Assignment: Grout and Palisca, Chapter 20
            Read: 692-700 (middle)
            Skim: 700 (middle)-710 (top)
            Read: 710 (top)-712
            Skim: 712-716 (middle)
            Read: 716 (middle)-716 (bottom)
            Skim: 717 (top)-719 (bottom)
            Read: 720-728

Study Questions:

1. How did changes in European society affect the development of musical style in
      the 20th century?--p. 693-694

2. What are some of the different trends in European music of the 20th
      century?--p. 694*

3. In what three areas did Bartók make a significant musical contribution?--p. 696

4. Be able to summarize Bartók’s style, especially his harmony (to include tonal
      organization) and employment of form. How did his style change between 1908
      and 1945?--p. 697-700

5. In what ways was Hindemith active as a teacher and theorist?--p. 710

6. What is "harmonic fluctuation"? How does Hindemith employ this concept in
      Mathis der Maler?--p. 711-712 (and NAWM 136)

7. Why is the term "neo-Classicism" a misnomer? In what different ways is it
      manifested in the works of different composers?--p.716

8. Be able to summarize the early style of Stravinsky, as reflected in the harmonic
      and rhythmic organization of Petrushka and Le sacre du printemps--p.
      720-723

9. How did Stravinsky’s instrumentation change after 1913?--p. 723-724**

10. In what ways did Stravinsky adopt neo-Classicism in various works between
      1922 and 1951?*** What elements of his style were changed as a result and
      what elements remained the same?--p. 724-728

11. What other techniques did Stravinsky adopt after 1950?--p. 728

**Note that this economy of instrumentation continues in later works as an element of neo-Classicism.

***In the case of The Rake’s Progress, arguably the most thoroughly neo-Classic work of Stravinsky, note
      that this element can be found in the dramatic subject matter as well as the music, a point that will be
      clarified by class discussion.