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Occupational References > 9. NAVEDTRA 12013 Basic Music (Navy) > Flashcards

9. NAVEDTRA 12013 Basic Music (Navy) Flashcards

1
Q

A classic dance in 4/4 measure, moderately fast, usually with an eighth note upbeat. See Suite (1). The name means “German dance.”

A

Allemande

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2
Q

A piece of sacred choral music used in the service of Protestant churches, sung by the choir rather than by the congregation. It is usually accompanied by the organ and may contain solos by one or more voices, and concerted passages for solo voices (duets, trios, or quartets).

A

Anthem

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3
Q

A solo song occurring in an opera, oratorio, or cantata which develops a dramatic, lyric, or emotional high point in the work.

A

ARIA

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4
Q

Unlike the recitative, this form does not usually advance the action of the plot.

A

ARIA

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5
Q

In the 18th century this form normally consisted of an orchestral introduction, a long section for the accompanied solo voice, a section in contrasting key & style, and a reprise of the entire first section.

A

ARIA

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6
Q

A style of solo song in opera or oratorio resembling both the recitative and aria.

A

Arioso

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7
Q

Literally, a trifle.

A

Bagatelle

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8
Q

This name was applied by Beethoven and others to short piano pieces, usually in song form.

A

Bagatelle

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9
Q

A simple song.

A

Ballad or Ballade

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10
Q

A narrative poem set to music, such as Schuberts Erl-King

A

Ballad or Ballade

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11
Q

A piano piece, orchestra work, or choral work which is considered a simple song or narrative poem set to music.

A

Ballad or Ballade

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12
Q

Literally, an obstinate bass

A

Basso Ostinato

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13
Q

A variation form in which a bass line of 1, 2 or 4 bars is repeated over and over with changing harmonies and melodies above

A

Basso Ostinato

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14
Q

There are few entire pieces of this sort. Frequently this form occurs as one section of a larger work

A

Basso Ostinato

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15
Q

An interruption to the movement of music, usually at the end of the phrase

A

Cadence

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16
Q

The final chord of the cadence, or at least the melody note is comparatively long describes which cadential device?

A

Duration

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17
Q

“The final melody note of the cadence is an inactive tone” describes which cadential device?

A

Melodic Movement

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18
Q

V-I or V7-I, both chords in root position, & often preceded by a I 6-4 chord is what type of cadence?

A

Perfect Authentic

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19
Q

IV-I is what type of cadence?

A

Perfect Plagal (“Amen”)

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20
Q

The progression is V-I or V7-I. If the chords are inverted or not in root position or the soprano note of the last chord is not the root, what type of cadence is this

A

Imperfect

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21
Q

This cadence usually ends on V or III of minor keys.

A

Half cadence

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22
Q

This is a special kind of half cadence in which the listener’s ear is prepared for a perfect authentic cadence but the final chord turns out to be some chord other than tonic

A

Deceptive cadence

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23
Q

This form is the strictest of the contrapuntal forms using imitation

A

CANON

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24
Q

A fanciful & irregular sort of composition written in free style, resembling the “Fantasia”

A

CAPRICE or CAPRICCIO

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25
Q

A name applied by Mozart and others to some serenades, or suites, for various instruments, probably intended for outdoor performance

A

CASSATION

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26
Q

A classic dance in compound duple (6/8) or compound quadruple (12/8), in rapid tempo.

A

GIGUE (Giga)

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27
Q

The second part of this classic dance usually begins with the incursion of the main theme.

A

GIGUE (Giga)

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28
Q

A lively dance in simple duple (2/4)

A

GALOP

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29
Q

A solo song found in opera, oratorio, or cantata which develops a dramatic and emotional high point.

A

ARIA

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30
Q

Literally, a trifle

A

BAGATELLE

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31
Q

This name was applied by Beethoven and others to short piano pieces, usually in song form.

A

BAGATELLE

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32
Q

A canon which returns to its starting point is called

A

PERPETUAL

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33
Q

A canon which has a definite close is called

A

FINITE

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34
Q

Canons are describe by this

A

Number of voices
Number of Subjects
(ex. 3 in 1; 4 in 2)

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35
Q

This is the observance of the Eucharist in certain churches

A

MASS

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36
Q

Musically, a Mass consists of 2 main parts

A

PROPER (Variable)

ORDINARY (Invariable)

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37
Q

Of the 2 main parts of a Mass, this one varies in content from day to day throughout the church calendar

A

PROPER

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38
Q

Of the 2 main parts of a Mass, this one does not vary and may be sung by a choir

A

ORDINARY

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39
Q

When a “Mass” by a composer is spoken of, which of the 2 main parts are being referred to?

A

ORDINARY

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40
Q

The Mass Ordinary consists of what 6 parts?

A 
KYRIE
GLORIA
CREDO
SANCTUS
BENEDICTUS
AGNUS DEI

“Keep God Close So Bad-things Abate”

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41
Q

A rapid dance, 3 beats to the measure, with an upbeat of one beat

A

PASSEPIED

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42
Q

This rapid dance in 3 was occasionally used as an optional movement in a suite

A

PASSEPIED

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43
Q

In the narrow sense, this is a German art-song as written by Schubert, Schumann, Brahms, Wolf, and others.

A

LIED

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44
Q

This song is characterized by effective union of the music with the words, not only with respect to the natural accents and speech tune of the language, but also with the mood of the poem.

A

LIED

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45
Q

What is the difference between a “strophic lied” and a “through-composed lied?”

A

Strophic uses the same music for each stanza of the poem. Through-composed has each verse set differently.

46
Q

If the mood of a poem/song develops or changes form stanza to stanza, what device could you use to match the action?

A

Through-composed Lied

47
Q

A classic dance in rapid tempo, usually in 3/4 or 6/4 measure, with an upbeat of one quarter note or 3 eighth notes.

48
Q

This name means “running dance”

49
Q

A term used after the 12th century to denote any kind of polyphony

50
Q

In modern usage, a countermelody, usually florid, and superimposed above the principal melody of a chorale.

51
Q

Another name for Chaconne

A

PASSACAGLIA

52
Q

Another name for Passacaglia

53
Q

A composition consisting of a set of variations derived from a ground bass 4 or 8 measures long, usually in triple meter.

A

CHACONNE (Passacaglia)

54
Q

Originally these were dances of Spanish origin

A

CHACONNE (Passacaglia)

55
Q

The Finale of Brahm’s Fourth symphony is an example of this type of composition

A

CHACONNE (Passacaglia)

56
Q

Chopin’s “Berceuse” is an example of this type of composition

A

CHACONNE (Passacaglia)

57
Q

Beethoven’s 32-Variations in C minor is an example of this type of composition

A

CHACONNE (Passacaglia)

58
Q

This is similar to the Polka

A

SCHOTTISCHE

59
Q

A lively Bohemian or Polish dance in 2/4 meter

60
Q

In this lively dance, the first 3 eighth notes are accented, and the 4th unaccented.

61
Q

A dance popular in Europe from about 1650 to the beginning of the 19th century

62
Q

This dance was of particular value as it was considered to be the best training in genteel deportment

63
Q

This dance is in 3/4 meter with a moderate tempo

64
Q

Serious composers used this as an optional dance in the Suite, and later in the Symphony

65
Q

This dance was eventually displaced in the Symphony with Scherzo

66
Q

This dance is normally written as a three-part song form, but can also be in two parts.

67
Q

This dance frequently has a trio, with a Da Capo to the first part/section

68
Q

A lively Polish dance in 3/4 or 3/8 meter, with emphasis on the 2nd or 3rd beat of the measure

69
Q

Polka is to 2 as Mazurka is to

70
Q

Mazurka is to 3 as Polka is to

71
Q

The Rhumba originated in this country

72
Q

This is another variety of the Rhumba

73
Q

In this variety of the Rhumba, the 4th beat of each bar receives 2 eighth note accents

74
Q

Cuban Bolero is to 4/4 as Spanish Bolero is to

75
Q

Spanish Bolero is to 3/4 as Cuban Bolero is to

76
Q

This is a Brazilian dance form with rolling rhythm and a strong feeling of two to the bar

77
Q

A widely popular dance from Argentina

78
Q

Main characteristic of this latin american dance is the heavy accent on the 4th beat, or after beat of 4

79
Q

A recent addition to the Latin dance group, it has a strong accent on 2 and 4 in a two-bar pattern

80
Q

What 3 additional Latin dance forms are in common use?

A

CONGA, SON, CALYPSO

81
Q

Musical form depends on these two elements:

A

Unity

Variety

82
Q

Repetition, either exact or modified, of a musical idea is a way to achieve this.

83
Q

Using new material, or transforming original musical ideas to give contrast provide this.

84
Q

Unity is used to do what to the listener

85
Q

Variety is used to do this for the listener

A

Sustain interest, relieve boredom, provide contrast

86
Q

A short, meaningful melodic fragment which contains the musical idea of the whole composition

87
Q

Aspects or qualities of the motive to consider include the following (5):

A
  1. Notes
  2. Intervals
  3. Melodic Curve
  4. Rhythm
  5. Transposition
88
Q

If two phrases begin the same, they are considered…

89
Q

Define “elision”

A

When the last chord of one phrase is used as the first chord of the next

90
Q

Define “dissolution” of a cadence

A

When the harmonic progression is characteristic of a cadence, but the rhythm is not interrupted. In other words, the cadential measure is broken up into notes of small value.

91
Q

Phrase chains are frequent in the expositions of Sonatas by these 2 composers

A

Haydn & Mozart

92
Q

What are the 2 basic types of musical forms?

A

Homophonic & Polyphonic

93
Q

In these forms, the music is set forth in divisions called parts, and the texture usually consists of one prominent voice.

A

HOMOPHONIC

94
Q

In these forms, each voice has a degree of independence and no one voice is more important than the other

A

POLYPHONIC

95
Q

Homophonic forms are classified into these categories

A

Small and Large (based on relative complexity of structure - not length)

96
Q

Small homophonic forms are arranged in what 2 ways?

A

2-part song form (A, B)

3-part song form (A, B, A)

97
Q

In large homophonic forms, the individual parts are in essence what?

A

small forms

98
Q

The most important small forms are what?

A

2-part song form (A, B)
3-part song form (A, B, A)
Minuet or Scherzo , A,B (or A,B,A); C,D (or C,D,C)

99
Q

The most important large forms are:

A 
Variation forms (A, A1, A2)
Rondos
Sonata-Allegro
100
Q

The large homophonic form Sonata-allegro consists of what 3 elements?

A

Exposition
Development
Recapitualtion

101
Q

The large homophonic form Rondo comes in what three varieties?

A

Small (A-B-A)
Old (or 2nd) A-B-A-C-A-D-A
New (or 3rd) A-B-A-C-A-B-A

102
Q

These 2 forms are made up of 2 or more (typically 4) movements, each of which may be a large homophonic form.

A

Sonata and Suite

103
Q

The art of composing music by combining melodies is called what?

A

Counterpoint

104
Q

This composition technique was used almost exclusively from earliest music to the mid 18th century

A

Counterpoint

105
Q

Name the 4 vocal polyphonic (or contrapuntal) forms

A

Canon
Motet
Madrigal
Mass

“Vocal CM3”

106
Q

Name the 4 instrumental polyphonic (or contrapuntal) forms

A

Chorale Prelude
Fugue
Suite

107
Q

This polyphonic form can be written for both voice and instruments.

108
Q

Define a string trio:

A

Violin
Viola
Cello

109
Q

Define a piano trio:

A

Piano
Violin
Cello

110
Q

Define a woodwind trio:

A

Oboe
Clarinet
Bassoon

111
Q

Essentially a sonata for orchestras

A

Symphonies

112
Q

Essentially sonatas for solo instrument with orchestra

Occupational References (16 decks)

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