Twentieth Century Music: How it Developed, How to Listen to It

By Marion Bauer | Go to book overview

INDEX

A
Abduction from the Seraglio, 34
Absolute Music, Brahma and, 53
Académie Française de Musique et de Poésie, L', 17
Academy of Ancient Music, The, 29
Achron, Joseph, 285
Acoustics for Musicians, 106
Added second, 141-142
Adesdi Chorus, 242
Aïda, 41
Albeniz, Isaak, 50, 151, 163; Iberia, 73
Albrechtsberger, 32
Alceste, 31
Alfano, 266
Almanach aux Images, L', 156
Alpine Symphony, 97
Also sprach Zarathustra, 91
Altered chords, 122; Scriabin's, 179-180
Amati, 21
America, 175
America, opera in, 254; music organiza­ tions in, 286
American Academy at Rome, fellowship holders, 283, 289
American composers, 74; of 19th century, 76; contemporary, 77; impressionistic, 166; of Jazz, 273; showing Negro influ­ ence, 275; colored composers, 277; three types of Jazz, 277; native and natural­ ized, 278-290
American Folk-music, 73-74; Jazz, 96, 272
American Music, Chapter XVII; folk­ music, 73-74; Indian influences, 74-75; Negro music, 75; Jazz, 76, 272-276, 277; contemporary. 77; Negro influences, 275
American Music Guild, 285
American School of the Air ( Columbia), 301
Ames, Dr, Thaddeus Hoyt, 286
Andre, José, 288
Antheil, George, 289; operas, 266
Antigone, Honegger, 264
Apollo Musagetes, 195, 208
Appleby, John, 251
Appoggiatura (added second), 141-143
Apthorp, W. F., 60
Arabian Modes, 72
Arbitrary scales, 171, 172-173; and chords, Scriabin's use of, 182
Ariadne auf Naxos, 97, 98, 195
Aristoxenus, 112
Arne, Thomas, 28
Arnold, Matthew, 296
Ars Nova, 15
Art of Spiritual Harmony, The, 211, 293
Artusi, quoted from, 19
Association des Chanteurs de Saint-Gervais, 85
Atonal style, Schoenberg's, 212
Atwater Kent auditions, 302
Atonality, 13, 49, 105, 108, 116, 117, 118, 196; notation in, 118; Schoenberg, Chap­ ter XIV
Aubert, Louis, 89, 159
Augmented chord, illustration of, from Sadko, 66
Augmented fourth, 186-187
Augmented harmonies, 83
Augmented triad, 149, 198
Auric, Georges, 193, 232, 233, 238
Aus Italian, 91

B
B Minor Mass, 24, 25
Bach, Johann Christian, 27; operas, 28, and pianoforte, 28; Bach-Abel concerts,29
Bach, Johann Sebastian, 3, 7, 16, 21, 22, 27, 30, 42, 68, 80, 92, 106, 121, 224, 231, 294, 295, 305; modern appreciation of, 7-8; influences on, 23; compositions, 24; Dyson on, 24; and equal tempering, 25-36; his fingering, 26; his sons, 27- 28
Bach, Karl Philipp Emanuel, 6; quoted on Johann Sebastian Bach, 26; and Sonata, 28, 29
Bach and jazz influences, Stravinsky, 206; Milhaud, 236, 270
Back: The Historical Approach, quoted from, 21
Bach, Wilhelm Friedemann, 28
Bach-Abel concerts, 29
Bachantinnen, Die, 259
"Back to Bach," 294-295
Bacon, Ernest, 289
Bacon, Glenn, 288
Baif, Jean Antoine, 17
Bakst, 197
Balakireff, Mily, 62-63
Ballades, Chopin's, 44
Ballantine, Edward, 288
Ballet, Stravinsky and Diaghileff, 193, 255, 263
Ballet Russe, 193, 203
Balzac, Honoré de, 38
Banister, John, 29
Bantock, Granville, 70, 161
Barber of Seville, 39
Barbieri Francisco, 71
Bardi, Count, 16, 17
Baring-Gould, S., 69-70
Bartered Bride, The, 67
Barth, Hans, 250
Bartok, Bela, 68, 69, 163, 195, 231, 238; basis of his idiom, 239; his harmonies, 239; Leichtentritt on, 239-240
Baudelaire, 87
Bauer, Marion, 3, 5, 16, 285, 286; Scher­ zando, 124; Toccata, 128; Quietude, 142; Red Man's Requiem, 157; I Love the Night, 157; Sun Splendor, 236

-325-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Twentieth Century Music: How it Developed, How to Listen to It
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 354

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.