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RCM level 9 History > History 1 - Terms > Flashcards

History 1 - Terms Flashcards

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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 accompaniment.

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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 irregulalry shaped pearl, first used as a derogatory term from 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 the bass line to show harmonies; performed by the basso continuo; provides the structure for guided improvisation.

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7
Q

Basso continuo

A

Baroque performance practice, generally involves two performers - one playing the notated bass line, one realizing the harmonies as indicated by the figured bass; harmonies usually played on harpsichord or organ; provides harmonic framework.

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8
Q

Equal temperament

A

Method of tuning keyboard instruments, all semitones within the octave are divided equally; allowed music to be performed “in tune’ 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”

A

Baroque philosophy inspired by ancient Greek and roman writers and orators, refers to emotional states of the soul.

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11
Q

Word painting

A

Musical pictorialization, 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 (AB), 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 (ABA), 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 used in the first and third movements of the Baroque concerto, the opening passage (ritornello) is re-stated throughout the movement ABACADA.

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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 rudimentary harmonic foundation; common in folk music.

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18
Q

Solo concerto

A

Large scale, multi-movement piece for orchestra and solo instrument, frequently uses ritornello form, intended to show 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 (polyphonic) 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.

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24
Q

Tonal answer

A

A statement of the subject in which one or more intervals is adjusted to accommodate the harmony.

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25
Q

Countersubject

A

A recurring counter-melody, 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 succession.

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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 the Baroque era. (does not use costumes or scenery)

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31
Q

French overture

A

A Baroque orchestral genre, 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

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.

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34
Q

Melisma

A

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

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35
Q

Libretto

A

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

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36
Q

Homorhythmic texture

A

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

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37
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; emphasis on symmetry, balance, and proportion.

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38
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.

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39
Q

Absolute music

A

Music without extra-musical associations, also known as “pure music”; generic titles reflecting tempos, genres, or forms (for example: Sonata, Allegretto, Minuet, Rondo); (opposite of program music).

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40
Q

Sonata cycle

A

Emerged in the Classical era, multi-movement structure, demonstrated in the symphony, sonata, or concerto.

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41
Q

Menuet and trio

A

Minuet: a stylized dance of French origin developed in the Baroque period; triple meter; graceful, elegant character. Trio: contrasting middle section; ternary form (ABA) (often in 3rd movement).

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42
Q

Rondo form

A

Classical formal structure often used in sonata cycle; Section A recurs, with alternating sections creating contrast; Section A heart three times for more in the tonic key; ABACA or ABACABA (often in 4th movement).

43
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).

44
Q

Chamber music

A

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

45
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.

46
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 a contrasting key; generally in the dominant or relative major.

47
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.

48
Q

Recapitulation

A

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

49
Q

Coda

A

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

50
Q

Rocket theme

A

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

51
Q

Rounded binary form

A

Two-part musical form A :||: B + A:||, material from Section A returns within Section B.

52
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.

53
Q

Cyclical structure

A

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

54
Q

Motive

A

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

55
Q

Scherzo and trio

A

Italian for “jest” or “joke”; Beethoven substituted the scherzo in place of the minuet as the third movement in the sonata cycle; also in triple meter, but generally more dramatic than the elegant minuet; could be humorous or ironic; as with the minuet and trio, a contrasting middle section (trio) was used, and an A-B-A from resulted (Scherzo-Trio-Scherzo).

56
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.

57
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.

58
Q

Exoticism in music

A

Important element of 19th century (Romantic Period) musical style; fascination with foreign land and cultures; evoked through melody, rhythm, harmony, and orchestration.

59
Q

Nationalism in music

A

Important element of 19th century (Romantic Period) musical style; patriotism expressed through music; influence of folk song and dance, myths and legends, landscapes, historical events.

60
Q

Program music

A

Significant trend in 19th century music (Romantic Period); 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.

61
Q

Rubato

A

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

62
Q

Art song

A

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

63
Q

Lied (pl. Lieder)

A

The musical setting of a German poem; for solo voice, generally with piano accompaniment; flourished in the 19th century (Romantic Period).

64
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.

65
Q

Idee 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”.

66
Q

Durchkomponiert (through-composed)

A

A song structure that avoids repetition of entire section of the music; as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text.

67
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.

68
Q

Chromaticism

A

From Greek “khroma” for color; extensive use of notes outside the prevailing key signature; increasingly used for heightened expression in 19th century music (Romantic Period).

69
Q

Program symphony

A

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

70
Q

Ophicleide

A

Brass instrument, now obsolete; predecessor of the tuba.

71
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.

72
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.

73
Q

Cloches

A

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

74
Q

Dies irae

A

Latin for “day of wrath”, a monophonic chant melody dating from the late Middle Ages, drawn from Roman Catholic requiem (Mass for the Dead); 19th century (Romantic Period) audiences would have associated the tune with funeral services.

75
Q

Opera

A

A dramatic work that is sung, combines vocal and instrumental music with drama (staging and acting), visual arts (costume and scenery), and often dance

76
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.

77
Q

Versimo

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.

78
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 the piano; common to the folk music of many European and Asian cultures.

79
Q

Whole-tone scale

A

A non-traditional scale employed 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#-F#-A#-C.

80
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.

81
Q

Polytonality

A

The simultaneous use of two or more tonal centers.

82
Q

Modal scales

A

Use of scales (modes in which the pattern of whole steps and half steps is different from conventional major and minor scales (for example: Dorian, Lydian, Mixolydian), common in music of the Middle Ages and Renaissance; rediscovered by 20th century composers.

83
Q

Atonality

A

The total absence of any tonal center, characterized by unresolved dissonances.

84
Q

Twelve-tone method

A

Atonal music based on an arrangement of all twelve chromatic pitches (tone row), developed by composer Arnold Schoenberg.

85
Q

Impressionism in music

A

Reflects French artistic movement, employs expanded harmonic vocabulary: whole tone, modal, pentatonic scales; parallel chords. Suggests images rather than directly depicting; features innovative orchestral colors, including individual treatment of instruments and use of muted instruments; obscuring of metric pulse.

86
Q

Antique cymbals

A

Small brass disks (finger cymbals), produce a gentle ringing sound when struck together.

87
Q

Glissando

A

Derived from French glisser, “to slide”; on the harp, a quick strumming of all the strings with a broad sweeping hand movement; creates beautiful, shimmering effects.

88
Q

Symbolism

A

French literary movement of the late 19th century, symbolist writers include Paul Verlaine and Stephane Mallarme, authors sought to suggest subject matter rather than depict it specifically, stresses the beauty of the word itself.

89
Q

Symphonic poem

A

One of the most popular forms of orchestral program music; single movement work, generally in free form, with literary or pictorial associations; invented by Franz Liszt.

90
Q

Ballet

A

Highly stylized type of dance which often interprets a story, first developed in the 17th century, 19th century ballet reached it’s zenith at the Russian court, Russian dancers dominated the ballet scene throughout most of the 20th century.

91
Q

Choreography

A

The art of designing the dance steps and movements in a ballet (or musical).

92
Q

Primitivism

A

An effect created largely through rhythm; use of strong accents, heavy syncopation, polyrhythms, expanded percussion section; demonstrated best in Stravinsky’s The Rite of Spring.

93
Q

Changing meter

A

Shift of metrical groupings, manifested through changes of time signature.

94
Q

Folk song

A

Songs of unknown authorship, passed down through oral tradition rather than written down.

95
Q

Petrushka chord

A

A dissonant polychord used by Stravinsky in his ballet Petrushka; consists of a C major and F sharp major arpeggio, played together; used as a signature theme for the character of Petrushka.

96
Q

Flutter tongue

A

Roll of the tongue while playing a wind instrument, as if sounding a letter “r”; innovative effect introduced in 20th century music used by Stravinsky in The Right of Spring.

97
Q

Musical (genre)

A

A uniquely American genre; a play with spoken dialogue but featuring musical numbers: songs, dances, choruses; staging (sets, costumes, lighting) is often spectacular.

98
Q

Verse-chorus structure

A

A common song structure in popular music; verses develop the character/storyline, while the “chorus” acts as a tuneful refrain.

99
Q

Mambo

A

A dance of Afro-Cuban origins popular in the 1940s and 1950s; moderately fast 4/4; usually characterized by rhythmic ostinatos as well as “riff” passages (short melodic ostinatos) for wind instruments.

100
Q

Cha-cha

A

A popular Cuban dance of the early 1950s, derived from the mambo; its name is derived from the sound of its characteristic rhythm.

101
Q

Hemiola

A

A temporary shift of thee metric accents; notes grouped in threes are momentarily grouped in twos or vice-versa.

102
Q

Tritone

A

The name used to describe interval of an augmented fourth or diminished fifth; made up of three (“tri”) whole steps (“tones”).

103
Q

Senza misura

A

Literally, “without measure”; played freely, not in strict time.

104
Q

Arch form

A

A sectional structure, based on repetition in reverse order (for example, ABCBA); imparts an overall symmetry.

RCM level 9 History (20 decks)

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