Debussy's Prelude to "The Afternoon of a Faun"?

chromatic and free rhythm

Which of the following instruments opens the B section with an animated melody, heard in the following excerpt?

clarinet

Match the descriptive words or phrases with the different elements of music as found in Debussy's Prelude to "The Afternoon of a Faun."

expression = evocative and sensual texture = mostly homophonic performing forces = strings, woodwinds, french horns

The following excerpt from Debussy's Prelude to "The Afternoon of a Faun" has a strong sense of pulse.

false

Which instrument plays accompaniment in this excerpt from Prelude to "The Afternoon of a Faun"?

harp

Which of the following is/are characteristic of Impressionist music?

modal scales unresolved dissonances rich orchestral color

Debussy's Prelude to "The Afternoon of a Faun" draws its program from a Symbolist -

poem

Impressionist composers used various non-Western scale patterns in their works. (T/F)

true

Which genre best describes the Prelude to "The Afternoon of a Faun"?

symphonic poem

We can hear the profound changes in musical style between the nineteenth and twentieth centuries using several different genres. Listen to the three examples below and then match the musical trait to the work it describes.

Avaz of Bayate Esfahan (Iran): six-note scale with microtonal inflections Gota (Ghana): tritonic (three-note) scale In a Mountain Path (China): pentatonic (five note) scale

Impressionist composers often made use of a strongly accented meter.

False

Programmatic forms were not used by the Impressionists.

False

These two examples are by composers who heard world and traditional music at the Exhibition and were influenced by these new-to-them sounds. Match the Debussy and Ravel work with the traits that fit each.

Ravel: Boléro Correct label: regular triple meter snare drum evokes Spanish dancer's castanets Debussy: Jeux de vagues, from La mer Correct label: evocative of waves in the sea floating movement with vague meter

Debussy's Prelude to "The Afternoon of a Faun" was later choreographed by the great - dancer Vaslav Nijinksy.

Russian

Match each new instrumental and vocal timbre that was heard at the 1889 Exhibition to the example it best describes.

Story of Red Lantern = nasal operatic voice In a Mountain Path = chordophones, both bowed and struck Tabuh Kenilu Sawik = metallophones Los Jilicates = folklike aerophones

Impressionist composers explored the whole-tone scale.

True

The Paris World Exposition of 1889 provided French composers the opportunity to hear various musical ensembles from around the world.

True

Debussy was influenced by the non-- scales and instruments he encountered at the - World Exhibition of 1889.

Western Paris

The program of Debussy's Prelude to "The Afternoon of a Faun" concerns which?

mythological faun in a dream-like state

What instrument plays the opening of Prelude to "The Afternoon of a Faun", heard in this excerpt?

solo flute