Midterm All Terms Flashcards
1
Q
two or more melodic lines combined
A
polyphony
2
Q
melody with supporting harmony
A
homophony
3
Q
all voices move in same rhythm
A
homorhythmic
4
Q
melodic idea presented then restated in another voice; may be brief, or may last entire work; common unifying technique in polyphony
A
imitation
5
Q
strict imitation; each voice enters in succession with the same melody
A
canon
6
Q
perpetual canon - never ending
A
round
7
Q
organizing principle in music; work’s structure or shape; repetition and contrast; unity and variety
A
form
8
Q
only some aspects of music altered
A
variation
9
Q
same melody with each stanza of text
A
strophic
10
Q
no main section of music or text repeated
A
through-composed
11
Q
made-up syllables, wordless vocables
A
scat singing
12
Q
wordless vocal melody, singing on a neutral vowel
A
vocalize
13
Q
music for worship, religious
A
sacred
14
Q
language of Roman Catholic church; Medieval and Renaissance language of learning
A
Latin
15
Q
nonreligious music; sung in the vernacular
A
secular
16
Q
words and music that recur after each stanza
A
refrain/chorus
17
Q
each syllable gets one note
A
syllabic
18
Q
single syllable elongated by many notes
A
melismatic
19
Q
a few notes to each syllable
A
neumatic
20
Q
music pictorializes a word; emphasizes text
A
word-painting
21
Q
performing forces of diverse instruments
A
heterogenous
22
Q
strings, woodwinds, brass, and percussion
A
orchestra
23
Q
performing forces of the same timbre
A
homogenous
24
Q
c.400 - 1450
A
Middle Ages
25
c.1450 - 1600
Renaissance
26
c.1600 - 1750
Baroque
27
c.1750 - 1825
Classical
28
c.1820 - 1900
Romantic
29
c.1890 - 1915
Post-Romantic Impressionist
30
r. 590-604; codified church music, liturgy; credited with more than 3000 Gregorian melodies
Pope Gregory the Great
31
single-line melody, monophonic texture, Latin text, non-metric, avoids wide leaps, gentle contours, oral tradition, early notation with neumes, modal scales
plainchant/Gregorian chant
32
most solemn ritual of the church, reenactment of Christ's Last Supper, contains variable and fixed portions
Catholic Mass
33
first prayer in the Ordinary of the Mass, only text in Greek, prayer for mercy, three lines long, invokes the Trinity
Kyrie
34
main melodic idea used as a building block in construction of a larger work
theme
35
Earliest kind of polyphonic music, which developed from the custom of adding voices above a plainchant; they first ran parallel to the chant at the interval of a fifth or fourth and later moved more freely
organum
36
Medieval poet-musicians in southern France.
troubadours
37
Medieval poet-musicians in northern France
trouvères
38
The set order of religious services and the structure of each service, within a particular denomination (e.g., Roman Catholic)
liturgy
39
Scale or sequence of notes used as the basis for a composition
mode
40
Based on principles of major-minor tonality, as distinct from modal.
tonal
41
Sections of the Roman Catholic Mass that vary from day to day throughout the church year according to the liturgical occasion, as distinct from the Ordinary, in which they remain the same.
Proper
42
Sections of the Roman Catholic Mass that remain the same from day to day throughout the church year, as distinct from the Proper, which changes daily according to the liturgical occasion
Ordinary
43
Performance style in which an ensemble is divided into two or more groups, performing in alternation and then together.
antiphonal
44
Large work for orchestra, generally in three or four movements
symphony
45
Performing forces employed in a certain musical work.
medium
46
A number, often part of the title of a piece, designating the work in chronological relationship to other works by the same composer.
opus number
47
The interweaving of melodic (horizontal) and harmonic (vertical) elements in the musical fabric.
texture
48
Texture in which two or more voices (or parts) elaborate the same melody simultaneously, often the result of improvisation.
heterophonic
49
Musical expansion of a theme by varying its melodic outline, harmony, or rhythm.
thematic development
50
Restatement of an idea or motive at a different pitch level.
sequence
51
Short melodic or rhythmic idea; the smallest fragment of a theme that forms a melodic-harmonic-rhythmic unit.
motive
52
Performance style with a singing leader who is imitated by a chorus of followers
call-response
53
A short melodic, rhythmic, or harmonic pattern that is repeated throughout a work or a section.
ostinato
54
Complete, self-contained part within a larger musical work.
movement
55
A unit or verse of poetry; also a stanza.
strophe
56
Ensemble music for up to about ten players, with one player to a part.
chamber music
57
A chamber group comprised of a soloist with piano. Also, in the Baroque period, a sonata for a melody instrument and basso continuo.
duo sonata
58
Polyphonic form popular in the Baroque era, in which one or more themes are developed by imitative counterpoint.
fugue
59
French monophonic or polyphonic song, especially of the Middle Ages and Renaissance, set to either courtly or popular poetry.
chanson
60
Musical form in which the first section recurs several times, usually in the tonic. In the Classical multimovement cycle, it appears as the last movement in various forms, such as A-B-A-B-A, A-B-A-C-A, and A-B-A-C-A-B-A
rondo
61
A form of English street song, popular from the sixteenth through the eighteenth centuries. Ballads are characterized by narrative content and strophic form.
ballad
62
A striking effect designed to depict the meaning of the text in vocal music; found in many madrigals and other genres of the sixteenth through eighteenth centuries.
madrigalism
63
Renaissance secular work (originating in Italy) for voices, with or without instruments, set to a short, lyric love poem; also popular in England.
madrigal
64
"Fixed melody," usually of very long notes, often based on a fragment of Gregorian chant, that served as the structural basis for a polyphonic composition, particularly in the Renaissance.
cantus firmus
65
Polyphonic vocal genre, often secular in the Middle Ages but sacred or devotional thereafter.
motet
66
The second musical section of the Ordinary of the Mass.
Gloria
67
The third musical section of the Ordinary of the Mass.
Credo
68
The fourth musical section of the Ordinary of the Mass.
Sanctus
69
The last musical section of the Ordinary of the Mass.
Agnus Dei
70
Medieval bowed-string instrument, often with a pear-shaped body.
rebec
71
Early brass instrument, ancestor of the trombone.
sackbut
72
Early instrument of the brass family with woodwind-like finger holes; developed from the cow horn but was made of wood.
cornetto
73
Cylindrical medieval drum
tabor
74
Stately Renaissance court dance in duple meter.
pavane
75
Music drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and dancing, scenery and costumes.
opera
76
Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer. Also called thorough-bass.
figured bass
77
Italian for "continuous bass." See figured bass. Also refers to a performance group with a chordal instrument (harpsichord, organ) and one bass melody instrument (cello, bassoon)
basso continuo
78
A prayer of thanks to God, sung after a psalm or at the close of the Magnificat.
doxology
79
An indication to return to the beginning of a piece.
da capo
80
Solo vocal declamation that follows the inflections of the text, often resulting in a disjunct vocal style; found in opera, cantata, and oratorio.
recitative
81
Lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio.
aria
82
An introductory movement, as in an opera or oratorio, often presenting melodies from arias to come. Also an orchestral work for concert performance.
overture
83
Short instrumental work, found in Baroque opera, to facilitate scene changes.
sinfonia
84
English genre of aristocratic entertainment that combined vocal and instrumental music with poetry and dance, developed during the sixteenth and seventeenth centuries.
masque
85
Country dance of the British Isles, often in a lively triple meter; optional dance movement of solo and orchestral Baroque suites.
hornpipe
86
A repeating melody, usually in the bass, throughout a vocal or instrumental composition.
ground bass
87
Congregational hymn of the German Lutheran church.
chorale
88
An association of amateur musicians, popular in the Baroque era. Also a modern university ensemble dedicated to the performance of early music.
collegium musicum
89
Three-part A-A-B form, frequently used in music and poetry, particularly in Germany.
bar form
90
Large-scale dramatic genre originating in the Baroque, based on a text of religious or serious character, performed by solo voices, chorus, and orchestra; similar to opera but without scenery, costumes, or action.
oratorio
91
Lyric song in ternary, or A-B-A, form, commonly found in operas, cantatas, and oratorios.
de capo aria
92
Short, recurring instrumental passage found in the Baroque aria and concerto.
ritornello
93
A religious choral composition in English; performed liturgically, the Protestant equivalent of the motet.
anthem
94
Multimovement work made up of a series of contrasting dance movements, generally all in the same key.
suite
95
German dance in moderate duple meter, popular during the Renaissance and Baroque periods; often the first movement of a Baroque suite.
allemande
96
French Baroque dance, a standard movement of the suite, in triple meter at a moderate tempo.
courante
97
Stately Spanish Baroque dance type in triple meter, a standard movement of the Baroque suite.
sarabande
98
An elegant triple-meter dance type popular in the seventeenth and eighteenth centuries; usually in binary form.
minuet
99
Duple-meter French Baroque dance type with a moderate to quick tempo.
gavotte
100
Lively French Baroque dance type in duple meter.
bourée
101
French Baroque court dance type; a faster version of the minuet.
passepied
102
Popular English Baroque dance type, a standard movement of the Baroque suite, in a lively compound meter.
gigue
103
Instrumental genre in several movements for solo instrument (or instrumental group) and orchestra.
concerto
104
Instrumental music endowed with literary or pictorial associations, especially popular in the nineteenth century.
program music
105
Interlude or intermediate section in the Baroque fugue that serves as an area of relaxation between statements of the subject. In a Baroque concerto, the free and inventive material that alternates with returns of the ritornello, or instrumental refrain.
episode
106
Instrumental work preceding a larger work.
prelude
107
Virtuoso composition, generally for organ or harpsichord, in a free and rhapsodic style; in the Baroque era, it often served as the introduction to a fugue.
toccata
108
The main idea or theme of a fugue.
subject
109
Second entry of the subject in a fugue, usually pitched a fourth below or a fifth above the subject.
answer
110
Opening section. In a fugue, the first section in which the voices enter in turn with the subject. In sonata-allegro form, the first section in which the major thematic material is stated. Also statement.
exposition
111
Texture employing counterpoint, or two or more melodic lines.
contrapuntal
112
Statement of a melody in longer note values, often twice as slow as the original.
augmentation
113
Statement of a melody in shorter note values, often twice as fast as the original.
diminution
114
Backward statement of a melody.
retrograde
115
Mirror or upside-down image of a melody or pattern, found in fugues and twelve-tone compositions.
inversions
116
In a fugue, when entries of the subject occur at faster intervals of time so that they overlap, forming dense, imitative counterpoint
stretto
117
f. 1150 - 1201; Notre Dame composer; compiled Magnus liber organi
Leonin
118
expanded organum to 3 - 4 voices
Perotin
119
c.1155-1207, son of a poor knight, in service of Marquis Boniface I of Montferrat, achieved knighthood, 35 surviving poems with 7 preserved in music
Raimbaut de Vaqueriras
120
essential education in medieval times covering music, mathematics, geometry, and astronomy
quadrivium
121
given to the church as a tithe, poet, prophet, composer, mystic, founded monastery in Germany, saint
Hildegard of Bingen
122
religious seclusion; devoted to prayer, scholarship, preaching, charity, healing the sick; arduous discipline; daily Offices
monasteries/convents
123
wandering, versatile entertainers; musicians on the fringe of society; music not notated
minstrels
124
c.1300-1377; foremost composer of the Ars Nova; cleric & courtier; worked at various French courts; works for posterity, final years at Cathedral of Reims, composed motets, chansons, earliest complete settings of the Ordinary of the Mass
Guillaume de Machaut
125
1567-1643; court position in Mantua; choirmaster at St. Mark’s in Venice for 30 years; wrote 9 books of madrigals, sacred music, operas
Claudio Monteverdi
126
most important secular genre of the Renaissance; three to eight voices, poetry & music; flourished in Italian courts; favorite diversion of cultivated amateurs; sung from part books; topics of love, unrequited love, humor, satire, politics, city life, country life, word-painting
madrigal
127
early 1300s in France; developments in rhythm, meter, harmony, counterpoint, interest in regularity and complexity of musical patterns, secular
Ars Nova
128
sacred vocal work with a text in latin; combined newly written texts with prescribed prayers; praise of Virgin Mary
motet
129
poetic forms of rondeau, virelai, and ballade
fixed forms
130
1551 collection of popular dance types
Danserye
131
c.1450-1521; varied career in northern Europe, Italy and France; composed over 100 motets, 17 Masses, French chansons, Italian secular songs
Josquin des Prez
132
1483-1546; posted 95 Theses in 1517; excommunicated by Catholic Church; believed in monophonic congregational singing in the vernacular as basis of Christian worship
Martin Luther
133
1545-1563; Catholic Reformation; regulated every aspect of religious discipline; objected to instruments, popular songs, and secular spirit in Masses, corruption of traditional change; complex polyphony obscuring sacred text
Council of Trent
134
c.1515-1571; composer, instrumentalist, printer; played all brass and woodwind instruments of his day; Antwerp city band
Tielman Susato
135
c.1525-1594; Italian composer, organist and choirmaster at St. Peter’s in Rome (Vatican); known for clear vocal declamation of text and piety; composed mostly sacred music, over 100 Masses, madrigals, and motets
Giovanni Pierluigi de Palestrina
136
solo soprano with harpsichord or lute
monody
137
1602-c.1676; Benedictine nun, choir director, composer, works published; circulated beyond the convent; complete set of Vespers psalms, motets, dialogues, Magnificats; prioress at St.Radegunda in Milan
Chiara Margarita Cozzolani
138
1619-c.1677; secular singer/composer; probably illegitimate daughter of Venetian poet; possibly a courtesan; 8 volumes of music published in her lifetime
Barbara Strozzi
139
originated as a country dance, circle or line dance; AABB
ronde
140
lyrical song; highly emotional; character dwells on intense emotion; action is frozen, release of tension in the action
aria
141
Canticle of Mary; text from Gospel of Luke; closes with doxology
Magnificat
142
repeating bass line used as a means of composing and creating form
ground bass
143
instruments providing the harmonic accompaniment; usually played by a harpsichord or lute with a cello or bassoon
basso continuo
144
1689; based on episode in Virgil’s Aeneid; contains “When I am laid in earth” aria over a ground bass
Dido and Aeneas
145
1659-1695; English court musician, composer, organist, and singer; taught at a girls’ boarding school; assimilated Italian, French and English styles; composed masques, operas, sacred and secular vocal music and instrumental music
Henry Purcell
146
1685-1750; culminating figure of Baroque style; German composer, organ virtuoso, devout Lutheran; held court positions at Weimar and Anhalt-Cöthen; music director at St. Thomas Church in Leipzig; unequalled mastery of counterpoint; composed in all genres EXCEPT opera; wrote The Well-Tempered Clavier, The Art of the Fugue
Bach
147
large-scale dramatic genre for solo voices, chorus, orchestra; performed in concert setting without scenery or costumes; includes recitatives, arias, duets, trios, choruses; biblical story
oratorio
148
German hymn tunes; composed or recycled melodies; German poetry, translated or interpreted Biblical passages; specifically integrated into weekly service; sung in unison by congregation and in four-part harmony by professional choir
Chorales
149
multimovement work for soloists, chorus, and orchestra with solo arias, recitatives, and choruses; "musical sermon"; elaboration of weekly hymn; based on Gospel reading of the day
Lutheran cantata
150
1678-1741; virtuoso violinist, composer, and priest; music master at the Pieta in Venice; over 230 violin concertos; other solo, double, triple, and orchestra concertos; sinfonias, vocal music; operas; oratorios; Mass movements; Magnificat; died in poverty due to overspending
Antonio Vivaldi
151
published in 1770 featuring original works by William Billings; frontispiece engraved by Paul Revere; introduction discussed basics of notation and music theory; simple homophonic textures with melody often in tenor
The New England Psalm Singer
152
1746-1800; most famous American composer of polyphonic repertory; self-taught musician; practiced at other trades; taught at Boston-area singing schools; musical publications became popular; mixed sacred texts with political references, close connections to radical elements of independence movement; composed over 340 works used in singing schools and churches
William Billings
153
1685-1759; German composer, director, producer; worked in Italy, Germany, England; wrote, directed and produced Italian-style opera; Royal Academy of Music (1720); buried at Westminster Abbey; composed over 40 Italian operas, English oratorio, orchestral suites, concertos, keyboard and chamber music
George Friederic Handel
154
an instrumental genre, typically in three movements, that generally featured either a solo instrument or a small group of soloists set against a larger ensemble
concerto
155
refrain-based structure featuring orchestra alternating with a solo section to create the form of a movement
ritornello
156
alternating section in a concerto movement that features the soloist/soloists
episodes
157
free-form piece for organ based on improvisation, showcasing the performer's dexterity with highly contrasting musical ideas and tempos; often paired with an organized form
toccata and prelude
158
genre and process; contrapuntal composition based on imitation; systematic elaboration of short musical ideas; written for solo keyboard, groups of instruments, or voices
fugue
159
overlapping statements of the fugue subject
stretto
160
contrapuntal device by which the fugue theme is presented in shorter rhythmic values
diminution
