Style and Development through each century Flashcards
Describe tone color in music from the Late-Middle Ages, roughly 1300-1420.
Instrumental doubling, especially in secular music; loud outdoor instruments: shawm, sackbut, etc.; soft indoor instruments: harp, psaltery, etc.
Describe texture in music from the Late-Middle Ages, roughly 1300-1420.
Unequal-voice free counterpoint with overlapping ranges over slower cantus firmus; isorhtyhmic textures; ballade style; use of hocket and canon; 2-4 voices, with 3 usual
Describe harmony in music from the Late-Middle Ages, roughly 1300-1420.
Modal, intervallic polyphony; mild dissonance; escape tones, accented passing-tones, weak-beat suspensions; 3rds, 6ths, and full triads now common; Landino, double leading-tone, and occasional V-I cadences; use of partial signatures and musica ficta
Describe rhythm in music from the Late-Middle Ages, roughly 1300-1420.
French rhythm varied and complex, due to independence of voices and isorhythm; motion irregular, phrasing irregular, articulated by rests and cadences; introduction of duple meters; much syncopation and some diminution
Describe melody in music from the Late-Middle Ages, roughly 1300-1420.
Mostly conjunct motion in relatively small range, but more leaps in supporting voices; melismatic treble; phrases follow the length of the poetry; some short phrases and recurring rhythmic motives
Describe form in music from the Late-Middle Ages, roughly 1300-1420.
Text-dominated secular forms, especially refrain types with musical rhyme; cantus-firmus forms; isorhythmic structures; dance music in repeated sections
Describe tone color in music from the Early Renaissance, roughly 1420-1480.
Inception of choral polyphony (SATB) in sacred music; instrumental doubling of voices in secular music; softer instrumental colors
Describe texture in music from the Early Renaissance, roughly 1420-1480.
Homorhythmic textures include more harmonic ballade style and fauxbourdon; developing equal-voice counterpoint over cantus firmus, with occasional imitation; isorhythmic/isometric textures; 3-4 voices, sometimes reduced to 2-3 in sections
Describe harmony in music from the Early Renaissance, roughly 1420-1480.
Modal, lots of Ionian and Aeolian; intervallic mostly, some chordal; expressive, regulated use of dissonance; escape tones, anticipations, accented passing-tones, proper suspensions; full triads, except at big cadences - Landino, double leading-tone, V-I, and some IV-I; musica ficta
Describe rhythm in music from the Early Renaissance, roughly 1420-1480.
Less complex and varied; smoother flowing but with restless continuity and irregular quality (sacred more complex than secular); phrases articulated by rests and cadences; much use of duple meter; considerable syncopation; drive to the cadence, common in Netherlander style
Describe melody in music from the Early Renaissance, roughly 1420-1480.
Flowing diatonic motion based on the 3rd, with leaps then filled in and penultimate melismas; chant often paraphrased in the treble; tenor and contratenor frequently unvocal (little or slow change); range of parts still within an octave
Describe form in music from the Early Renaissance, roughly 1420-1480.
Text-dominated secular forms; decline of formes fixes; cantus firmus often ornamented in treble, sometimes in tenor; isorhythm becoming rarer; sectional motet forms
Describe tone color in music from the High Renaissance, 1480-1600.
Homogenous use of families of instruments and voices; a cappella ideal; choral sacred music, solo secular; vast variety of colors, including cornetto, crumhorn, guitar, and harpsichord
Describe texture in music from the High Renaissance, 1480-1600.
Imitative counterpoint and some canon with contrasting homophonic textures; fully equalized voices; accompanied solo texture; polychoal and concertato styles; 4 voices in secular, 5-6+ in sacred; textures vary amount of voices
Describe harmony in music from the High Renaissance, 1480-1600.
Modal, increasingly tonal, polyphony; chordal sound with some harmonic sequence; highly regulated, expressive use of dissonance; stressing passing and neighbor-tones, as well as suspensions and pedal points; harmonic text-painting reflected in chromaticism and cross-relations; cadences usually V-I or IV-I; some double counterpoint; clear rules for musica ficta
Describe rhythm in music from the High Renaissance, 1480-1600.
Smooth, regular flow or restless continuity; French chanson strongly metrical; meter generally unstressed; phrases complex and interlocking; use of constant tactus; ostinato, syncopation, and dotted rhythms; concern for text declamation; Netherlander drive to cadence
Describe melody in music from the High Renaissance, 1480-1600.
Contrapuntal lines either mainly conjunct and relatively unarticulated, or shaped in well-defined themes with memorable intervals and rhythms; extreme text-painting; melody with accompaniment often given balanced phrasing
Describe form in music from the High Renaissance, 1480-1600.
Systematic point imitation; cantus-firmus structures; sectional forms clearly defined, and some use of tonal unity; text-dominated forms used; NO formes fixes
Describe tone color in music of the Early Baroque, 1600-1685.
continuo-based textures, variety of instrumental and vocal sonorities, greater dynamic range, omnipresent harpsichord
Describe texture in music of the Early Baroque, 1600-1685.
melody-bass polarity, monody, concertato, and polychoral styles, melody with accompaniment, chordal, imitative textures
Describe harmony in music of the Early Baroque, 1600-1685.
harmonic idiom between modal and tonal, more frequent dissonance, fast harmonic rhythm, V-I cadences, some step progressions
Describe rhythm in music of the Early Baroque, 1600-1685.
meters, uneven and discontinuous rhythms, iregualr phrasing, hemiola, formal songs usually in triple
Describe melody in music of the Early Baroque, 1600-1685.
in monody - circumscribed range and frequent use of stylized speech-rhythms, relatively short phrases, affective and dramatic quality, improvised ornamentation, bel canto style
Describe form in music of the Early Baroque, 1600-1685.
built in short sections, much contrast and unsystematic use of imitation at phrase beginnings, much use of ground bass, ostinato, strophic form, variations, and expanded binary (AAB)
Describe tone color in music of the High Baroque, 1685-1750.
variety of inst/vocal sonorities, concerto sound, 4-part strings and continuo, obbilgato parts, terraced dynamics, equal temperament, greater virtuosity
Describe texture in music of the High Baroque, 1685-1750.
standardized melody w/ accompaniment texture, SATB homophony and polyphony in fugue, perfect balance between vertical and horizontal
Describe harmony in music of the High Baroque, 1685-1750.
functional harmony, tonic-dominant relationships, large homophonic vocabulary, greater dissonance for expression, fast-moderate harmonic rhythm
Describe rhythm in music of the High Baroque, 1685-1750.
regular and continuous motion culminating in constant motor rhythm, unchanging beat, assymetrical phrasing
Describe melody in music of the High Baroque, 1685-1750.
longer, spun-out melodies, clearly articulated themes, expanded range, more ornate figuration, diatonic language gets more chromatic, words subordinated to more melismatic style, varied recitative styles
Describe form in music of the High Baroque, 1685-1750.
development of standard multi-movement forms with particular tonal architecture, Baroque binary, ternary, ritornello, variations, motivic spinning-out helped determine form
Describe tone color in music of the Early Classical Period, 1725-1775.
establishment of modern orchestra; pairs of winds, 4-part strings, timp; gradual decline of continuo and rise of modern chamber ensembles; wide variety of timbres, occasional use of piano, dynamics gradual as well as terraced and used to articulate thematic contrast
Describe texture in music of the Early Classical Period, 1725-1775.
contrasting textures as the rule, with melody-with-accompaniment as the foremost type among basically homophonic textures; much use of 2-voice textures; empfindsamer Stil characterized by richer and more varied structures
Describe harmony in music of the Early Classical Period, 1725-1775.
limited harmonic vocabulary (strong diatonic with major mode preferred); modulations sometimes surprising but limited in number and range of related keys; slower harmonic rhythm with much Albert bass; V-I cadences
Describe rhythm in music of the Early Classical Period, 1725-1775.
variable rhythmic motion (themes contrasted by rhythm) within basically moderate tempi; articulation of short phrases by frequent rests and cadences; simple meters accented on first beats of measures
Describe melody in music of the Early Classical Period, 1725-1775.
greater emphasis on melody featuring contrasting themes of simpler character (triadic and scalar); periodic structure with clearly articulated and balanced phrases of a short-breathed nature; expressive use of ornamentation
Describe form in music of the Early Classical Period, 1725-1775.
dynamic tonal and thematic processes, principally in a binary sonata form with or without coincidence of tonal and thematic recapitulation; later in 3-part sonata-form, rondo, variations, etc; basic structural process - creation and grouping of more or less balancing phrases
Describe tone color in music of the High Classical Period, 1775-1825.
timbre and dynamics important thematically, at times structurally; beginning of modern art of instrumentation; varying orchestral timbres based on 4-part strings, pairs of woodwings, pairs of reinforcing brasses (sometimes), plus timp; much contrast of full and light orchestral textures; gradual dynamics, more idiomatic use of instruments
Describe texture in music of the High Classical Period, 1775-1825.
contrasting textures remain standard, from light and episodic to full and cadential with emphasis still on homphonic varieties of texture; noteworthy integration of counterpoint with Classical style; much 3-voice and then 4-voice writing
Describe harmony in music of the High Classical Period, 1775-1825.
larger harmonic vocabulary with freer (unprepared and chordal) treatment of dissonance; more use of minor keys and of mode changes; greater use of modulation (including third relationships), especially in building bigger cycles of tension and release; harmonic rhythm variable and used to build climaxes
Describe rhythm in music of the High Classical Period, 1775-1825.
highly differentiated rhythms over a basically regular periodic structure; tempi more extreme, longer phrases (no often unbalanced by overlapping and lision as well as by generally greater subtlety, sforzandi, and syncopation); development of highly original rhythmic motives common; harmonic rhythm used to articulate large-scale forms
Describ melody in music of the High Classical Period, 1775-1825.
thematic differentiation between primary, transitional, secondary, and closing themes; trend towards more characteristic motives, antecedent-consequent phrasing (also extension and contraction ob balancing phrases), more chromaticism, use of buffa elements as well as seria, use of folk-like melodies
Describe form in music of the High Classical Period, 1775-1825.
thematic development, 3- and 4-part sonata-forms, rondo, sonata-rondo, ternary forms, variations, and even fugue; increasing complexity and enlargement of scale, with three or four movements as conventional norms, founded on large-scale tonal relationships
Describe tone color in music of the Early Romantic Period, 1800-1860.
gradual expansion of string-dominated Classical orchestra (by adding some brasses such as trombones and making greater use of the brass timbre), partly to aid in depiction of extra musical programs; traditionalists (Brahms) build on Classical framework, while radicals (Berlioz) introduce special effects (mutes, col legno)
Describe texture in music of the Early Romantic Period, 1800-1860.
variable, but essentially homophonic approach (largely melody with accompaniment) with richer, fuller chords and constantly changing textures, including counterpoint in development sections or for tone painting
Describe harmony in music of the Early Romantic Period, 1800-1860.
harmonic color very significant, with vocabulary expanded through chromaticism, third relationships, new altered and borrowed chords (diminished sevenths and augmented sixths) - all with less resolution of dissonance and increasing instability of key
Describe rhythm in music of the Early Romantic Period, 1800-1860.
wider range of pace and motion, with preference for extremes, or simply for a slower pace; clear periodization likely in small pieces with symmetrical structures, but asymmetrical structures, but asymmetrical phrasing normal in larger works; loosening of basic concept of regular pulse and firm tempo through use of rubato freedom
Describe melody in music of the Early Romantic Period, 1800-1860.
use of a wider range of pitches and moods, ranging from the intimate and the lyrical to the grand and the passionate; phrase structure often asymmetrical and irregular; voice dominant in vocal music, with accompaniment supportive rather than competitive
Describe form in music of the Early Romantic Period, 1800-1860.
traditional, especially Classical, ways of organizing structure through tonal relationships and standard principles enhanced by an episodic approach to form and development of the cyclic principle and thematic transformation; small works gathered in sets
Describe tone color in music of the High Romantic Period, 1860-1910.
greatly expanded orchestra in all families with love for dark colors (horn and cello) and completion of full range through contrabassoon, etc; orchestral families used separately, intermixed, or blended with very large but also chamber effects and even soloistic use of strings; wider range of dynamics and much concern for special effects and personal palettes (Wagner)
Describe texture in music of the High Romantic Period, 1860-1910.
greater degree of variability, perhaps linked with programmatic content; more richness through doubling, enhanced accompaniments, and revival of counterpoint (Mahler and Strauss); parallelism and impressionistic planing of chords (Debussy)
Describe harmony in music of the High Romantic Period, 1860-1910.
proportion of dissonance growing, as composers write around dominant instead of tonic and use more 7th chords, 9ths, tritones, enharmonic relationships, and much delayed suspensions; obscuring of cadences empirical harmonists (Mussorgsky), and non-functional use of chords (Debussy)
Describe rhythm in music of the High Romantic Period, 1860-1910.
greater freedom of pulse along with preference for extremes of pace and motion, for simultaneous rhythmic contrast at different levels, or simply for a slower pace; reintroduction of cross-rhythms, hemiola, syncopation; much use of folk, march, and waltz rhythms; adoption of poetic rhythms and rhythms drawn from East European or other folk musics
Describe melody in music of the High Romantic Period, 1860-1910.
still larger melodic range and larger leaps, along with greater emphasis on chromaticsm and thematic transformation (character variation), leading at one extreme to extraordinary lyricism; use of folk influence modes and speech inflections as one aspect of irregular melos and phrasing
Describe form in music of the High Romantic Period, 1860-1910.
expanded time-scale reflected in innovative large-scale unity through freely-shaped dramatic intensity and graded dynamic climaxes, sometimes overlaid on greatly distended Classical formal principles; more frequent episodic quality and inception of so-called progressive tonality
