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RCM History 1 > History 1 Terms > Flashcards

History 1 Terms Flashcards

Required vocabulary for RCM History 1 Examination. Definitions from "Explorations 1: A Music History Overview" (Lopinski, Ringhofer, Zairns)

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1
Q

Counterpoint

A

combination of two or more melodic lines

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2
Q

Monophonic Texture

A

single line of unaccompanied melody

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3
Q

Homophonic Texture

A

single line of melody supported by a harmonic accompaniement

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4
Q

Polyphonic Texture

A

combination of two or more melodic lines, also referred to as counterpoint

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5
Q

Baroque

A

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

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6
Q

figured bass

A

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

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7
Q

basso continuo

A

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)

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8
Q

Equal Termperament

A

method of tuning keyboard instruments where all notes in the octave are divided equally, allowing music to be performed in all keys

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9
Q

Terraced Dynamics

A

Baroque practice of changing dynamics abruptly; results in stark contrast rather than gradual change

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10
Q

the “Affections” or the “Doctrine of Affections”

A

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

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11
Q

Word Painting

A

musical pictoralization; music mirrors the literal meaning of the words; achieved through melody, rhythm, or harmony

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12
Q

Binary Form

A

two-part form (A-B); section A generally ends with open cadence; frequently used in Baroque dances and keyboard pieces

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13
Q

Ternary Form

A

three-part form (A-B-A); section B generally creates contrast in key and/or material; often used in Baroque arias

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14
Q

Ritornello Form

A

a structure employed in the first and third movements of the Baroque concerto; the opening passage (ritornello) is re-stated throughout the movement

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15
Q

ripieno

A

Italian for “full” or “complete”; a term used to denote the use of the full orchestra in the Baroque concerto

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16
Q

Ostinato

A

Italian for “obstinate” or “persistent”; a rhythmic or melodic pattern repeated for an extended period

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17
Q

Drone

A

a sustained bass note that provides a rudimentary harmonic foundation; common in folk music

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18
Q

Solo Concerto

A

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

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19
Q

Prelude

A

a short keyboard work in improvisatory style; often paired with a fugue

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20
Q

Fugue

A

a highly structured, imitative contrapuntal composition; a single theme or subject prevails

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21
Q

Subject

A

the initial statement of the main theme of a fugue, in the tonic key

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22
Q

Answer

A

the second statement of the main theme in a fugue, usually in the dominant key

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23
Q

Real Answer

A

an exact transposition of the subject of a fugue

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24
Q

Tonal Answer

A

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

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25
Q

Countersubject

A

a recurring counter-melody of a fugue; accompanies entries of the subject and answer

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26
Q

Episode

A

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

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27
Q

Stretto

A

from the Italian “stringere”, meaning “to tighten”; overlapping subject entries in close successon in a fugue

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28
Q

Pedal Point

A

a sustained note over which harmonies change

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29
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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30
Q

Oratorio

A

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

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31
Q

French Overture

A

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

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32
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

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33
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

34
Q

da capo aria

A

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

35
Q

melisma

A

a group of notes sung on a single syllable/vowel; demonstrates vocal virtuosity and often serves to highlight key words

36
Q

libretto

A

the text of an opera, oratorio, or cantata; usually written by someone other than the composer

37
Q

Homorhythmic Texture

A

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

38
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

39
Q

Viennese School

A

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

40
Q

Absolute Music or Pure Music

A

music without extra-musical associations; generic titles reflecting tempos, genres, or forms (for example, Sonata, Allegretto, Menuet, Rondo)

41
Q

Sonata Cycle

A

emerged in the Classical era; multi-movement structure; demonstrated in the symphony, sonata, or concerto

42
Q

Binary Form

A

a musical form in two related sections, both of which are usually repeated (AABB)

43
Q

Ternary Form

A

a musical form consisting of two contrasting sections followed by a repetition of the first section (ABA)

44
Q

Menuet and Trio

A

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)

45
Q

Rondo Form

A

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

46
Q

Sonata Form

A

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

47
Q

Chamber Music

A

music for small ensemble (two to ten players); one player per part; usually performed without a conductor

48
Q

String Quartet

A

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

49
Q

Exposition

A

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

50
Q

Development

A

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

51
Q

Recapitulation

A

the third main section in sonata form; first and second themes are both restated in the tonic

52
Q

Coda

A

Latin for “tail” (cauda); a concluding section reaffirming the tonic key

53
Q

Rocket Theme

A

rapidly ascending melody outlining an arpeggio; often used as a dramatic opening motive in Classical-era works

54
Q

Rounded Binary Form

A

two-part musical form: A (repeated) B + A (repeated); material from Section A returns within Section B

55
Q

Serenade

A

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

56
Q

Cyclical Structure

A

material heard in one movement recurs in later movements; creates structural unity in a multi-movement work

57
Q

Motive

A

short melodic or rhythmic idea; smallest unit used to form a melody or theme

58
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; 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)

59
Q

Theme and Variations

A

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

60
Q

Romanticism

A

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

61
Q

Exoticism in music

A

important element of 19th-century musical style; patriotism expressed through music; evoked through melody, rhythm, harmony, and orchestration

62
Q

Nationalism in music

A

important element of 19th century musical style; patriotism expressed through music; influence of folk song and dance, myths and legends, landscapes, historical events

63
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

64
Q

rubato

A

Italian for “robbed time”; rhythmic flexibility - speeding up or slowing down; an expensive device for interpreting music

65
Q

Art song

A

the musical setting of a poem; for solo voice, generally with piano accompaniment

66
Q

Lied (pl. Lieder)

A

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

67
Q

durchkomponiert (through-composed)

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

68
Q

Polonaise

A

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

69
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

70
Q

Program symphony

A

19th-century multi-movement orchestral work; modeled after 18th-century symphony with programmatic elements; includes a descriptive title; accompanying text often outlines the program

71
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”

72
Q

ophicléide

A

brass instrument, now obsolete; predecessor of the tuba

73
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

74
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

75
Q

cloches

A

French for “bells”; pitched percussion instrument; emits a ringing sound when struck with a mallet or hammer

76
Q

Dies 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

77
Q

Opera

A

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

78
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 the opera

79
Q

verismo

A

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

80
Q

Pentatonic scale

A

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

81
Q

Whole-tone scale

A

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

82
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

RCM History 1 (4 decks)

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