TABLE OF ANSWERS

• MELODY: IMPRESSIONISM: Debussy - L'Apres Midi d'un Faune


  Opens with chromatic flute, ambiguous key, represents character, loose tempo, shared with other woodwinds, ascending and descending
• MELODY: SERIALISM/EXPRESSIONISM: Webern - Quartet Op.22


  Klangfarben melodie, 12 tone rules, large intervals
• MELODY: SERIALISM/EXPRESSIONISM: Schoenberg - Pierrot Lunaire


  Sprechgesang, no tonal centre, melody matches flow of words and poem structure
• MELODY: NEOCLASSICISM: Stravinsky - Rite of Spring


  Opens with bassoon, high register, Aeolian mode, Lithuanian folk tune, only fragments of melodies/no full melodies anywhere else, only rhythmic ideas
• MELODY: NEOCLASSICISM: Stravinsky - Pulcinella, Sinfonia


  Balanced, regular, diatonic, occasional offbeats, woodwind imitate melody, occasional interrupted phrases
• HARMONY/TONALITY: IMPRESSIONISM: Debussy - Prelude de L'Apres Midi d'un Faune


  extended, parallel chords, octatonic and modes, non-functional harmony, only major chord = E major at end
• HARMONY AND TONALITY: SERIALISM/EXPRESSIONISM: Berg - Wozzeck Opera


  break 12-tone rules, atonality, fleeting moments of tonality, sprechgesang, simplify music in sad scenes
• HARMONY AND TONALITY: NEOCLASSICISM: Prokofiev - Classical Symphony


  tonic-dominant relations but sudden undermining of harmonic expectations, quickly moves from tonic D major to C major in m1, Mannheim techniques
• RHYTHM AND METRE: IMPRESSIONISM: Ravel - String Quartet m2


  alternate 6/8 and 3/4, offbeat accents, steady pulse, A section melody based on rhythmic ideas
• RHYTHM AND METRE: IMPRESSIONISM: Debussy - Sunken Cathedral


  very loose, cross rhythms, changing metre, no sense of pulse
• RHYTHM AND METRE: SERIALSIM/EXPRESSIONISM: Schoenberg - Pierrot Lunaire


  alternating 2/4 and 3/4, vague metre and tempo, led by rhythm of sprechgesang, regular changes of tempo
• RHYTHM AND METRE: NEOCLASSICISM: Stravinsky - Pulcinella, Vivo


  Regular pulse and metre throughout, occasional off-beat accents, well balanced phrases with occasional interruptions
• ORCHESTRATION/INSTRUMENTATION: IMPRESSIONISM: Ravel - La Valse


  full orchestra waltz, bassoon melody, harp and chromatic woodwind ascending and descending, double bass ostinato
• ORCHESTRATION/INSTRUMENTATION: IMPRESSIONISM: Debussy - Prelude de L'Apres Midi d'un Faune


  open chromatic flute solo, harp, horn calls, parallel string chords muted and divided into 8 over double bass pizz.
• ORCHESTRA/INSTRUMENTATION:SERIALISM/EXPRESSIONISM: Schoenberg - Pierrot Lunaire


  lots of instrument doublings (flute, clarinet, violin, cello, piano, bass clarinet), canon, fugue and counterpoint, entire ensemble only play together in 4th, 11th and final 4 settings
• ORCHESTRA/INSTRUMENTATION: NEOCLASSICISM: Stravinksy - Pulcinella, Vivo


  trombone extended technique and double bass feature, first to use full orchestra but only on certain instances. ends with just trombone, cello and basses (very high in bass register)
• SONORITY/TEXTURE: IMPRESSIONISM: Ravel - String Quartet m2


  polyphonic pizzicatto contrasting with expansive, legatto, monophonic lines over rhythmic semiquavers, tremolos over pizzicatto passed between parts, major overall, middle section cello solo, parallel, falling, chromatic chord accompaniments
• SONORITY/TEXTURE: IMPRESSIONISM: Debussy - Sunken Cathedral


  parallel chords, full range, open 5ths/6ths, 8ve melodies, silence, bell-like
• SONORITY/TEXTURE: SERIALISM/EXPRESSIONISM: Webern - Quartet Op.22


  klangfarben melody, sparse, mix of textures and instrumental techniques, range of varied instruments
• SONORITY/TEXTURE: NEOCLASSICISM: Stravinsky - Rite of Spring


  Lack of tonal centre, polyphonic opening, tremolo pedals, moments of unison rhythms, stamping, pizzicato strings
• SONORITY/TEXTURE: NEOCLASSICISM: Prokofiev - Classical Symphony


  string led, monophonic, woodwind melodies, pizz bass with arco quavers, mostly major, staccatto, minimal texture B section, occasional tutti accents
• STRUCTURE: IMPRESSIONISM: Ravel - String Quartet


  overall 4 movements, classical style, movement 2 = ABA ternary
• STRUCTURE: IMPRESSIONISM: Debussy - Prelude de L'Apres Midi d'un Faune

  symphonic poem, orginally planned to be 3 pieces of music but only 1 written, ABA + coda
• STRUCTURE: SERIALISM/EXPRESSIONISM: Schoenberg - Pierrot Lunaire


  3 parts - each 7 poems, each part has a different theme

  each poem 13 lines with 1st line occurring 3 times, musical structure follows words of poem
• STRUCTURE: NEOCLASSICISM: Stravinksy - Pulcinella Suite


  8 excerpts based on Baroque piece: Sinfonia - rounded ABA surprise beginning, Gavotte - ABA 10 bar phrases and variations and overlapping themes, Vivo - rounded ABA, comedic cadences and phrase lengths
• STRUCTURE: NEOCLASSICISM: Prokofiev - Classical Symphony


  4 movements, traditional form, m1 sonata, m3 Gavotte like minuet and trio but in 4/4
• DYNAMICS: SERIALISM/EXPRESSIONISM: Webern - Quartet Op.22


  sudden contrasts, wide range, mostly quiet, accent markings, ff climax at bar 22, pp ending