Music Test three

Question 1

Arias

Answer 1

literally “airs” or songs in an opera, which take place in “stopped time” and are usually a musical
dramatization of a character’s thoughts or emotions

Question 2

Chamber Music

Answer 2

any kind of music using two to about ten players or so with one player per part (no two
players share the same part), intended to be played in one’s “chambers”, such as a living room, foyer, or
other comparatively smaller space.

Question 3

Leitmotif

Answer 3

the musical theme of a place or character. Richard Wagner practically invented this practice,
which was ubiquitous in film music throughout the 20th century and is still used frequently

Question 4

Lied

Answer 4

the German word for a song in classical music, usually for voice and piano. Very popular in the
Romantic era.

Question 5

Music Drama

Answer 5

Richard Wagner preferred this term to “opera” for his own music; a consummate unity of
music, drama, poetry, etc. (rather than simply a series of disconnected songs, which he felt previous operas
were).

Question 6

Opera Buffa

Answer 6

comic (funny) opera.

Question 7

Opera Seria

Answer 7

serious opera.

Question 8

Overture

Answer 8

a purely instrumental introduction to an opera or to one of its acts (sections). Overtures can also
be stand-alone orchestral pieces intended to be the first piece in a concert (this type of overture developed
after the traditional definition of overture: an introduction to an opera)

Question 9

Quartet/Quintet/etc

Answer 9

Words for an ensemble of a certain size. Solo = one, duet = two, trio = three, quartet
= four, quintet = five, sextet = six, septet = seven, octet = eight, nine = nonet, ten = decet. Groups larger than
ten don’t typically have specific names for them. However, you should know about the woodwind quintet
and brass quintet, which are standard ensembles albeit less well known than the string quartet.

Question 10

Recitative

Answer 10

somewhere between talking and singing and serves to advance the story or provide dialogue

Question 11

Sonata –

Answer 11

a piece for only piano, or sometimes piano and one other instrument, usually consisting of several
movements. A “violin sonata” for example is a piece for violin and piano in several movements

Question 12

String quartet

Answer 12

Probably the most common ensemble used in chamber music, consisting of two violins, a
viola, and a cello. Most composers from the Classical era onward wrote music for the string quartet

Question 13

Symphony

Answer 13

an extensive piece of music for orchestra typically in three or four movements, usually thirty
minutes or more in duration, like an extensive musical essay. Symphonies usually do not follow a particular
story or image, but some do, such as Beethoven’s 6th symphony, “Pastorale,” which paints various pictures
of a countryside. Not to be confused with orchestras in general; you might hear someone say “I’m going to
see the Symphony this weekend,” but that usage is shorthand for “symphony orchestra”, or a full orchestra
that often plays symphonies.

Question 14

Symphonic poem

Answer 14

also known as a tone poem, an extensive piece for orchestra in one movement that does
not follow the conventions of a symphony and usually tells a story, such as Richard Strauss’s “Don Juan.”

Question 15

Exposition

Answer 15

the part of a symphony or sonata that plays the theme(s) in a straightforward way, before
going into the development section

Question 16

Motive

Answer 16

a short musical motto or idea that is usually intended to be transformed and morphed over the
course of a piece of music (see thematic development)

Question 17

Movement

Answer 17

a major part of a piece of music like a symphony or sonata, which tends to feel complete in
itself but is intended to be played as part of the whole. This term is usually not used for operas; “act”,
“scene” and more specific terms like aria and recitative are used in opera instead.

Question 18

Sonata form

Answer 18

also “sonata-allegro form,” one of the most tried-and-true forms for classical music,
consisting of exposition, development, and recapitulation, with certain rules for each section (that
composers sometimes disobey). Not to be confused with sonata

Question 19

Thematic development

Answer 19

the process of changing and morphing a musical theme (melody) over the course
of a piece of music, a process that is highly specific and idiosyncratic to classical music. The middle section
of a piece, especially one in sonata form, often involves some amount of development. Themes are slightly
different from motives – a theme can contain several motives, or can consist of just one motive used in
different ways. A theme is often recognized as a “tune” whereas a motive might be short and abstract.

Question 20

Recapitulation

Answer 20

the part of a symphony or sonata that plays the themes again to close out the piece.
People, Places, and Things

Question 21

Ludwig van Beethoven (1770 – 1827)

Answer 21

German composer and pianist who started writing music in the
Classical era and by the end of his life was writing highly expressive, forward-looking pieces in the style of
the upcoming Romantic era. Possibly the most famous composer ever, and considered by many to be the
very greatest. Responsible for expanding the orchestra, developments in symphonic form, more drama and
emotion in music, and generally paving the way to the Romantic era. Works include nine symphonies, 32
piano sonatas, five piano concertos, a violin concerto, a mass “Missa Solemnis,” opera Fidelio, and many
other instrumental works

Question 22

Hector Berlioz (1803 – 1869)

Answer 22

Romantic era composer, primarily known for developing the program
symphony (symphony that tells a story) and idee fixe, the theme for a character in the story (his beloved).
Expanded the orchestra to include cornets, ophicleide (new brass instruments), harps, etc. Works include
Symphonie Fantastique, Harold in Italy, Romeo and Juliet

Question 23

Frederic Chopin (1810 – 1849)

Answer 23

Polish composer, the most well-known to write almost entirely for solo
piano. Popularized several genres of solo piano music: “preludes” that did not precede anything, nocturnes
(songs of the night), mazurkas and polonaises (Polish traditional dances), etc. Chopin had a surprisingly
experimental and sophisticated musical language for his time

Question 24

Franz Joseph Haydn (1732 – 1809)

Answer 24

Austrian composer of the Classical period, made important
developments to the symphony, string quartet, and other chamber music forms. Known both as “father of
the symphony” and “father of the string quartet” for his contributions. Friend and mentor to Mozart and
teacher of Beethoven. Works include 104 symphonies, 68 string quartets, 17 operas, “The Creation”
oratorio, many concertos including a well-known trumpet concerto and cello concerto, and other pieces.

Question 25

Franz Liszt (1811 – 1886)

Answer 25

Hungarian virtuoso (extremely skilled) pianist and composer. His piano music is
moderately to extremely difficult to play, but far from being just a flashy piano player, he influenced
development of the symphonic poem (tone poem), a one-movement orchestral work describing something
(program music) among other influences. Liszt was one of the first to write atonal music (music without a
key) in pieces like
Bagatelle sans tonalité.

Question 26

Wolfgang Amadeus Mozart (1756 – 1791)

Answer 26

highly prolific and influential Austrian composer of the
Classical era and one of the most well-known and admired composers of all time. Wrote masterpieces in
every contemporary genre, including symphonies, opera, string quartets, piano sonatas, concertos, etc.; a
feat very few composers can claim. Was also an accomplished violinist and pianist and toured Europe at a
young age.

Question 27

Franz Schubert (1797 – 1828)

Answer 27

German composer of the late Classical/early Romantic era; one of the most
prolific composers of Lieder, or German art song (voice and piano). Works include Erlkönig, Winterreise,
nine symphonies, numerous chamber works

Question 28

Peter Ilyich Tchaikovsky (1840 – 1893)

Answer 28

Russian composer who admired and was influenced by Western
European music, to the dismay of his countrymen who wanted a purely Russian style. Famous composer of
ballets including The Nutcracker, Swan Lake, and Sleeping Beauty. He wrote in the height of the Romantic
era and is known for highly impassioned, dramatic, memorable melodies with emotional power. Works
include six symphonies (of which 4-6 are very well known), piano concertos, violin concerto, chamber
music, ballets, opera

Question 29

Giuseppe Verdi (1813 – 1901)

Answer 29

Famous and beloved composer, and by far the most well-known, of Italian
opera; his operas are still performed often today. Music is melodic and memorable but dramatic. Works
include Rigoletto, Nabucco, Aida, Il trovatore, La Traviata, Macbeth, etc. Also wrote a Requiem (Mass for
the dead).

Question 30

Richard Wagner (1813 – 1883)

Answer 30

German, Romantic-era composer of opera (he called them music dramas).
Had an ambitious vision of Gesamtkunstwerk (total artwork) which incorporates music, drama, costumes
and scenery, visual arts, etc. into a unified, seamless whole, without movements or “numbers” like most
operas. He lived much of his life in political exile and controversy for certain anti-Semitic remarks and
running from people who had loaned him money. Despite this, his music is mostly well-regarded and
influenced all sorts of film and media music to the present day; he had a highly progressive, forward-
thinking style with rich chromaticism (use of all 12 unique notes) and shifting harmonies. Works include
The Ring of the Nibelung (cycle of four operas on epic mythological stories), Tannhauser, The Flying
Dutchman, etc.