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Music History 1 > Final Quiz > Flashcards

Final Quiz Flashcards

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1
Q

Toccata

A

The chief form of keyboard music in improvisatory style during the second half of the 16th c. From Italian Toccare (to touch).

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2
Q

Monody Types (3)

A

Recitative: Speech-like vocal sections in an opera
Arias: Song-like sections in an opera or oratorio and madrigals.
Solo line and basso continuo: the bass line and figured bass, accompanying the solo voice.

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3
Q

Monody

A

the style of solo singing practiced in the early years of the 17th century

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4
Q

Basso continuo

A

2 voices that play a bass line (cello, bassoon, etc) and figured bass (harpsichord, organ, lute, guitar, etc).

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5
Q

Madrigal Cycles

A

a series of madrigals that represented a series of scenes or moods that wove a simple comic plot in dialogue.

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6
Q

Realization

A

Performing a figured bass (independent line in right hand)

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7
Q

Libretto

A

Text to an opera or an oratorio.

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8
Q

Cantata

A

“to be sung”. Multi-sectional piece for voice and accompaniment.

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9
Q

Sonata da Chiesa

A

Church sonata.
More Serious
Contained frequent imitative counterpoint.
Movements could be based on popular dances of the time (Allemande, Courante, Sarabande, Gigue, etc.) or purely abstract movements (meaning not based on any dance models).

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10
Q

Sonata da Camera

A

Chamber sonata.
Sonata for pure entertainment in the home.
Less serious
Less contrapuntal
Primarily incorporated dance style music.

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11
Q

Trio sonata

A

3 part sonata played by 4 players. Violin 1 and 2 for the upper parts, cello for the bass line and someone to provide the chords. This later evolves into the string quartet.

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12
Q

Solo sonata

A

One solo instrument and a basso continuo. (Three players)

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13
Q

Unaccompanied Sonata

A

Solo monophonic instrument, usually the violin.

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14
Q

Orchestral sonata

A

Between 5 and 8 parts, its popularity diminishes in the classical period.

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15
Q

Solo Concerto

A

Alternating soloist(s) and an orchestral ensemble (Tutti). (The orchestral ensemble was usually strings).

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16
Q

Tutti/Ripieno

A

Orchestral Ensemble

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17
Q

Ritornello

A

When the Tutti returns in a concerto, opera or oratorio.

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18
Q

Cadenza

A

Improvised solo passage in a concerto or opera.

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19
Q

Adding the Graces

A

Improvising on a melodic line in the Baroque period.

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20
Q

Concerto Grosso

A

It has the same structure as the solo concerto, but rather than soloists, it has a small ensemble (Concertino) that alternates with the large ensemble (TUTTI or RIPIENO). The most common Concertino is for 2 violins and cello.

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21
Q

Concertino

A

Small ensemble in a concerto grosso.

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22
Q

Orchestral Concerto

A

The least common of the 3 types. It is for orchestra but treats the instruments in a very soloist fashion

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23
Q

Royal Academy of Music

A

1718-19 Handel and about 60 wealthy gentlemen organized a joint stock company to present italian operas to the London public. It flourished from 1720-1728 during which time Handel composed some of his best operas.

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24
Q

Suite/Partita

A

A multi movement instrumental piece. It may be for one instrument (mostly keyboard) or for a full orchestra.

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25
Q

Oratorio

A

Genre of dramatic music originating in the 17th c. It had all the ingredients of opera, yet was not staged, and usually based on a sacred topic.

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26
Q

Prima Practica

A

Renaissance compositional style

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27
Q

Seconda Practica

A

Early Baroque compositional style

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28
Q

Doctrine of Affections

A

A term used in the 20th c. by musicologists to describe the representation of musical effects by specific musical gestures (clichés).

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29
Q

Descending chromatic lines represent…

A

Death, mystery, sadness

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30
Q

Trumpets and percussion represent…

A

Military, royalty, war

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31
Q

Horns represent…

A

Hunting, pastoral, nature

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32
Q

Harp represents…

A

Angelic, heavenly

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33
Q

Diminished 7th chord represents…

A

Shock, horror, surprise

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34
Q

Drones of fifths represents…

A

Peasants, simplicity

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35
Q

Descending melodic second, especially as non-chord tone represents…

A

Sigh Motive

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36
Q

Dissonance

A

Sadness, horror, mystery, death, humor

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37
Q

Differences and similarities between Oratorio and Opera

A

Both: Dramatic voice music from the 17th century.
Opera: Staged, and could be sacred or secular.
Oratorio: Not staged, sacred, usually performed outside church.

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38
Q

Testo or Storicus

A

Oratorio Narrator.

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39
Q

Florentine Camerata

A

Group of intellectuals that led to the creation of the opera.

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40
Q

Overture

A

Instrumental introduction for oratorios.

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41
Q

Rameau/Traité de L’harmonie

A

Rameau was a late Baroque composer who wrote Traite de L’harmonie.
He wrote the first major treatise that explained how composers thought about chords being independent structures.
He stated that the fundamental building blocks for tonality were the Tonic, Sub-Dominant, and Dominant chords.
Also explained the INVERTIBILITY OF CHORDS. Inversions are still the same chord.

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42
Q

Fugue (3 points)

A
  1. A technique that began in the Baroque period.
  2. Fugue means to flee, or run away.
  3. In the Medieval period and the Renaissance FUGA meant a CANON.
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43
Q

Subject

A

Main melodic material (an entry or voice) in the tonic key.

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44
Q

Answer

A

The main melodic material (an entry or voice) in the dominant key.

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45
Q

Countersubject

A

Melodic material that accompanies the subject and answer. It is optional.

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46
Q

Codetta

A

Additional material that is inserted between the entries.

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47
Q

Exposition

A

When all of the entries have been presented.

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48
Q

Episode

A

A section that modulates and develops any material from the exposition. The entire subject is not used.

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49
Q

Modulating sequence

A

Common technique used in an episode.

50
Q

Sequence

A

When material is immediately transposed after it has been presented.

51
Q

Restatement

A

When the subject, and any countersubjects that may be used returns after an episode. Before the fugue ends, there is commonly at least one restatement in the tonic key.

52
Q

Stretto

A

A canonic overlapping of entries utilizing any canonic technique that may be used as a restatement. Look for the rhythmic distance, interval of imitation and version of the subject.

53
Q

Coda

A

Pedal point on the tonic with an entry above it that concludes the piece.

54
Q

Similarities between Bach and Handel

A
  • German
  • Born in 1685
  • Lived a long life relative to their times
  • Played organ and violin
  • Brilliant improviser
  • Wrote a prolific quantity of music.
  • Had eye trouble in their later years and consulted the same doctor
55
Q

Genre

A

The type of piece: opera, oratorio, song, cantata, suite, mass, madrigal, concerto, etc.

56
Q

Handel Characteristics

A
  • Trained for law
  • Never married
  • Was one of the most famous composers of his time.
  • Worked briefly for the aristocracy and then became primarily a successful independent composer.
  • Had many works published during his lifetime
57
Q

Bach Characteristics

A
  • Came from generations of musician/composers
  • Was married with 22 children (not all lived past infancy)
  • Was famous as a brilliant organist and improviser, and the father of several children who became famous composers.
  • Worked for both aristocracy and church at various times, changing positions to find better jobs.
  • Had only a few works published, and these were instrumental pieces that could be used for teaching.
58
Q

Form

A

The abstracted shape of a piece or a movement of a piece.

59
Q

Binary Form

A

AB

60
Q

Rounded Binary

A

AB(A)

61
Q

Ternary Form

A

ABA

62
Q

Small Rondo

A

ABACA

63
Q

Large Rondo

A

ABACABA

64
Q

Large scale of sonata form

A

Introduction (Optional)
Exposition
Development
Recapitulation
Coda (Optional)

65
Q

Details of Exposition

A
  • Principal theme/first theme: I
  • Transition/bridge: Modulates
  • Second theme: V
  • Closing theme/Codetta: V
66
Q

Details of Development

A
  • Reworked material from the Exposition
  • It passes through other keys.
  • There is no number of sections or keys it must go through.
  • New material may be introduced.
  • It increases the large-scale tension of the Exposition.
  • Section that modulates through many keys
67
Q

Details of Recapitulation

A
  • Principal theme/first theme: I
  • Transition/bridge: Unstable but returns to
  • Second theme: I
  • Closing theme/Codetta: I
68
Q

In a Minor key, the Second theme and Codetta are in

A

Relative Major

69
Q

Sonata Rondo

A

Exposition: ABA
Development: C
Recapitulation: ABA

70
Q

Three Movement Work

A
  1. Fast (Sonata form)
  2. Slow (sonata, sonata without development, theme and variations, rondo, ternary)
  3. Fast (sonata, sonata without development, theme and variations, sonata rondo)
71
Q

Four Movement Work

A
  1. Fast (Sonata form)
  2. Slow (sonata, sonata without development, theme and variations, rondo, ternary)
  3. Dance Movement (Minuet) (Ternary form)
  4. Fast (sonata, sonata without development, theme and variations, rondo, ternary)
72
Q

Oboe Nomenclature (Gr and Fr)

A

Hoboe (Gr) and Hautbois (Fr)

73
Q

Bassoon Nomenclature (Gr and It)

A

Fagott (Gr) and Fagotto (It)

74
Q

Horn Nomenclature (It and Fr)

A

Corno (It) and Cor (Fr)

75
Q

Trumpet Nomenclature (2 in It)

A

Tromba/Clarino

76
Q

Trombone Nomenclature (Gr)

A

Pousane

77
Q

Timpani Nomenclature (Gr)

A

Pauken

78
Q

Violin Nomenclature (Gr)

A

Geige

79
Q

Viola Nomenclature (Gr and Fr)

A

Bratsche (Gr) and Alto (Fr)

80
Q

Cello Universal Nomenclature

A

Violoncello

81
Q

Minuet

A

Most common dance for the third movement of a symphony.

82
Q

Moll (German Notation)

A

Minor

83
Q

Dur (German Notation)

A

Major

84
Q

B (German Notation)

A

B flat

85
Q

H (German Notation)

A

B natural

86
Q

Es (German Notation)

A

Flat (Exception: Es = E-flat and As = A-flat)

87
Q

Is (German Notation)

A

Sharp

88
Q

Transposition

A

Whichever key is indicated for the instrument (e.g., Cl. in E-flat), that is the pitch that the instrument will produce when a player plays a “C”.

89
Q

Opera Seria

A

Italian 18th century serious opera without comic scenes.

90
Q

Opera Buffa

A

Italian 18th century comic opera sung throughout.

91
Q

Singspiel/Ballad Opera

A

German comic opera with spoken dialogue.

92
Q

Opera Comique

A

The French form of the SINGSPIEL. It was any kind of French opera (usually comic) but used spoken dialogue instead of recitative.

93
Q

Key characterization

A

The usage of keys to represent emotional or dramatic states, not individual character.

94
Q

Gluck

A

Bohemian born composer that helped to revolutionize opera in France in the 18th C.

95
Q

Gluck’s Reforms

A

less repetition of text within an aria, no da capo arias
little or no opportunity for vocal improvisation or virtuosic displays of vocal agility or power
no long melismas
no ritornello’s or shorter
a more predominantly syllabic setting of the text to make the words more
intelligible
a blurring of the distinction between recitative and aria, declamatory and lyrical passages, with altogether less recitative accompanied rather than secco recitative
simpler, more flowing melodic lines
an overture that is linked by theme or mood to the ensuing action.
Sometimes transitioning directly into the opera.

96
Q

Haydn and Mozart Similarities

A
  • Austrian Catholic
  • Freemason
  • Played Piano, violin and viola
97
Q

Haydn Characteristics

A
  • 1732-1809
  • Peasant background
  • Lived in the country
  • Unhappy childhood
  • Late developer
  • Works for aristocracy
  • Very famous during his lifetime
98
Q

Mozart Characteristics

A
  • 1756 - 1791
  • Upper middle class
  • Lived in the city
  • Child prodigy
  • Freelance composer.
  • Great fame as a pianist and improviser.
  • Moderate fame as a composer.
99
Q

Masonic Symbolism

A

An organization dedicated to learning and culture, yet steeped in symbolism (the number 3) light and dark. Both Haydn and Mozart became Freemasons. It is not a religion.

100
Q

Passion

A

A work that describes the suffering and death of Jesus.

101
Q

Barbara Strozzi

A

(1619-1677)

Studied with Cavalli and had the most cantatas published in the middle Baroque period.

102
Q

Jean Baptiste Lully

A
  • (1632-1687)
  • Italian born composer and instrumentalist who spent most of his life working in the Court of Louis XIV of France
  • Royal composer for instrumental music in 1653.
  • Leading opera composer in France at that time.
  • He helped establish the French overture
103
Q

Henry Purcell

A
  • (1659-95)
  • English composer and pupil of John Blow.
  • Organist of Westminster Abbey and other positions in London.
  • Wrote music in all genres, including incidental music to 49 plays
104
Q

Henry Purcell most famous work and type of work

A

Dido and Aenas - Incidental Music in English

105
Q

Vivaldi

A
  • Violin player
  • Priest
  • Programmatic music: Purely instrumental and depicts an image, story, poem or painting
106
Q

Vivaldi most famous work and type of work

A

The Four Seasons - 4 violin concerti

107
Q

Claudio Monteverdi

A

Greatest bridge composer of the Renaissance into the Baroque period.

108
Q

Monteverdi most famous work and type of work

A

L’Orfeo - Opera based on Greek Mythology

109
Q

J.S. Bach Most famous works and type of work (6)

A
  • Brandenburg Concerti - Most famous concerti grossi
  • Art of the Fugue - 18 canons and fugues/Bach’s last piece
  • The Musical Offering - Trio sonata in 4 movements for Frederick the Great of Prussia
  • Well-Tempered Klavier - 48 pieces: Preludes and fugues in every major and minor key.
  • Mass in b minor - CANTATA
  • St. John and St. Matthew Passions - 2 surviving passions
110
Q

C.P.E. Bach

A

He was a leading exponent of Empfindsamkeit, which is the musical equivalent of the literary “Sturm und Drang”.

111
Q

J.C Bach

A
  • Known as the “London Bach”
  • Composer and leader of the famous Mannheim orchestra.
112
Q

Manheim Orchestra

A

Considered the finest orchestra in Europe for its time and was led by the first violinist Johann Stamitz.

113
Q

Handel Most famous works and type of work (3)

A
  • Messiah: Most famous Oratorio
  • Music for the Royal Fireworks: Suite for large orchestra celebrating the union of England and France.
  • Suite for the Water Music: Written for King George III Coronation.
114
Q

Rameau most famous work and type of work

A

Traité de L’harmonie: Important early treatise on harmony that influenced many later treatises on the subject.

115
Q

Gluck most famous work and type of work

A

Orfeo: Opera

116
Q

Haydn Most famous works and type of work (6)

A

The Creation: Oratorio
The Seasons: Oratorio
#45 Farewell - Symphony
#92 Oxford - Symphony
#94 Surprise - Symphony
Joke String Quartet: Op. 33 No. 2

117
Q

Haydn worked for nearly 30 years at his court.

A

Prince Nikolaus Esterhazy

118
Q

Mozart Most famous works and type of work (8)

A
  • # 36 Linz - Symphony
  • # 38 Prague - Symphony
  • # 41 Jupiter - Symphony
  • Requiem Mass: Last composition/Mass for the dead.
  • Marriage of Figaro: Opera buffa, Da Ponte text.
  • Don Giovanni: Opera buffa, Da Ponte text, Don Juan legend.
  • Magic Flute (Die Zauberflöte): Masonic Singspiel.
  • Dissonant quartet: Slow Chromatic quartet dedicated to Haydn.
119
Q

Catalogued Mozart’s works in 1862.

A

Ludwig Von Köchel

120
Q

Librettist who collaborated with Mozart on Le Nozze di Figaro, Don Giovanni, and Cosi fan tutte.

A

Lorenzo da Ponte

121
Q

Giovanni Gabrielli Most famous work

A

Sonata Pian’e forte

Music History 1 (5 decks)

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