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Music History 1: An Overview > Definitions > Flashcards

Definitions Flashcards

0
Q

a statement of the subject in which one or more intervals is adjusted to accommodate the harmony

A

tonal answer

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1
Q

a rhythmic or melodic pattern repeated for an extended period

A

ostinato

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2
Q

a highly structured, imitative contrapuntal composition

A

fugue

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3
Q

baroque

A
  • from the Portuguese “barroco” meaning irregularly shaped or misshapen pearl
  • first uses as a derogatory term in reference to the overly ornate art of the era
  • now applied to art, architecture, and music if the 17th and early 18th centuries
  • 1600-1750
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4
Q

word painting

A
  • musical pictorialization
  • music mirrors the literal meaning if the words
  • achieved through melody, rhythm, or harmony
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5
Q

classic form structure often used in sonata cycle

A

rondo form

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6
Q

section B generally created contrast in key and/or material

A

ternary form

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7
Q

method of tuning keyboard instruments

A

equal temperament

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8
Q

binary form

A
  • two-part form (AB)
  • section A generally ends with open cadence
  • frequently used in baroque dances and keyboard pieces
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9
Q

provides the structure for guided improvisation

A

figured bass

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10
Q

supported by only continuo

A

recitativo secco

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11
Q

in the tonic key (fugue)

A

subject

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12
Q

exposition

A
  • the first main section in sonata form
  • two contrasting themes are states
  • the first theme is in the tonic key
  • the second theme(s) are in a contrasting key; generally in the dominant or relative major
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13
Q

exposition

A
  • the first main section in sonata form
  • two contrasting themes are states
  • the first theme is in the tonic key
  • the second theme(s) are in a contrasting key; generally in the dominant or relative major
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14
Q

exposition

A
  • the first main section in sonata form
  • two contrasting themes are states
  • the first theme is in the tonic key
  • the second theme(s) are in a contrasting key; generally in the dominant or relative major
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15
Q

exposition

A
  • the first main section in sonata form
  • two contrasting themes are states
  • the first theme is in the tonic key
  • the second theme(s) are in a contrasting key; generally in the dominant or relative major
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16
Q

a baroque practice of changing dynamics abruptly

A

terraced dynamics

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17
Q

first part-slow, homophonic texture, features dotted figures

A

French overture

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18
Q

rounded binary form

A
  • two-part musical form

* material from section A returns within section B

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19
Q

music without extra-musical associations

A

absolute music

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20
Q

rounded binary form

A
  • two-part musical form

* material from section A returns within section B

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21
Q

provided harmonic framework

A

basso continuo

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22
Q

rounded binary form

A
  • two-part musical form

* material from section A returns within section B

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23
Q

program music

A
  • significant trend in 19th century music
  • instrumental music with extra-musical associations (literary, poetic, visual)
  • descriptive title identifies the connection
  • some works include a written text or “program” provided by the composer
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24
Q

allowed music to be performed “in tune” in all keys

A

equal temperament

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25
Q

consists of exposition, development, and recapitulation

A

sonata form

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26
Q

rounded binary form

A
  • two-part musical form

* material from section A returns within section B

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27
Q

program music

A
  • significant trend in 19th century music
  • instrumental music with extra-musical associations (literary, poetic, visual)
  • descriptive title identifies the connection
  • some works include a written text or “program” provided by the composer
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28
Q

a sustained note over which harmonies change

A

pedal point

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29
Q

demonstrated in symphoney, sonata, or concerto

A

sonata cycle

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30
Q

first developed at city if Louis XVI by Jean-Baptiste Lully

A

French overture

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30
Q

program music

A
  • significant trend in 19th century music
  • instrumental music with extra-musical associations (literary, poetic, visual)
  • descriptive title identifies the connection
  • some works include a written text or “program” provided by the composer
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31
Q

drone

A
  • a sustained bass note that provide a rudimentary harmonic foundation
  • common in folk music
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32
Q

program music

A
  • significant trend in 19th century music
  • instrumental music with extra-musical associations (literary, poetic, visual)
  • descriptive title identifies the connection
  • some works include a written text or “program” provided by the composer
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34
Q

terraced dynamics

A
  • a baroque practice of changing dynamics abruptly

* results in stark contrast rather than gradual change

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35
Q

delivers the text with clarity and emphasis

A

homorhythmic texture

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36
Q

episode

A
  • a passage within a fugue in which neither subject nor answer is present
  • frequently sequential
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37
Q

tonal answer

A

a statement of the subject in which one or more intervals is adjusted to accommodate the harmony

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38
Q

employed in opera, oratorio, and cantata

A

recitativo secco/accompagnato

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39
Q

tierce de Picardie

A
  • a work in a minor key ends in the tonic major (raised 3rd)

* a common mannerism in baroque music

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40
Q

a large-scale work for soloists, chorus, and orchestra

A

oratorio

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41
Q

one player per part

A

camber music

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42
Q

a baroque philosophy inspired by Ancient Greek and roman writers and orators

A

the “affections”

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43
Q

formal structure often used in first movement of sonata cycle

A

sonata form

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44
Q

Italian for “accompanied recitative

A

recitativo accompagnato

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45
Q

short melody for rhythmic idea

A

motive

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46
Q

popular instrumental genre of the baroque era for soloist and orchestra

A

solo concerto

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47
Q

musical pictorialization

A

word painting

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48
Q

sonata form

A
  • formal structure often used in the first movement of sonata cycle
  • consists of exposition, developments, and recapitulation
  • also known as sonata-allegro form
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49
Q

short melody for rhythmic idea

A

motive

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50
Q

absolute music title ex.

A
  • Sonata
  • Allegretto
  • Menuet
  • Rondo
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51
Q

a work in a minor key ends in the tonic major (raised 3rd)

A

tierce de Picardie

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52
Q

Italian for “robbed time”

A

rubato

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53
Q

short melody for rhythmic idea

A

motive

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54
Q

also known as sonata-allegro form

A

sonata form

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55
Q

new themes may also be introduced

A

development

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56
Q

real answer

A

an exact transposition of the subject

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57
Q

pedal point

A

a sustained note over which harmonies change

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58
Q

Italian for “robbed time”

A

rubato

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60
Q

the first theme (exposition)

A

is in the tonic key

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61
Q

a monophonic chant melody dating from late Middle Ages

A

Does Irae

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62
Q

a baroque orchestral genre

A

French overture

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63
Q

new themes may also be introduced

A

development

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64
Q

first movement usually in sonata form (chamber-music)

A

string quartet

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65
Q

the musical setting if a poem

A

art song

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66
Q

19th century multi-mouvement orchestral work

A

programme symphony

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67
Q

libretto

A
  • the text of an opera, oratorio, or cantata

* usually written by someone other than the composer

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68
Q

Italian for “robbed time”

A

rubato

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69
Q

Italian for “realism”

A

verismo

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70
Q

generic ties reflecting tempos, genres, or forms

A

absolute music

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71
Q

characteristic rhythmic motive, often used as an ostinato

A

habañera

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72
Q

String Quartet significance

A
  • “Quinten” cones from “quintus” fifth in Latin.

* The bold descending fifths in the first violin part in the opening measures for the first movement

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73
Q

a melody is stated and then undergoes a series of transformations

A

theme and variations

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74
Q

a speech-like, declamatory style of singing

A

recitativo secco/accompagnato

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75
Q

the first theme (exposition)

A

is in the tonic key

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76
Q

a monophonic chant melody dating from late Middle Ages

A

Does Irae

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77
Q

new themes may also be introduced

A

development

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78
Q

a sustained bass note that provides a rudimentary harmonic foundation

A

drone

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79
Q

first movement usually in sonata form (chamber-music)

A

string quartet

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80
Q

modelled After 18th century symphony with programmatic elements

A

program symphony

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81
Q

first and second themes are both restated in the tonic

A

recapitulation

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82
Q

String Quartet genre

A

string quartet

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83
Q

serenade

A
  • multi-movement orchestral genre
  • for small orchestra of chamber ensemble
  • popular instrumental genre in the classical era
  • often performed in aristocratic social settings and at outdoor events
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84
Q

the musical setting if a poem

A

art song

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85
Q

19th century multi-mouvement orchestral work

A

programme symphony

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86
Q

A :||: B + A :||

A

rounded binary form diagram

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87
Q

usually performed without a conductor

A

chamber music

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88
Q

short melody for rhythmic idea

A

motive

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89
Q

Italian for “realism”

A

verismo

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91
Q

includes a descriptive title

A

program music/symphony

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92
Q

characteristic rhythmic motive, often used as an ostinato

A

habañera

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93
Q

some works include a written text provided by the composer

A

program music

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94
Q

modulation and increased harmonic tension

A

development

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95
Q

String Quartet significance

A
  • “Quinten” cones from “quintus” fifth in Latin.

* The bold descending fifths in the first violin part in the opening measures for the first movement

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96
Q

often proud and majestic in character

A

polonaise

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97
Q

often used as a dramatic opening motive in classical-era works

A

rocket theme

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98
Q

a melody is stated and then undergoes a series of transformations

A

theme and variations

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99
Q

a device used frequently by Puccini

A

violinata

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100
Q

Latin for “tail”

A

coda (cauda)

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101
Q

the first theme (exposition)

A

is in the tonic key

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102
Q

a monophonic chant melody dating from late Middle Ages

A

Does Irae

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103
Q

modified strophic

A
  • a song structure which allows for some repetition

* some changes to the melody, harmony, and accompaniment take place to reflect the text

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104
Q

verismo

A
  • Italian for “realism”
  • opera style that became popular in Italy during the 1890s and early 1900s
  • story line often project a gritty realism which usually ends violently
  • Puccini was the master of this style
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105
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
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106
Q

two-part musical form (not binary)

A

rounded binary

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107
Q

ophicléide

A
  • brass instrument, now obsolete

* predecessor if the tuba

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108
Q

overlapping subject entries in close succession

A

stretto

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109
Q

first movement usually in sonata form (chamber-music)

A

string quartet

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110
Q

the musical setting if a poem

A

art song

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111
Q

modelled After 18th century symphony with programmatic elements

A

program symphony

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112
Q

first and second themes are both restated in the tonic

A

recapitulation

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113
Q

art song

A
  • the musical setting of a poem

* for solo voice, generally with piano accompaniment

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114
Q

String Quartet genre

A

string quartet

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115
Q

characterized by unresolved dissonance

A

atonality

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116
Q

serenade

A
  • multi-movement orchestral genre
  • for small orchestra of chamber ensemble
  • popular instrumental genre in the classical era
  • often performed in aristocratic social settings and at outdoor events
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117
Q

strings quartet

A
  • the most important chamber-music genre of the classic era
  • performing forces: violin I, violin II, viola, cello
  • usually in four movements: fast-slow-moderately fast-fast
  • first movement usually sonata form
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118
Q

pentatonic scale

A
  • a scale consisting of 5 different pitches
  • easily rendered by playing the 5 black keys on the piano
  • common to the folk music of many European and Asian cultures
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119
Q

derived from French glisser, “to slide”

A

glissando

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120
Q

popular instrumental genre in the classical era

A

serenade

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121
Q

descriptive title identifies the connection

A

program music

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122
Q

19th century multi-mouvement orchestral work

A

programme symphony

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123
Q

in Symphonie Fantastique, represents “the beloved”

A

idée fixe

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125
Q

a technique of sliding smoothly from one note to the next

A

portamento

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126
Q

performing forces: violin I, violin II, viola, cello

A

string quartet

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127
Q

A :||: B + A :||

A

rounded binary form diagram

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128
Q

nationalism in music

A
  • important element of the 19th century musical style
  • patriotism expressed through music
  • influence of folk song and dance, myths and legends, landscapes, historical events
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129
Q

produce a gentle ringing sound when struck together (small brass disks)

A

antique cymbals

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131
Q

Italian for “air”

A

aria

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132
Q

the second main section in sonata form

A

development

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133
Q

modal scales

A
  • use of scales in which the pattern of whole and half steps is different from conventional major and minor scales
  • common in music of the Middle Ages and Renaissance; rediscovered by 20th century composers
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134
Q

String Quartet op. no.

A

op.76, no.2

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135
Q

some changes to the melody, harmony, and accompaniment take place to reflect the text

A

modified strophic

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136
Q

brass instrument, now obsolete

A

ophicléide

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137
Q

Italian for “realism”

A

verismo

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138
Q

section A recurs, with alternating sections creating contrast

A

rondo form

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139
Q

characteristic rhythmic motive, often used as an ostinato

A

habañera

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140
Q

includes a descriptive title

A

program music/symphony

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141
Q

aria

A
  • Italian for “air”
  • a solo song heard in an opera, oratorio, or cantata
  • highly emotional, often virtuosic
  • may have lyrical or dramatic character
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142
Q

String Quartet significance

A
  • “Quinten” cones from “quintus” fifth in Latin.

* The bold descending fifths in the first violin part in the opening measures for the first movement

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143
Q

some works include a written text provided by the composer

A

program music

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144
Q

modulation and increased harmonic tension

A

development

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145
Q

a melody is stated and then undergoes a series of transformations

A

theme and variations

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146
Q

often proud and majestic in character

A

polonaise

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147
Q

often used as a dramatic opening motive in classical-era works

A

rocket theme

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148
Q

a scale consisting of 5 different pitches

A

pentatonic scale

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149
Q

habañera

A
  • Cuban dance-song
  • 2/4
  • characteristic rhythmic motive, often used as an ostinato
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150
Q

originally a vocal technique

A

portamento

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151
Q

sonata cycle

A
  • emerged in the classical era
  • multi-movement structure
  • demonstrated in symphony, sonata, or concerto
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152
Q

a device used frequently by Puccini

A

violinata

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153
Q

program symphony

A
  • 19th-century multi-movement orchestral work
  • models after 18th century symphony with programmatic elements
  • includes a descriptive title
  • accompanying text often outlines the program
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154
Q

on the harp, a quick strumming of all the strings with a broad seeping hand

A

glissando

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155
Q

String Quartet composer

A

Franz Joseph Haydn

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156
Q

Latin for “tail”

A

coda (cauda)

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157
Q

drama that is sung

A

opera

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158
Q

pertains to highest level of excellence

A

classicism

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159
Q

two-part form (AB)

A

binary form

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160
Q

modified strophic

A
  • a song structure which allows for some repetition

* some changes to the melody, harmony, and accompaniment take place to reflect the text

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161
Q

the simultaneous use of two or more tonal centres

A

polytonality

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162
Q

most important chamber-music genre of the classical era

A

string quartet

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163
Q

instrumental music with extra-musical associations (literary, poetic, visual)

A

program music

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164
Q

Italian for “with the wood”

A

col legno

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165
Q

Beethoven substituted the scherzo in place of the Menuet as the third movement in the sonata cycle

A

scherzo and trio

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166
Q

rubato

A
  • Italian for “robbed time”
  • rhythmic flexibility-speeding up or slowing down
  • an expressive device for interpreting music
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167
Q

exoticism in music

A
  • important element of the 19th century music style
  • fascination with foreign lands and cultures
  • evoked through melody, rhythm, harmony, and orchestration
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168
Q

drawn from Roman Catholic requiem (Mass for the Dead)

A

Dies Irae

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169
Q

verismo

A
  • Italian for “realism”
  • opera style that became popular in Italy during the 1890s and early 1900s
  • story line often project a gritty realism which usually ends violently
  • Puccini was the master of this style
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170
Q

accompanying text often outlines the _______

A

program

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171
Q

French literary movement of the late 19th century

A

symbolism

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172
Q

Italian for “robbed time”

A

rubato

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173
Q

two-part musical form (not binary)

A

rounded binary

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174
Q

atonality

A
  • the total absence of any tonal centre

* characterized by unresolved dissonance

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175
Q

French for “bells”

A

cloches

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176
Q

ophicléide

A
  • brass instrument, now obsolete

* predecessor if the tuba

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177
Q

through-composed

A

durchkomponiert

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180
Q

modelled After 18th century symphony with programmatic elements

A

program symphony

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181
Q

staging and acting

A

drama

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182
Q

creates beautiful, shimmering effect

A

glissando

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183
Q

often includes characteristic rhythmic figures

A

polonaise

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184
Q

first and second themes are both restated in the tonic

A

recapitulation

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185
Q

Dorian, Lydian, Mixolydian

A

modal scales

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186
Q

String Quartet genre

A

string quartet

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187
Q

an expressive device for interpreting music

A

rubato

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188
Q

art song

A
  • the musical setting of a poem

* for solo voice, generally with piano accompaniment

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189
Q

writers includes Paul Verlaine and Stéphane Mallarmé

A

symbolism

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190
Q

stresses the beauty of the word itself

A

symbolism

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191
Q

serenade

A
  • multi-movement orchestral genre
  • for small orchestra of chamber ensemble
  • popular instrumental genre in the classical era
  • often performed in aristocratic social settings and at outdoor events
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192
Q

characterized by unresolved dissonance

A

atonality

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193
Q

baroque year

A

1600-1750

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194
Q

orchestral doubling of the vocal

l

A

violinata

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195
Q

innovative orchestral colours in Impressionism

A
  • individual treatment of instruments

* muted instruments

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196
Q

String Quartet background

A
  1. genre
  2. date
  3. composer
  4. structure
  5. op. no.
  6. significance of title
  7. performing forces
  8. cause
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197
Q

2/4 time

A

habañera

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198
Q

new themes may also be introduced

A

development

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199
Q

adapted by Berlioz as a novel instrumental technique

A

portamento

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200
Q

the first main section in sonata form

A

exposition

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201
Q

rapidly ascending melody outlining an arpeggio

A

rocket theme

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202
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
  • in triple meter
  • generally more dramatic than the elegant Menuet
  • could be humorous or ironic
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203
Q

strings quartet

A
  • the most important chamber-music genre of the classic era
  • performing forces: violin I, violin II, viola, cello
  • usually in four movements: fast-slow-moderately fast-fast
  • first movement usually sonata form
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204
Q

pentatonic scale

A
  • a scale consisting of 5 different pitches
  • easily rendered by playing the 5 black keys on the piano
  • common to the folk music of many European and Asian cultures
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205
Q

one of the most popular forms of orchestral program music

A

symphonic poem

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206
Q

rounded binary form diagram

A

A :||: B + A :||

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207
Q

symphonic poem

A
  • one of the most popular forms of orchestral program
  • single movement work, generally in free form, with literary or pictorial associations
  • invented by Franz lIszt
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208
Q

single work, generally in free form, with literary or pictorial associations

A

symphonic poem

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209
Q

derived from French glisser, “to slide”

A

glissando

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210
Q

changes can be made to melody, harmony, rhythm, or orchestra

A

theme and variations

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211
Q

popular instrumental genre in the classical era

A

serenade

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212
Q

often used in slow movement of sonata cycle

A

theme and variations

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213
Q

rocket theme

A
  • rapidly ascending melody outlining an arpeggio

* often used as a dramatic opening motive in classical-era works

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214
Q

polytonality

A

the simultaneous use of two or more tonal centres

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215
Q

descriptive title identifies the connection

A

program music

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216
Q

graceful, elegant character

A

Menuet and trio

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217
Q

in Symphonie Fantastique, represents “the beloved”

A

idée fixe

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218
Q

highly stylized type of dance which often interprets a story

A

ballet

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219
Q

authors sought to suggest subject matter rather than depict it specifically

A

symbolism

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220
Q

suggests images rather than directly depicting

A

Impressionism in music

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221
Q

A :||: B + A :||

A

rounded binary form diagram

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222
Q

a technique of sliding smoothly from one note to the next

A

portamento

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223
Q

Cuban dance-song

A

habañera

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224
Q

French pitched percussion instrument

A

cloches

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225
Q

performing forces: violin I, violin II, viola, cello

A

string quartet

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227
Q

nationalism in music

A
  • important element of the 19th century musical style
  • patriotism expressed through music
  • influence of folk song and dance, myths and legends, landscapes, historical events
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228
Q

produce a gentle ringing sound when struck together (small brass disks)

A

antique cymbals

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229
Q

also known as “pure music”

A

absolute music

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230
Q

Italian for “air”

A

aria

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231
Q

the second main section in sonata form

A

development

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232
Q

invented by Franz Liszt

A

symphonic poem

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233
Q

modal scales

A
  • use of scales in which the pattern of whole and half steps is different from conventional major and minor scales
  • common in music of the Middle Ages and Renaissance; rediscovered by 20th century composers
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234
Q

String Quartet op. no.

A

op.76, no.2

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235
Q

first developed in the 17th century T the court of Louis XIV

A

ballet

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236
Q

symbolism

A
  • French literary movement of the late 19th century
  • symbolist writers include Paul Verlaine and Stéphane Mallarmé
  • authors sought to suggest subject matter rather than depict it directly
  • stresses the beauty of the word itself
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237
Q

some changes to the melody, harmony, and accompaniment take place to reflect the text

A

modified strophic

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238
Q

brass instrument, now obsolete

A

ophicléide

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239
Q

ballet

A
  • highly stylized type of dance which often interprets a story
  • first developed in the 17th century at the court of Louis XIV
  • Russian dancers dominated the scene throughout most of 20th century
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240
Q

serves as a unifying thread in a multi-mouvement composition

A

idée fixe

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241
Q

players tap on the strings with the wooden parts of their bows

A

col legno

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242
Q

19th-century audiences would have associated the tune with funeral services

A

Dies Irae

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243
Q

Does Irae

A
  • Latin for “day of wrath”
  • a monophonic chant melody dating from late Middle Ages
  • drawn from Roman Catholic requiem (mass for the Dead)
  • 19th century audiences would have associated the tune with funeral services
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244
Q

costume and scenery

A

visual arts

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245
Q

employs expanded harmonic vocabulary

A

Impressionism in music

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247
Q

the first theme (exposition)

A

is in the tonic key

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248
Q

includes a descriptive title

A

program music/symphony

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249
Q

Viennese school

A
  • refers to the musical style forged by Haydn, Mozart, and Beethoven and their contemporaries
  • in the late 17th century, Vienna flourished as a musical centre
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250
Q

creates structural unity in a multi-movement work

A

cyclical structure

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251
Q

aria

A
  • Italian for “air”
  • a solo song heard in an opera, oratorio, or cantata
  • highly emotional, often virtuosic
  • may have lyrical or dramatic character
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252
Q

some works include a written text provided by the composer

A

program music

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253
Q

a collection if arts songs united by a central theme or narrative thread

A

song cycle

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254
Q

modulation and increased harmonic tension

A

development

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255
Q

use of scales in which the pattern of whole and half steps is different from conventional major and minor scales

A

modal scales

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256
Q

the total absence of any tonal centre

A

atonality

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257
Q

basso continuo

A
  • baroque performance practice
  • generally involves two performers-one playing the notated bass line, one realizing the figured bass harmonies
  • harmonies usually played on harpsichord or organ
  • provided harmonic framework
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258
Q

prelude (in opera)

A
  • an orchestral work serving as an introduction to an opera
  • used from mid-19th century in place of traditional overture
  • no prescribed form
  • often included themes to be heard later in opera
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259
Q

a solo song heard in an opera, oratorio, or cantata

A

aria

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260
Q

often proud and majestic in character

A

polonaise

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261
Q

romanticism

A
  • origins can be traced to late 18th century literature that served as inspiration for art and music
  • reaction against classicism
  • emphasis in creative imagination and expression of emotions
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262
Q

portamento

A
  • Italian for “carrying”
  • a technique of sliding smoothly from one note to the next
  • originally a vocal technique
  • adapted by Berlioz as a novel instrumental technique
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263
Q

often used as a dramatic opening motive in classical-era works

A

rocket theme

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264
Q

reflects French artistic movement

A

Impressionism in music

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265
Q

modal scales ex.

A

Dorian, Lydian, Mixolydian

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266
Q

glissando

A
  • derived from French glisser, “to slide”
  • on a harp, a quick strumming of all the strings with a broad sweeping hand movement
  • creates beautiful, shimmering effect
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267
Q

important element of the 19th century musical style

A

exoticism/nationalism in music

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268
Q

a monophonic chant melody dating from late Middle Ages

A

Does Irae

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269
Q

consists of recitative, arias, ensembles, and choruses

A
  • oratorio

* opera

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270
Q

a scale consisting of 5 different pitches

A

pentatonic scale

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271
Q

coda

A
  • Latin for “tail” (cauda)

* a concluding section reaffirming the tonic key

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272
Q

consists of 6 different pitches, all spaces a whole tone apart

A

whole-tone scale

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273
Q

habañera

A
  • Cuban dance-song
  • 2/4
  • characteristic rhythmic motive, often used as an ostinato
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274
Q

a song structure that avoids repetition of entire sections of the music

A

durchkomponiert

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275
Q

originally a vocal technique

A

portamento

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276
Q

a device used frequently by Puccini

A

violinata

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277
Q

Latin for “tail”

A

coda (cauda)

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278
Q

recapitulation

A
  • the third main section in sonata form

* first and second themes are both restated in the tonic

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279
Q

used from mid-19th century in place of traditional overture

A

prelude (in opera)

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280
Q

French instrument that emits a ringing sound when struck with a mallet or hammer

A

cloches

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281
Q

program symphony

A
  • 19th-century multi-movement orchestral work
  • models after 18th century symphony with programmatic elements
  • includes a descriptive title
  • accompanying text often outlines the program
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282
Q

often included themes to be heard later in the opera

A

prelude (in opera)

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283
Q

a song structure which allows for some repetition of music

A

modified strophic

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284
Q

col legno

A
  • Italian for “with the wood”
  • novel string effect invented by Berlioz
  • players tap on the strings with the wooden parts of their bows
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285
Q

features innovative orchestral colours

A

Impressionism in music

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286
Q

on the harp, a quick strumming of all the strings with a broad seeping hand

A

glissando

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287
Q

String Quartet composer

A

Franz Joseph Haydn

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288
Q

first movement usually in sonata form (chamber-music)

A

string quartet

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288
Q

the musical setting if a poem

A

art song

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288
Q

19th century multi-mouvement orchestral work

A

programme symphony

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289
Q

violinata

A
  • orchestral doubling of the vocal line

* a device used frequently by Puccini

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290
Q

story line often protect a gritty realism which usually ends violently

A

verismo

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291
Q
  • whole tone, modal, pentatonic scales

* parallel chords

A

expanded harmonic Language in Impressionism

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292
Q

drama that is sung

A

opera

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293
Q

String Quartet significance

A
  • “Quinten” cones from “quintus” fifth in Latin.

* The bold descending fifths in the first violin part in the opening measures for the first movement

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294
Q

Italian for “jest” or “joke”

A

scherzo and trio

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295
Q

modified strophic

A
  • a song structure which allows for some repetition

* some changes to the melody, harmony, and accompaniment take place to reflect the text

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296
Q

verismo

A
  • Italian for “realism”
  • opera style that became popular in Italy during the 1890s and early 1900s
  • story line often project a gritty realism which usually ends violently
  • Puccini was the master of this style
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297
Q

durchkomponiert

A
  • a song structure that avoids repetition of entire sections of the music
  • as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text
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298
Q

the simultaneous use of two or more tonal centres

A

polytonality

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299
Q

Impressionism in music

A
  • reflects French artistic movement
  • employs expanded harmonic vocabulary
  • suggests images rather than directly depicting
  • features innovative orchestral colour
  • obscuring of metric pulse
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300
Q

most important chamber-music genre of the classical era

A

string quartet

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301
Q

a non-traditional scale employed by composers of the late 19th and 20th centuries

A

whole-tone scale

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302
Q

May have lyrical or dramatic character

A

aria

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303
Q

String Quartet cause

A

commissioned by Joseph Erdödy

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304
Q

chromaticism

A
  • from Greek “khroma” for colour
  • extensive use of notes outside the prevailing key signature
  • increasingly used for heightened expression in 19th-century music
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305
Q

instrumental music with extra-musical associations (literary, poetic, visual)

A

program music

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306
Q

song cycle

A
  • a collection of art songs united by a central theme or narrative thread
  • intended to be performed together
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307
Q

Italian for “with the wood”

A

col legno

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308
Q

an orchestral work, serving as an introduction to an opera

A

prelude (in opera)

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309
Q

Beethoven substituted the scherzo in place of the Menuet as the third movement in the sonata cycle

A

scherzo and trio

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310
Q

small brass disks (finger cymbals)

A

antique cymbals

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311
Q

rubato

A
  • Italian for “robbed time”
  • rhythmic flexibility-speeding up or slowing down
  • an expressive device for interpreting music
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312
Q

common in music of the Middle Ages and Renaissance; rediscovered by 20th century composers

A

modal scales

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313
Q

cloches

A
  • French for “bells”
  • pitched percussion instrument
  • emits a ringing sound when struck with a mallet or hammer
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314
Q

String Quartet performing forces

A

violin I, violin II, viola, cello

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315
Q

exoticism in music

A
  • important element of the 19th century music style
  • fascination with foreign lands and cultures
  • evoked through melody, rhythm, harmony, and orchestration
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316
Q

drawn from Roman Catholic requiem (Mass for the Dead)

A

Dies Irae

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317
Q

chamber music

A
  • music for small ensemble (two to ten players)
  • one player per part
  • usually performed without a conductor
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318
Q

accompanying text often outlines the _______

A

program

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319
Q

French literary movement of the late 19th century

A

symbolism

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320
Q

two-part musical form (not binary)

A

rounded binary

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321
Q

ophicléide

A
  • brass instrument, now obsolete

* predecessor if the tuba

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322
Q

atonality

A
  • the total absence of any tonal centre

* characterized by unresolved dissonance

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323
Q

French for “bells”

A

cloches

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324
Q

from Greek “khroma” for colour

A

chromaticism

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325
Q

Italian for “carrying”

A

portamento

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326
Q

increasingly used for heightened expression in 19th-century music

A

chromaticism

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327
Q

expanded harmonic language in Impressionism

A
  • whole tone, modal, pentatonic scales

* parallel chords

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328
Q

a recurring theme which undergoes transformation

A

idée fixe

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329
Q

whole-tone scale

A
  • a non-traditional scale employed by composers of the late 19th and 20th centuries
  • consists of 6 different pitches, all spaced a whole tone apart
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330
Q

antique cymbals

A
  • small brass disks (finger cymbals)

* produce a gentle ringing sound when struck together

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331
Q

cyclical structure

A
  • material heard in one nice end recurs in later movements

* creates structural unity in a multi-movement work

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332
Q

French overture

A
  • a baroque orchestral genre
  • first developed at court if Louis XVI by Jean-Baptiste Lully
  • generally in two parts
  • first part-slow, homophonic texture, features dotted figures
  • second part-fast, imitative
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333
Q

through-composed

A

durchkomponiert

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334
Q

a melody is stated and then undergoes a series of transformations

A

theme and variations

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335
Q

a term used to denote they’re if the full orchestra in the baroque concerto

A

ripieno

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337
Q

staging and acting

A

drama

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338
Q

creates beautiful, shimmering effect

A

glissando

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339
Q

Latin for “day of wrath”

A

Dies Irae

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340
Q

often includes characteristic rhythmic figures

A

polonaise

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341
Q

first and second themes are both restated in the tonic

A

recapitulation

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341
Q

String Quartet genre

A

string quartet

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342
Q

rhythmic flexibility-speeding up or slowing down

A

rubato

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343
Q

significant trend in 19th century music

A

program music

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344
Q

Dorian, Lydian, Mixolydian

A

modal scales

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345
Q

art song

A
  • the musical setting of a poem

* for solo voice, generally with piano accompaniment

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346
Q

development

A
  • the second main section in sonata form
  • themes from the exposition are manipulated through fragmentation, sequential treatment or changed to orchestration
  • modulations and increased harmonic tension
  • new themes may also be introduced
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347
Q

common to the folk music of many European and Asian cultures

A

pentatonic scale

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348
Q

fascination with foreign lands and cultures

A

exoticism in music

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349
Q

novel string effect invented by Berlioz

A

col lengo

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350
Q

an expressive device for interpreting music

A

rubato

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351
Q

serenade

A
  • multi-movement orchestral genre
  • for small orchestra of chamber ensemble
  • popular instrumental genre in the classical era
  • often performed in aristocratic social settings and at outdoor events
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352
Q

writers includes Paul Verlaine and Stéphane Mallarmé

A

symbolism

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353
Q

no prescribed form

A

prelude (in opera)

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354
Q

idée fixe

A
  • French for “fixed idea”
  • devised by Berlioz
  • a recurring theme which undergoes transformation
  • serves as a unifying thread in a multi-movement composition
  • in Symphonie Fantastique, represents “the beloved”
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355
Q

stresses the beauty of the word itself

A

symbolism

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356
Q

combines vocal and instrument with drama, visual arts, and often dance

A

opera

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357
Q

Lied(er)

A
  • the musical setting of a German poem
  • for solo voice, generally with piano accompaniment
  • flourished in the 19th century
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358
Q

Russian dancers dominated the scene throughout most of the 20th century

A

ballet

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359
Q

characterized by unresolved dissonance

A

atonality

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360
Q

romantic year

A

1825-1900

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361
Q

multi-movement orchestral genre (aristocratic setting)

A

serenade

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362
Q

as a result, melody, harmony, and accompaniment are able to reflect the meaning of the text

A

durchkomponiert

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364
Q

baroque year

A

1600-1750

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365
Q

French for “fixed idea”

A

idée fixe

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366
Q

evoked through melody, harmony, rhythm, or orchestration

A

exoticism in music

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367
Q

orchestral doubling of the vocal

l

A

violinata

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368
Q

innovative orchestral colours in Impressionism

A
  • individual treatment of instruments

* muted instruments

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369
Q

a solo song heard in an opera, oratorio, or cantata

A

aria

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370
Q

String Quartet background

A
  1. genre
  2. date
  3. composer
  4. structure
  5. op. no.
  6. significance of title
  7. performing forces
  8. cause
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371
Q

2/4 time

A

habañera

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372
Q

in triple meter

A

Menuet/scherzo and trio

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373
Q

intended to be performed together

A

song cycle

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374
Q

strings quartet

A
  • the most important chamber-music genre of the classic era
  • performing forces: violin I, violin II, viola, cello
  • usually in four movements: fast-slow-moderately fast-fast
  • first movement usually sonata form
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375
Q

created in Italy around 1600

A

opera

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376
Q

adapted by Berlioz as a novel instrumental technique

A

portamento

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377
Q

the first main section in sonata form

A

exposition

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378
Q

rapidly ascending melody outlining an arpeggio

A

rocket theme

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379
Q

opera

A
  • drama that is sung
  • combines vocal and instrumental music with drama, visual arts, and often dance
  • components include recitative, arias, ensembles, and choruses
  • created in Italy around 1600
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380
Q

devised by Berlioz

A

idée fixe

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381
Q

durchkomponiert English

A

through-composed

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382
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
  • in triple meter
  • generally more dramatic than the elegant Menuet
  • could be humorous or ironic
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383
Q

pentatonic scale

A
  • a scale consisting of 5 different pitches
  • easily rendered by playing the 5 black keys on the piano
  • common to the folk music of many European and Asian cultures
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384
Q

derived from French glisser, “to slide”

A

glissando

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385
Q

one of the most popular forms of orchestral program music

A

symphonic poem

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386
Q

obscuring if metric pulse

A

Impressionism in music

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387
Q

rounded binary form diagram

A

A :||: B + A :||

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388
Q

opera style that became popular in Italy during the 1890s to early 1900s

A

verismo

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389
Q

symphonic poem

A
  • one of the most popular forms of orchestral program
  • single movement work, generally in free form, with literary or pictorial associations
  • invented by Franz lIszt
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390
Q

more dramatic than elegant (triple meter)

A

scherzo and trio

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391
Q

origins can be traced to late 18th century literature that served as inspiration for art and music

A

romanticism

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392
Q

single work, generally in free form, with literary or pictorial associations

A

symphonic poem

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393
Q

popular instrumental genre in the classical era

394
Q

changes can be made to melody, harmony, rhythm, or orchestra

A

theme and variations

395
Q

descriptive title identifies the connection

A

program music

396
Q

often used in slow movement of sonata cycle

A

theme and variations

397
Q

rocket theme

A
  • rapidly ascending melody outlining an arpeggio

* often used as a dramatic opening motive in classical-era works

398
Q
  • individual treatment of instruments

* muted instruments

A

innovative orchestral colours in Impressionism

399
Q

polonaise

A
  • stately polish dance on triplet meter transformed by Chopin into a virtuosic piano composition
  • often proud and majestic in character
  • often includes characteristic rhythmic figures
400
Q

polytonality

A

the simultaneous use of two or more tonal centres

401
Q

the most common song type in baroque opera and oratorio

A

da capo aria

402
Q

in Symphonie Fantastique, represents “the beloved”

A

idée fixe

403
Q

String Quartet date

404
Q

themes and variations

A
  • a melody us stated then goes through a series of transformations
  • changes can be made to melody, harmony, rhythm, or orchestra
  • often used in slow movement of sonata cycle
405
Q

A :||: B + A :||

A

rounded binary form diagram

406
Q

for small orchestra or chamber ensemble (aristocratic setting)

407
Q

highly stylized type of dance which often interprets a story

408
Q

predecessor of the tube

A

ophicléide

409
Q

authors sought to suggest subject matter rather than depict it specifically

410
Q

suggests images rather than directly depicting

A

Impressionism in music

411
Q

a technique of sliding smoothly from one note to the next

A

portamento

412
Q

performing forces: violin I, violin II, viola, cello

A

string quartet

413
Q

motive

A
  • a short melodic or rhythmic idea

* smallest unit used to form a melody or theme

414
Q

Cuban dance-song

415
Q

French pitched percussion instrument

416
Q

the owning passage is restated throughout the movement

A

ritornello

417
Q

nationalism in music

A
  • important element of the 19th century musical style
  • patriotism expressed through music
  • influence of folk song and dance, myths and legends, landscapes, historical events
418
Q

produce a gentle ringing sound when struck together (small brass disks)

A

antique cymbals

419
Q

includes a descriptive title

A

program music/symphony

420
Q

extensive use of notes outside the prevailing key

A

chromaticism

421
Q

Italian for “air”

422
Q

the second main section in sonata form

A

development

423
Q

modal scales

A
  • use of scales in which the pattern of whole and half steps is different from conventional major and minor scales
  • common in music of the Middle Ages and Renaissance; rediscovered by 20th century composers
424
Q

invented by Franz Liszt

A

symphonic poem

425
Q

String Quartet op. no.

A

op.76, no.2

426
Q

easily rendered by playing the 5 black keys on the piano

A

pentatonic scale

427
Q

smallest unit used to form a melody or theme

428
Q

some changes to the melody, harmony, and accompaniment take place to reflect the text

A

modified strophic

429
Q

first developed in the 17th century T the court of Louis XIV

430
Q

symbolism

A
  • French literary movement of the late 19th century
  • symbolist writers include Paul Verlaine and Stéphane Mallarmé
  • authors sought to suggest subject matter rather than depict it directly
  • stresses the beauty of the word itself
431
Q

could be humours or ironic

A

scherzo and trio

432
Q

brass instrument, now obsolete

A

ophicléide

433
Q

some works include a written text provided by the composer

A

program music

434
Q

ballet

A
  • highly stylized type of dance which often interprets a story
  • first developed in the 17th century at the court of Louis XIV
  • Russian dancers dominated the scene throughout most of 20th century
435
Q

serves as a unifying thread in a multi-mouvement composition

A

idée fixe

436
Q

stately polish dance in triple meter transformed by Chopin into a virtuosic piano composition

437
Q

players tap on the strings with the wooden parts of their bows

438
Q

19th-century audiences would have associated the tune with funeral services

439
Q

Does Irae

A
  • Latin for “day of wrath”
  • a monophonic chant melody dating from late Middle Ages
  • drawn from Roman Catholic requiem (mass for the Dead)
  • 19th century audiences would have associated the tune with funeral services
440
Q

costume and scenery

A

visual arts

441
Q

employs expanded harmonic vocabulary

A

Impressionism in music

443
Q

classicism

A
  • pertains to the highest level of excellence
  • possessing enduring value or timeless quality
  • refers to the cultures of Ancient Rome and Greece as well as the art, architecture, and music of the late 18th century
  • emphasis in symmetry, balance, and proportion
444
Q

music for small ensemble (two to ten players)

A

chamber music

445
Q

aria

A
  • Italian for “air”
  • a solo song heard in an opera, oratorio, or cantata
  • highly emotional, often virtuosic
  • may have lyrical or dramatic character
446
Q

creates structural unity in a multi-movement work

A

cyclical structure

447
Q

often proud and majestic in character

448
Q

themes from the exposition are manipulated through fragmentation, sequential treatment or changes to the orchestra

A

development

449
Q

first used as a derogatory term in reference to the overly ornate art of the era

450
Q

a collection if arts songs united by a central theme or narrative thread

A

song cycle

451
Q

frequently used in baroque dances and keyboard pieces

A

binary form

452
Q

strophic

A
  • a song structure where the same music is performed for each verse of the poem
  • as a result, little connection can be achieved between the words and music
453
Q

use of scales in which the pattern of whole and half steps is different from conventional major and minor scales

A

modal scales

454
Q

a song structure where the same music is performed for each verse of the poem

455
Q

the total absence of any tonal centre

456
Q

modulation and increased harmonic tension

A

development

457
Q

prelude (in opera)

A
  • an orchestral work serving as an introduction to an opera
  • used from mid-19th century in place of traditional overture
  • no prescribed form
  • often included themes to be heard later in opera
458
Q

a solo song heard in an opera, oratorio, or cantata

459
Q

modern year

A

1900-present

460
Q

as a result, lite connection can be achieved between the words and music

461
Q

usually in four movements: fast-slow-moderately fast-fast (chamber-music)

A

string orchestra

462
Q

Puccini was the master of this style

464
Q

emphasis ob creative imagination and expression of emotions

A

romanticism

465
Q

the art of designs the dance steps and movements in a ballet (or musical)

A

choreography

466
Q

habañera

A
  • Cuban dance-song
  • 2/4
  • characteristic rhythmic motive, often used as an ostinato
467
Q

Cuban dance-song

468
Q

characteristic rhythmic motive, often used as an ostinato

469
Q

romanticism

A
  • origins can be traced to late 18th century literature that served as inspiration for art and music
  • reaction against classicism
  • emphasis in creative imagination and expression of emotions
470
Q

portamento

A
  • Italian for “carrying”
  • a technique of sliding smoothly from one note to the next
  • originally a vocal technique
  • adapted by Berlioz as a novel instrumental technique
471
Q

often used as a dramatic opening motive in classical-era works

A

rocket theme

472
Q

reflects French artistic movement

A

Impressionism in music

473
Q

modal scales ex.

A

Dorian, Lydian, Mixolydian

474
Q

glissando

A
  • derived from French glisser, “to slide”
  • on a harp, a quick strumming of all the strings with a broad sweeping hand movement
  • creates beautiful, shimmering effect
475
Q

important element of the 19th century musical style

A

exoticism/nationalism in music

476
Q

reaction against classicism

A

romanticism

477
Q

a scale consisting of 5 different pitches

A

pentatonic scale

478
Q

material from section A returns within Section B

A

rounded binary form

479
Q

for solo voice, generally with piano accompaniment

A
  • art song

* Lied(er)

480
Q

consists of recitative, arias, ensembles, and choruses

A
  • oratorio

* opera

481
Q

is in the tonic key (exposition)

A

first theme

482
Q

habañera

A
  • Cuban dance-song
  • 2/4
  • characteristic rhythmic motive, often used as an ostinato
483
Q

coda

A
  • Latin for “tail” (cauda)

* a concluding section reaffirming the tonic key

484
Q

consists of 6 different pitches, all spaces a whole tone apart

A

whole-tone scale

485
Q

originally a vocal technique

A

portamento

486
Q

a song structure that avoids repetition of entire sections of the music

A

durchkomponiert

487
Q

Latin for “tail”

A

coda (cauda)

487
Q

modified strophic

A
  • a song structure which allows for some repetition

* some changes to the melody, harmony, and accompaniment take place to reflect the text

488
Q

ophicléide

A
  • brass instrument, now obsolete

* predecessor if the tuba

489
Q

program symphony

A
  • 19th-century multi-movement orchestral work
  • models after 18th century symphony with programmatic elements
  • includes a descriptive title
  • accompanying text often outlines the program
490
Q

recapitulation

A
  • the third main section in sonata form

* first and second themes are both restated in the tonic

491
Q

used from mid-19th century in place of traditional overture

A

prelude (in opera)

492
Q

French instrument that emits a ringing sound when struck with a mallet or hammer

493
Q

on the harp, a quick strumming of all the strings with a broad seeping hand

494
Q

classical year

495
Q

often included themes to be heard later in the opera

A

prelude (in opera)

496
Q

a song structure which allows for some repetition of music

A

modified strophic

497
Q

col legno

A
  • Italian for “with the wood”
  • novel string effect invented by Berlioz
  • players tap on the strings with the wooden parts of their bows
498
Q

the second theme(s) (exposition)

A

are in a contrasting key; generally in he dominant or relative major

499
Q

features innovative orchestral colours

A

Impressionism in music

500
Q

String Quartet composer

A

Franz Joseph Haydn

501
Q

two-part musical form (not binary)

A

rounded binary

502
Q

lest developed in the 17th century at the court of Louis XIV

503
Q

Russian dancers dominated this scene through most of the 20th century

504
Q

choreography

A

the art of designing the dance steps and movements in a valley (or musical)

505
Q

highly emotional, often virtuosic

506
Q

drama that is sung

507
Q

violinata

A
  • orchestral doubling of the vocal line

* a device used frequently by Puccini

508
Q

story line often protect a gritty realism which usually ends violently

509
Q

visual arts

A

costume and scenery

510
Q
  • whole tone, modal, pentatonic scales

* parallel chords

A

expanded harmonic Language in Impressionism

511
Q

material heard in one movement recurs in later movements

A

cyclical structure

512
Q

homorhythmic

A
  • all voices sing the same rhythm
  • results in a blocked chordal texture (homophonic)
  • delivers the text with clarity and emphasis
514
Q

genre often performed in aristocratic social settings and outdoor events

515
Q

are in a contrasting key; generally in the dominant or relative major (exposition)

A

the second theme(s)

516
Q

two contrasting themes are stated

A

exposition

517
Q

Italian for “jest” or “joke”

A

scherzo and trio

518
Q

usually in the dominant (fugue)

519
Q

the simultaneous use of two or more tonal centres

A

polytonality

520
Q

durchkomponiert

A
  • a song structure that avoids repetition of entire sections of the music
  • as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text
521
Q

most important chamber-music genre of the classical era

A

string quartet

522
Q

Impressionism in music

A
  • reflects French artistic movement
  • employs expanded harmonic vocabulary
  • suggests images rather than directly depicting
  • features innovative orchestral colour
  • obscuring of metric pulse
523
Q

instrumental music with extra-musical associations (literary, poetic, visual)

A

program music

524
Q

a non-traditional scale employed by composers of the late 19th and 20th centuries

A

whole-tone scale

525
Q

May have lyrical or dramatic character

526
Q

String Quartet cause

A

commissioned by Joseph Erdödy

527
Q

chromaticism

A
  • from Greek “khroma” for colour
  • extensive use of notes outside the prevailing key signature
  • increasingly used for heightened expression in 19th-century music
528
Q

Italian for “with the wood”

529
Q

song cycle

A
  • a collection of art songs united by a central theme or narrative thread
  • intended to be performed together
530
Q

Beethoven substituted the scherzo in place of the Menuet as the third movement in the sonata cycle

A

scherzo and trio

531
Q

an orchestral work, serving as an introduction to an opera

A

prelude (in opera)

532
Q

rubato

A
  • Italian for “robbed time”
  • rhythmic flexibility-speeding up or slowing down
  • an expressive device for interpreting music
533
Q

small brass disks (finger cymbals)

A

antique cymbals

534
Q

exoticism in music

A
  • important element of the 19th century music style
  • fascination with foreign lands and cultures
  • evoked through melody, rhythm, harmony, and orchestration
535
Q

common in music of the Middle Ages and Renaissance; rediscovered by 20th century composers

A

modal scales

536
Q

cloches

A
  • French for “bells”
  • pitched percussion instrument
  • emits a ringing sound when struck with a mallet or hammer
537
Q

String Quartet performing forces

A

violin I, violin II, viola, cello

538
Q

drawn from Roman Catholic requiem (Mass for the Dead)

539
Q

String Quartet structure

A

4 movements

540
Q

art song

A
  • the musical setting of a poem

* for solo voice, generally with piano accompaniment

541
Q

accompanying text often outlines the _______

542
Q

French literary movement of the late 19th century

543
Q

trio

A

a contrasting middle section

544
Q

ostinato

A
  • Italian for “obstinate” or “persistent”

* a rhythmic or melodic pattern repeated for an esters period

545
Q

atonality

A
  • the total absence of any tonal centre

* characterized by unresolved dissonance

546
Q

French for “bells”

547
Q

in Symphonie Fantastique, represents “the beloved”

A

idée fixe

548
Q

from Greek “khroma” for colour

A

chromaticism

549
Q

a concluding section reaffirming the tonic key

550
Q

Italian for “carrying”

A

portamento

551
Q

increasingly used for heightened expression in 19th-century music

A

chromaticism

552
Q

expanded harmonic language in Impressionism

A
  • whole tone, modal, pentatonic scales

* parallel chords

553
Q

a recurring theme which undergoes transformation

A

idée fixe

554
Q

whole-tone scale

A
  • a non-traditional scale employed by composers of the late 19th and 20th centuries
  • consists of 6 different pitches, all spaced a whole tone apart
555
Q

antique cymbals

A
  • small brass disks (finger cymbals)

* produce a gentle ringing sound when struck together

556
Q

cyclical structure

A
  • material heard in one nice end recurs in later movements

* creates structural unity in a multi-movement work

557
Q

through-composed

A

durchkomponiert

558
Q

strings quartet

A
  • the most important chamber-music genre of the classic era
  • performing forces: violin I, violin II, viola, cello
  • usually in four movements: fast-slow-moderately fast-fast
  • first movement usually sonata form
558
Q

a technique of sliding smoothly from one note to the next

A

portamento

559
Q

a group of notes sung on a single syllable/vowel

559
Q

popular instrumental genre in the classical era

560
Q

descriptive title identifies the connection

A

program music

561
Q

staging and acting

562
Q

String Quartet #background

563
Q

creates beautiful, shimmering effect

564
Q

often includes characteristic rhythmic figures

565
Q

Latin for “day of wrath”

566
Q

refers to the cultures of ancient Rome and Greece as well as the art, architecture, and music of theatre 18th century

A

classicism

567
Q

Dorian, Lydian, Mixolydian

A

modal scales

568
Q

rhythmic flexibility-speeding up or slowing down

569
Q

significant trend in 19th century music

A

program music

570
Q

Menuet

A

a stylized dance of French origin developed in the baroque era

570
Q

performing forces: violin I, violin II, viola, cello

A

string quartet

571
Q

an expressive device for interpreting music

572
Q

development

A
  • the second main section in sonata form
  • themes from the exposition are manipulated through fragmentation, sequential treatment or changed to orchestration
  • modulations and increased harmonic tension
  • new themes may also be introduced
573
Q

common to the folk music of many European and Asian cultures

A

pentatonic scale

574
Q

fascination with foreign lands and cultures

A

exoticism in music

575
Q

the third main section in sonata form

A

recapitulation

576
Q

novel string effect invented by Berlioz

577
Q

absolute music

A
  • music without extra-musical associations
  • also known as “pure music”
  • generic titles reflecting tempos, genres, or forms
578
Q

writers includes Paul Verlaine and Stéphane Mallarmé

579
Q

stresses the beauty of the word itself

580
Q

no prescribed form

A

prelude (in opera)

581
Q

idée fixe

A
  • French for “fixed idea”
  • devised by Berlioz
  • a recurring theme which undergoes transformation
  • serves as a unifying thread in a multi-movement composition
  • in Symphonie Fantastique, represents “the beloved”
583
Q

combines vocal and instrument with drama, visual arts, and often dance

584
Q

Lied(er)

A
  • the musical setting of a German poem
  • for solo voice, generally with piano accompaniment
  • flourished in the 19th century
585
Q

Russian dancers dominated the scene throughout most of the 20th century

586
Q

was a reaction against the complex polyphony if Renaissance music

A

the “affections”

587
Q

romantic year

588
Q

multi-movement orchestral genre (aristocratic setting)

589
Q

as a result, melody, harmony, and accompaniment are able to reflect the meaning of the text

A

durchkomponiert

590
Q

baroque year

591
Q

orchestral doubling of the vocal

l

592
Q

French for “fixed idea”

A

idée fixe

593
Q

evoked through melody, harmony, rhythm, or orchestration

A

exoticism in music

594
Q

innovative orchestral colours in Impressionism

A
  • individual treatment of instruments

* muted instruments

595
Q

String Quartet background

A
  1. genre
  2. date
  3. composer
  4. structure
  5. op. no.
  6. significance of title
  7. performing forces
  8. cause
596
Q

a solo song heard in an opera, oratorio, or cantata

597
Q

2/4 time

598
Q

some changes to the melody, harmony, and accompaniment take place to reflect the text

A

modified strophic

599
Q

drama

A

staging and acting

600
Q

in triple meter

A

Menuet/scherzo and trio

601
Q

intended to be performed together

A

song cycle

602
Q

adapted by Berlioz as a novel instrumental technique

A

portamento

603
Q

created in Italy around 1600

604
Q

the first main section in sonata form

A

exposition

605
Q

highly stylized type of dance which often interprets a story

606
Q

rapidly ascending melody outlining an arpeggio

A

rocket theme

607
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
  • in triple meter
  • generally more dramatic than the elegant Menuet
  • could be humorous or ironic
608
Q

opera

A
  • drama that is sung
  • combines vocal and instrumental music with drama, visual arts, and often dance
  • components include recitative, arias, ensembles, and choruses
  • created in Italy around 1600
609
Q

devised by Berlioz

A

idée fixe

610
Q

durchkomponiert English

A

through-composed

611
Q

nationalism in music

A
  • important element of the 19th century musical style
  • patriotism expressed through music
  • influence of folk song and dance, myths and legends, landscapes, historical events
612
Q

often paired with a fugue

612
Q

brass instrument, now obsolete

A

ophicléide

613
Q

one of the most popular forms of orchestral program music

A

symphonic poem

614
Q

rounded binary form diagram

A

A :||: B + A :||

615
Q

obscuring if metric pulse

A

Impressionism in music

616
Q

symphonic poem

A
  • one of the most popular forms of orchestral program
  • single movement work, generally in free form, with literary or pictorial associations
  • invented by Franz lIszt
617
Q

opera style that became popular in Italy during the 1890s to early 1900s

618
Q

single work, generally in free form, with literary or pictorial associations

A

symphonic poem

619
Q

more dramatic than elegant (triple meter)

A

scherzo and trio

620
Q

origins can be traced to late 18th century literature that served as inspiration for art and music

A

romanticism

621
Q

String Quartet op. no.

A

op.76, no.2

622
Q

changes can be made to melody, harmony, rhythm, or orchestra

A

theme and variations

623
Q

baroque performance practice

A

basso continuo

624
Q

often used in slow movement of sonata cycle

A

theme and variations

625
Q

rocket theme

A
  • rapidly ascending melody outlining an arpeggio

* often used as a dramatic opening motive in classical-era works

626
Q

polytonality

A

the simultaneous use of two or more tonal centres

627
Q
  • individual treatment of instruments

* muted instruments

A

innovative orchestral colours in Impressionism

628
Q

polonaise

A
  • stately polish dance on triplet meter transformed by Chopin into a virtuosic piano composition
  • often proud and majestic in character
  • often includes characteristic rhythmic figures
629
Q

the second main section in sonata form

A

development

631
Q

the initial statement if the main theme of a fugue

632
Q

String Quartet date

633
Q

themes and variations

A
  • a melody us stated then goes through a series of transformations
  • changes can be made to melody, harmony, rhythm, or orchestra
  • often used in slow movement of sonata cycle
634
Q

highly stylized type of dance which often interprets a story

635
Q

for small orchestra or chamber ensemble (aristocratic setting)

636
Q

authors sought to suggest subject matter rather than depict it specifically

637
Q

predecessor of the tube

A

ophicléide

638
Q

suggests images rather than directly depicting

A

Impressionism in music

639
Q

all voices sing the same rhythm

A

homorhythmic texture

641
Q

Cuban dance-song

642
Q

motive

A
  • a short melodic or rhythmic idea

* smallest unit used to form a melody or theme

643
Q

French pitched percussion instrument

644
Q

section A heard three times or more in the tonic key

A

rondo form

644
Q

originally a vocal technique

A

portamento

645
Q

String Quartet composer

A

Franz Joseph Haydn

646
Q

melisma

A
  • a group of notes sung on a single syllable/vowel

* demonstrates vocal virtuosity and often serves to highlight key words

647
Q

program symphony

A
  • 19th-century multi-movement orchestral work
  • models after 18th century symphony with programmatic elements
  • includes a descriptive title
  • accompanying text often outlines the program
649
Q

extensive use of notes outside the prevailing key

A

chromaticism

652
Q

invented by Franz Liszt

A

symphonic poem

654
Q

Italian for “with the wood”

655
Q

easily rendered by playing the 5 black keys on the piano

A

pentatonic scale

656
Q

smallest unit used to form a melody or theme

657
Q

first developed in the 17th century T the court of Louis XIV

658
Q

symbolism

A
  • French literary movement of the late 19th century
  • symbolist writers include Paul Verlaine and Stéphane Mallarmé
  • authors sought to suggest subject matter rather than depict it directly
  • stresses the beauty of the word itself
659
Q

refers to the musical style forged by Haydn, Mozart, and Beethoven and their contemporaries

A

Viennese school

660
Q

could be humours or ironic

A

scherzo and trio

661
Q

rubato

A
  • Italian for “robbed time”
  • rhythmic flexibility-speeding up or slowing down
  • an expressive device for interpreting music
662
Q

ballet

A
  • highly stylized type of dance which often interprets a story
  • first developed in the 17th century at the court of Louis XIV
  • Russian dancers dominated the scene throughout most of 20th century
663
Q

serves as a unifying thread in a multi-mouvement composition

A

idée fixe

664
Q

players tap on the strings with the wooden parts of their bows

665
Q

stately polish dance in triple meter transformed by Chopin into a virtuosic piano composition

666
Q

19th-century audiences would have associated the tune with funeral services

667
Q

Does Irae

A
  • Latin for “day of wrath”
  • a monophonic chant melody dating from late Middle Ages
  • drawn from Roman Catholic requiem (mass for the Dead)
  • 19th century audiences would have associated the tune with funeral services
668
Q

costume and scenery

A

visual arts

669
Q

employs expanded harmonic vocabulary

A

Impressionism in music

670
Q

drawn from Roman Catholic requiem (Mass for the Dead)

671
Q

instrumental music with extra-musical associations (literary, poetic, visual)

A

program music

672
Q

Beethoven substituted the scherzo in place of the Menuet as the third movement in the sonata cycle

A

scherzo and trio

672
Q

accompanying text often outlines the _______

673
Q

exoticism in music

A
  • important element of the 19th century music style
  • fascination with foreign lands and cultures
  • evoked through melody, rhythm, harmony, and orchestration
674
Q

creates structural unity in a multi-movement work

A

cyclical structure

675
Q

French for “bells”

676
Q

through-composed

A

durchkomponiert

677
Q

themes from the exposition are manipulated through fragmentation, sequential treatment or changes to the orchestra

A

development

678
Q

a collection if arts songs united by a central theme or narrative thread

A

song cycle

679
Q

harmonies usually played on the harpsichord or organ

A

basso continuo

679
Q

most important chamber-music genre of the classical era

A

string quartet

680
Q

use of scales in which the pattern of whole and half steps is different from conventional major and minor scales

A

modal scales

681
Q

strophic

A
  • a song structure where the same music is performed for each verse of the poem
  • as a result, little connection can be achieved between the words and music
682
Q

the total absence of any tonal centre

683
Q

a song structure where the same music is performed for each verse of the poem

684
Q

a contrasting middle section

685
Q

prelude (in opera)

A
  • an orchestral work serving as an introduction to an opera
  • used from mid-19th century in place of traditional overture
  • no prescribed form
  • often included themes to be heard later in opera
686
Q

a solo song heard in an opera, oratorio, or cantata

688
Q

modern year

A

1900-present

689
Q

as a result, lite connection can be achieved between the words and music

690
Q

usually in four movements: fast-slow-moderately fast-fast (chamber-music)

A

string orchestra

691
Q

Puccini was the master of this style

692
Q

romanticism

A
  • origins can be traced to late 18th century literature that served as inspiration for art and music
  • reaction against classicism
  • emphasis in creative imagination and expression of emotions
693
Q

emphasis ob creative imagination and expression of emotions

A

romanticism

694
Q

portamento

A
  • Italian for “carrying”
  • a technique of sliding smoothly from one note to the next
  • originally a vocal technique
  • adapted by Berlioz as a novel instrumental technique
695
Q

one clear emotion is usually projected through an entire composition or movement

A

The “Affections” in Baroque music

696
Q

reflects French artistic movement

A

Impressionism in music

697
Q

modal scales ex.

A

Dorian, Lydian, Mixolydian

698
Q

glissando

A
  • derived from French glisser, “to slide”
  • on a harp, a quick strumming of all the strings with a broad sweeping hand movement
  • creates beautiful, shimmering effect
699
Q

important element of the 19th century musical style

A

exoticism/nationalism in music

700
Q

results in a blocked chordal texture (homophonic)

A

homorhythmic texture

700
Q

often includes characteristic rhythmic figures

701
Q

reaction against classicism

A

romanticism

702
Q

consists of recitative, arias, ensembles, and choruses

A
  • oratorio

* opera

703
Q

material from section A returns within Section B

A

rounded binary form

704
Q

for solo voice, generally with piano accompaniment

A
  • art song

* Lied(er)

705
Q

adapted by Berlioz as a novel instrumental technique

A

portamento

706
Q

is in the tonic key (exposition)

A

first theme

707
Q

coda

A
  • Latin for “tail” (cauda)

* a concluding section reaffirming the tonic key

708
Q

consists of 6 different pitches, all spaces a whole tone apart

A

whole-tone scale

709
Q

method of tubing keyboard instruments

A

equal temperament

710
Q

a song structure that avoids repetition of entire sections of the music

A

durchkomponiert

711
Q

an expressive device for interpreting music

713
Q

String Quartet background

A
  1. genre
  2. date
  3. composer
  4. structure
  5. op. no.
  6. significance of title
  7. performing forces
  8. cause
714
Q

recapitulation

A
  • the third main section in sonata form

* first and second themes are both restated in the tonic

715
Q

used from mid-19th century in place of traditional overture

A

prelude (in opera)

716
Q

French instrument that emits a ringing sound when struck with a mallet or hammer

717
Q

French pitched percussion instrument

718
Q

often included themes to be heard later in the opera

A

prelude (in opera)

719
Q

classical year

720
Q

a song structure which allows for some repetition of music

A

modified strophic

721
Q

col legno

A
  • Italian for “with the wood”
  • novel string effect invented by Berlioz
  • players tap on the strings with the wooden parts of their bows
722
Q

features innovative orchestral colours

A

Impressionism in music

723
Q

the second theme(s) (exposition)

A

are in a contrasting key; generally in he dominant or relative major

724
Q

the first main section in sonata form

A

exposition

726
Q

19th-century audiences would have associated the tune with funeral services

727
Q

highly emotional, often virtuosic

728
Q

violinata

A
  • orchestral doubling of the vocal line

* a device used frequently by Puccini

729
Q

story line often protect a gritty realism which usually ends violently

730
Q
  • whole tone, modal, pentatonic scales

* parallel chords

A

expanded harmonic Language in Impressionism

731
Q

visual arts

A

costume and scenery

732
Q

Does Irae

A
  • Latin for “day of wrath”
  • a monophonic chant melody dating from late Middle Ages
  • drawn from Roman Catholic requiem (mass for the Dead)
  • 19th century audiences would have associated the tune with funeral services
733
Q

material heard in one movement recurs in later movements

A

cyclical structure

734
Q

stretto

A
  • from the Italian “stringere” meaning to “tighten”

* overlapping subject entries in close succession

734
Q

players tap on the strings with the wooden parts of their bows

735
Q

Italian for “jest” or “joke”

A

scherzo and trio

736
Q

genre often performed in aristocratic social settings and outdoor events

737
Q

are in a contrasting key; generally in the dominant or relative major (exposition)

A

the second theme(s)

738
Q

two contrasting themes are stated

A

exposition

739
Q

ABACA or ABACABA

A

rondo form

739
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
  • in triple meter
  • generally more dramatic than the elegant Menuet
  • could be humorous or ironic
740
Q

the text of an opera, oratorio, or cantata

741
Q

durchkomponiert

A
  • a song structure that avoids repetition of entire sections of the music
  • as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text
743
Q

Impressionism in music

A
  • reflects French artistic movement
  • employs expanded harmonic vocabulary
  • suggests images rather than directly depicting
  • features innovative orchestral colour
  • obscuring of metric pulse
744
Q

rapidly ascending melody outlining an arpeggio

A

rocket theme

745
Q

a non-traditional scale employed by composers of the late 19th and 20th centuries

A

whole-tone scale

746
Q

May have lyrical or dramatic character

747
Q

String Quartet cause

A

commissioned by Joseph Erdödy

748
Q

chromaticism

A
  • from Greek “khroma” for colour
  • extensive use of notes outside the prevailing key signature
  • increasingly used for heightened expression in 19th-century music
749
Q

Italian for “full” or “complete”

750
Q

song cycle

A
  • a collection of art songs united by a central theme or narrative thread
  • intended to be performed together
751
Q

rounded binary form diagram

A

A :||: B + A :||

751
Q

serves as a unifying thread in a multi-mouvement composition

A

idée fixe

752
Q

an orchestral work, serving as an introduction to an opera

A

prelude (in opera)

753
Q

changes can be made to melody, harmony, rhythm, or orchestra

A

theme and variations

754
Q

small brass disks (finger cymbals)

A

antique cymbals

756
Q

common in music of the Middle Ages and Renaissance; rediscovered by 20th century composers

A

modal scales

757
Q

cloches

A
  • French for “bells”
  • pitched percussion instrument
  • emits a ringing sound when struck with a mallet or hammer
758
Q

String Quartet performing forces

A

violin I, violin II, viola, cello

759
Q

often used in slow movement of sonata cycle

A

theme and variations

761
Q

String Quartet structure

A

4 movements

762
Q

recitativo accompagnato

A
  • Italian for “accompanied recitative”
  • a speech-like, declamatory style of singing
  • supported by instrumental ensemble or orchestra
  • allows for greater connection with the text
  • employed in opera, oratorio, and cantata
763
Q

da capo aria

A
  • the most common song type in baroque opera and oratorio
  • ternary form
  • in performance the return of section A is generally ornamented
763
Q

rocket theme

A
  • rapidly ascending melody outlining an arpeggio

* often used as a dramatic opening motive in classical-era works

764
Q

the “affections”

A
  • a baroque philosophy inspired by Ancient Greek and roman writers and orators
  • refers to emotional state of the soul
  • in baroque music, a single “affection” is usually projected though an entire composition or movement
  • vocal music depicted the emotions of the text or dramatic situation
  • was a reaction against the complex polyphony of Renaissance music
  • also referred to as the “Doctrine of Affections”
765
Q

French instrument that emits a ringing sound when struck with a mallet or hammer

766
Q

oratorio

A
  • a large-scale work for soloists, chorus, and orchestra
  • a serious subject, generally based on biblical texts
  • consists if recitatives, arias, ensembles, and choruses
  • developed in the baroque era
767
Q

a collection if arts songs united by a central theme or narrative thread

A

song cycle

768
Q

supported by instrumental ensemble or orchestra

A

recitativo accompagnato

769
Q

from Greek “khroma” for colour

A

chromaticism

770
Q

Italian for “carrying”

A

portamento

771
Q

a concluding section reaffirming the tonic key

772
Q

increasingly used for heightened expression in 19th-century music

A

chromaticism

773
Q

expanded harmonic language in Impressionism

A
  • whole tone, modal, pentatonic scales

* parallel chords

774
Q

a recurring theme which undergoes transformation

A

idée fixe

775
Q

whole-tone scale

A
  • a non-traditional scale employed by composers of the late 19th and 20th centuries
  • consists of 6 different pitches, all spaced a whole tone apart
776
Q

antique cymbals

A
  • small brass disks (finger cymbals)

* produce a gentle ringing sound when struck together

777
Q

cyclical structure

A
  • material heard in one nice end recurs in later movements

* creates structural unity in a multi-movement work

779
Q

ternary form

A
  • three-part form (ABA)
  • section B general creates contrast in key and/or material
  • often used in baroque arias
779
Q

col legno

A
  • Italian for “with the wood”
  • novel string effect invented by Berlioz
  • players tap on the strings with the wooden parts of their bows
781
Q

rondo form

A
  • classical formal structure often used in sonata cycle
  • section A recurs, with alternating sections creating contrast
  • section A heard three or more time in the tonic key
  • ABACA or ABACABA
782
Q

a song structure that avoids repetition of entire sections of the music

A

durchkomponiert

783
Q

1600-1750

784
Q

String Quartet #background

786
Q

Latin for “day of wrath”

787
Q

allows for greater connection with the text (recitative)

A

recitativo accompagnato

788
Q

a song structure which allows for some repetition of music

A

modified strophic

789
Q

rhythmic flexibility-speeding up or slowing down

790
Q

significant trend in 19th century music

A

program music

792
Q

important element of the 19th century musical style

A

exoticism/nationalism in music

793
Q

development

A
  • the second main section in sonata form
  • themes from the exposition are manipulated through fragmentation, sequential treatment or changed to orchestration
  • modulations and increased harmonic tension
  • new themes may also be introduced
794
Q

common to the folk music of many European and Asian cultures

A

pentatonic scale

795
Q

fascination with foreign lands and cultures

A

exoticism in music

796
Q

novel string effect invented by Berlioz

797
Q

the third main section in sonata form

A

recapitulation

798
Q

romanticism

A
  • origins can be traced to late 18th century literature that served as inspiration for art and music
  • reaction against classicism
  • emphasis in creative imagination and expression of emotions
799
Q

in performance the return of section A is generally ornamented

A

da capo aria

799
Q

chromaticism

A
  • from Greek “khroma” for colour
  • extensive use of notes outside the prevailing key signature
  • increasingly used for heightened expression in 19th-century music
801
Q

no prescribed form

A

prelude (in opera)

802
Q

idée fixe

A
  • French for “fixed idea”
  • devised by Berlioz
  • a recurring theme which undergoes transformation
  • serves as a unifying thread in a multi-movement composition
  • in Symphonie Fantastique, represents “the beloved”
803
Q

durchkomponiert

A
  • a song structure that avoids repetition of entire sections of the music
  • as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text
804
Q

combines vocal and instrument with drama, visual arts, and often dance

805
Q

Lied(er)

A
  • the musical setting of a German poem
  • for solo voice, generally with piano accompaniment
  • flourished in the 19th century
806
Q

Russian dancers dominated the scene throughout most of the 20th century

807
Q

possessing enduring value or timeless quality

A

classicism

808
Q

romantic year

809
Q

multi-movement orchestral genre (aristocratic setting)

810
Q

as a result, melody, harmony, and accompaniment are able to reflect the meaning of the text

A

durchkomponiert

811
Q

countersubject

A

•a recurring country melody

accompanies entries if the subject and answer

812
Q

Menuet and trio

A
  • Menuet: a stylized dance of French origin developed in the baroque period
  • in triple meter
  • graceful, elegant character
  • trio; contrasting middle section
  • ternary form
813
Q

French for “fixed idea”

A

idée fixe

814
Q

evoked through melody, harmony, rhythm, or orchestration

A

exoticism in music

816
Q

creates structural unity in a multi-movement work

A

cyclical structure

817
Q

a solo song heard in an opera, oratorio, or cantata

818
Q

answer

A
  • the second statement of the main theme in a fugue

* use in the dominant key

819
Q

song cycle

A
  • a collection of art songs united by a central theme or narrative thread
  • intended to be performed together
820
Q

in triple meter

A

Menuet/scherzo and trio

821
Q

drama

A

staging and acting

822
Q

intended to be performed together

A

song cycle

823
Q

in late 18th century, this city flourished as a musical centre

824
Q

created in Italy around 1600

828
Q

opera

A
  • drama that is sung
  • combines vocal and instrumental music with drama, visual arts, and often dance
  • components include recitative, arias, ensembles, and choruses
  • created in Italy around 1600
829
Q

devised by Berlioz

A

idée fixe

830
Q

durchkomponiert English

A

through-composed

831
Q

cloches

A
  • French for “bells”
  • pitched percussion instrument
  • emits a ringing sound when struck with a mallet or hammer
832
Q

coda

A
  • Latin for “tail” (cauda)

* a concluding section reaffirming the tonic key

832
Q

from Greek “khroma” for colour

A

chromaticism

833
Q

a structure employed in the first and third movements of the baroque concerto

A

ritornello form

833
Q

increasingly used for heightened expression in 19th-century music

A

chromaticism

834
Q

Bach the second statement of the main theme in a fugue

835
Q

obscuring if metric pulse

A

Impressionism in music

836
Q

Italian for “jest” or “joke”

A

scherzo and trio

837
Q

opera style that became popular in Italy during the 1890s to early 1900s

838
Q

usually written by someone other than the composer

839
Q

more dramatic than elegant (triple meter)

A

scherzo and trio

840
Q

origins can be traced to late 18th century literature that served as inspiration for art and music

A

romanticism

843
Q

String Quartet cause

A

commissioned by Joseph Erdödy

844
Q

Italian for “obstinate” or “persistent”

845
Q

recapitulation

A
  • the third main section in sonata form

* first and second themes are both restated in the tonic

846
Q

The “Affections” in Baroque music

A

one clear emotion is usually projected through an entire composition or movement

847
Q
  • individual treatment of instruments

* muted instruments

A

innovative orchestral colours in Impressionism

848
Q

polonaise

A
  • stately polish dance on triplet meter transformed by Chopin into a virtuosic piano composition
  • often proud and majestic in character
  • often includes characteristic rhythmic figures
849
Q

results in stark contrast rather than gradual change

A

terraced dynamics

850
Q

Italian for “carrying”

A

portamento

851
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
852
Q

String Quartet date

853
Q

themes and variations

A
  • a melody us stated then goes through a series of transformations
  • changes can be made to melody, harmony, rhythm, or orchestra
  • often used in slow movement of sonata cycle
854
Q

a recurring theme which undergoes transformation

A

idée fixe

855
Q

for small orchestra or chamber ensemble (aristocratic setting)

856
Q

music mirrors the literal meaning if the words

A

word painting

857
Q

predecessor of the tube

A

ophicléide

858
Q

Italian for “dry recitative”

A

recitativo secco

858
Q

String Quartet performing forces

A

violin I, violin II, viola, cello

860
Q

rhythmic flexibility-speeding up or slowing down

861
Q

significant trend in 19th century music

A

program music

862
Q

motive

A
  • a short melodic or rhythmic idea

* smallest unit used to form a melody or theme

864
Q

Latin for “day of wrath”

866
Q

cyclical structure

A
  • material heard in one nice end recurs in later movements

* creates structural unity in a multi-movement work

867
Q

a stylized French of French origin developed in the baroque era

868
Q

multi-movement structure that emerged in the classical era

A

sonata form

868
Q

fascination with foreign lands and cultures

A

exoticism in music

869
Q

extensive use of notes outside the prevailing key

A

chromaticism

871
Q

section A generally ends with open cadence

A

binary form

872
Q

emphasis on symmetry, balance, and proportion

A

classicism

873
Q

a type of musical short hand developed in the baroque era

A

figured bass

874
Q

Lied(er)

A
  • the musical setting of a German poem
  • for solo voice, generally with piano accompaniment
  • flourished in the 19th century
875
Q

easily rendered by playing the 5 black keys on the piano

A

pentatonic scale

876
Q

smallest unit used to form a melody or theme

877
Q

also referred to as the “Doctrine of Affections”

A

the “Affections”

878
Q

novel string effect invented by Berlioz

879
Q

a common mannerism in baroque music

A

tierce de Picardie

880
Q

could be humours or ironic

A

scherzo and trio

881
Q

demonstrates vocal virtuosity and often serves to highlight key words

882
Q

as a result, melody, harmony, and accompaniment are able to reflect the meaning of the text

A

durchkomponiert

883
Q

generally involves two performers-one playing the notated bass line, one realizing the figured bass harmony

A

basso continuo

884
Q

serious subject, generally based in biblical text

885
Q

stately polish dance in triple meter transformed by Chopin into a virtuosic piano composition

886
Q

from the Italian “stringere” meaning “to tighten”

887
Q

idée fixe

A
  • French for “fixed idea”
  • devised by Berlioz
  • a recurring theme which undergoes transformation
  • serves as a unifying thread in a multi-movement composition
  • in Symphonie Fantastique, represents “the beloved”
888
Q

development

A
  • the second main section in sonata form
  • themes from the exposition are manipulated through fragmentation, sequential treatment or changed to orchestration
  • modulations and increased harmonic tension
  • new themes may also be introduced
889
Q

ternary form genres

A
  • da capo aria

* Menuet and trio

890
Q

multi-movement orchestral genre (aristocratic setting)

891
Q

generally in three movements: fast-slow-fast

A

solo concerto

891
Q

evoked through melody, harmony, rhythm, or orchestration

A

exoticism in music

892
Q

accompanies entries if the subject and answer

A

countersubject

893
Q

three-part form (ABA)

A

ternary form

894
Q

solo concerto

A
  • popular instrumental genre of the baroque era for soloist and orchestra
  • generally in three movements: fast-slow-fast
  • frequently employed ritornello form
  • intended to showcase the virtuosity of the soloist
895
Q

equal temperament

A
  • method if tuning keyboard instruments
  • all semitones within the octave are divided equally; created enharmonic equivalents (C sharp/D flat)
  • allowed music to be performed “in tune” in all keys
896
Q

frequently sequential (fugue)

897
Q

themes from the exposition are manipulated through fragmentation, sequential treatment or changes to the orchestra

A

development

898
Q

second part-fast, imitative texture

A

French overture

898
Q

intended to be performed together

A

song cycle

899
Q

frequently employed ritornello for

A

solo concerto

899
Q

French for “fixed idea”

A

idée fixe

900
Q

in triple meter

A

Menuet/scherzo and trio

901
Q

strophic

A
  • a song structure where the same music is performed for each verse of the poem
  • as a result, little connection can be achieved between the words and music
902
Q

performed or “realized” by the basso continuo

A

figured bass

903
Q

a song structure where the same music is performed for each verse of the poem

904
Q

durchkomponiert English

A

through-composed

905
Q

numbers are places below the bass line to show harmonic progression

A

figured bass

906
Q

fugue

A
  • a highly structured, imitative contrapuntal composition

* a single theme or subject prevails

907
Q

now applied to art, architecture, and music of the 17th and early 18th century

908
Q

modern year

A

1900-present

909
Q

as a result, lite connection can be achieved between the words and music

910
Q

usually in four movements: fast-slow-moderately fast-fast (chamber-music)

A

string orchestra

911
Q

Puccini was the master of this style

912
Q

an exact transposition if the subject

A

real answer

912
Q

String Quartet date

913
Q

emphasis ob creative imagination and expression of emotions

A

romanticism

914
Q

all semitones within the octave are divided equally; created enharmonic equivalents (C sharp/D flat)

A

equal temperament

915
Q

subject

A
  • the initial statement of the main theme of a fugue

* in the tonic key

917
Q

devised by Berlioz

A

idée fixe

918
Q

a recurring counter melody

A

countersubject

919
Q

often used in baroque arias

A

ternary form

920
Q

a passage within a fugue in which neither subject nor answer is present

920
Q

more dramatic than elegant (triple meter)

A

scherzo and trio

921
Q

reaction against classicism

A

romanticism

922
Q

origins can be traced to late 18th century literature that served as inspiration for art and music

A

romanticism

923
Q

material from section A returns within Section B

A

rounded binary form

924
Q

for solo voice, generally with piano accompaniment

A
  • art song

* Lied(er)

925
Q

intended to showcase the virtuosity if the soloist

A

solo concerto

926
Q

is in the tonic key (exposition)

A

first theme

927
Q

vocal music depicted the emotions of the text or dramatic situation

A

the “affections”

927
Q

polonaise

A
  • stately polish dance on triplet meter transformed by Chopin into a virtuosic piano composition
  • often proud and majestic in character
  • often includes characteristic rhythmic figures
928
Q

a short keyboard work in improvisatory style

929
Q

achieved through melody, rhythm, or harmony

A

word painting

930
Q

from the Portuguese “barroco” meaning irregularly shaped or misshapen pearl

932
Q

prelude

A
  • a short keyboard work in improvisatory style

* often paired with a fugue

934
Q

common in folk music

937
Q

themes and variations

A
  • a melody us stated then goes through a series of transformations
  • changes can be made to melody, harmony, rhythm, or orchestra
  • often used in slow movement of sonata cycle
938
Q

ripieno

A
  • Italian for “full” or “complete”

* a term used to denote the use the full orchestra in the baroque concerto

939
Q

classical year

940
Q

a single theme or subject prevails

942
Q

for small orchestra or chamber ensemble (aristocratic setting)

943
Q

the second theme(s) (exposition)

A

are in a contrasting key; generally in he dominant or relative major

944
Q

refers to he emotional states of the soul

A

the “affections”

947
Q

highly emotional, often virtuosic

950
Q

extensive use of notes outside the prevailing key

A

chromaticism

951
Q

visual arts

A

costume and scenery

952
Q

figured bass

A
  • a type of musical shorthand developed in the baroque era
  • numbers are placed below the bass line to show harmonic progression
  • performed or “realized” by the basso continuo
  • provides the structuring for guides improvisation
953
Q

material heard in one movement recurs in later movements

A

cyclical structure

955
Q

motive

A
  • a short melodic or rhythmic idea

* smallest unit used to form a melody or theme

956
Q

genre often performed in aristocratic social settings and outdoor events

957
Q

are in a contrasting key; generally in the dominant or relative major (exposition)

A

the second theme(s)

958
Q

two contrasting themes are stated

A

exposition

963
Q

themes from the exposition are manipulated through fragmentation, sequential treatment or changes to the orchestra

A

development

967
Q

smallest unit used to form a melody or theme

969
Q

predecessor of the tube

A

ophicléide

971
Q

could be humours or ironic

A

scherzo and trio

973
Q

portamento

A
  • Italian for “carrying”
  • a technique of sliding smoothly from one note to the next
  • originally a vocal technique
  • adapted by Berlioz as a novel instrumental technique
975
Q

usually in four movements: fast-slow-moderately fast-fast (chamber-music)

A

string orchestra

981
Q

String Quartet structure

A

4 movements

985
Q

strophic

A
  • a song structure where the same music is performed for each verse of the poem
  • as a result, little connection can be achieved between the words and music
986
Q

is in the tonic key (exposition)

A

first theme

988
Q

modelled After 18th century symphony with programmatic elements

A

program symphony

991
Q

a concluding section reaffirming the tonic key

993
Q

as a result, lite connection can be achieved between the words and music

994
Q

stately polish dance in triple meter transformed by Chopin into a virtuosic piano composition

1002
Q

emphasis ob creative imagination and expression of emotions

A

romanticism

1004
Q

String Quartet #background

1005
Q

a song structure where the same music is performed for each verse of the poem

1006
Q

the second theme(s) (exposition)

A

are in a contrasting key; generally in he dominant or relative major

1009
Q

for solo voice, generally with piano accompaniment

A
  • art song

* Lied(er)

1012
Q

reaction against classicism

A

romanticism

1017
Q

the third main section in sonata form

A

recapitulation

1018
Q

material from section A returns within Section B

A

rounded binary form

1020
Q

are in a contrasting key; generally in the dominant or relative major (exposition)

A

the second theme(s)

1021
Q

two contrasting themes are stated

A

exposition

1039
Q

String Quartet structure

A

4 movements

1040
Q

material heard in one movement recurs in later movements

A

cyclical structure

1041
Q

drama

A

staging and acting

1044
Q

genre often performed in aristocratic social settings and outdoor events

1054
Q

a concluding section reaffirming the tonic key

1072
Q

the third main section in sonata form

A

recapitulation

1076
Q

String Quartet #background

Music History 1: An Overview (4 decks)

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