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RCM History 2-Paulina > Music History 2 - Terms > Flashcards

Music History 2 - Terms Flashcards

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0
Q

The “Affections”

A

A Boroque philosophy inspired by Ancient Greek and Roman writers and orators. Refers to emotional states of the soul. In Baroque music, a single “affect” (one clear emotion) is usually projected through an entire composition or movement. Also referred to as the “Doctrine of Affections”. Vocal music depicted the motions of the text or dramatic situation. Was a reaction against the complex polyphony of Renaissance music.

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1
Q

A cappella

A

Latin for “in the chapel”; vocal music without instrumental accompaniment; characteristic feature of music in Middle Ages and Renaissance.

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2
Q

Basso continuo

A

Important element of Baroque performance practice. Generally involves two performers-one playing the notated bass line, one realizing. Harmonies usually player on harpsichord or organ. Provides harmonic framework.

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3
Q

Binary form

A

Two-part form (AB). Section A generally ends with an open cadence. Frequently used in Baroque dances and keyboard pieces.

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4
Q

Baroque

A

From the Portuguese barroco, meaning irregularly shaped or misshapen pearl. First used as a derogatory term in reference to the overly ornate art of the era. Now applied to art, architecture, and music of the 17th and early 18th centuries.

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5
Q

Bas

A

French for “low” indicating a low level of volume (soft). Medieval designation for indoor instruments. Includes dulcimer, lute, psaltery, rebec, recorder, vielle.

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6
Q

Cadenza

A

Solo passage found in concertos and arias. In the 18th century, it was generally improvised by the soloist. Displays virtuosity of soloist(s).

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7
Q

Chorale

A

A hymn tune, associated with German Protestantism. Intended for congregational singing, therefore moved mostly by step or narrow leap. Used as the basis for many genres including the cantata. Sometimes adapted from Gregorian chants as well as from other popular sources. Harmonized for four voices (SATB) by composers including J.S. Bach.

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8
Q

Canon

A

From the Greek work for “law”. Strict type of polyphonic composition in which each voice enters in succession with the same melody. Canons in which each voice enters in the same pitch (for example, at the unison) are referred to as rounds.

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9
Q

Cantata

A

A multi-movement choral work. Sacred or secular. For soloists, chorus, and orchestra. Consists of recitatives, arias, ensembles, and choruses.

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10
Q

Cantus firmus

A

Latin for “fixed song”. Borrowed material, often from a Gregorian chant. Serves as structural skeleton for a new polyphonic composition. Originally found in the lowest voice.

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11
Q

Castrato

A

Male soprano or alto voice. Subjected to a surgical procedure before reaching puberty which prevented the voice from changing. Prominent in 17th and 18th century. Generally used in heroic roles.

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12
Q

Clavichord

A

A small rectangular keyboard instrument. Sound is generated by small metal tangents that strike the strings inside the instrument. The application of vibrato to the key produced an expressive sound.

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13
Q

Clavier

A

German word for any keyboard instrument other than the organ.

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13
Q

Chamber music

A

Music for small ensemble (two to ten players). One player per part. Usually performed without conductor.

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14
Q

Chromaticism

A

From the Greek chroma (“color”). Melodies/harmonies that include all the notes available within the octave.

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15
Q

Coda

A

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

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16
Q

Concertino

A

The small group of solo instruments featured in a concerto grosso of the Baroque era.

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17
Q

Concerto grosso

A

Baroque orchestral work. Usually in three movements (fast-slow-fast). A group of solo instruments is showcased.

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18
Q

Cornetto

A

Ancestor of trumpet. Developed from cow horn, later made of wood. Outdoor instrument.

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19
Q

Consort of instruments

A

Renaissance term for instrumental ensemble. “Whole consort” - all instruments from one family, such as consort of viols. “Broken consort” - mixed combination of instruments.

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20
Q

Continuous imitation

A

A type of polyphony associated with Renaissance style. A motive or theme is passed from one voice to another. The series of entries can be referred to as “points of imitation”. Many motives may receive this treatment within a single work.

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21
Q

Countertenor

A

High male voice with a strong, pure tone. Often heard in performances of early music. Falsetto singing (out of normal male range).

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22
Q

Crumhorn

A

Double-reed wind instrument. Sound produce by blowing into enclosed double reed. Usually J-shaped. Outdoor instrument.

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24
Q

Drone

A

Sustained pitch or long held notes. Provides harmonic support. Common feature in folk music.

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24
Q

Development

A

The second main section in sonata form. Themes from the exposition are manipulated through fragmentation, sequential treatment or changes to orchestration. Modulation and increased harmonic tension. New themes may also be introduced.

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25
Q

Double exposition

A

Used in the first movement of a Classical concerto. Orchestral exposition introduces the principal themes and establishes the tonic key. Solo exposition follows, during which the soloists, supported by the orchestra, restates the first theme and initiates the modulation away from the tonic key.

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26
Q

Dulcimer

A

A popular Medieval strong instrument consisting of a wooden soundbox and gut strings. Strings are stuck with small hammer/mallets. Generally played indoors.

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27
Q

Estampie

A

One of the earliest Medieval dances. Stately character. Involves elaborate body movements. Dance by couples.

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28
Q

Figured bass

A

A type of musical shorthand developed in the Baroque era. Numbers are placed below the bass line to show harmonic progression. Performed or “realized” by the basso continuo. Provides the structure for guided improvisation.

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29
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 minor.

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30
Q

Fugal texture

A

A contrapuntal composition based on principle of imitation. A theme (referred to as the subject) pervades the entire work, entering in one voice and then another.

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31
Q

Gradual

A

the fourth section of the Mass Proper (variable texts); texts of the gradual derive primarily from the Psalms (poetic texts from Old Testament); chants sung during this portion of the Mass were generally melismatic and performed in a responsorial style.

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32
Q

Guitarra moresca

A

Guitar of Moorish (North African) origins. Strummed.

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33
Q

Gravicembalo

A

Italian term for harpsichord.

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34
Q

Ground bass

A

Baroque compositional device. Consists of the continuous repetition of a short melody over which free variations occur. Often it provided the basic structure of a Baroque aria.

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35
Q

Gregorian chant

A

a form of plainchant, modal, monophonic melodies with unmeasured rhythm; named after Pope Gregory the Great (ca 590-604) who is associated with organizing the chant repertory and standardizing liturgy; sacred, liturgical music of Roman Catholic Church; Latin texts.

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36
Q

Haut

A

French for “high” indicating a high level of volume (loud). Medieval designation for outdoor instruments. Includes cornetto, crumhorn, sackbut, shawm.

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37
Q

Harpsichord

A

A keyboard instrument. Sound is generated by small quills inside of the instrument that pluck the stings. Often had two manuals (set of keys).

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38
Q

Heterophonic texture

A

Simultaneous variation; the same melody is played in more than one way at the same time. Involves two or more voices, one playing the original melody while another plays an ornamented or embellished version. Added voices are often improvised.

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39
Q

Homorhythmic texture

A

In a multi-voiced composition, all voices sing in the same rhythm. A chordal texture (homophonic) results. Coupled with syllabic text setting, this technique delivers the text clearly. The listener’s attention is drawn to the top voice.

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40
Q

Hornpipe

A

Lively dance in triple meter. English origin. Originally associated with sailors.

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41
Q

Lute

A

Ancestor of guitar. Middle-Easter origin. Plucked, fretted, string instrument. Frequently used to accompany singers.

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42
Q

Mass

A

The most important service in the liturgy of the Roman Catholic Church. Includes prayers, readings from the Bible, and re-enactment of the Last Supper, referred to D the Eucharist, or Holy Communion.

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43
Q

Mass Ordinary

A

Unchanging prayers of the Mass. The components are: Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei.

44
Q

Mass Proper

A

Changing, variable prayers of the Mass. Linked to Church calendar. Sections include: Gradual, Introit, Communion, Alleluia.

45
Q

Medieval pipe

A

Ancestor of flute. Wind instrument with three holes. Blown through mouthpiece.

46
Q

Melismatic text setting

A

many notes for each syllable of text; the most elaborate and florid form of text setting.

47
Q

Modal counterpoint

A

Polyphonic texture based on modes. Counterpoint - from Latin punctus contra punctum (“note against note”).

48
Q

Modes

A

scale patterns distinguished by their own unique order of tones and semitones; used in the music of Ancient Greek; served as the source for melodies in the Middle Ages and Renaissance; generally referred to by their original Greek names (Dorian, Phrygian, ect.)

49
Q

Monody

A

Literally “one song”. A new store which developed in the late 16th century. A new single vocal melody with simple instrumental accompaniment. Allows for great day expression of emotion and clarity of text.

49
Q

Modified sonata form

A

An abbreviated sonata form. Contains an Exposition and Recapitulation, but no Development. Developed by composers in the 18th century.

51
Q

Monophonic chanson

A

French for song. Grew from troubadour/trouvière tradition. Flourished in the 12th and 13th centuries. Sometimes performed with improvised accompaniment.

52
Q

Monophonic texture

A

“mono” means one; music consisting of a single line of melody (referred to as a “voice”); no harmony or accompaniment.

52
Q

Monothematic exposition

A

In sonata form: Theme 2 is a transposed version of Theme 1. Frequently employed by Haydn.

53
Q

Motet

A

Vocal composition with or without instrumental accompaniment. Can be sacred or secular. Usually anonymous and often polytextual in the 13th century.

55
Q

Nakers

A

Medieval percussion instruments. Middle-Eastern origin. Played in pairs. Resemble small kettledrums.

56
Q

Neumes

A

the earliest form of notation in Western art music; small notational symbols-originally indicating the direction of the melodic line; later in the shape of squares or diamonds positioned on a staff and representing specific pitches.

56
Q

Neumatic text setting

A

several notes (two to four) for each syllable of text.

57
Q

Opera

A

Italian for “work”. Drama that is sung. Combines vocal and instrumental music with drama (staging and acting), visual arts (costumes and scenery), and often dance. Created in Italy around 1600 and remains one of the key popular forms of musical entertainment. Components include recitative, arias, ensembles, and choruses.

59
Q

Opera buffa

A

Italian comic opera. Sing throughout with no spoken dialogue. Featured down-to-earth characters, fast-paced plots, farce, and sexual innuendo.

60
Q

Opera seria

A

Italian for “serious opera”. Sing throughout. Generally based on historical or mythological subjects.

61
Q

Organum

A

A general term for polyphony based on plainchant. Vocal music in which new medicines are added to an existing Gregorian chant. Earlier maintained primary intervals between voices. Later featured more independent melodic parts, and a greater variety of intervals.

62
Q

Ostinato

A

Italian for “obstinate” or “persistent”. A rhythmic or melodic pattern repeated for an extended period.

62
Q

Oratorio

A

Large scale choral work. Generally based on sacred subjects. Performing forces include vocal soloists, chorus, and orchestra. Performed in a concert setting without scenery, costumes, or acting.

63
Q

Piano quintet

A

Chamber ensemble consisting of piano and four other instruments. Most common grouping is piano with string quartet, though other combinations are possible. Also refers to a composition written for five instruments.

64
Q

Polyphonic texture

A

“poly” means many; two or more independent melodic lines (or voices) heard simultaneously; referred to as contrapuntal texture.

65
Q

Plainchant

A

sometimes called “plainsong”; roots in Judaic tradition; monophonic texture; modal melodies; relatively melodic range; unmeasured prose rhythm.

66
Q

Polytextual Motet

A

Two or more texts heard simultaneously. As a result, the words can sometimes be hard to distinguish. Characteristic feature of 13th-century motet.

67
Q

Portative organ

A

Medieval portable keyboard instrument. Small keyboard activates high-pitched pipes. Sound generated through pumping bellows. Sometimes called organetto.

68
Q

Psaltery

A

Popular Medieval string instrument. Consisted of a trapezoidal wooden soundbox with gut strings. Strings are plucked with fingers or with a plectrum. Generally played indoors.

69
Q

Positive organ

A

Originated in 14th century, but remained popular through the Renaissance. Slightly larger than pory stove organ, but still portable, like a piece of furniture. Had one keyboard, no pedals, and small pipes.

70
Q

Rebec

A

Medieval indoor instrument. Pear shaped, bowed, string instrument. Has three strings. Played on the arm or under the chin.

71
Q

Recitativo accompagnato

A

Italian for “accompanied recitative”. A speech-like, declamatory style of singing. Supported by instrumental ensemble or orchestra. Allows for greater connection with the text. Employed in operas, oratorios and cantatas.

72
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.

73
Q

Recorder

A

Medieval indoor instrument. End-blown wind instrument; came in different lengths. Had finger holes. Remained popular into Baroque period.

74
Q

Regal

A

14th century portable organ. Ancestor of modern harmonium. Had small keyboard and reeds instead of pipes. Like the ports give organ, it could be carried by means of strap around the neck allowing the player to pump the bellows with the left hand while playing on the keyboard with the right hand.

75
Q

Responsorial singing

A

a method do performance; solo voice alternates with chorus; solo passages referred to as “verse”; choral passages referred to as “respond”.

76
Q

Ripieno

A

Italian for “full” or “complete”. Also called tutti. A term used to denote the full orchestra in a Baroque concerto.

76
Q

Recapitulation

A

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

78
Q

Ritornello

A

A recurring theme that functions as a refrain in Baroque compositions. Can serve as introduction and postlude in arias or choruses or as a unifying thread in concertos.

79
Q

Rounded binary form

A

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

80
Q

Ritornello form

A

A structure often employed in the fire and third movements of the Baroque concerto. The opening passage (ritornello) is restated throughout the movement.

81
Q

Rondo form

A

ABACA or ABACABA (or variants thereof). Section A must be heard at least three times in the tonic key. Sections B and C offer contrasts in key and thematic material.

82
Q

Sackbut

A

Ancestor of the trombone. From the Old French, “pull-push”. Outdoor instrument.

83
Q

Shawm

A

Ancestor of oboe. Middle-Eastern origin. Double reed instrument. Produces shrill nasal tone.

85
Q

Stile concitato

A

Italian for “agitated style”. Term used by Monteverdi. Expresses the “hidden tremors of the soul”. Achieved through use of tremolo and pizzicato (instrumental) and ornamentation and rapid repeated notes (vocal).

87
Q

Sonata cycle

A

A multi-movement structure. Emerged in the Classical era. Occurs in symphony, sonata, and simplicity.

88
Q

Sonata form

A

A formal structure often used in first movement of a sonata cycle. Consists of Exposition, Development, and Recapitulation.

89
Q

Stile rappresentativo

A

Italian for “representational style”. The term used by the Florentine Camerata musicians to describe the monodic style. A recitative-like melody moving freely over a foundation of simple chords. The music was meant to heighten the emotional when owner of the text.

89
Q

String quartet

A

The most popular chamber ensemble of the Classical era. Two violins, viola, and cello. As a genre, also refers to a composition written for this ensemble, generally in four movements: fast-slow-medium-fast.

90
Q

Syllabic text setting

A

one note for each syllable of text; text can be heard very clearly.

90
Q

Strophic

A

A song structure where the same music is performed for each verse of the poem. As a result, little connection can be achieved between the words and music.

91
Q

Tabor

A

Medieval percussion instrument. Large, cylindrical drum.

92
Q

Tambourine

A

Percussion instrument. Wooden frame with small metal disks inserted. May or may not have a drum skin. Played by striking o shaking.

93
Q

Tenor

A

From Latin tenere, “to hold”. In a polyphonic composition from the Middle Ages, it refers to the voice that contains the cantus firmus (borrowed material).

94
Q

Ternary form

A

Three-part form (ABA). Section B generally creates contrast in key and/or material. Often used in Baroque arias.

95
Q

Terraced dynamics

A

Baroque practice of changing dynamics abruptly. Results in stark contrast rather than gradual change.

96
Q

Terzetto

A

Italian term for “trio”. A musical number for three voices (characters).

97
Q

Theme and variations

A

A work featuring a statement of a melody (theme) followed by a series of transformations (variations). Changes can be made to melody, harmony, rhythm, or orchestration. Often used in the slow movement of sonata cycle.

98
Q

Troubadour

A

Aristocratic port-musicians. Composed and performed original poems and songs. Lived worked in southern France.

99
Q

Trouser role

A

A male character performed by a soprano, mezzo soprano, or contralto. Roles originally created for male castrati are frequently turned into trouser roles in modern performances.

100
Q

Trouvière

A

Reach for finder or inventor. Aristocratic poet-musicians. Composed and performed original poems and songs. Sang of courtly love. Lived and worked in northern France.

101
Q

Tremolo

A

A rapid alternation between two notes or between notes of chord.

102
Q

Vielle

A

Medieval ancestor of the violin. The body of the instrument had a figure-eight shape. Played with a bow. Generally played indoors.

104
Q

Viols

A

Renaissance family of bowed string instruments. Varied in size from small to large.

104
Q

Viola da gamba

A

An instrument in the viol family. Had six strings. Held between the legs when played, like a modern cello. Fretted like a guitar.

106
Q

Virginal

A

In England, a generic term used for all plucked keyboard instruments. Smaller and lighter than the harpsichord, simpler in construction, less expensive. Italian and Flemish virginals came in many shapes; English versions were always rectangular. Could be placed on a tabletop or held in the player’s lap.

108
Q

Word painting

A

Musical pictorialization. In vocal works, the music reflects the meaning do the text. Employed in madrigals, operas, oratorios.

109
Q

$$

A

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RCM History 2-Paulina (1 decks)

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