History 1 Terms Flashcards
Required vocabulary for RCM History 1 Examination. Definitions from "Explorations 1: A Music History Overview" (Lopinski, Ringhofer, Zairns)
Counterpoint
combination of two or more melodic lines
Monophonic Texture
single line of unaccompanied melody
Homophonic Texture
single line of melody supported by a harmonic accompaniement
Polyphonic Texture
combination of two or more melodic lines, also referred to as counterpoint
Baroque
Portuguese “barroco” meaning irregularly shaped pearl; first used as a derogatory term for the overly ornate art of the era; now applied to art, architecture, music from 1600-1750
figured bass
type of musical shorthand developed in the Baroque era; numbers are placed below bass line to show harmonies; performed by basso continuo (harpsichord or organ); provides structure for guided improvisation
basso continuo
Baroque performance practice involving 2 instruments; one plays the written bass line (cello or bassoon) and one plays the chords implied by the figured bass (harpsichord or organ)
Equal Termperament
method of tuning keyboard instruments where all notes in the octave are divided equally, allowing music to be performed in all keys
Terraced Dynamics
Baroque practice of changing dynamics abruptly; results in stark contrast rather than gradual change
the “Affections” or the “Doctrine of Affections”
Baroque philosophy inspired by ancient Greek and Roman writers and orators; refers to emotional states of the soul; a single “affection” or emotion is usually projected through an entire composition; vocal music depicted the emotions of the text
Word Painting
musical pictoralization; music mirrors the literal meaning of the words; achieved through melody, rhythm, or harmony
Binary Form
two-part form (A-B); section A generally ends with open cadence; frequently used in Baroque dances and keyboard pieces
Ternary Form
three-part form (A-B-A); section B generally creates contrast in key and/or material; often used in Baroque arias
Ritornello Form
a structure employed in the first and third movements of the Baroque concerto; the opening passage (ritornello) is re-stated throughout the movement
ripieno
Italian for “full” or “complete”; a term used to denote the use of the full orchestra in the Baroque concerto
Ostinato
Italian for “obstinate” or “persistent”; a rhythmic or melodic pattern repeated for an extended period
Drone
a sustained bass note that provides a rudimentary harmonic foundation; common in folk music
Solo Concerto
popular instrumental genre of the Baroque era for soloists and orchestra; generally in three movements: fast-slow-fast; frequently employed ritornello form; intended to showcase the virtuosity of the soloist
Prelude
a short keyboard work in improvisatory style; often paired with a fugue
Fugue
a highly structured, imitative contrapuntal composition; a single theme or subject prevails
Subject
the initial statement of the main theme of a fugue, in the tonic key
Answer
the second statement of the main theme in a fugue, usually in the dominant key
Real Answer
an exact transposition of the subject of a fugue
Tonal Answer
a statement of the subject of a fugue in which one or more intervals is adjusted to accommodate the harmony
Countersubject
a recurring counter-melody of a fugue; accompanies entries of the subject and answer
Episode
a passage within a fugue in which neither subject nor answer is present; frequently sequential
Stretto
from the Italian “stringere”, meaning “to tighten”; overlapping subject entries in close successon in a fugue
Pedal Point
a sustained note over which harmonies change
Tierce de Picardie
a work in a minor key ends in the tonic major (raised 3rd); a common mannerism in Baroque music
Oratorio
a large-scale work for soloists, chorus and orchestra; serious subject, generally based on biblical texts; consists of recitatives, arias, ensembles and choruses; developed in Baroque era
French Overture
a Baroque orchestral genre; first developed at court of Louis XIV by Jean-Baptiste Lully; generally in two parts; first part - slow tempo, homophonic texture, features dotted figures; second part - fast tempo, imitative texture
recitativo secco
Italian for “dry recitative”; a speech-like, declamatory style of singing; supported only by continuo; employed in opera, oratorio, and cantata
recitativo accompagnato
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
da capo aria
the most common song type in Baroque opera and oratorio; three-part structure (ternary form): ABA; in performance the return of Section A is generally ornamented
melisma
a group of notes sung on a single syllable/vowel; demonstrates vocal virtuosity and often serves to highlight key words
libretto
the text of an opera, oratorio, or cantata; usually written by someone other than the composer
Homorhythmic Texture
all voices sing the same rhythm; results in a blocked chordal texture (homophonic); delivers the text with clarity and emphasis
Classicism
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
Viennese School
refers to the musical style forged by Haydn, Mozart, and Beethoven and their contemporaries; in late 18th century Vienna, Austria flourished as a musical center
Absolute Music or Pure Music
music without extra-musical associations; generic titles reflecting tempos, genres, or forms (for example, Sonata, Allegretto, Menuet, Rondo)
Sonata Cycle
emerged in the Classical era; multi-movement structure; demonstrated in the symphony, sonata, or concerto
Binary Form
a musical form in two related sections, both of which are usually repeated (AABB)
Ternary Form
a musical form consisting of two contrasting sections followed by a repetition of the first section (ABA)
Menuet and Trio
menuet: a sylized dance of French origin developed in the Baroque period; in triple meter; graceful, elegant character; trio: contrasting middle section; ternary form (ABA)
Rondo Form
Classical formal structure often used in sonata cycle; section A recurs, with alternating sections creating contrast; section A heard three times, or more in the tonic key; ABACA or ABACABA
Sonata Form
formal structure often used in first movement of sonata cycle; consists of Exposition (statement of two or more contrasting themes), Development (departure), and Recapitulation (return); also known as sonata-allegro form
Chamber Music
music for small ensemble (two to ten players); one player per part; usually performed without a conductor
String Quartet
most important chamber-music genre of the Classical era; performing forces: violin I, violin II, viola, and cello; usually in four movements: fast - slow - moderately fast - fast; first movement usually in sonata form
Exposition
the first main section in sonata form; two contrasting themes are stated; the first theme is in the tonic key; the second theme (or themes) are in contrasting key; generally in the dominant or relative major
Development
the second main section in sonata form, themes from the exposition are manipulated through fragmentation, sequential treatment or changes to orchestration; modulations and increased harmonic tension; new themes may also be introduced
Recapitulation
the third main section in sonata form; first and second themes are both restated in the tonic
Coda
Latin for “tail” (cauda); a concluding section reaffirming the tonic key
Rocket Theme
rapidly ascending melody outlining an arpeggio; often used as a dramatic opening motive in Classical-era works
Rounded Binary Form
two-part musical form: A (repeated) B + A (repeated); material from Section A returns within Section B
Serenade
multi-movement orchestral genre; for small orchestra or chamber ensemble; popular instrumental genre in the Classical era; often performed in aristocratic social settings and at outdoor events
Cyclical Structure
material heard in one movement recurs in later movements; creates structural unity in a multi-movement work
Motive
short melodic or rhythmic idea; smallest unit used to form a melody or theme
Scherzo and Trio
Italian for “jest” or “joke”; Beethoven substituted the scherzo in place of the menuet as the third movement in the sonata cycle; also in triple meter, but generally more dramatic than the elegant menuet; could be humorous or ironic; as with the menuet and trio, a contrasting middle section (trio) was used, and an ABA form resulted (Scherzo - Trio - Scherzo)
Theme and Variations
a melody is stated and then undergoes a series of transformations; changes can be made to melody, harmony, rhythm, or orchestration; often used in slow movement of sonata cycle
Romanticism
origins can be traced to late 18th-century literature that served as inspiration for art and music; reaction against classicism; emphasis on creative imagination and expression of emotions
Exoticism in music
important element of 19th-century musical style; patriotism expressed through music; evoked through melody, rhythm, harmony, and orchestration
Nationalism in music
important element of 19th century musical style; patriotism expressed through music; influence of folk song and dance, myths and legends, landscapes, historical events
Program music
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
rubato
Italian for “robbed time”; rhythmic flexibility - speeding up or slowing down; an expensive device for interpreting music
Art song
the musical setting of a poem; for solo voice, generally with piano accompaniment
Lied (pl. Lieder)
the musical setting of a German poem; for solo voice, generally with piano accompaniment; flourished in the 19th century
durchkomponiert (through-composed)
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
Polonaise
stately Polish dance in triple meter transformed by Chopin into a virtuosic piano composition; often proud and majestic in character; often includes characteristic rhythmic figures
Chromaticism
from Greek “khroma” for colour; extensive use of notes outside the prevailing key signature; increasingly used for heightened expression in 19th-century music
Program symphony
19th-century multi-movement orchestral work; modeled after 18th-century symphony with programmatic elements; includes a descriptive title; accompanying text often outlines the program
idée fixe
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”
ophicléide
brass instrument, now obsolete; predecessor of the tuba
portamento
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
col legno
Italian for “with the wood”; novel string effect invented by Berlioz; players tap on the strings with the wooden parts of their bows
cloches
French for “bells”; pitched percussion instrument; emits a ringing sound when struck with a mallet or hammer
Dies irae
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
Opera
Drama that is sung; combines vocal and instrumental music with drama (staging and acting), visual arts (costume and scenery), and often dance; components include recitative, arias, ensembles, and choruses; created in Italy around 1600
prelude (in opera)
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 the opera
verismo
Italian for “realism”; opera style that became popular in Italy during the 1890s and early 1900s; story lines often project a gritty realism which usually culminate in a violent ending; Puccini was the master of this style
Pentatonic scale
a scale consisting of five different pitches, for example, C-D-F-G-A; easily rendered by playing the five black keys on piano; common to the folk music of many European and Asian cultures
Whole-tone scale
a non-traditional scale emplyed by composers of the late 19th and 20th centuries; consists of six different pitches, all spaced a whole tone (whole step) apart, for example. C-D-E-F#-G#-A#-C
Aria
Italian for “air”; a solo song heard in an opera, oratorio, or cantata; highly emotional, often virtuosic; may have lyrical or dramatic character
