comprehensive Flashcards
1
Q
Baroque
A
- from the Portuguese barroco meaning “irregularly shaped or misshapen pearl”
- first used as a derogatory term in reference to the overly ornate art of the era
- now applied to art, architecture, and music of the 17th and early 18th centuries
2
Q
basso continuo
A
- baroque performance practice
- generally involves two performers - one playing the notated baseline, one realizing the harmonies as indicated by the figured bass
- harmonies usually play on harpsichord or organ
- provides harmonic framework
3
Q
figured bass
A
- a musical shorthand developed in the Baroque era
- numbers are placed below the baseline to show harmonic progression
- performed or realized by the basso continuo
- provides a structure for guided improvisation
4
Q
the Affections
A
- also refferd to as the “doctrine of affections” or the “affects”
- a Baroque philosophy inspired by ancient Greek and Roman writers and orators
- refers to emotional states of the soul
in Baroque music, a single “affect” (one clear emotion) is usually projected through an entire composition or movement
5
Q
ornamentation
A
- music embellishment to decorate a melodic line
- either represented with symbols or improvised
6
Q
monophonic texture
A
- a single line of unaccompanied melody
7
Q
polyphonic texture
A
- a combination of two or more melodic lines
8
Q
homophonic texture
A
- a single line of melody supported by a harmonic accompaniment
9
Q
concerto
A
- a popular instrumental genre of the Baroque era for soloists and orchestra
- generally in three movements: fast-slow-fast
- frequently employed ritornello form
- intended to showcase the virtuosity of the soloists
10
Q
ritornello form
A
- a structure employed in the first and third movements of the Baroque concerto
- the opening passage is restated throughout the movement serving as a refrain
11
Q
ripieno
A
- Italian for “full” or “complete”
- a term used to denote the use of the full orchestra in the Baroque concerto
12
Q
ostinato
A
- Italian for “obstinate” or “persistent”
- a rhythmic or melodic pattern repeated for an extended period
13
Q
pedal point
A
- a note, or series of notes, sustained through harmony changes in other parts
14
Q
programmatic writing
A
- music with a descriptive element, inspired by extramusical associations, like a story or painting
- evolved into a significant feature of 19th-century instrumental writing (program music)
15
Q
idiomatic writing
A
- highlights the unique technical capabilities of an instrument in the style of writing
- opposite of “generic”
- developed in the Baroque era
16
Q
binary form
A
- two-part form: A||B||
- both parts often repeat
- section A generally ends with an open cadence in the dominant or relative major key
17
Q
rounded binary form
A
- two-part form: A||B + A₁||
- opening material from Section A returns after B material
- key structure similar to binary form
18
Q
ternary form
A
- three-part form: A||B||A||
- section A generally ends with a closed cadence in the tonic key
- section B generally creates contrast in key and/or material
- often used in Baroque arias and Classical menuet and trio movements
19
Q
equal temperament
A
- a method of tuning keyboard instruments
- the octave is divided into twelve equal semitones
- facilitated the composition and performance of music in all keys
20
Q
clavier
A
- a German word for keyboard instruments other than the organ
21
Q
prelude
A
- a short keyboard work in improvisatory style
- often paired with a fugue
22
Q
fugue
A
- highly structured, imitative contrapuntal composition
- a single theme or subject prevails
23
Q
counterpoint
A
- combination of two or more independent melodic lines
- also referred to as “polyphonic texture”
24
Q
subject
A
- the initial statement of the main theme of a fugue
- in the tonic key
25
Q
answer
A
- the second statement of the main theme in a fugue
- usually in the dominant key
26
Q
real answer
A
- an exact transposition of the subject
27
Q
tonal answer
A
- a statement of the subject in which one or more intervals is adjusted to accommodate the harmony
28
Q
countersubject
A
- a recurring countermelody
- accompanies entries of the subject and answer
29
Q
episode
A
- a passage within a fugue in which neither subject nor answer is present
- frequently sequential
30
Q
oratorio
A
- a large-scale work for soloists, chorus, and orchestra
- serious subject, generally based on biblical texts
- consists of recitatives, arias, ensembles, and choruses
- developed in the Baroque era
31
Q
French overture
A
- a Baroque orchestral genre, often the orchestral introduction to an opera or oratorio
- first developed at the court of Louis XIV by Jean-Baptiste Lully
- generally in two parts
- first part - slow tempo, homophonic texture, features dotted figures
- second part - fast tempo, imitative texture
32
Q
libretto
A
- the text of an opera, oratorio, or cantata
- usually written by someone other than the composer
33
Q
recitative
A
- a speech-like style of singing used in operas, oratorios, and cantatas
- follows inflections of the text, resulting in rhythms flexibility
- usually used to advance the plot or storyline; moves through text quickly
34
Q
recitativo secco
A
- Italian for “dry recitative”
- a speech-like, declamatory style of singing
- supported only by continuo
- employed in opera, oratorio, and cantata
35
Q
aria
A
- Italian for “air”
- a solo song with accompaniment, heard in an opera, oratorio, or cantata
- highly emotional and often virtuosic
- may have lyrical or dramatic qualities; often serves to reveal the characters’ most intimate emotions
36
Q
da capo aria
A
- an aria (solo song) employing a ternary (ABA) structure
- in performance, the return of Section A is generally ornamented
- the most common type of aria in Baroque opera and oratorio
37
Q
word painting
A
- musical pictorialization
- the music mirror the literal meaning of the words
- achieved through melody, harmony, or rhythm
38
Q
melisma
A
- a group of notes sung on a single syllable/vowel
- demonstrates vocal virtuosity and often serves to highlight key words
39
Q
Classicism
A
- refers to the art, architecture, and music of the late 18th century
- adheres to principles of symmetry, balance, and proportion
40
Q
Viennese
A
- refers to the musical style forged by Haydn, Mozart, and Beethoven and their contemporaries
- in late 18th century Vienna, Austria flourished as a musical centre
41
Q
absolute music
A
- instrumental music without pictorial associations
- generic titles reflecting tempos, genres, or forms
42
Q
sonata form
A
- formal structure often used in the first movement of a sonata cycle
- consists of exposition, development, and recapitulation
- also known as sonata-allegro form
43
Q
exposition
A
- the first main section in sonata form
- two contrasting themes are stated
- the first theme is in the tonic key
- the second theme (or themes) are in a contrasting key, generally in the dominant or relative major
44
Q
development
A
- the second main section in sonata form
- themes from the exposition are developed through use of sequences, fragmentation, inversion, or changes to orchestration
- modulations and increased harmonic tension and dissonance
- new themes may also be introduced
- generally ends with dominant preparation
45
Q
recapitulation
A
- the third main section in sonata form
- a recapitulation of the exposition
- second theme and codetta are usually restated in the tonic
- bridge remains in the tonic (no need to modulate)
46
Q
coda
A
- Latin for “tail” (cauda)
- a concluding section reaffirming the tonic key
- not always present
47
Q
sonata cycle
A
- multi-movement structure that emerged in the Classical era
- demonstrated in the symphony, sonata, or concerto
48
Q
introduction
A
- not a standard component of the form
- usually slow
- establishes the tonic key
- creates musical tension
49
Q
first theme
A
- establishes the tonic key
- present a distinctive melodic and rhythmic character
- often sets the mood for the entire movement
50
Q
bridge
A
- begins in the tonic key and transitions into the key of the second theme
51
Q
second theme
A
- a contrasting theme that establishes the new key (usually the dominant or relative major)
52
Q
codetta
A
- affirms the new key
- generally concludes with a repeat sign
53
Q
chamber music
A
- music for small ensemble (two to ten players)
- one player per part
- usually performed without a conductor
54
Q
string quartet
A
- the most important chamber music genre of the Classical era
- performing forces: first violin, second violin, viola, cello
- usually in four movements: fast-slow-moderately fast-fast
- first movement is usually in sonata form
55
Q
theme and variations
A
- a work featuring a statement of a melody (theme) followed by a series of transformations (variations)
- changes can be made to melody, harmony, rhythm, or orchestration
- often used in the slow movement of a sonata cycle
56
Q
serenade
A
- a multi-movement orchestral genre
- for small orchestra or chamber ensemble
- popular instrumental genre in the Classical era
57
Q
rocket theme
A
- rapidly ascending melody outlining an arpeggio
- often used as a dramatic opening motive in Classical-era works
58
Q
menuet and trio
A
- menuet: a stylized dance of French origin developed in the Baroque era, in triple meter with a graceful, elegant character
- trio: contrasting middle section
- ternary (ABA) form (menuet, trio, menuet)
59
Q
rondo form
A
- Classical formal structure often used in sonata cycle
- Section A recurs, with alternating sections creating contrast
- ABACA or ABACABA
60
Q
sonata-rondo form
A
- combines elements of sonata form and rondo form
- typical layout: ABACABA (ABA functions as the exposition; C functions as the development; second ABA functions as the recapitulation)
61
Q
symphony
A
- a multi-movement orchestral work originating in the 18th century
- usually in four movements: fast-slow-moderate-fast
- at least one movement is in sonata form
62
Q
cyclical structure
A
- material heard in one movement recurs in later movements
- creates structural unity in a multi-movement work
63
Q
motive
A
- a short melodic or rhythmic fragment used in building or developing a melody
64
Q
scherzo and trio
A
- Italian for “jest” or “joke”
- Beethoven substituted the scherzo in place of the menuet as the third movement in the sonata cycle
- also in triple meter, but generally more dynamic than the elegant menuet
- as with the menuet and trio, it contains a contrasting middle section (trio), resulting in ABA form (scherzo-trio-scherzo)
65
Q
Romanticism
A
- origins can be traced to late 18th-century literature that served as inspiration for art and music
- emphasis on creative imagination and expression of emotions
66
Q
program music
A
- significant trend in 19th-century music
- instrumental music with literary, poetic, or visual associations
- descriptive titles are common
- some works include a written text or “program” provided by the composer
67
Q
chromatic harmony
A
- extensive use of notes outside the prevailing key range
- from the Greek word for colour, khroma
- increasingly used for heightened expression in 19th-century music
68
Q
exoticism in music
A
- fascination with foreign lands and cultures
- important element of 19th-century musical style
- evoked through melody, rhythm, harmony, and orchestration
69
Q
nationalism in music
A
- patriotism expressed in music
- important element of 19th-century musical style
- influence of folk song and dance, myths and legend, landscapes, historical events
70
Q
art song
A
- the musical setting of a poem
- for solo voice, generally with piano accompaniment
71
Q
Lied
A
- the musical setting of a German poem
- for solo voice, generally with piano accompaniment
- flourished in the 19th century
72
Q
through-composed
A
- a song structure that does not repeat entire sections of the music
- as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text as the story unfolds
73
Q
polonaise
A
- stately Polish dance in triple meter
- often proud and majestic in character
- often includes characteristic rhythmic figures
74
Q
rubato
A
- Italian for “robbed time”
- a characteristic of Romantic music
- a flexible tempo for expressive purposes
75
Q
program symphony
A
- a 19th-century multi-movement orchestral work
- modelled after the 18th-century symphony with programmatic elements
- includes a descriptive title
- the accompanying text often outlines the program
76
Q
idée fixé
A
- French for “fixed idea”
- devised by Berlioz
- a recurring theme that undergoes transformation
- serves as a unifying thread in a multi-movement composition
- in Symphonie Fantastique, it represents “the beloved”
77
Q
col legno
A
- Italian for “with the wood”
- novel effect used by Berlioz
- players tap on the strings with the wooden parts of their bows
78
Q
Dies irae
A
- Latin for “day of wrath”
- a monophonic chant melody dating from late Middle Ages
- drawn from the Romantic Catholic Requiem (Mass for the dead)
- 19th-century audiences would have associated the tune with funeral services
79
Q
opera
A
- drama that is sung
- combines vocal and instrumental music with actin, costume, and scenery
- components include recitative, arias, ensembles, and choruses
- originated in Italy around 1600
80
Q
habañera
A
- Cuban dance-song
- 2/4 time
- characteristic rhythmic motive, often used as an ostinato
81
Q
modal scales
A
- the use of scales (modes) in which the pattern of whole steps and half scales is different from conventional major and minor scales; for example, Dorian, Lydian, and Mixolydian
- common in music of the Middle AGes and Renaissance; rediscovered by 20th-century composers
82
Q
whole-tone scale
A
- a non-traditional scale employed by composers of the late 19th and 20th centuries
- consists of six different pitches, all spaces a whole tone apart
83
Q
pentatonic
A
- a scale consisting of five different pitches
- common to the folk music of many European and Asian cultures
84
Q
expanded tonality
A
- the use of extremely chromatic harmony while still maintaining allegiance to a tonal centre
85
Q
polytonality
A
- the simultaneous use of two or more tonal centres
86
Q
atonality
A
- the total absence of any tonal centre
- characterized by unresolved dissonances
87
Q
changing meter
A
- shift of metrical groupings
- manifested through changes of time signatures
88
Q
polyrhythm
A
- the simultaneous use of two or more conflicting rhythms
89
Q
symphonic poem
A
- one of the most important forms of orchestral program
- a single-movement work, generally in free form, with literary or pictorial associations
- invented by Franz Liszt
90
Q
impressionism in music
A
- employs harmonic vocabulary: whole-tone, modal, pentatonic scales; parallel chords
- suggests images rather than directly depicting them
- features individual treatment of instruments and use of muted instruments
- metric pulse is frequently obscured
91
Q
Symbolism
A
- a French literary movement of the late 19th century
- authors sought to suggest subject matter rather than depict it specifically
92
Q
ballet
A
- a highly stylized type of dance that often interprets a story
- first developed in the 17th century
93
Q
choreography
A
- the art of designing the dance steps and movements in a ballet (or musical)
94
Q
primitivism
A
- an effect created largely through rhythm
- use of strong accents, heavy syncopation, polyrhythms, expanded percussion section
- demonstrated best in Stravinsky’s The Rite of Spring
95
Q
musical
A
- a unique 20th-century genre developed in the United States
- a play with spoken dialogue but featuring musical numbers: songs, dances, choruses
96
Q
jazz
A
- a musical style developed in the early 20th century in the United States
- combines elements of African, popular, and European music
- based on improvisation
97
Q
verse-chorus structure
A
- a common song structure in popular music
- verses develop the character/storyline, while the “chorus” acts as a tuneful refrain
98
Q
hemiola
A
- a temporary shift of the metric accents
- notes grouped in threes are momentarily grouped in twos or vice versa
99
Q
minimalism in music
A
- characterized by the. repetition of melodic, rhythmic, and harmonic patterns with little variation
100
Q
fanfare
A
- a loud ceremonial tune
- features brass instruments
- used to herald the arrival of an important person, the launch of an event, or in commemoration of someone
101
Q
Vivaldi life and death
A
1678-1741
102
Q
Bach life and death
A
1685-1741
103
Q
Handel life and death
A
1685-1759
104
Q
Haydn life and death
A
1732-1809
105
Q
Mozart life and death
A
1756-1791
106
Q
Beethoven life and death
A
1770-1827
107
Q
Schubert life and death
A
1797-1828
108
Q
Chopin life and death
A
1810-1849
109
Q
Berlioz life and death
A
1803-1869
110
Q
Bizet life and death
A
1838-1875
111
Q
Debussy life and death
A
1862-1918
112
Q
Stravinsky life and death
A
1882-1971
113
Q
Bernstein life and death
A
1918-1990
114
Q
Louie year born
A
1949
115
Q
Adams year born
A
1947
116
Q
The Four Seasons, op. 8 “Spring”
composer
A
Vivaldi
117
Q
The Well-Tempered Clavier, Book 1, Prelude and Fugue in B flat Major, BWV 866
composer
A
Bach
118
Q
Messiah, HWV 56 Part 1: Overture, “There were shepherds…”, “Glory to God”, “Rejoice Greatly”, Part 2: “Hallelujah”
composer
A
Handel
119
Q
String Quartet, op. 76, no. 3 (“Emperor”) 2nd movement
composer
A
Haydn
120
Q
Eine Kleine Nachtmusik, K525
composer
A
Mozart
121
Q
Symphony No. 5 in C Minor, op. 67
composer
A
Beethoven
122
Q
Erlkönig, op. 1, D328
composer
A
Schubert
123
Q
Polonaise in A flat Major, op. 53
composer
A
Chopin
124
Q
Symphonie fantastique, 5th movement: “Songe d’une nuit du sabbat”
composer
A
Berlioz
125
Q
Carmen act 1: “Quand je vous aimerai?”, “L’amour est un oiseau rebelle”, act 2: “Votre toast, je peux vous le render”
compsoer
A
Bizet
126
Q
Prélude à l’après-midi d’un faune
composer
A
Debussy
127
Q
The Rite of Spring Part 1: Adoration of the Earth: Introduction, Dance of the Youths and Maidens, Game of Abduction
composer
A
Stravinsky
128
Q
West Side Story act 1: “Maria”, “America”
composer
A
Bernstein
129
Q
Changes (from “Music for Piano”)
composer
A
Louie
130
Q
Short Ride in a Fast Machine
composer
A
Adams
