Context and Essay points Flashcards

1
Q

“Release” Context

A
  • Released in 1999
  • Fusion - West African, Irish and EDM
  • Features guests e.g Sinead O’connor
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2
Q

“Release” instruments

A

African:
* Kora, talking drum
Celtic
* Hurdy gurdy, uillean pipes, bodhrán
EDM
* Drum machine, electric piano, synth
* Looping (central to song)

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3
Q

“Release” melody

A

Melodic features from each group
* African - Spoken samples, repetitive
* Celtic - Solos
* EDM - Repetitive, simple

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4
Q

“Release” Harmony

A
  • Slow harmonic rhythm (EDM)
  • Simple chord progression (Celtic)
  • Drone (Celtic)
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5
Q

“Release” Texture

A
  • Mainly Homophonic
  • Rapid texture change from loops coming in and out
  • Has a polyphonic feel
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6
Q

Brandenurg Context

A
  • Baroque
  • Concerto grosso (group of soloists)
  • Chamber music
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7
Q

Brandenburg Melody

A
  • Scalic
  • Conjunct
  • Rising
  • Very Ornamenated
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8
Q

Brandenburg Harmony

A
  • Mostly standard chords of time
  • Diatonic
  • Functional cadences
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9
Q

Brandenburg Tonality

A
  • A sections in D maj
  • B sections in B minor
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10
Q

Brandenburg Texture

A
  • Polyphonic
  • Imitation
  • Fugal techniques
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11
Q

Brandenburg Instruments

A
  • Violin, Flute, Harpsichord (Concertino)
  • String orchestra (Ripieno)
  • Harpsichord/Cello plays Basso Continuo
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12
Q

Brandenburg Rhythm

A
  • Fast semiquaver runs
  • Triplets and dotted rythms
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13
Q

Wicked Context

A
  • About living without limits and defying rules
  • By Stephen Schwartz
  • Finale of first act
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14
Q

Wicked Instruments

A
  • Duet
  • Glinda is a soprano, Elphie is a mezzo
  • Full orchestra (use effects of brass, string etc. if needed)
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15
Q

Wicked Texture

A
  • Homophonic
  • Stab chords
  • Sparse texture for talking
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16
Q

Wicked Rhythm

A
  • Lots of change
  • Syncopation
  • Dramatic rallentandos e.g end
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17
Q

Wicked Tonality

A
  • Mainly D maj
  • Lots of change
  • Tonality amibigous for parts - uncertainty
  • Dissonance - danger/bad
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18
Q

Wicked Melody

A
  • Syllabic
  • Stepwise and big leaps combined for drama
  • Vocalisation at end
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19
Q

Purcell Context

A
  • Baroque
  • Incidental music
  • Play of Oedipus
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20
Q

Purcell Instruments

A
  • Soprano, Harpsichord, Bass viol
  • Basso Continuo and Ground Bass
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21
Q

Purcell Melody

A
  • Descending sequences
  • Word painting
  • Syllabic with some mellisma
22
Q

Purcell Harmony

A
  • Ground bass (rising for rising dead)
  • Diatonic chords
  • Some false relations give an unsettling feel
23
Q

Purcell Texture

A
  • Homophonic
  • Somtimes feel polyphonic due to realisation
24
Q

KQ Context

A
  • Glam Rock
  • Unlike traditional rock it sounds theatrical and varying harmony and structure
25
KQ instruments
Studio effects * Multi tracking * Distortion * Reverb * Panning Standard Rock instruments
26
KQ Rhythm
* Regular danceable beat * Some swung rhythms
27
KQ Melody
* Range of techniques (Falsetto, spoken) * Syllabic * Very wide range
28
KQ Harmony
* Adventorous chord sequences * Altered and extended chords
29
KQ Texture
* Homophonic * Builds over time
30
Star Wars Context
* Written in 1977 * Features Luke Skywalkers leitmotif/main theme
31
Star Wars Rhythm
* Fast tempo - Battle and action * 4/4 steady - Marchlike shows military
32
Star Wars Tonality
* Starts in Bb Major * Tonality is unclear during action * Dissonance during chase
33
Star Wars Instruments
* Full symphony orchestra
34
Star Wars Melody
* Fanfaric - Heroic * Leitmotif features ascending leaps (famous 5th) * B theme contrasts A theme (B is descending ,chromatic)
35
Star Wars Harmony
* Quartal Harmony * Complicated and almost A tonal harmony at times
36
Star Wars Texture
* Very thick texture * Homophonic
37
Beethoven Context
* Classical piece * Has romantic elements * Sturm und Drag movement
38
Beethoven Structure
* Sonata form * Differences from expected Sonata form (romantic elements) * Two main themes go through modulation
39
Beethoven Melody
* Theme one- rising and scalic * Theme two - rising and falling, ornamented
40
Beethoven Dynamics
* Wide dynamic range * Many crescendos and descresendos * Expressive - romantic era
41
Beethoven Harmony
* Mainly diatonic, standard chords * Some dissonance * Functional harmony (cadences used to signal sections) * Unusual for Sonata form, unusual chord progressions
42
Beethoven Tonality
* C Minor * Modulations due to structure * Differences (romantic), recapitulation not in expected key * 2nd Subject in Eb min, unexpected
43
Beethoven Rhythm
* Allegro di molto con brio (very fast with vigour) * Unusually the beggining in grave
44
Beethoven Texture
* Mainly homophonic * Octaves in introduction theme
45
Beethoven Instruments
* Written for fortepiano (less dynamic range) * Beethoven makes use of difference in dynamics * Sustain pedal used for emotion
46
Samba em Context
* Bossa Nova - Created in Brazil with fusion of American Jazz and Samba * Has elements of both * Original written in 1962, Spaldings version in 2008
47
Samba em Instrumentation
* Female voice - very low alto * Acoustic Bass Guitar - Harmonics, double stopping * Acoustic guitar - solo, very samba
48
Samba em Rhythm
* 4/4 * Syncopation (Jazz) * Rubato/free tempo (Jazz) * Clavé rhythms (Samba)
49
Samba em Texture
* Monophonic intro * Homophonic mostly
50
Samba em Tonality
* B minor * Typical of Bossa Nova
51
Samba em Harmony
* Altered/extended chords, 7ths + 9ths (Jazz) * Diminished and b5th chords (Jazz)
52
Samba em Melody
* 2 main melodies - Verse 1 and 2 * Portuguese (Samba) * Very low down to low E * Range of Minor 10th