Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

Intro to Classical Music > Intro to Classical First Written Test > Flashcards

Intro to Classical First Written Test Flashcards

You may prefer our related Brainscape-certified flashcards:
Ultimate Music Theory flashcards
1
Q

evidence of ancient music

A

depictions (statues, tomb carvings) of people singing and musicing, plato+aristotle writings of music, some ambiguous notation greek music survives.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

music in hebrew bible

A

psalms talk about david pleasing lord, pslams themselves often set to music, but biblical music ambiguous

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

history of music and religion

A

music and religion tied together from even before middle ages, ie psalms.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

middle ages music culture

A

400-1400. all culture was from catholic church.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

mass importance to music

A

tons of medieval music written for mass. tons of different masses and different musics needed. once mass entered liturgy it stayed there.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

church calendar

A

Easter, christmas, lent, advent, epiphany, music needed for all of these

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

codification of music

A

6th cent. Pope Gregory with holy ghost dove singing to him on shoulder. wrote down gregorian chants.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

lyre

A

ancient string instrument

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

memorization

A

how music is passed down before written notation: an oral tradition

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

written notation

A

first appeared around 850, probably from before that but none survives

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Gregorian chant

A

religious music codified by Pope Gregory I, “plainchant”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

properties of gregorian chant

A

monophonic, small range, conjunct style, arhythmic , modal

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Hildegard of Bingen

A

1098-1179. Priestess, composer, fought w/ rome over different stuff.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

In paradisum

A

Antiphonal, 7th cent, requiem mass, g-d mostly, cadence centered on g. Follows phrase pattern, modal.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Modal

A

Style of music used until 1500s. Tone scale has less important parts. Creates more ambiguous melody

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

After masses filled up,,.

A

Composers composed for local saints, extra mass music

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Sequence style

A

AA’ BB’ CC’
Single person, then choir repeats it. Phrases in pairs.
Ex. Columba expasta

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Bar form

A

A A’ B
1-2 3-4 5-8
This is the setup of a music that repeats over and over for each verse.
Numbers are parts of poetry.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Strophic

A

Several verses of text, same music over each

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Columba expasta

A

Look up on worksheet

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

Mass

A

Daily celebration in the Roman Catholic Church, accompanied by music often

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Secular music

A

Played at classic chivalric courts, by troubadours etc. ex Bernart de Ventadorn. Became much more prominent in renasaiince

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

La dousa votz

A

Secular troubadour song by Bernard de Ventadorn

Modal, strophic, bar form- rhythm by poetic inflection

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Gregorian chant in music history

A

First great repetoire of classical music

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

Purpose of drone w/ Greg chants

A

To anchor pitch give singers a reference pt

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

Origins of polyphony

A

Shorouded in mystery, like notation. First example from 935, though it probably existed earlier. Depictions of harmonies from art.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

led to development of polyphony

A

Folk singing, drones, embellishment, people singing in different octaves ie men and women, men and boys

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

Parallel organum

A

Added voice in lock step with main voice. In octave or at 4th or 5th. Added voice usually 1:1 notes sometime 2:1.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

early polyphony name

A

Called organum, adding a voice to Greg chants. Diff types parallel, and then free: discount and melismatic

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

Free organum: discount

A

Both voices move at same pace, 1:1 notes sometimes added gets 2:1. Interval of added voice changes between octave 4th and 5th and unison, not same interval all the time like parallel

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

Free organum: melismatic

A

The chant moves more slowly, like a drone, sometimes 6-10 notes per main line note. Chant is either a plodding drone or has normal base note.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

Early rhythm

A

Added as last layer of music, adapted from meter of poetry

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

problems with more complex Greg chants

A

They lose identity, the chants are harder to hear. Solution: church doesn’t care, chant is trill there and is structure.

Coordination of 4+ voices is hard. Solution: introduce rhythm to coordinate it!

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

Medieval composition of harmonies

A

Done in additive layers, melodies voice by voice, then rhythm. Results in odd-sounding harmonies.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
34
Q

Paratin the great

A

French composer at Paris u/notre dame, circa 1250. Used rhythm patterns in his music. Big revolution in music.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
35
Q

are antiqua vs are nova

A

14th cent distinction of old and new music. Ars nova: secular as is most surviving 14th cent music.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
36
Q

motet

A

two lines built on top of Greg chants, two lines are two different poems. Greg chant played as an instrument,

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
37
Q

round (rota)

A

Harmonies come in at different times, ie row row row hour boat. 4 pt harmony, two base voices below them.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
38
Q

Pes

A

‘Base’ voice in round, Latin for foot

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
40
Q

Chaçon

A

No relation to gregorian chants. 4 part harmony, four lines of music. Great guillaime of marchot. Strophic

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
41
Q

Middle Ages main musical trends

A

anonysmous composing->named composers
Sacred music(Greg chants) -> secular music
Gregorian chant-> embellishment of chants
Harmonies- octaves, 4ths, 5ths, unisons. Consequence of layering.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
42
Q

Renaissance music context

A

secular music started to rival sacred music, “ars nova”, rise of humanitarian studies

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
43
Q

Renaissance music general characteristics

A

polyphony and named composers well-established. equality of voices, simultaneous composition of harmonies w/ rhythm.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
44
Q

Renaissance harmonies

A

composers more aware of harmonies than in middle ages, less accidental. still modal, added 3rds to soften 4ths and 5ths.

45
Q

Dufay

A

From france, studied in italy. Most famous and celebrated composer in his day. wrote complicated religious music. great early renaissance.

46
Q

Ave Maris Stella

A

motet hymn, paraphrased old greg hymn, adds to it, on upper voices. users medieval harmonies + 3rds, equal voice polyphony

47
Q

motet hymn

A

motet- sacred composition for voices/instruments, text in latin
hymn- basically a strophic gregorian chant

48
Q

alternativism

A

alternating between gregorian chant and harmonized version

49
Q

middle renaissance

A

firmly equality of voices and modality. chords built more on 3rds. music begins to have flow/beat, rhythmic pulse. consonance on strong beats, dissonance on weaks.

50
Q

paraphrase (in music)

A

ornamentation/decoration

51
Q

imitation harmonic texture

A

voices enter at different times/staggered, like a round but at different pitches

52
Q

chordal/homophonic harmonic texture

A

simpler harmonies build on chords

53
Q

Josquin des Prez

A

greatest middle ren composer, born in france, worked in italy. very expressive, “beethoven of renaissance.” known for careful setting of text. great middle renaissance.

54
Q

mark of successful musician in renaissance

A

composing masses

55
Q

“ordinary”, parts of mass

A

kyrie, gloria, credo, sanctus, agnus dei.

56
Q

Pangue lingua

A

piece by josquin. shows both chordal harmonic texture and imitation. voice parts built on paraphrased greg chants.

57
Q

equality of voices

A

trait of renaissance music, all voices are equally important, no dominant voices as in medieval harmonies/organum

58
Q

late renaissance music characteristics

A

sacred music most popular, style firmly established, equal voice polyphony, imititation and chordal, modal, harmonies based on third

59
Q

Palestrina

A

1525-1594. most famous ren composer, exemplified late ren music. composed pope marcellus mass.

60
Q

counter-reformation and music

A

church banned unclear settings of text and complex music (such as imitatation harmony). palestrina showed that music can still be great, advanced and beautiful with these restrictions

61
Q

Pope Marcellus Mass

A

written by palestrina. mostly homophonic, has sub-choirs answering each other.

62
Q

england and renaissance music

A

england insular, ren music took longer to arrive. dazzling when it did. catholic vs anglican music big thing about sacred music. madrigals big thing

63
Q

madrigal

A

style of secular music from italy, popular in england. rhythmic flow, eq of voices, 3rd based. lighter, less complex

64
Q

other madrigal things

A

risqué lyrics, moderner sounding harmony, “text painting”, shorter and more sectional

65
Q

text painting

A

painting details from the words with music. ie ascending scale for ascending a hill, descending for descending, 2 voices in two for two parts

66
Q

instrumental music and late renaissance

A

ren styles also fit instrumental music. instrumental music mainly dance from 1550-1600. clear cadences and very sectional for good dancing. scores don’t tell what instrument plays the part.

67
Q

parans

A

duple meter, solemn music

68
Q

galliard

A

tuple meter, can either be solemn or faster

69
Q

viols

A

precursor to modern string instruments, many different kinds played in many different ways. softer sound than modern strings

70
Q

daphne gaillard

A

AABBCC. same basic thing each time, but with embellishment

71
Q

kemp’s jig

A

AAB w/ improv+embellishment. named after will kemp, shakespearian actor assoc. with it. popular in folk music

72
Q

recorder

A

mini flute

73
Q

lute

A

like guitar with pear-shaped back, tight strings. from spain

74
Q

pange lingua mass

A

by josquin. embellished gregorian chant is basis. first part uses imitational harmony (kyrie), gloria uses both imit and chordal

75
Q

baroque music big ideas

A

etymology: from out of shape and irregular pearls. comes from post-renaissance desire to systemize all information. music is mainly defined by extravagance and control. uses idiomatic and contrast music.

76
Q

idiomatic

A

music is written for specific instruments, unlike in renaissance. some parts clearly for vocal or clearly for instruments

77
Q

constrast

A

rejection of the sameness that permeated renaissance music, ie homophony and equality of voices

78
Q

antiphony

A

When different parts of music contend with each other, have a back and forth.

79
Q

baroque dynamics

A

terraced dynamics. loud or soft, nothing in between. similar to sectioned nature of the music. first music to use dynamics markings.

80
Q

O Magnum Mysterium

A

7 pt harmony and organ. goes from duple to triple. antiphonal. surehanded control.

81
Q

baroque melody

A

rejects renaissance homophony, now very complex and decorative, idiomatic. trills and frills and other improvisations common.

82
Q

baroque rhythm

A

free rhythm: unfolds freely in time. has no pulse

sewing machine rhythm: rigid, churning beats, energetic

83
Q

basso continuo

A

“walking bassline.” a pair of instruments, one bass and one chordal. bass plays a note and chordal builds a chord on it based on code. for the first time, a specialized kind of music. controlled the extravangance of the tune.

84
Q

baroque tone color

A

first orchestras. basically strings+basso continuoso. 1st and 2nd violins, violas, cellos+bases, in octaves, harpsicord+organ bcs.

85
Q

“festive orchestra”

A

For special events “festive” - normal baroque orchestra with trumpets, bassoons, oboes, timpanis, flutes etc

86
Q

baroque music emotions

A

an emotion is presented and then explored. then another one is presented and explored. repeat this process. music is in sections this way- like jumping between dictionary entries. like loudness dynamics. carries the emotion directly, doesn’t experience it.

87
Q

Claudio Moneverdi

A

succeeded gio gab @ st marks. composed grand motets, and madrigals, madrigals transitioned from renaissance style and baroque style. most importantly: first great opera composer. started private operas wrote some public

88
Q

libretto

A

words of the opera, the text

89
Q

opera

A

most characteristic of baroque music, with a desire for individual expression. “drama of music” originates with desire to bring back classical forms of poetry, poetry recitation with accompanying music.

90
Q

subjects of opera

A

usually greek mythology, sometimes with focus on musical characters (Apollo, orpheus). sometimes bad roman history also

91
Q

number opera

A

opera in a string of delineated sections, format up til 1900s

92
Q

arias/songs/chaçons

A

singing parts in opera. elaborate centerpieces of opera. actionless in terms of the plot, tends to be more reflective. duets and trios can reflect counterpoints of many characters

93
Q

recitive

A

free rhythm, not musically interesting parts. contain the most action and plot movement. music usually just basso continuo.

94
Q

chorus

A

a chorus that comments on whats going on, started very song-like. can be realistic characters or not (a greek chorus)

95
Q

early opera history

A

First public opera house opens in 1637, soon becomes main form of entertainment.

96
Q

why so few operas survive

A

THEY BURNED CAUSE OPERA HOUSES WERE TINDER BOXES

97
Q

The Coronation of Poppea

A

1642 opera by monteverdi. unusual in that there are no heros, only villains and good people who get pulled under. uses basso continuo. plot: Nero’s consort poppea schemes her way to become empress. chordal- lute. cellos+base are bassline.

98
Q

castrati

A

Males castrated so they can sing in soprano range, used in operas

99
Q

Henry Purcell

A

First great English opera composer. Had tons of english musical positions. His death marked downturn in english music for hundreds of years.

100
Q

Dido + Aeneas

A

Opera by Purcell. relatively easy sining. dry recitative. contrasts with aria, controlled by bass, which recurrs all the way through. “ground bass.” greek chorus. uses painted text.

101
Q

Late baroque music

A

All early baroque styles mastered and controlled. Late composers (bach and handel) finally realized the POWER of music, its spiritual power on its own. Instrumental music becomes as popular as vocal music.

102
Q

late baroque melody

A

either 1) highly ornate and expressive, with tone underneath decoration
2) neutral/plain melody, for imitative music (a la fugues)

103
Q

late baroque rhythm and harmony

A

either sewing machine or free, same as before.

harmony still tonal

104
Q

texture/tone color

A

mostly counterpoint.

105
Q

concerto

A

kind of music that puts one musical element against another.
solo concerto- soloist vs an orchestra
concerto grosso- soloists vs orchestra

106
Q

Concerto more facts

A

Concertos in 3-4 movements (sections), each with contrasting meter, tempo, character. often took form fast-slow-fast. Fast sections used imitative/contrapuntal harmony, slower parts used homophonic/chordal harmony. Slowers were in different key and more introspective/introverted, spiritual “core” of work. Vivaldi wrote solos, bach wrote grossos. Solo parts very idiomatic.

106
Q

Antonio Vivaldi

A

Great early renaissance composer. Was head of school for poor+needy woman, wrote music for them to perform and they performed it well. Wrote >450 concertos in his career, very influential baroque composer.

107
Q

Structure of Concerto

A

rit-Solo-rit-solo-rit-solo-rit etc
abc a c b
Usually begin with rit. Rit parts divided into small themes that are played and recombined repeatedly. Rit pillars/anchors music between solos. Sometimes solos are quite long, sometimes rits are free and dont use abc. Rit stays in key, solo sometimes chromatic/changes key.

108
Q

JS Bach

A

Deeply religious man, composer, organist, never left germany. Great composer of the baroque era. Lived mainly in Weimar, then Cöthen, then Leipzig. originally composed organ music, then largely secular stuff as Cothen didn’t have much church music, then later on in Leipzig- late organ works, passions, cantatas, massive encyclopedic stuff (art of fugue, well-tempered clav), mass in b minor. Wrote Brandenburg concertos (grossos) for Margrave of Brandenburg to apply for court musician job, but was turned down- concertos too hard to play and odd in format. More well known as organist and composer during his time. His music is characterized by very thick middle lines.

Intro to Classical Music (4 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions