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Listening To Music > Five Style Periods > Flashcards

Five Style Periods Flashcards

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1
Q

Middle Ages Period

A

400-1450

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2
Q

Middle Ages Key Ideas

A

Chant
Organum
Early motets

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3
Q

Middle Ages Important Names

A

Pope Gregory
Minstrels - roaming artists
Leonin & Peonin
Notre Dame School

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4
Q

Renaissance Period

A

1450-1600

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5
Q

Renaissance Key Concepts

A

Rebirth of Learning
Manipulate; mans ability to solve
Points of imitation

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6
Q

Renaissance Musical Characteristics

A

Isorhythmic motet
Musical games
Text painting

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7
Q

Isorhythmic motet

A

Cantus firmus sane “size” as the building *imitation that can be seen, but NOT heard

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8
Q

Musical Games

A

Puzzle Canons - you must figure it out to sing
Crab canon - works with itself sung backwards
Sogetto Cavato - use letters of a name/phrase for melody

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9
Q

Text painting

A

Make the melody “fly” on the word fly

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10
Q

Points of Imitation

A

One voice chases the first, others chase it, etc.

new musical idea also imitation that CAN be heard

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11
Q

Renaissance Venic

A

Progressive
New ideas; liberal views
POLYCHORAL technique

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12
Q

Renaissance Rome

A

Traditional
Conservative music; nothing new
Motets in same fashion as past times

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13
Q

Baroque Period

A

1600-1750

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14
Q

Baroque Key Concepts

A

Artificiality
Distortion
Ornamentation

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15
Q

Baroque Characteristics

A

Concerto
Opera
Da Capo aria
Fugue

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16
Q

Concerto

A

Features a new instrument by setting it against the orchestra

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17
Q

Opera

A

Began as reaction to the “clutter” of imitative polyphony
Simple recitative and aria make the text easy to hear
Use elaborate stage and scenery and flying apparatus
Castrati (DISTORTION) - show off with suitcase aria

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18
Q

Da Cap aria

A

ABA form of solo song where ornaments are added on the repeated A section so the singer can “show off”

19
Q

Fugue

A

(Esp. Organ) very stylized form of imitation

  1. Subject
  2. Counter-subject
  3. Episode
20
Q

Baroque composers

A

Bach
Handel
Vivaldi

21
Q

Classic Period

A

1750-1825

22
Q

Classic Key Concepts

A

Simplicity
Balance
Form

23
Q

Classic Musical Characteristics

A

Reaction to show-off-y Baroque

Shift from chamber music (in house) to concert hall

PIANO INVENTED

Form in musical composition

24
Q

Reaction to Baroque

A

No more suitcase arias - back to sample arias and story line

Use of chorus becomes prominent in opera and oratorio

25
Q

Shift from in house to concert hall

A

Larger orchestra - more power and expressiveness

Greater emphasis on orchestra and instrumental music

26
Q

Piano invented

A

Ability to play loudly, softly, and everything in between

Replaces harp as primary keyboard instrument

27
Q

Form in musical composition

A

Balanced AB or ABA

Simple harmony that employs I, V, and IV chords primarily

28
Q

Classic Composers

A

Mozart
Haydn
Gluck
Beethoven

29
Q

Sonata - Allegro form

A

Expo (A)
Development (B)
Recapitulation (A)

30
Q

Expo

A

Theme 1 key of I
Bridge
Theme 2 key of V
Whole EXPO repeated

31
Q

Development

A

(B)
Bits and pieces of themes

Variety of key areas

Contrasting use of melodies

32
Q

Recapitulation

A

(A)
Theme 1&2 both in key
Short “review”
Coda to end it all

33
Q

Concerto

A

Solo with orchestra accompaniment

Fast (S-A form)
Slow (contrast)
Fast

34
Q

Symphony

A

Full orchestra featured

Fast (S-A form)
Slow (contrast)
DANCE mvmnt
Finale (Fast/furious)

35
Q

Sonata

A 
“Solo” symphony 
Fast (S-A form) 
Slow (contrast) 
Dance mvmnt 
Finale (fast/furious)
36
Q

Romantic period

A

1825-1900

37
Q

Romantic Key Concepts

A

Melody
Extremes
Program music

38
Q

Romantic Musical Characteristics

A

Appeal to the imagination

Emotional expression

Explore every extreme of size, volume, harmony, texture, form

Nature as inspiration

Nationalistic pride

39
Q

Romantic Composers

A 
Beethoven (!)
Brahms
Tchaikovsky; Rachmaninoff 
Chopin 
Verdi; Wagner 
Schubert; Schumann
40
Q

Romantic types of music

A

Lied and other folk music

Absolute music

Program music

41
Q

Absolute music

A 
Music for musics sake 
   Chopin “nocturne in Eb Major”
   Brahms “Symphony #3”
   Bach “Cantata #140”
   Beethoven “5th Symphony”
42
Q

Program music

A

Tells a story, or has a non-musical association

The Program music

The Tone Poem

43
Q

The Program music

A

Specific story

Uses Composers imagination
“Peter and the Wolf”
“Symphonie Fantastique”

44
Q

The Tone Poem

A

Just a title, or suggestion to a story

Listener provides the imagination
“The Moldau”
“Appalachian Spring”

Listening To Music (1 decks)

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