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Music History and Literature Flashcards

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1
Q

Gregorian chant

A

in Medieval times, sung by unaccompanied voice or choir, melodies that are free flowing with no distinct meter, melismatic

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2
Q

organum

A

an early form of polyphony in which voices were sung in parallel motion

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3
Q

mass

A

in Medieval and Renaissance eras, a form of sacred musical composition, is a choral composition that sets the invariable portions of the Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism) to music

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4
Q

motet

A

in Medieval and Renaissance times, a short piece of sacred choral music set to a sacred Latin text other than the ordinary of the mass, typically polyphonic and unaccompanied

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5
Q

compare and contrast the Medieval motet and the Renaissance motet

A

Medieval motet had a tenor line with a short, repeated rhythmic pattern and an upper voice(s) with a lively, contrasting part, sometimes in a different language. Renaissance motet used imitation, homophony, and four part harmony

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6
Q

the Ordinary

A

religious text set to music, remains the same day to day throughout the church year, including six sections: Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei

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7
Q

estampie

A

a medieval dance, one of the earliest surviving forms of instrumental music

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8
Q

Ars Nova (New Art)

A

a musical style that flourished mainly in France in the 14th century, was different from ars antiqua in that it was more complex - more complex rhythm, meter, etc.

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9
Q

Guillaume de Machaut

A

considered to be the last great trouvere, mainly wrote love songs for one or two voices and instrumental accompaniment, his best-known composition was the Notre Dame Mass (which was the first known polyphonic mass ordinary)

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10
Q

word painting

A

musical representation of specific poetic images

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11
Q

characteristics of Renaissance music

A

close relationship between words and music (displaying emotion of text through the music, word painting), mainly polyphonic with a lot of imitation, while some music like dance music is homophonic, full chords are used (as opposed to music of the Middle Ages), choral music was often a cappella, rhythm is a “gentle flow” and melody usually moves in a scale (no large leaps)

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12
Q

Josquin des Prez

A

Flemish Renaissance composer of masses, motets, and secular vocal pieces; strongly influenced other composers. One famous motet is Ave Maria…virgo serena

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13
Q

Giovanni Pierluigi da Palestrina

A

Italian Renaissance composer who devoted himself to writing music for the Catholic church. His works were written during the Counter-Reformation (Catholic church was challenged by the Protestants, so they tried to improve themselves, including simplifying church music so that it wasn’t so over-the-top), so his music was calm and spiritual. His most famous mass is Pope Marcellus Mass

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14
Q

madrigal

A

a Renaissance piece for several solo voices set to a short poem, usually about love. Combines homophonic and polyphonic textures, often uses word painting

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15
Q

compare and contrast English and Italian madrigals

A

both in their vernacular, both use word painting. English madrigals used simpler music (melody and harmony) and poetry than Italian. English madrigals were lighter and more humorous

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16
Q

Thomas Weelkes

A

one of the finest English madrigalists, an example of his work is As Vesta Was Descending from The Triumphes of Oriana

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17
Q

pavane

A

Renaissance instrumental dance music in duple meter

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18
Q

galliard

A

Renaissance instrumental dance music in triple meter

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19
Q

riceracar

A

Renaissance polyphonic instrumental composition employing imitation

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20
Q

the Church modes

A

scales used in Gregorian chant, consist of seven different tones and an eighth tone that duplicates the first an octave higher

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21
Q

Hildegard of Bingen

A

Middle Ages female composer who wrote new spiritual chants. She was a visionary and a mystic, “foretelling the future”

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22
Q

troubadours/trouvères

A

in the Middle Ages, poet-musicians who composed the secular music of the time

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23
Q

characteristics of Baroque music

A

typically expresses one mood (affection) per piece, except in vocal music which can change with the text. Rhythmically, patterns are repeated throughout the piece and forward motion is rarely interrupted. Melodies are also repeated throughout, imitated in various parts, and there are often sequences. Melodies are elaborate, ornamental, and difficult to sing. Dynamics either remain constant or shift very suddenly (terraced dynamics). Late baroque music is largely polyphonic (sometimes they would change to homophonic), with the soprano and bass lines being most important. Chords became far more important than they previously had been - use of figured bass. Music was used to depict the meaning of words. Usually have contrasting movements

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24
Q

basso continuo

A

figured bass, a bass part with numbers that signify what chords to play above it - gives a lot of freedom for how the chord can be voiced. Usually played by at least two instruments.

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25
Q

movement

A

a piece that sounds fairly complete and independent but is part of a larger composition

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26
Q

basso ostinato

A

ground bass, a musical idea repeated over and over in the bass while the melodies above change

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27
Q

concerto grosso

A

a small group of soloist is pitted against a larger group of players called the tutti, most regularly consist of several movements that often are: 1) fast 2) slow 3) fast

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28
Q

episodes

A

in a fugue, the transitional sections between presentations of the subject, either new material or fragments of the subject/countersubject

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29
Q

opera

A

drama that is sung to orchestral accompaniment, including music, acting, poetry, dance, scenery, and costumes

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30
Q

libretto

A

the text of the opera, written by the librettist (dramatist)

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31
Q

coloratura soprano

A

very high range, can execute rapid scales and trills

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32
Q

lyric soprano

A

rather light voice, sings roles calling for grace and charm

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33
Q

dramatic soprano

A

full, powerful voice, is capable of passionate intensity

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34
Q

lyric tenor

A

relatively light, bright voice

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35
Q

dramatic tenor

A

powerful voice, capable of heroic expression

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36
Q

basso buffon

A

takes comic roles, can sing very rapidly

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37
Q

basso profundo

A

very low range, powerful voice, takes roles calling for great dignity

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38
Q

aria

A

song for solo voice with orchestral accompaniment

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39
Q

recitative

A

usually leads into an aria, a vocal line that imitates the rhythm and pitch fluctuations of speech

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40
Q

overture

A

prelude, orchestral composition in an opera that draws from material heard later in the opera

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41
Q

Camerata

A

Italian fellowship or society of nobles, composers, etc who created opera by modeling the music of the ancient Greek tragedy

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42
Q

castrato

A

a male singer who had been castrated before puberty, received the highest fees of any musician

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43
Q

secco recitative

A

recitative accompanied only by basso continuo

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44
Q

accompanied recitative

A

recitatives at an emotional high point supported by the orchestra

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45
Q

da capo aria

A

aria with an ABA form, second A section embellished by ornamentation

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46
Q

Claudio Monteverdi

A

one of the most important composers of the early baroque era, wrote Orfeo, the first grand opera, the first composer of operatic masterpieces, his works form a bridge between 16th and 17th century music

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47
Q

sonata

A

composition in several movements for one to eight instruments, arose in the baroque period

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48
Q

trio sonata

A

sonata with three melodic lines: two high ones and a basso continuo. Actually played with four instruments

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49
Q

Arcangelo Corelli

A

the most prominent Italian violinist and composer of string music around 1700, laid the foundation of modern violin technique

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50
Q

Antonio Vivaldi

A

a towering figure of the late Italian baroque, an influential virtuoso violinist and composer

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51
Q

Johann Sebastian Bach

A

his compositions mark the high point of baroque music, was the best organist/harpsichordist, and improviser in his day

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52
Q

suite

A

from the baroque era, dance-inspired movements, all written in the same key but different in tempo, meter, and character. Usually in AABB form

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53
Q

French overture

A

common opening to the suite that is also heard at the beginning of operas/oratorios, written in two parts 1) slow section with dotted rhythms that is full of dignity and grandeur 2) quick and lighter in mood, often beginning like a fugue

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54
Q

chorale

A

hymn tune, part of church services, written in the vernacular. Easy to follow along so that the whole congregation could sing them

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55
Q

chorale prelude

A

before the congregation sang a hymn, the organist might play this composition based on the hymn tune that reminded the congregation of the melody

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56
Q

cantata

A

principal means of musical expression in the Lutheran service, originally meant a piece that was sung (as opposed to a sonata, which was played). Usually written for chorus, vocal soloists, organ, and a small orchestra. A sermon in music which reinforced the minister’s sermon. With its many movements, it resembled opera at the time

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57
Q

oratorio

A

a major development in baroque vocal music. A large scale composition for chorus, vocal soloists and orchestra, usually set to a narrative text. Different from opera in that there is no acting, scenery, or costumes. Usually based on biblical softies, but usually they are not intended for religious services

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58
Q

Messiah

A

by G.F. Handel, the best known and most loved oratorio

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59
Q

George Frideric Handel

A

a master of Italian opera and English oratorio, became England’s most important composer, shares Bach’s stature among composers of the late baroque

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60
Q

ritornello

A

reframe, a theme that the tutti opens with in ritornello form

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61
Q

compare and contrast opera seria and opera buffa

A

opera serial focused on tragic and serious subjects that were historical rather than mythical, based in ancient Greek values such as clarity, unity, and structure. Usually had 3 acts with alternating recitatives and arias. Opera buffa focused on humorous and light-hearted elements. There was a wider range of characters, and spoken dialogue replaced recitative. The form was less structured, music was faster to help portray comic elements of plot

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62
Q

the four sections of the Classical orchestra and their function

A

strings, woodwinds, brass, and percussion. Strings were the most important, with first violins taking the melody. Woodwinds added contrasting tone colors and were often given melodic solos. Brass brought power to loud passages and filled out harmony but didn’t usually play the main melody. Timpani was used for rhythmic bite and emphasis

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63
Q

symphony

A

classical piece written for orchestra, extended and ambitious composition usually lasting between 20 and 45 minutes, usually with four movements: 1) fast (sonata allegro form) 2) slow (ABA) 3) dance-related 4) fast (rondo or sonata rondo). Themes rarely reappear in later movements - each movement is a self-contained composition

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64
Q

serenade

A

a work that’s usually light in mood, meant for evening entertainment, came about in the classical era

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65
Q

chamber music

A

classical music designed for the intimate setting of a room (chamber) in a home or palace, rather than for a public concert hall. Performed by 2-9 musicians with one player to a part. Lighter in sound than orchestral music

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66
Q

Claudio Monteverdi

A

one of the most important composers of the early baroque era, wrote Orfeo, the first grand opera, the first composer of operatic masterpieces, his works form a bridge between 16th and 17th century music

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67
Q

sonata

A

composition in several movements for one to eight instruments, arose in the baroque period

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68
Q

trio sonata

A

sonata with three melodic lines: two high ones and a basso continuo. Actually played with four instruments

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69
Q

Arcangelo Corelli

A

the most prominent Italian violinist and composer of string music around 1700, laid the foundation of modern violin technique

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70
Q

Antonio Vivaldi

A

a towering figure of the late Italian baroque, an influential virtuosic violinist and composer

71
Q

Johann Sebastian Bach

A

his compositions mark the high point of baroque music, was the best organist/harpsichordist and improviser of his day

72
Q

suite

A

from the baroque era, dance-inspired movements, all written in the same key but different in tempo, meter, and character. Usually in AABB form

73
Q

allemande

A

“German dance,” first movement of a suite

74
Q

courante

A

court dance consisting of short advances and retreats, second movement of a suite (or third if there’s a prelude)

75
Q

sarabande

A

slow, stately dance in triple time, popular in the Baroque era

76
Q

gigue

A

in compound meter, lively, at the end of a Bach suite

77
Q

French overture

A

common opening to the suite that is also heard at the beginning of operas/oratorios, written in two parts: 1) slow section with dotted rhythms that is full of dignity and grandeur 2) quick and lighter in mood, often beginning like a fugue

78
Q

chorale

A

hymn tune, part of church services, written in the vernacular. Easy to follow along so that the whole congregation could sing them

79
Q

chorale prelude

A

before the congregation sang a hymn, the organist might play this composition based on the hymn tune that reminded the congregation of the melody

80
Q

cantata

A

principal means of musical expression in the Lutheran service, originally meant a piece that was sung (as opposed to a sonata, which was played). Usually written for chorus, vocal soloists, organ, and a small orchestra. A sermon in music which reinforced the minister’s sermon. With its many movements it resembled opera at the time

81
Q

oratorio

A

a major development in baroque vocal music. A large scale composition for chorus, vocal soloists and orchestra, usually set to a narrative text. Different from opera in that there is no acting, scenery, or costumes. Usually based on biblical stories, but usually they are not intended for religious services

82
Q

Messiah

A

by G.F. Handel, the best known and most loved oratorio

83
Q

George Frideric Handel

A

a master of Italian opera and English oratorio, became England’s most important composer, shares Bach’s stature among composers of the late baroque

84
Q

Ludwig van Beethoven

A

for many, he represents the highest level of musical genius. He bridged the gap between the classical and romantic eras. His musical style changed greatly once he started going deaf and faced great despair. His music directly reflects his powerful, tortured personality.

85
Q

characteristics of Classical music

A

fluctuates in mood throughout the piece, many differing rhythm patterns throughout (unexpected pauses, syncopations), basically homophonic, melodies are among the most tuneful and easy to remember, symmetrical melodies (often made up of two phrases of the same length, with the second beginning like the first but ending more conclusively). Use of gradual dynamic changes, more use of the piano instead of the previously frequently used harpsichord, basso continuo was abandoned. Instruments were not treated like one another but instead utilized for their individual tone colors

86
Q

the four sections of the Classical orchestra and their function

A

strings, woodwinds, brass, and percussion. Strings were the most important, with first violins taking the melody. Woodwinds added contrasting tone colors and were often given melodic solos. Brass brought power to loud passages and filled out harmony but didn’t usually play the main melody. Timpani was used for rhythmic bite and emphasis

87
Q

string quartet

A

classical piece written for two violins, viola, and cello, usually with four movements: 1) fast 2) slow 3) dance-related 4) fast

88
Q

theme and variations

A

form widely used in the classical period, a basic musical idea is repeated over and over and is changed each time

89
Q

minuet and trio/minuet

A

often used as the third movement of classical symphonies, string quartets and other works. Originated as a dance, but became just for listening. In ABA form (minuet (A), trio (B), minuet (A)) and triple meter

90
Q

scherzo

A

instead of a minuet, the third movement can be this - Beethoven used this form a lot. It’s usually in ABA form and in triple meter but moves quicker than a minuet and has a rough humor (it’s Italian for joke)

91
Q

serenade

A

a work that’s usually like in mood, meant for evening entertainment, came about in the classical era

92
Q

sonata-rondo

A

rondo form combined with elements of sonata form, containing a development section like that in a sonata form and is outlined A B A - development section - A B A.

93
Q

concerto

A

three movement (fast, slow, fast) work for an instrumental soloist and orchestra that came about in the classical era

94
Q

chamber music

A

classical music designed for the intimate setting of a room (chamber) in a home or palace, rather than for a public concert hall. Performed by 2-9 musicians with one player to a part. Lighter in sound than orchestral music

95
Q

Joseph Haydn

A

classical composer who was a pioneer in the development of the symphony and the string quartet (possibly invented this form), influenced Mozart and Beethoven. He served the Esterhàzy’s, the richest and most powerful of the Hungarian noble families, for almost thirty years, but then rose to fame

96
Q

Wolfgang Amadeus Mozart

A

one of the most amazing child prodigies in history, was among the most versatile of composers and wrote masterpieces in all the music forms of the classical era

97
Q

Ludwig van Beethoven

A

for many, he represents the highest level of musical genius. Bridged the gap between the classical and romantic eras. His music directly reflected his powerful, tortured personality - he gradually went deaf and his music changed in reflection of his despair. One of the first great composers to work as a freelance musician outside the system of aristocratic or church patronage.

98
Q

characteristics of Romantic music

A

era with unprecedented emphasis on self-expression and individual style, subject matter included a wide variety of feelings, romantic love, nature, the supernatural, and the Middle Ages. Use of both nationalism and exoticism. More of an emphasis was placed on timbre and tone color as orchestras were bigger/more varied than the classical orchestra. More complex chords and chromatic harmony, wide dynamic/pitch range

99
Q

art song

A

form created in the romantic era, a composition for solo voice and piano

100
Q

song cycle

A

a set or group of romantic art songs, may be unified by a story line or by linked musical ideas

101
Q

Franz Schubert

A

the earliest master of the romantic art song. He was unlike any other great composer before him, earning his income entirely from composition. He composed over 600 songs and also symphonies, other string quartets, chamber music, sonatas and short pieces for piano, masses, and operas

102
Q

Robert Schumann

A

in many ways embodied musical romanticism with his autobiographical works, also was a music critic who made famous other leading composers of his day

103
Q

Clara Wieck Schumann

A

a child prodigy on the piano, this romantic female composer considered herself mainly a performer, premiering works of her husband’s and her close friend Brahms. She stopped composing at 36, likely due to the negative feelings towards female composers at the time. But her pieces are now increasingly being performed and recorded.

104
Q

romance

A

in the nineteenth century (Romantic era) this term referred to a short, lyrical piece for piano or solo instrument with piano accompaniment

105
Q

Frédéric Chopin

A

the only great composer who wrote almost exclusively for the piano. Romantic composer who had a very personal and unique style, often composing exquisite miniatures. No other composer made the piano sound as beautiful as him

106
Q

nocturne

A

night piece, slow, lyrical composition for piano

107
Q

étude

A

study piece designed to help a performer master specific technical difficulties

108
Q

polonaise

A

a piece in triple meter, originated as a stately processional dance for the Polish nobility

109
Q

Franz Liszt

A

Romantic composer who performed superhuman feats on the piano, being possibly the greatest player of his time. His music is controversial - some consider it vulgar and bombastic, others revel in its extroverted romantic rhetoric. Created the symphonic poem

110
Q

symphonic poem/tone poem

A

a one movement orchestral composition based to extent on literary or pictorial ideas

111
Q

Felix Mendelssohn

A

a romantic composer whose music was rooted in classicism (a “classical romantic”), his music was elegant and conservative, avoiding emotional extremes

112
Q

program music

A

instrumental music associated with a story, poem, idea, or scene

113
Q

absolute music

A

music that is not program music

114
Q

program symphony

A

symphony with a program

115
Q

concert overture

A

has one movement, usually in sonata form. Modeled after the opera overture, but isn’t intended to usher in a stage work

116
Q

incidental music

A

music to be performed before and during a play, setting the mood for certain scenes

117
Q

Hector Berlioz

A

one of the first French romantic composers, one of the first great conductors. His music was all programmatic and was unconventional, featuring abrupt contrasts, fluctuating dynamics, and many changes in tempo. He was an imaginative orchestrator and wrote long, irregular, asymmetrical melodies.

118
Q

Bedrich Smetana

A

the founder of Czech national music

119
Q

Antonín Dvorák

A

one of the first Czech composers to receive worldwide recognition. He followed the Romantic nationalist example of his predecessor Smetana

120
Q

Peter Ilyich Tchaikovsky

A

the most famous Russian composer, though his style was more western than his Russian contemporaries. He wrote some of the best scores for ballet

121
Q

Johannes Brahms

A

romantic composer who breathed new life into classical forms, created masterpieces in all the traditional forms except for opera. His work was personal in style but rooted in the music of Haydn, Mozart, and Beethoven. His melodies were very singable. He was very close friends with the Schumanns

122
Q

Giuseppe Verdi

A

romantic composer who was the most popular of all opera composers. His vocal melodies are expressive and subject matter is almost always serious and often ends unhappily

123
Q

Giacomo Puccini

A

romantic composer who created some of the best loved operas, included La Bohéme. His melodies have short, memorable phrases

124
Q

characteristics of Twentieth-Century music

A

tone color became a more important element of music than it ever was before, percussion instruments became more prominent and numerous, the traditional distinction between consonance and dissonance was abandoned as dissonance was more freely used, new harmonies such as polychords, fourth chords, and tone clusters used, atonality occurred, rhythmic vocabulary was expanded, including rapidly changing meters, asymmetrical meters, and polyrhythms, melodies less singable

125
Q

polychord

A

one traditional chord is placed against another - two chords at once

126
Q

fourth chord

A

chord in which the tones are a fourth apart

127
Q

polytonality

A

use of two or more keys at one time

128
Q

bitonality

A

two different keys used at once, most common form of polytonality

129
Q

atonality

A

the absence of tonality or key

130
Q

polyrhythm

A

two or more contrasting, independent rhythms at the same time

131
Q

ostinato

A

motive or phrase that is repeated persistently at the same pitch throughout a section

132
Q

Louis Moreau Gottschalk

A

American composer and pianist, best known as a virtuoso performer of his own romantic piano works. He spent most of his working career outside of the US

133
Q

Claude Debussy

A

French impressionist composer who linked the romantic era with the twentieth century. His music evoked fleeting moods and misty atmosphere; he used chords more for their color then its function harmonically

134
Q

impressionism

A

music with a stress in tone color, atmosphere, and fluidity, it is nebulous, mysterious, and dreamlike, its name is based on the French art movement. Debussy created it, Ravel, Bartók, and Massian were some composers that did some work in the aesthetic

135
Q

neoclassicism

A

musical movement that uses musical forms and stylistic features of earlier periods, particularly the 18th century, to organize 20th century harmonies and rhythms. Characterized by emotional restraint, balance, and clarity. Composers include Hindemith, Stravinsky, Copland, Prokofiev, Strauss

136
Q

Richard Wagner

A

few composers have had such a powerful impact on their time as him. He was a romantic composer who influenced not only music fans but poets, painters, and playwrights. His music was dissonant, chromatic (leading to the breakdown of tonality in the 20th century) and heavily orchestrated. He wanted to overwhelm patrons of the opera house with music and drama, creating a continuous musical flow that he called an “unending melody.” He revolutionized opera by shifting the focus from the voice to orchestra. He is generally acclaimed to be the greatest composer of his time.

137
Q

leitmotif

A

a short musical idea associated with a person, object, or thought in the drama

138
Q

Tristan chord

A

from Wagner’s Tristan und Isolde, an ambiguous tritone chord that is the leitmotif of the main character. This signaled a major change to the harmonic language of the past and signaled a new era of modern composition techniques

139
Q

Igor Stravinsky

A

Russian composer in the 20th century who was a legend even during his time. His compositions spanned many styles, they were originally inspired by Russian folk music, he had a neoclassical period, and a twelve tone period. His music has dry and clear tone colors, strong beat, changing and irregular meters, and often feature ostinatos. He was friends with Picasso and T.S. Elliot.

140
Q

primitivism

A

deliberate evocation of primitive power through insistent rhythms and percussive sounds, can be heard in The Rite of Spring, didn’t have a lasting impact on 20th century music

141
Q

expressionism

A

much music of the twentieth century (centered largely in Germany and Austria) reflects this artistic movement which stresses intense, subjective emotion - focus on inner feelings rather than depicting outward appearances. Artists used deliberate distortions to assault and shock their audiences, to communicate the tensions and anguish of the human psyche

142
Q

Arnold Schoenberg

A

twentieth century composer who took the revolutionary step of abandoning the traditional tonal system; his music stressed harsh dissonance and fragmentation, avoiding tonality and traditional chord progressions. He invented the twelve-tone system

143
Q

sprechstimme

A

“speech-voice,” halfway between speaking and singing, Schoenberg used this in his compositions

144
Q

tone row/set/series

A

the ordering of pitches or unifying idea of a twelve-tone composition

145
Q

tone-color melody

A

a succession of varying tone colors used as a musical idea in a composition, employed by Schoenberg

146
Q

Alban Berg

A

twentieth century expressionist composer who was a student of Schoenberg, wrote music that is a unique synthesis of tradition and twentieth century elements

147
Q

Anton Webern

A

twentieth century composer who was a student of Schoenberg, his music is original in its brevity, quietness, and concentration. Poetic lyricism pervades his music, and he wrote atonally and then with the twelve-tone system. His textures are transparent, with not more than a few solo instruments playing at once

148
Q

Béla Bartók

A

one of the most popular twentieth century composers whose music had an individual style that fused east European folk elements, classical forms, and twentieth century sounds. His works were always organized around a tonal center, but often used harsh dissonances, polychords, and tone clusters. Rhythmically, his music is characterized by a powerful beat, unexplained accents, and changing meters

149
Q

William Billings

A

the first American choral composer. Almost all of his music was written for four part chorus, singing a cappella. His music can at times be forceful and stirring

150
Q

John Philip Sousa

A

American composer and conductor of the late Romantic era known primarily for his military marches. Known as the “American March King”

151
Q

Charles Ives

A

American twentieth century composer who wrote startling original music that was far ahead of its time. Many considered him the first great composer from the US. His music was experimental but based on music from his childhood: ragtime, patriotic songs, barn dances, church choirs, village bands, hymns. He often quotes bits of familiar tunes within is original music

152
Q

George Gershwin

A

twentieth century American composer who was a creator of the golden age of musical theater, but also composed jazz-flavored orchestral works and music for the concert hall

153
Q

Aaron Copland

A

a leading American composer whose name became synonymous with American music, he wrote simple yet highly professional music with clear textures and slow-moving harmonies that seem to evoke the openness of the American landscape.

154
Q

serialism

A

use of a series, or ordered group of musical elements, to organize several dimensions of a composition - a series could be a tone row, or a series of rhythmic values, dynamics, or tone colors

155
Q

chance music/aleatory music

A

opposite approach to serialism, composers chose pitches, tone colors, and rhythms by random methods, such as tossing a coin or asking performers to chose the order of the musical material or the material itself

156
Q

minimalism

A

an artistic movement that was partly a reaction against the complexity of serialism and the randomness of chance music, it is characterized by steady pulse, clear tonality, and insistent repetition of short melodic patterns. Its dynamic level, texture, and harmony tend to stay constant for long stretches of time, creating a trancelike or hypnotic effect. Composers of this movement are often inspired by nonwestern thought

157
Q

quotation music

A

represents a conscious break with serialism, quotations from earlier music, often fairly familiar works of the eighteenth, nineteenth, and twentieth centuries, are used

158
Q

Terry Riley

A

pioneered minimalism

159
Q

jazz

A

music rooted in improvisation and characterized by syncopated rhythm, a steady beat, and distinctive tone colors and performance techniques. Created by musicians / predominately African Americans - performing in the streets, brothels, and dance halls of New Orleans and other southern cities

160
Q

ragtime

A

style of composed piano music developed primarily by black pianists who played in southern and midwestern saloons and dance halls. Generally in duple meter and performed at a moderate march tempo, the pianists right hand plays a highly syncopated melody while the left hand steadily maintains the beat with an “oom-pah” accompaniment

161
Q

Scott Joplin

A

American composer who was dubbed the King of Ragtime

162
Q

blues

A

form of vocal and instrumental music and style of performance, grew out of African American folk music such as work songs, spirituals, and field hollers of slaves. Intensely personal, often containing sexual references and dealing with the pain of betrayal, desertion, and unrequited love

163
Q

rhythm section

A

usually made up of piano, plucked double bass, percussion, and sometimes banjo or guitar. The jazz equivalent of bass continuo in baroque music, this section maintains the beat, adds rhythmic interest, and provides supporting harmonies

164
Q

chorus

A

each statement of the basic harmonic pattern or melody, is repeated multiple times

165
Q

New Orleans style/Dixieland

A

type of jazz developed in New Orleans often characterized by multiple front line (trumpet, clarinet, or trombone) instruments improvising at the same time. Was usually based on a march or church melody, a ragtime piece, a popular song, or a twelve bar blues. An example is When the Saints Go Marching In, and a notable figure was Louis Armstrong

166
Q

breaks

A

in jazz, brief unaccompanied solos

167
Q

swing

A

style of jazz that flourished from 1935-1945 played mostly by big bands with three sections: saxophones, brasses, and rhythm. The arranger became an important figure. Melodies were performed by entire sections of the band, and the main melody was accompanied by saxophones and brasses playing short, repeated phrases called riffs. Duke Ellington was perhaps the most important composer/arranger/conductor of this era.

168
Q

bebop

A

complex style of jazz for small jazz groups meant for attentive listening rather than dancing. It had sophisticated harmonies and unpredictable rhythms. The beat was marked mainly by the bass, while the drum supplied irregular accents. A performance usually began and ended with a statement of the main theme by a soloist or two, and the remainder was made up of solo improvisations.

169
Q

cool jazz

A

a jazz style related to bop, but far calmer and more relaxed. Pieces were longer and relied more on arrangements, sometimes using instruments new to jazz like the French horn. Miles Davis was an important figure

170
Q

free jazz

A

a style of jazz not based on regular forms and established chord patterns. An important figure was John Coltrane

171
Q

jazz rock/fusion

A

a style combining the jazz musician’s improvisatory approach with rock rhythms and tone colors, characterized by insistent repetition of rhythmic figures. Its music featured acoustic instruments, synthesizers/electric piano, guitar, bass, and a larger percussion section than in earlier jazz groups, often including instruments from Africa, Latin America, or India

172
Q

musical

A

type of theater that fuses script, acting, ands spoken dialogue with music, singing, dancing, scenery, costumers and spectacle. One of the most important American contributions to twentieth century pop culture. Has simpler harmonies, melodies, and structures than opera as well as more spoken dialogue. It’s generally in two acts.

173
Q

Leonard Bernstein

A

American composer who was one of the first American conductors to receive worldwide acclaim. Wrote in many styles, but is most famous for the music of West Side Story

174
Q

rock

A

genre of vocal music with a hard, driving beat, often featuring electric guitar accompaniment and a heavily amplified sound, in quadruple meter with heavy accents on beats 2 and 4

Music MTEL (9 decks)

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