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Music History 1 > Final Test > Flashcards

Final Test Flashcards

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0
Q

The enlightenment

A

Same as the enlightenment. 18th movement. Faith in human replaced with divine intervention. Science was praised. Learning for it’s own sense became valued like greek times. French had radical notions such as social justices and equality and justice freedom of speech and religious tolerance.

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1
Q

Age of reason

A

Same as the enlightenment. 18th movement. Faith in human replaced with divine intervention. Science was praised. Learning for it’s own sense became valued like greek times. French had radical notions such as social justices and equality and justice freedom of speech and religious tolerance.

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2
Q

Traite de l’harmonie

A

1722(Treatise of harmony) Written by jean Phillipe Remeau. Modality to tonality. Aeolian (minor) and Ionian (major) prevail; other modes into disuse. Full octave scales replaces guidian hand. Do replaces ut and ti is added. Transposition and modulation systemic use if Sharps and flats. Organization of tonality intl 12 major and minor keys. Functional harmony, chord inversion relative major and minor. Triads and seventh chords. Circle of fifths.

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3
Q

Kantor

A

Responsible for all sacred music at a church and hiring and supervising performers, maintaining instrument a and teaching children.

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4
Q

Kapellmeister

A

Chief of music. (Maestro di Capella in Italy) most prestigious/lucrative music position available

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5
Q

Lutheran choral cantata

A

One of the few type of sacred that helped sacred music not decline.

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6
Q

Modal/tonality

A

Aeolian (major) and Ionian (major) modes prevailed. Full octaves. Do replaced ut and ti was added. Transposition added. Systematic snarls and flats. 12 major and minor keys.

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7
Q

Pianoforte

A

devolped in ca 1711 by BArtolomeo cristofori. can play wide range of dynamics. predominant secular keyboard instrument by the end f the 18th century

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8
Q

Functional harmony

A

Tertian harmony. Chord inversion. Harmonic profession with root movement by fifth reluctance major and minor keys triads and seventh chords.

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9
Q

Equal temperament

A

Allows for transposition and chromaticism in any key. Bach used in WLK circle of fifths

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10
Q

Masque

A

Elaborate courtly entertainment using music entertainment using music dance and drama to portray allegorical story often celebrated the royal family.

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11
Q

Semi-opera

A

A spoken play in which not exotic amorous and supernatural moment in the plot were sing or danced

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12
Q

Ground bass

A

A bass line that repeats over and over

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13
Q

Accompanied recitative

A

Piece for voice and continuo accompaniment. Obbligato accompaniment parts for the orchestra

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14
Q

Colla parte

A

“Wth the part” technique in which all instrumentL parts double the vocal lines

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15
Q

Collegium musicum

A

Association of musicians who gather to play the latest music. Bach assumes te directorship the Of the Leipzieg one in 1729.

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16
Q

George Frideric Handel

A

1685-1759. German. Operas in Italy. Oratorios operas instrumental music in London. Giulio Cesare, water music. Music for royal fireworks

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17
Q

De capo aria

A

Three sections a then contrasting b then a again.

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18
Q

Recitative

A

Speech like sing.

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19
Q

Castrati

A

Male castrated so he could sing soprano roles

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20
Q

Henry Purcell

A

1659-1695 most important English composer. Organist for Westminster. Buried at Westminster. Dido and Aeneas. Frequently employed ground bass. Significant indulgence on r. Williams and Ben Britten.

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21
Q

Oratorio

A

New drama in Rome based on based on Latin or Italian text. Usually about Old Testament. No lavish sets. Allowed during lent. Features narrator and follows some rules of opera

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22
Q

Oratory

A

Prayer ha set aside just did praying preaching and singing oratories,

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23
Q

Con fraternity

A

Fraternal order emphasizing religious devotion and charity. Each oratory in rome sponsored by one

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24
Q

Jepthe

A

Oratorio/carissini. Latin starts with two voices then goes to 7. Popular judges 11 quick succession of short movements

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25
Q

Giacomo Carissimi

A

Compose/director if German college in rome for more than forty years. Fourteen oratorios. Jepthe

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26
Q

Zadok the priest

A

English anthem/Handel coronation. 19 parts. Ssaattbb choir orchestra vitreousjc choral parts

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27
Q

Cantata

A

Succession of movements for solo voice and accompaniment altered between recitative and aria. Secular or sacred liturgical or non liturgical

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28
Q

Judith w

A

Guerre first set of cantatas in 1708. Solo voice and basso continuo. Da capo arias. 2 voice

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29
Q

Jacquet de la querre

A

1665-1729. Favorite if court if Versailles dedicated music to Louis XIV First Frenchwoman to write opera. Three volumes of cantatas. Judith

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30
Q

Baroque orchestra

A

Baroque orchestra accompanying instrument ensemble. By mid violin family was core. By second half wind instrument supplemented. Horns and flutes but til 18th century. Most famous was Louis the XIV in Versaille

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31
Q

Cremona

A

Crucial northern Italy important to violin

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32
Q

Stradivari

A

One of the great cremonese violin makers of 17th century

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33
Q

Clarino register

A

register seventeenth century trumpet (without keys of valves) played in. late 17th to mid 18th called the “golden age of trumpet”

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34
Q

horn

A

coiled horn based off english hunting horn. could play sever notes on harmonic series added in early 18th century. known as french horn

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35
Q

horn fifths

A

two part writing in which two musical lines pass through a perfect fifth in parallel motion, usually sliding back and forth between sixths, fifths, and thirds

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36
Q

18th century keyboard instruments

A

organ, harpsichord, pianoforte

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37
Q

sonata

A

piece for a single instrument or small instrument ensemble. there came to be two types sonata da camera and sonata da chiesa

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38
Q

sonata da camera

A

(of the chamber) made up of a series of dance like movements, each of which had the name and character of a particular dances such as gigue. usually 3-4 movements also known as dance suite. prelude would often be french overture movements usually in binary form

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39
Q

sonata de chiesa

A

(of the church) made up of fewer dance pieces and of movements titled after tempo markings such as grave. (clear references to secual dances were prohibited by the church) secular music not sacred or religious general four movements

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40
Q

Arcangelo Corelli

A

1653-1713. first composer in the history of music to make his reputation by instrumental music. Educated in bologna, worked in rome for Queen christina. used the norm of two types. solo sonata and trio sonata. Sonata Op4, no 1. Concerto Grosso in F major

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41
Q

solo sonata

A

for a single melodic instrument and basso continuo. takes 3 players

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42
Q

trio sonata

A

for two treble instruments, usually two violins, and basso continuo. takes 4 players

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43
Q

corelli sonata

A

mode for composer throughout europe characterized by multiple stops successions of four movements binary form and functional tonality

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44
Q

multiple stops

A

two or more notes played simultanesouly as chords

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45
Q

four movements

A

alternating slow fast slow fast all in same key (or relative major or minor)

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46
Q

binary form

A

structure consisting of two complimentary parts, first moving to a closely related key, and second beginning in that new key but soon returning to the tonic

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47
Q

functional tonality

A

harmons composed of triads, roots of which are a fifth apart

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48
Q

Isabella Leonarda

A

1620-1704. northern italy. nun in a convent composed of two hundred works. in 20 volumes. mostly religious vocal music

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49
Q

Sonata duodecima

A

Leonarda. only treble and bass clef.

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50
Q

Violin sonata Op. 4, No. 1

A

Corelli. dotted rhythm feature (which would become the french overture)

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51
Q

J.S. Bach

A

1685 died in Leipzig. four sons became famous musicians, had over 20 plus children a lot of which who died in infancy. in 1717 was Kapellmeister of Cothen until 1723. Turned down being organist in as Cothen next time he returned. Concertos orchestra suites sonatas, partitas. Married twice. 1703-1707 organist at Arnstadt. 1707-1708 organist and composer and Mulhasuen, 1708-1717 court organist for Duke of Weimar. 1717-1723 Kapellmeistr at court of Cothen. 1723-1750 Cantor at St. Thomas Church in Leipzig.

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52
Q

Branderberg Concertos

A

set of six concertos for “Several instruments” written for the most part in Cothen. Dedicated to Cristain Ludwig Margrave of Brandenburg.

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53
Q

Br. Concerto number 1 in F

A

2 horns, 3 oboes, bassoon, violono piccolo

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54
Q

Br concerto number 2 in F

A

trumpet, recorder, oboe, violin

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55
Q

br concerto number 3 in G

A

3 violins, 3 violas, 3 cellos

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56
Q

Br concerto number 4 in G

A

violin, 2 recorders

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57
Q

Br concerto number 5 in D

A

harpsichord, violin, flute (traverso)

58
Q

Br concerto no. 6 in B-flat

A

2 violas, 2 viole de gamba, cello

59
Q

Suite for unaccompanied cello no 1. in G major

A

one of six suites.BWV 1007-1012. this one is BWV 1007 Prelude. instrumental suite. Yo yo ma

60
Q

Partita No. 2 in D minor

A

BWV 1004. ciaconna most celebrated and lengthy of all the Ach unaccompanied violin works. Hillary Hahn.

61
Q

Bach Four orchestra suites

A

BWV 1066-1069 were originally called “overtures” and were probably composed between 1725 and 1739 in leipzig. Second movement “Air” of Suite Number 3 in D major ( 3 trumpets, 2 oboes, timpani) arguably the single most famous piece of Bach music

62
Q

L’orfeo

A

Monterverdi. Opera. 4 lines or 3 lines

63
Q

Coronation of Poppea

A

Monteverdi opera. Only treble and bass clef

64
Q

Armide overture

A

Lully tragedie lyrique 4 lines no text

65
Q

Armide act 3 scene 5

A

Lully tragedie lyrique. 4 lines in French

66
Q

Giulio Cesare act 1 scene 5

A

Handel opera. 2 lines cleopatra

67
Q

Giulio Cesare act 1 scene 6

A

Handel opera two lines bass clef then 4 lines. Tolomeo

68
Q

Guilt Cesare act 1 scene 7

A

Handel opera 4 lines Cesar

69
Q

Dido and Aeneas act 1 scene 1

A

Purcell opera starts with 4 lines then goes to 10 when Chorus enters

70
Q

Dido and Aeneas act 1 scene 2

A

Purcell opera 4 linear soprano lament

71
Q

Dido and Aeneas act 1 scene 3

A

Purcell opera 5 lines 2 soprano

72
Q

Dido and Aeneas act 1 scene 4

A

Purcell opera 10 lines 4 spoken

73
Q

Dido and Aeneas act 1 scene 5

A

Opera Purcell 4 lines 1 sing

74
Q

Dido and Aeneas act 1 scene 6

A

Purcell opera 5 line 2 sung when chorus comes in 10 lines 4 sung

75
Q

Jepthe

A

Carrisimi oratorio 3 lines alto and organ then chorus is 8 lines with 6 sung duet 4 lines with 2 sung then basso cool 3 lines 1 sung then chorus is 8 lines 6 sung

76
Q

Judith

A

Guerre cantata 2 lines 1 singing

77
Q

Jesu Der du meine seele 1

A

Bach sacred cantata 4 lines sung 12 total chorus

78
Q

Jesu Der du meine seele 2

A

Bach sacred cantata aria 4 lines two sung

79
Q

Jesu Der du meine seele 5

A

Bach sacred cantata recit 5 lines 1 sung

80
Q

Jesu Der du meine seele 6

A

Bach aria sacred cantata 6 lines 1 sung

81
Q

Jesu Der du meine seele 7

A

Choral Bach sacred cantata 6 line 4 sung

82
Q

Sonata duodecima

A

Leonarda sonata only treble and bass clef

83
Q

Concerto grossi in f major op 6 no 2

A

Corelli concerto grosso 7 lines 4 treble and 2 bass and 1 I don’t know

84
Q

Concerto in a minor op 3 no 8

A

Vivaldi concerto grosso 9 lines 5 treble 3 bass 1 alto

85
Q

Pieces de Clavecin

A

Couperin harpsichord suite treble and bass

86
Q

Toccata IX

A

Frecobaldi keyboard toccata treble and bass clef lots of sixteenth notes

87
Q

Praeludium in g minor

A

Buxtehude organ prelude treble 2 bass clefs lots of 16th notes

88
Q

WTk book 1 pre and fugue in c major

A

Bwv 846 pre and fugue treble and bass lots of 16th going up

89
Q

WTk book 1 pre and fugue in c# minor

A

Bwv 848 pre and fugue treble and fugue mostly 8th notes in treble

90
Q

Meine seele Ernest den herren

A

Bach choral prelude. 3 lines treble bass and alto

92
Q

Bach Goldberg variations

A

Keyboard variations Bach Bwv 988
Aria- treble and bass half notes in bass
Var 1-treble and bass long jumps in bass
Var 2- repeat ends either on 8th or quarter note
Var 3- doted quarter at beginning
Var 4-repeat ends with c# in bass

93
Q

Magnificat Peregrini toni

A

Pachelbel chorale prelude. two lines. no start in treble. then half notes.

94
Q

Abendumusik

A

an hour long concert of sacred music with arias and recitatives during the late afternoon of the last five sunday before and during advent

95
Q

choral fantasia

A

lengthy composition for organ that takes a choral tune as a point of dearture and increasingly gives free reign to the composers imagination

96
Q

choral prelude

A

a work for organ that seta a lutheran choral tune surrounding it with counterpoint and florid embellishment. sounded just once

97
Q

choral variations

A

an extended work for organ in which a choral tune is set to variations

98
Q

choral cantata

A

a genre of Protestant sacred music that uses the text and melody of a pre existing lutheran choral in some or all of its movements

99
Q

Johann Pachelbel

A

german composer. trained in south german and austrian organ tradition he composed hundreds of vocal and instrumental pieces, most known for resides in canon in D major. Magnificant peregrine toni

100
Q

Claudio Monteverdi

A

1567-1643. known as the composer to transition renaissance to the baroque period. known for the basso continuo. wrote L’orfeo considered first real opera. born in Cremona

101
Q

recitative

A

musically heightened speech

102
Q

Jean Phillipe Rameau

A

Wrote Traite de l’harmonie. which is a book about music theory. which has theories we still use today.

103
Q

Royal Academy of Music

A

opera company established and financed by the King Louis XIV for the growth of french opera.

104
Q

Jean Babtist Lully

A

Native of Florence. Served as principal for Louis XIV. gained authority over public vocal music in france. reputation of being ruthless. most important french composer. Armide.

105
Q

tragedie lyrique

A

5 acts rather than 3 acts in opera seria. ballet was the centerpiece. begins with french overture. no use of castrati. text pays tribute toward royalty. typical structure of an act would be aria-refit-pet air-rev-divertissement.

106
Q

french overture

A

instrumental prelude created by Lully as the opening of the French Operas. Usually opens with a slow section in duple meter marked by statle dotted rhythms, followed by fast triple meter section in imitative counterpoint. then return to slow dotted rhythm.

107
Q

vingt-quartre violons du roi

A

twenty four string instruments of the violin family that constituted the core of the french court orchestra

108
Q

Opera vs Tragedie lyrique

A

opera uses castrati, trag doesn’t, trag uses ballet as centerpiece opera usually doesn’t. opera uses tells grand stories, while tragedie pays homage to royalty. Lully in Trag. Handel in opera seria. vingt-quartre violons du roi played an important role as the main violins in french opera. opera seria serious. but trag. usually was grandiose.

109
Q

opera seria

A

“serious opera” vocal showpiecee with little dramatic integrity remaining.

110
Q

Antonio Vivaldi

A

1678-1741 Virtuoso violinist and composer. fundamental in the development of the concerto which he wrote nearly five hundred of. “red haired priests” died in poverty “Four Season” concerto Grosso No. 8 in A minor

111
Q

concerto grosso

A

a concert in which a larger body of performers, namely the full orchestra usually in three movements, fast, slow fast

112
Q

Dietrich Bustehude

A

considered greatest north german organ composer, boron in denmark served as organist at the church of St. Mary. Praeladium in G minor

113
Q

ode

A

A lyrical stanza in praise of, or dedicated to someone or something which captures the poet’s interest or serves as an inspiration for the ode

114
Q

countertenor

A

classical male singing voice whose vocal range is equivalent to that of the female contralto, mezzo-soprano or soprano[1]

115
Q

cross relation

A

two notes sounded dissonant together

116
Q

contralto

A

type of classical female singing voice whose vocal range is the lowest female voice type

117
Q

dance suite

A

ordered set of dances for solo instrument or ensemble all written in the same key and indeed to be performed in a singe sitting.

118
Q

Orgelbüchlein

A

little organ book. written in weimar. forty six preludes that he may intended to be a repertory of pieces for the organist to play at church, or a demonstration on how to compose a choral prelude, or a way to develop the organists technique

119
Q

opus

A

way to know a rough estimate of the order of when music was composed

120
Q

chorale prelude

A

an ornamental setting of a pre sexting choral tune to be played on the organ before the singing of the choral by the congregation

121
Q

fugue

A

contrapuntal piece for two three or four voices, which begins with the presentation of a subject, in imitation in each voice (exposition) continues with modulating passages of free counterpoint (episodes) and further appearances of the subject, and ends with a strong affirmation of the tonic key

122
Q

exposition

A

opening section of a fugue in which the subject is presented in imitation in each voice

123
Q

episode

A

the section that follows the exposition and subsequent statements of the subject characterized by melodic sequence and modulation

124
Q

countersubject

A

the continuation of counterpoint in the voice that began with the subject

125
Q

picardy third

A

use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key

126
Q

partita

A

used it for collections of musical pieces, as a synonym for suite

127
Q

obbligato

A

musical line that is in some way indispensable in performance

128
Q

Fortspinnung

A

refer a specific process of development of a musical motif. In this process, the motif is developed into an entire musical structure by using sequences, intervallic changes or simple repetitions

129
Q

sinfonia

A

English it most commonly refers to a 17th- or 18th-century orchestral piece used as an introduction, interlude, or postlude to an opera, oratorio, cantata, or suite

130
Q

hornpipe

A

type of english dance

131
Q

canzona

A

instrumental musical form of the 16th and 17th centuries that developed from the Netherlandish chanson

132
Q

cantata

A

vocal composition with an instrumental accompaniment, typically in several movements,

133
Q

toccata

A

virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving

134
Q

Concertino

A

short concerto in free form

135
Q

Ripieno

A

efers to the bulk of instrumental parts of a musical ensemble who do not play as soloists, especially in Baroque music

136
Q

Notes inegalés

A

performance practice

137
Q

Bachs life

A

Weimar-1708-1717 most of his great works for organs. he was an organist for the church then. little organ book written
Cothen-1717-1723 kapellmeister (chief of music) prince did not like sacred music so most of his music at this time was secular. orchestral suites, sonatas, and partitas.
leipzig-1723-1750 (born there as well) moved back to be cantor (director of church music) composed 300 sacred cantatas St matthew passion the art of the fugue

138
Q

BWV

A

Bach Werke Verzeichnis how he organized all is compositions

139
Q

The art of the Fugue

A

culmination of Bach’s experimentation with monothematic instrumental works

140
Q

Well tempered Clavier

A

written by bach set of prelude and fugues in every major and minor key

141
Q

Opera seria vs oratorio vs lutheran cantata vs english opera

A

seria-serious opera drama based on historical or mythological events. castrati used. virtual rock stars. emphasis was on virtuosic singing, not drama or action three acts. usually string orchestra
english opera-usually had to be based more on semi-opera as England not fan of virtuosity singing
oratorio- allowed during lent. no lavish sets. used a narrator to help move story along
lutheran cantata-sacred cantata. sundays at the lutheran service. very similar to a secular cantata.

142
Q

Baroque sacred music

A

counter-reformation in rome banned secular music being allowed. This brought the birth of oratorios. Carrisimi. Germany wanted lots of sacred music so the sacred cantata came about Bach was a great composer of these while at Leipzig, it was the musical highpoint of the sunday lutheran service. In england power was changing and money was low, this meant entertainment was not a high priority, Purcell kept it alive with his compositions, using semi operas to speak most of the opera and sing at the supernatural moments.

143
Q

sacred cantata

A

highpoint of a luthern service. “lutheran cantata”

Music History 1 (9 decks)

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