Music EC-12 CD=flashcards

Question 1

Sforzando

Answer 1

Sforzando is a musical direction which strongly accents a note, to be played with sudden force. The abbreviation for sforzando used in a musical score is sfz.

Question 2

Marcato

Answer 2

Marcato is a musical term meaning “marked, stressed, or accented.” This can mean each note is emphasized or accented to some degree. The superlative form of the word is marcatissimo.

Question 3

Staccato

Answer 3

Staccato is a detached, separated articulation of playing or singing. It is indicated by a dot above or below the notehead. The effect will be a short note that begins and ends abruptly.

Question 4

Portamento

Answer 4

Portamento is a musical direction to carry the sound very smoothly (very legato) from note to note, and sounding piiches in between any two notated pitches. This is used most often in vocal and string music.

Question 5

Syncopation

Answer 5

Syncopation can be achieved in multiple, and typically is characterized by strong beats being de-emphasized, and weak or “off-beats” being emphasized. Though employed by composers, syncopation is commonly associated with jazz.

Question 6

Hemiola

Answer 6

Hemiola is a rhythmic compositional technique often employed by Renaissance and Baroque composers, providing rhythmic variety to compositions in a triple meter. The use of hemiolas can be also found in compositions of later eras. In modern metrical term, it can be described as the grouping of 2 measures of notes in a triple meter (e.g. 3/4) into three measures of duple meter (e.g. 2/4). In the sixth and seventh measure of the example by Vaughan Williams, the text “My God and” encompasses a hemiola.

Question 7

Polyrhythm

Answer 7

Polyrhythm is the simultaneous presentation of multiple rhythms. It is a compositional device used in some 14th century secular compositions as well as 20th century compositions and is found in jazz.

Question 8

Bitonality

Answer 8

Bitonality is the simultaneous presentation of two tonalities. The degree of instability created by the simultaneous use of multiple tonal foundations depends can be influenced by many factors, including how closely the keys are related.

Question 9

Contrapuntal

Answer 9

Contrapuntal is the adjective form of counterpoint. Strictly defined, a contrapuntal passage or work is one that is composed in accordance with the rules of counterpoint. Counterpoint is derived from the expression “note against note,” and the development of this compositional approach and related guidelines spans the 9th to 17th century.

Question 10

Fugal

Answer 10

Fugal is the adjective form of fugue. A fugue is an imitative contrapuntal compositional form or technique, similar to a canon. It differs from a canon in that following the first statement of the thematic material (labeled the” subject”), the second iteration (labeled the “answer) enters at a different pitch level, often at the fifth (rather than at the octave or unison).

Question 11

Canonic

Answer 11

Canonic is the adjective form of canon. Canon means “rule” and could be considered the most restrictive form of imitative counterpoint. Strict canonic writing would involve exact repetition(s) of the initial melodic material. As with fugue and counterpoint, however, composers over the centuries sometimes opt to embrace the general style rather than the rules.

Question 12

Polyphonic

Answer 12

Polyphonic is the adjective form of polyphony. Polyphony literally means “many sounds,” and indicates the simultaneous sounding of two or more relatively independent parts.

Question 13

Tritone

Answer 13

Tritone” is a term which labels the interval of an augmented 4th and a diminished 5th, which are actually the same pitch, but are notated differently as either a “raised” fourth rather or a “lowered” 5th. A tritone is a half- step more than a perfect 4th and a half-step less than a diminished 5th. It is formed by the lowest and highest note of a diminished triad. The tritone is sometimes referred to as the “devil’s interval.”

Question 14

Natural minor

Answer 14

A natural minor scale is characterized by a lowered third and sixth scale degrees when compared to a major scale. A natural minor scale is comprised of ascending (and descending) notes in the following whole (w) step and half (h) step sequence w-h-w-w-h-w-w. Unlike the harmonic and melodic minor scales, there are no alterations (raised or lowered scale degrees). Playing the white keys from a to a on the keyboard is often used to aurally and visually illustrate the natural minor scale.

Question 15

Harmonic minor

Answer 15

A harmonic minor scale is a natural minor scale with a raised seventh scale degree, both ascending and descending. The raised seventh scale degree facilitates the function of the 7 to 1 “leading tone” that appears without alteration in major scales and keys. A harmonic minor scale can be easily visualized and heard by playing a to a the white keys on the piano, but playing g# rather than g ascending and descending.

Question 16

Major

Answer 16

A major scale is comprised of ascending (and descending) notes in the following whole (w) step and half (h) step sequence w-w-h-w-w-w-h. Playing the white keys from c to c on the keyboard is often used to aurally and visually illustrate the major scale. The notes of a major scale are the same ascending and descending.

Question 17

Melodic minor

Answer 17

A melodic minor scale is a natural minor scale with raised ascending sixth and seventh scale degrees that are “naturalized” on the descending half of the scale. As suggested by the label, this scale is often employed in the composition of melodies in minor keys. A melodic minor scale can be easily visualized and heard by playing a to a on the white keys on the piano, but raising the f and g to f# and g# while ascending, but playing g natural and f natural while descending.

Question 18

Imperfect authentic cadence

Answer 18

An imperfect authentic cadence concludes with a V-I progression, which defines an authentic cadence. The final note in the top (soprano) line is not the tonic note, making the cadence “imperfect.” The tonic note in the top line on the final “I” chord in a plagal (IV-I) or authentic (V-I) cadence determines a “perfect” quality.

Question 19

Perfect plagal cadence

Answer 19

A perfect plagal cadence concludes with a IV-I progression, which defines a plagal cadence. The final note in the top (soprano) line is the tonic note, making the cadence “perfect.” The tonic note in the top line on the final “I” chord in a plagal (IV-I) or authentic (V-I) cadence determines a “perfect” quality.

Question 20

Perfect Authentic Cadence

Answer 20

The example concludes with a V-I progression, which defines an authentic cadence. The final note in the top (soprano) line is the tonic note, making the cadence “perfect.” The tonic note in the top line on the final “I” chord in a plagal (IV-I) or authentic (V-I) cadence determines a “perfect” quality.

Question 21

Imperfect plagal cadence

Answer 21

An imperfect plagal cadence is a IV-I progression with the final note in the top (soprano) line is not being the tonic note, which makes the cadence “imperfect.” The tonic note in the top line on the final “I” chord in a plagal (IV-I) or authentic (V-I) cadence determines a “perfect” quality.

Question 22

Half cadence

Answer 22

A half cadence is defined as a chord progression that concludes with I-V. While it provides some sense of rest or arrival, the feeling of finality is much stronger in plagal and authentic cadences.

Question 23

Deceptive cadence

Answer 23

A deceptive cadence is identified as a chord progression that concludes with V-vi (Dominant to sub-mediant). It is referred to as a deceptive cadence because it “deceives” the listener that is expecting an V-I (authentic) cadence. Like the half cadence, it provides some sense of rest or arrival, but the feeling of finality is much stronger in plagal and authentic cadences.

Question 24

Bitonal

Answer 24

Bitonal describes music that is a simultaneous combination of two keys. An early example of bitonal music is Psalm 67 (1898) by Charles Ives.

Question 25

Tonal

Answer 25

Tonal music is characterized by certain chords (e. g. Tonic and dominant) and progressions providing structure to a composition.

Question 26

Atonal

Answer 26

The Piano Suite Op. 25 (1923) by Schoenberg is an example of atonal music. There is no tonal center, and all 12 notes in the octave have equal weight.

Question 27

Polytonal

Answer 27

Polytonal describes music that simultaneously employs more than one key, typically in a contrapuntal texture, as in the works of Holst, Milhaud, and Bartok.

Question 28

Major-major seventh chord

Answer 28

A major-major seventh chord is a major triad with a major 7th above the root added.

Question 29

Major-minor seventh chord

Answer 29

A major-minor seventh chord seventh chord is a major triad with a minor 7th above the root added. It is the construction of a dominant seventh chord.

Question 30

Diminished seventh chord

Answer 30

A diminished seventh chord is a “fully” diminished chord which is a diminished triad with a diminished seventh above the root added.

Question 31

Mariachi

Answer 31

Mariachi is an ensemble of instruments with origins from western Mexico in the middle 1800’s. The modern mariachi ensemble has added trumpet(s) to the older traditional mariachi ensemble that is comprised of stringed instruments. Multiple orchestrations employing different string instruments mark the history of mariachi.

Question 32

Tejano

Answer 32

Tejano is a popular music genre with origins in southern Texas, similar to the Mexican norteño, but with influences by American musical genres especially the polka. The accordion and bajo sexto (12-string bass guitar) characterize the Tejano sound and are joined by other instruments (drum kit, bass guitar etc.)

Question 33

Salsa

Answer 33

The Cuban origin of salsa includes African rhythm and texture and Spanish/Iberian elements of melody and harmony. The dance genre emerged in New York and Puerto Rico in the 1960-s and 70’s and was influenced by jazz and rock.

Salsa is a 20th-century dance form with ties to the Cuban mambo and cha cha. It was developed in the 1960’s and ‘70’s by Cuban and Puerto Rican immigrants in New York. An eclectic musical form, It typically reflects the two-part structure of the Cuban “son,” which itself is a fusion of West African and Hispanic musical and rhythmic elements.

Question 34

Tex-Mex

Answer 34

Tex-Mex is a popular music genre that originated in south Texas, similar to the Mexican norteño, but is influenced by polka and other American music genres. The characteristic accordion and bajo sexto (12-string bass guitar) duo can be joined by drum and bass guitar and other instruments. The rock/pop oriented music grew into “Tejano music.”

Question 35

MENC

The National Association for Music Education

Answer 35

MENC: The National Association for Music Education, among the world’s largest arts education organizations, addresses all aspects of music education. MENC serves millions of students nationwide through activities at all teaching levels, from preschool to graduate school. The mission of MENC: The National Association for Music Education is to advance music education by encouraging the study and making of music by all.” To better reflect its mission, the association’s name was changed from MENC (Music Educators National Conference) to MENC: The National Association for Music Education. The Texas Music Educators Conference (TMEC) is a federated state association.

Question 36

University Interscholastic League

Answer 36

From the UIL website: http://www.uil.utexas.edu/ “The University Interscholastic League was created by The University of Texas at Austin to provide leadership and guidance to public school debate and athletic teachers. Since 1909 the UIL has grown into the largest inter-school organization of its kind in the world.

Question 37

TMEC

Texas Music Educators Conference

Answer 37

The Texas Music Educators Conference (TMEC) is the federated state organization associated with MENC: The National Association for Music Education; however, it is NOT the state organization that sponsors the “All-State” audition process.

Question 38

TMEA

Texas Music Educators Association

Answer 38

The Texas Music Educators Association oversees the Texas “All-State” music audition process that culminates in Texas music students attaining membership in “All-State” organizations. From the TMEA website: “Begun in 1920 as the Texas Band Teachers Association, the Texas Music Educators Association is an organization of over 10,000 school music educators dedicated to promoting excellence in music education. TMEA is comprised of five divisions: Band, Orchestra, Vocal, Elementary, and College. On behalf of its members and Texas schoolchildren, TMEA carefully monitors the actions of all state decision-making bodies on issues affecting fine arts instruction in Texas.”

Question 39

TBA

Texas Bandmasters Association

Answer 39

The Texas Bandmasters Association. From the TBA website: http://www.texasbandmasters.org/ “Formed in 1920 by a small group of Texas bandmasters, the Texas Bandmasters Association has worked diligently to further the cause of instrumental music education in communities throughout the Lone Star State. As a professional service organization, TBA reaches out through its membership to constantly improve the quality of music education in Texas’ elementary, middle and high schools, colleges and universities. During the past 60 years TBA has evolved into the largest state band organization in the world.”

Question 40

TCDA

Texas Choral Directors Association

Answer 40

From the TCDA website: http://www.ensemble.org/tcda/index.php. “The mission of TCDA is to support and foster the success of Texas choral directors and music teachers and to instill a love of music in every Texas school, church, and community singer. TCDA is an affiliated state association of the American Choral Directors Association (ACDA) .

Question 41

TODA (Texas Orchestra Directors Association)

Answer 41

TODA (Texas Orchestra Directors Association) is the prominent state organization for public school orchestra directors in Texas. From the TODA website: http://www.ensemble.org/toda/ “TODA was founded for the purposes of providing educational opportunities for its members and for all other purposes as recommended by its member board of directors” – .

Question 42

Appoggiatura

Answer 42

An appoggiatura (It. “leaning note) is an ornament that is performed as a note above or below a notated pitch. Unlike the trill and mordent, the an appoggiatura is an ornament consisting of one note. How appoggiaturas were realized varied by musical era. It is notated as a small note above or below the primary notated pitch.

Question 43

Turn

Answer 43

A turn is a four-note ornament that surrounds the notated pitch. A turn is typically realized by playing four notes in the following order: note above, notated pitch, note below, notated pitch.

Question 44

Acciaccatura

Answer 44

An acciaccatura (It. “crushed note) is a keyboard ornament of the late Baroque period. It is realized as playing the adjacent ornamental note simultaneously with (or just before) notated pitch, with the ornamental note typically being immediately released.

Question 45

Trill

Answer 45

A trill is a musical ornament or embellishment that is found primarily in instrumental music, especially for keyboard, though it can also be found in vocal music. A trill is the rapid alternating of a notated pitch with an adjacent pitch above it. It became common practice during the Baroque period. There are details related to the trill related to the length and how the ornament is both approached and completed.

Question 46

Minor sixth

Answer 46

A minor sixth is an interval comprised of 8 half steps. An example of a minor sixth is C up to Ab. The inversion of a minor sixth is a major third (Ab-C).

Question 47

Major sixth

Answer 47

A major sixth is an interval comprised of 9 half steps. An example of a major sixth is C up to A. The inversion of a major sixth is a minor third (A-C).

Question 48

Minor seventh

Answer 48

A minor seventh is an interval comprised of 10 half steps. An example of a minor seventh is C up to Bb. The inversion of a minor seventh is a major second (Bb-C).

Question 49

Perfect sixth

Answer 49

A perfect sixth is a typical label for an interval. Sixths are typically labeled as a major sixth (9 half-steps) or a minor sixth (8 half steps).

Question 50

Baroque

Answer 50

The generally accepted dates of the Baroque period in music history are 1685-1750. The musical characteristics in the example are not typical of music of the Baroque era.

Question 51

Rococo

Answer 51

Rococo is a term used to describe the “decorative” style of music identified with F. Couperin, Rameau, and J. C. Bach composed during the late Baroque and early Classical periods. Also presented as a brief musical era by some historians, it points to a transitional style found in compositions that “are no longer baroque and not yet classical.”

Question 52

Classical

Answer 52

The generally accepted dates of the Classical period in music history are 1750-1820. The excerpt is from Haydn’s Lord Nelson Mass, composed in 1798.

Question 53

Romantic

Answer 53

The generally accepted dates of the Romantic period in music history are 1820-1900. While the musical characteristics in the example may foreshadow music of the Romantic period, they are not typical of music of the latter era.

Question 54

Monteverdi

Answer 54

Claudio Monteverdi (1567-1643) lived in a period which overlapped the Renaissance and Baroque periods.

Question 55

Palestrina

Answer 55

Giovanni Pierluigi da Palestrina (c1525-1594) lived in Italy during the late Renaissance period.

Question 56

Tallis

Answer 56

Thomas Tallis (c1505-1585) lived in England during the latter part of the Renaissance period.

Question 57

Des Prez

Answer 57

Josquin Des Prez (c1450-1521) lived in France and Italy during the Renaissance period.

Question 58

Vivaldi

Answer 58

Antonio Vivaldi (1671-1748) in Italy during the latter part of the Baroque period.

Question 59

Beethoven

Answer 59

Ludwig von Beethoven (1770-1827) lived in Germany and Austria during a period that overlapped the Classical and Romantic periods.

Question 60

J.S. Bach

Answer 60

Johann Sebastian Bach (1685-1750) lived in Germany during the latter part of the Baroque period.

One of the greatest Baroque composers. His most famous works are probably the Brandenburg Concerti, the Well-tempered clavier, The art of fugue, his Mass in B-minor, and the St. Matthew Passion.

Question 61

Haydn

Answer 61

Franz Joseph Haydn (1732-1809) lived in Austria during a period that overlapped the Baroque and Classical period, but his life nearly encompassed the entire Classical period.

Franz Joseph Haydn known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the “Father of the Symphony” and “Father of the String Quartet” because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form.

Question 62

Gospel

Answer 62

Gospel music, or the gospel hymn began to evolve late in the 19th century as “spiritual-like texts” were set in the “white hymn tradition” but with some African-American musical characteristics.

Question 63

Blues

Answer 63

Blues, by its title, implies being “down” emotionally. It is secular folk music with African American roots traced to the latter 19th century. An improvisatory genre, there is a progression, the “12-bar blues,” that provides a harmonic foundation for many blues songs.

Question 64

Jazz

Answer 64

Jazz is a conglomeration of many musical elements from the African American traditions in the southern United States, and it shares roots and some characteristics with other genres and styles.

Question 65

Spiritual

Answer 65

The term “spiritual” describes religious folks songs of 1) the non-metrical religious songs (not hymns) that arose in the United States in the mid-18th century (c. 1740), and 2) the African American adaptation of the earlier spiritual. Today, the term “spiritual” typically refers to the African American offshoot.

Question 66

Homophony

Answer 66

Homophony is music in which multiple melodic parts move at approximately the same time. Four-part “traditional” hymns, with roots in the Baroque practice of chorale harmonization (e.g. Bach), provide a typical illustration of homophonic texture.

Question 67

Heterophony

Answer 67

Heterophony is a term that describes variations of a melody that occur simultaneously. It can be used to describe both vocal and instrumental music and is common in the instrumental music of south-east Asia music and in the accompanied vocal music of East Asia and the Middle East.

Question 68

Polyphony

Answer 68

Polyphony literally means “many sounds,” and indicates the simultaneous sounding of two or more relatively independent parts.

Question 69

Monophony

Answer 69

Monophony is music that is a single melody, such a plainchant or an unaccompanied solo song. A unison passage in a composition could be described as monophonic.

Question 70

Inversion

Answer 70

The inversion of an interval moves it the same distance, but in the opposite direction. The inversion of a melody can be visualized as a vertical “mirror image” of the original melody, comprised of the same sequence of intervals, but with each “inverted” interval moving in the opposite direction of the corresponding “original” interval.

Question 71

Augmentation

Answer 71

Augmentation is the compositional technique that involves increasing - usually proportionately - the duration of note values of a melodic line.

Question 72

Diminution

Answer 72

Diminution is the compositional technique that involves decreasing - usually proportionately - the duration of note values of a melodic line.

Question 73

Retrograde

Answer 73

Retrograde is the compositional technique that involves reversing the direction of a melodic line. The melodic line is horizontally “flipped” so the end of the original melody becomes the beginning, and the beginning of the melody becomes the end.

Question 74

Pizzicato

Answer 74

Pizzicato is an indication that the strings are to be plucked rather than played with a bow. The effect will be a short note that begins and ends abruptly.

Question 75

Nonmetric

Answer 75

Nonmetric, non-metric, and ametric are terms that can be literally defined as “without meter.” These terms can be used to describe medieval plainsong, music of non-Western cultures, and some 20th century popular and western music compositions. Compositions or passages lacking a discernable meter - a pattern of contrasting pulses - may be described as non-metric.

Question 76

Polymeter

Answer 76

Polymeter is two or more meters being incorporated simultaneously. Though examples of polymeter can be found in music of the Romantic era (without different time signatures), it is more typically associated with more contemporary works by composers such as Stravinsky, Elliot Carter, and Charles Ives.

Question 77

Multi- meter

Answer 77

Multi-meter is used to describe music that frequently changes meter. “Changing time signatures,” “mixed meter,” and “variable meter” are term to describe changing meters. Multimeter examples include passages from Stravinsky’s “Rite of Spring” and Bartók’s Mikrokosmos.

Question 78

20th century

Answer 78

20th Century is associated more with the “western, Austro-German” music tradtition rather than popular music, and encompasses all or most (e.g. 1900-1970) of the century it names.

Question 79

Contemporary

Answer 79

The musical example is from the contemporary period, which can be defined as the present or current period. The excerpt is from a 1997 release entitled “Bueno Vista Social Club.” Since “modern” is associated with a trend in the later 20th century “art music” followed by “post-modernism, “ it may not be an appropriate period designation.

Question 80

Neo-classical

Answer 80

Neo-classic (Neo-Classicism) refers to a brief trend in the 1920’s characterized by some composers whose composed works that illustrated more influence of works of the Classical (or Baroque) period than the indulgences in structure and orchestration found in many of the works of the Romantic era. Prokofiev, Strauss, Vaughan Williams, and Stravinsky, are composers who are credited with writing compositions that appeared to be a reaction to the “excesses” of some music of the late Romantic period.

Question 81

Baritone

Answer 81

Baritone is the higher of the two bass voice types. The baritone range is higher than the bass range and lower than the tenor range, and is said to have the some of the qualities of both its higher and lower neighboring voice types.

Question 82

Tenor

Answer 82

Tenor is the highest of the male voice types. There are numerous sub-types that are related to characteristics such as timbre. Among the half dozen tenor designations are the lyric tenor and heldentenor.

Question 83

Contralto

Answer 83

Contralto is the lowest of the female voice types. The contralto voice is characterized by range and by its dark and rich tone quality.

Question 84

Bass

Answer 84

Bass is the lowest of the male voice types . The bass voice is characterized by range and by its dark and rich tone quality. The bass-baritone voice combines the qualities of the higher baritone voice while retaining the depth and resonance of the bass.

Question 85

C major

Answer 85

A Bb Clarinet part notated in C major would “sound” in the key of Bb major. Similarly, a Bb Clarinet pitch notated as C would “sound” as a Bb. This can also be expressed as the notated pitch of C is a “concert” Bb.

Question 86

G major

Answer 86

A Bb instrument “sounds” a major second lower, and should therefore be notated a major second higher than the desired concert “sounding” pitch. A composition “sounding” in F major would require the Bb Clarinet part to be written a major second higher, which is the key of G major.

Question 87

Eb major

Answer 87

A Bb Clarinet part notated in Eb major would “sound” in the key of Db major. Similarly, a Bb Clarinet pitch notated as Eb would “sound” as a Db. This can also be expressed as the notated pitch of Eb is a “concert” Db.

Question 88

Ab major

Answer 88

A Bb Clarinet part notated in Ab major would “sound” in the key of Gb major. Similarly, a Bb Clarinet pitch notated as Ab would “sound” as a Gb. This can also be expressed as the notated pitch of Ab is a “concert” Gb.

Question 89

Binary

Answer 89

The term binary is used to describe a musical work or section in two parts that is comprised of two approximately equivalent sections. Except for moving to a closely related key (e.g. dominant or relative minor), there is typically little contrast in a composition in simple binary form. J. S. Bach’s keyboard suites are examples of simple binary form.

Question 90

Ternary

Answer 90

The term ternary is used to describe a musical work or section in three parts: statement-contrast-return (to the original statement). This form can be symbolized as ABA. The middle “B” section often (but not always) has contrasting melodic material and is in a different, but closely related, key (e.g. dominant or relative minor).

Question 91

Sonata-allegro

Answer 91

The term sonata form (or sonata-allegro form) is used to describe a musical work or section having three-parts that can be labeled as Exposition, Development, and Recapitulation. Some British sources use the term “compound binary,” pointing out similarities to both binary and ternary forms. Being a significant development in the history of musical form, one should be aware of the characteristics that separate sonata-allegro from the other forms.

Question 92

Rondo

Answer 92

The term rondo is used to describe a musical work or section in multiple parts that has a recurring refrain-like section between contrasting sections, which can be symbolized as ABACADA…, etc. Similar to other forms incorporating a return to the original material (A), repeated returns (not including reprises) are unique to the rondo form.

Question 93

Anton Bruckner

Answer 93

Like J.S. Bach before him, Anton Bruckner was appreciated more during his life for his improvisatory skills at the organ than for his musical compositions. His popular improvisations at the organ in the latter half of the 1800’s were likely to include creative and spontaneous harmonies.

Question 94

Franz Liszt

Answer 94

A cadenza performed by Franz Liszt (or any other accomplished pianist of that era) would have likely included unique and spontaneous variations in performance, and could be categorized as harmonic improvisation.

Question 95

A “prepared piano”

Answer 95

has its timbre changed inserting or attaching objects (e.g. screws, bolts, rubber erasers) to the piano strings.

Question 96

John Cage

Answer 96

John Cage (1912-1992), a leading figure in the postwar avant garde movement, is credited with developing the “prepared” piano for his 1940 composition, “Bacchanale.”

Question 97

Charles Ives

Answer 97

Charles Ives (1874-1954) is known for his compositional innovations in harmony, rhythm, and form, and is considered one of, if not THE leading American composer of the 20th century. Characterized as eccentric, unique Americana themes and perspectives are present in much of his music. Though he apparently composed primarily during evenings and weekends, his works and compositional techniques are complex and substantial, and should not be considered that of a musical amateur.

Question 98

Arnold Schoenberg

Answer 98

Arnold Schoenberg (1874-1951) was an Austrian-born composer, conductor, and teacher, who moved to the United States in 1933 to escape persecution by the Nazi regime. Schoenberg’s early works are in the romantic post-Wagnerian style, but he continued to extend chromatic harmony and tonal structures beyond their limits. He is credited with composing “atonal” music in 1909 in his 3 Pieces for Pianoforte (Op. 11), and is considered to be one of music’s most influential composers. (Though Schoenberg’s influence may be noted in the musical excerpt, the more direct connection would be to John Cage’s prepared piano.)

Question 99

Milton Babbitt

Answer 99

Milton Babbitt (b. 1916), an American mathematician, composer, and theorist, extended Schoenberg’s concept of twelve-tone system to new levels, including towards “totally serialized” music. While expanding the realm of 12-tone theory that he embarked on in the 1940’s, Babbitt was also a pioneer in electronic music, creating works for synthesizer and for electronic tape.

Question 100

Synthesizer Music

Answer 100

In the mid-20th century, the course of music was altered with the introduction of synthesized music-music sounds generated by electronic instruments. Beginning in the late 1930’s machines were invented and refined that would generate a growing number of sounds with an increasing amount of control. Beginning in the 1950’s, increasingly sophisticated synthesizers were produced in the United States, Europe, and Japan, and the development from the early “composition machines” to the digital synthesis, sampling, and virtual analogue found in more recent performance instruments.

Question 101

Absolute Music

Answer 101

Absolute music is a term that is used to describe instrumental music that “exists simply as such.” Rather than instrumental music that is “programme music” or illustrative in any way, it is sometime referred to as “music composed for music’s sake. The contrast between the two philosophical approaches is illustrated by the generically titled instrumental music of the Classical era and the expressive titles of the music and extra-musical meaning that was common to instrumental music of the Romantic era.

Question 102

Electronic Music

Answer 102

Electronic music is a term used in differently to define music in the latter half of the 20th century and later with an inherent electronic component. The term has been defined in multiple ways, and is a term that may be best used for more general descriptions of music that involves a conversion of acoustic energy into electrical energy, or vice versa.

Question 103

Music Concrète

Answer 103

Musique concrète is a term used by Pierre Schaeffer in 1948 used to describe his first electronic studies that utilizing electronic recordings of natural or man-made sounds, such as running water, a hammer striking metal, machinery, etc. The recordings of the sounds would be included in a composition, such as an accompaniment, or part of an accompaniment for a solo or ensemble. It is distinguished from synthesized music, which is sounds that are generated electronically.

Question 104

Basso Continuo

Answer 104

A bass part written out in full and accompanied by numbers to indicate the chords to be played continuo, figured bass, thorough bass, bass part, bass - the lowest part in polyphonic music.

Basso continuo was used pervasively in vocal and instrumental music the Baroque period.

Question 105

Fugue

Answer 105

The term “fugue” (Lat. “flight” and “flee”), referred to as a style, genre, and compositional technique, was introduced with equivalents in the vernacular, such as chace and caccia. The term “fugal” is used to generally describe music based on canonic imitation (e.g. one voice “chasing” another, or a voice “fleeing”). Fugues that could be described as more “formal” adhered to conventions and guidelines that evolved to their culmination at the end of the Baroque era that is seen in the works of Bach.

Question 106

Robert Schumann

Answer 106

Schumann wrote a great deal of music, including a piano concerto (one of the strangest phenomena of music publishing today is the way in which his piano concerto is almost invariably coupled with Grieg’s), four symphonies, song cyles, and a variety of chamber music.

Question 107

Ricercare

Answer 107

Ricercare (It. “to seek out”) was an intricate 16th to 18th century instrumental work composed in a fugal or canonic style, or can be used more generally to describe any type of prelude with contrapuntal qualities. The term “answer” is related to the more formal structure of the fugue.

Question 108

Canzone

Answer 108

Canzone (It.) was a 16th and 17th century instrumental work derived from lute and keyboard arrangements of chansons which led to the 17th century sonata and keyboard fugue.

Question 109

Fantasia

Answer 109

Fantasia (It.), was a 16th century work for instruments composed in strict imitation of a vocal motet. The fancy (Eng.), fantaisie (Fr.), and fantasie (Ger.) named later compositions that were usually contrapuntal but not as structured as the fugue. Bach and Sweelinck composed fantasias for organ that had an improvisational character.

Question 110

Handel

Answer 110

George Frideric Handel was a German-born British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalized British subject in 1727. By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.

Question 111

Mambo

Answer 111

Mambo is a popular big-band ballroom dance form that acquired popularity in the 1940’s and ‘50’s with roots in the Cuban rumba. It has influenced the popularity of other Latin America dances, such as the “cha cha.”

Question 112

Baiao

Answer 112

Baiao is a unique type of country music from the Northeast region of Brazil. It is characterized by syncopated rhythms, raised fourths, lowered sevenths, and a prominent use of the accordion. The genre has colorful history and traditions associated with it, including exotic attire.

Question 113

Samba

Answer 113

Samba, a dance form with African roots, is the musical form most commonly associated with Brazil. Both the urban and rural versions of this dance share alternating stanzas and refrain with responsorial singing between solo and chorus.

Question 114

Didjeridu

Answer 114

The didjeridu is closely associated with the indigenous music of the aboriginal culture in Australia. The sound of the overtones above the low guttural fundamental is unique. The didjeridu is traditionally played in sacred ceremonies to accompany singing and dancing.

Question 115

Djembe

Answer 115

Djembe (also jembe, jenbe, djimbe, jimbe, jymbe, yembe, yimbe, or jimbay ) is one of many types of drums that originated in Africa, but the djembe may be the most well-known African drum outisde the continent. Djembe playing is an honored tradition in Africa, is essential to national ballet, and unique patterns and phrases define dance rhythms that are associated with rituals and cermonies.

Question 116

Steelpan Drums

Answer 116

Steelpan drums were developed in Trinidad and Tobago from discarded American 55-gallon oil-drums left on the south American islands after World War II. Originally associated with rebellious teenage groups, the creating “pans” has become an increasingly specialized skill, and the government now sponsors competitions that have resulted in rigorous performance standards.

Question 117

Darabukka

Answer 117

Darabukka is a goblet-shaped drum associated with music (after 1900) of Eygpt, which is referred to as “the epicenter for all Arab and Middle Eastern music.” Another goblet drum with a similar spelling - darbukas - is listed among instruments associated with music of Hungary.

Question 118

Aerophone

Answer 118

Aerophone is a general term for musical instruments that produce sound through vibrations in a body of air (e.g. flute, pipe organ).

Question 119

Chordophone

Answer 119

Chordophone is a general term for musical instruments that produce sound through vibrations in a stretched string (e.g. guitar, piano).

Question 120

Idiophone

Answer 120

Idiophone is a general term for musical instruments that produce sound through vibrations in the substance of the actual instrument (e.g. xylophone, marimba, bell). Subcategories of idiophones are instruments which are struck, scraped, plucked, blown, or made to sound by friction.

Question 121

Membranophone

Answer 121

Membranophone is a general term for musical instruments that produce sound through vibrations in a stretched membrane. Subcategories of membranophone are instruments which are struck, sounded by friction, and instruments that resonate sympathetically with another sound (“singing membranes”).

Question 122

A-ak

Answer 122

A-ak is ritual temple music that can be heard at a temple at Munmyo Korea that honors Confusicius and his disciples.

Question 123

Sog-ak

Answer 123

Sog-ak is a term designating music of the common people, one of the two general categories of Korea’s traditional music. Chong-ak, the other category, designates music of the ruling class, and “sog-ak.”

Question 124

Hyang-ak

Answer 124

Hyang-ak is a generic term that refers to native Korean music, but does not imply characteristics of music associated with any particular class.

Question 125

Chong-ak

Answer 125

Korea’s traditional music is generally divided into two categories: chong-ak, which is music of the ruling class, and “sog-ak” which is music of the common people.

Question 126

Cool Jazz

Answer 126

Overlapping and co-existing with bop, “cool” jazz appeared in the work of Miles Davis, who assembled a nine-piece band that recorded pieces in 1949-50 that were re-issued in 1957 as “Birth of the Cool.” The new laid-back style in those pieces, characterized by slower, softer, relaxed and understated expression, was in stark contrast to the more frenzied bop. Rather than virtuoso display, Davis’ added his lyric and melancholy style to the intertwining improvisational lines that served to define the “cool” style.

Question 127

Bebop Jazz

Answer 127

Overlapping the end of the swing era of jazz, the bebop or bop style of jazz emerged in the 1940’s, re-labeled by some historians as “modern jazz.” Parker, Gillespie, and Monk were leading figures in the new style. Like swing, rhythm in bop was again a primary feature of the style, but faster tempi, a connection to scat-singing, new harmonic substitutions and melodic construction, and virtuoso playing were characteristic of the style.

Question 128

Swing Jazz

Answer 128

The swing style of jazz emerged in the 1930’s and is characterized by performance by larger bands with an emphasis on precision and ensemble. Bands comprised of white musicians mirrored jazz’s popularity to a wider audience. Leading bands included those led by virtuosic instrumentalists, such as Ellington, Goodman, Basie, Dorsey, Shaw, and Miller. Difficult to precisely define, descriptions focus on rhythm and forward propulsion, which can be enhanced by use or manipulation of timbre, attack, vibrato, rubato, and intonation to further the degree or the effect of “swing.” Swing became a term that was synonymous with jazz before giving way in the 1940’s to bebop (bop), which was later referred to as “modern” jazz.

Question 129

Free Jazz

Answer 129

In the 1960’s Coleman and Coltrane led the challenge to jazz traditions in a breakaway movement referred to as “free” jazz style (or “the new thing”). Consistent with the spirit of the decade in which it emerged, “free” jazz broke away from the harmonic, melodic, and formal conventions of the mainstream jazz “establishment.” The controversial underlying philosophy was uncompromising and true to its title of “free,” characterized by individualism, collective improvisation, and zealous energy and emotion. “Free” jazz’s lack of popularity and commercial appeal can be attributed to its “dissonant, strident, and often atonal style.”

Question 130

Orff

Answer 130

Orff is a method that is more closely associated with percussion than the other music education methods. Named after German musician Carl Orff (1895-1982), in addition to being closely associated with percussion, the Orff approach also focuses on imitation, exploration, improvisation, composition, and literacy, and includes singing, playing recorder, movement, and speech.

Question 131

Kodály

Answer 131

Kodály is a method that is more closely associated with singing than the other music education methods. Named after Hungarian musician Zoltán Kodály (1882-1967), in addition to being closely associated with singing, the approach also focuses on folk music, solfège, music and quality, the development of the complete musician, and sequence of instruction.

Question 132

Dalcroze

Answer 132

Dalcroze is a method that is more closely associated with movement than the other music education methods. Named after Swiss musician Émile Jacques-Dalcroze (1865-1950), in addition to being closely associated with music and movement, the comprehensive approach focuses on the understanding and intertwining of three components: Eurhythmics (movement), solfège, and improvisation.

Question 133

Suzuki

Answer 133

Suzuki is a method that is more closely associated with orchestral stringed instruments (e.g. violin) than the other music education methods. Named after Japanese musician Shinichi Suzuki (1898-1998), in addition to being closely associated with orchestral stringed instruments, the Suzuki approach also focuses on: starting young (age 3 to 4), the importance of listening to music, and learning to play before learning to read.

Question 134

Opera

Answer 134

Opera is a multi-dimensional form that incorporates multiple disciplines of art: music, theater, visual art, and sometimes dance. Typically, opera is a staged drama with music performed by vocal musicians/actors in costume who sing and act, accompanied by an orchestra while on a stage with constructed sets that incorporate visual art.

Question 135

Passion Music Settings

Answer 135

Convey the story of the crucifixion of Christ. Though the subject is dramatic, settings of the Passion are performed in church or concert setting without staging, and do not inherently connect to other aural or visual art forms.

Question 136

Program Music

Answer 136

Strictly defined, program music (or programme music) is a composition that has a narrative – a “program” – that is essential to the music and to the understanding of it. Though the concept was employed earlier by Vivaldi (in his Four Seasons-1725) and others, Liszt is credited with introducing and defining the term. Berlioz provided one of best examples in his Symphonie fantastique (1830), and is quoted as saying the ‘distribution of the programme to the audience at concerts where the symphony is to be performed is indispensable for a complete understanding of the dramatic outline of the work’. Many other compositions having more general non-musical associations, such as Beethoven’s Pastoral Symphony (1824) and Debussy’s La Mer (1905) are included with a less restrictive (though less clear) definition of program music.

Question 137

Détaché bowing

Answer 137

A fundamental bowing stroke, (also know as German détaché) used in a very large portion of violin literature. It is played in the middle of the bow, with one note per bow used. The notes must be joined together, without breaks or gaps in between. The more bow used, the larger the amplitude of vibrating string, and the louder the volume. In all cases détaché must be played on the string. The bow hairs must adhere to the string as much as possible. The end result will be a singing tone that is held throughout the duration of a single note, right up to the end, and a seamless or uninterrupted continuation of tone as the next note is played.

Question 138

Martelé Bowing

Answer 138

Martelé is a French term meaning hammered. Each note is percussive, and commences with a sharp accent or “pinch” at the beginning of the note, followed by a quick release. Before the bow is set in motion, the index finger applies this “pinch” or “bite” for articulation. Martelé may be notated in more than one way: with dots, hammer heads or accents.

Question 139

Spiral Curriculum Concept

Answer 139

Spiral curriculum in music is an instructional strategy used to sequentially introduce new concepts in action-oriented cycles. A typical spiral curriculum sequence of events includes the following:

Strategy - Teacher presents a framework for introducing a musical problem (often in the form of a question) that inspires creative thought.
Composing & Rehearsing - Students solve the musical problem in group composition projects by developing a musical hypothesis and testing it using aural logic.
Performance - After groups rehearse their compositions, a performance typically takes place to share ideas.
Critical Evaluation - Students may have an oral discussion after the performance to discuss and evaluate themselves.
Listening - Students listen to music for pleasure or as a resource to discover new ideas.

Question 140

Bruner’s Spiral Curriculum Theory

Answer 140

A spiral curriculum for music is an instructional strategy that often focus on the gradual progression and building - over time - of specific skills related to one musical concept or component, such as melody, rhythm/meter, or harmony. It promotes a sequential approach to learning musical concepts and facilitates teachers making valid assessments of each student’s growth of knowledge and skills.