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RCM History 10 > Terms > Flashcards

Terms Flashcards

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1
Q

from Greek for “law”; a strict type of polyphonic composition where each voice enters in succession with the same melody

A

Canon

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2
Q

a recurrent theme that functions as a refrain in Baroque compositions

A

Ritornello

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3
Q

a highly structured imitative contrapuntal composition where a single theme or subject prevails

A

Fugue

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4
Q

a Baroque orchestral work where the concertino is showcased

A

Concerto Grosso

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5
Q

a small group of soloists featured in a concerto grosso in the Baroque era

A

Concertino

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6
Q

the full orchestra in a Baroque concerto

A

Ripieno

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7
Q

a structure used in the first and third movements of Baroque concerto where the opening passage (ritornello) is re-stated throughout

A

Ritornello Form

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8
Q

a collection of stylized dances and other pieces in the same key that was written for a solo instrument of orchestral ensemble; 4 standard dances: allemande, courante, sarabande, and gigue

A

Suite

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9
Q

a French term for “suite”

A

Ordre

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10
Q

a French term for “harpsichord”

A

Clavecin

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11
Q

a performance practice where notes that are written with equal values are performed with unequal values most often lengthening first note and shortening second

A

Notes Inégales

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12
Q

a French word for an ornament or embellishment

A

Agréments

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13
Q

a lively, triple-meter dance of English origin; originally associated with sailors

A

Hornpipe

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14
Q

a late 18th-century literary movement characterized by heightened emotionalism and relished tormented feelings

A

Sturm Und Drang

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15
Q

a multi-movement structure that emerged in the Classical era

A

Sonata Cycle

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16
Q

a formal structure used in the first movement of the sonata cycle, consisting of exposition, development and recapitulation

A

Sonata Form

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17
Q

in sonata form, the second theme is a transposed version of the first theme

A

Monothematic Exposition

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18
Q

a large-scale work based on serious subjects for soloists, chorus and orchestra, consisting of recitatives, arias, ensembles and choruses

A

Oratorio

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19
Q

a speech-like declamatory style of singing supported by instrumental ensemble or orchestra employed in opera, oratorio, and cantata

A

Recitativo Accompagnato

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20
Q

a multi-movement orchestral work usually in three movements (fast-slow-fast)

A

Concerto

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21
Q

a modified version of sonata form where orchestral exposition introduces the principle themes and establishes tonic key followed by the solo exposition

A

Double Exposition

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22
Q

a virtuosic, improvisatory, solo passage found in concertos and arias

A

Cadenza

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23
Q

a comic Italian opera sung throughout with no spoken dialogue

A

Opera Buffa

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24
Q

a musical number for three voices (characters)

A

Terzetto

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25
Q

a male character performed by soprano, mezzo-soprano or contralto

A

Trouser Role

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26
Q

an abbreviated sonata form with no development (contains exposition and recapitulation)

A

Modified Strophic Form

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27
Q

a formal structure where the opening section returns two or more times, separated by contrasting sections (ABACA or ABACABA); often used in sonata cycle

A

Rondo Form

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28
Q

an instrumental genre for one or two instruments generally with several contrasting movements

A

Sonata

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29
Q

music for small ensemble (2-10 players) with one player per part and usually performed without a conductor

A

Chamber Music

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30
Q

a chamber ensemble of the Classical era composed of the first violin, second violin, viola and cello; composition written for the ensemble, generally in 4 movements (fast-slow-medium-fast)

A

String Quartet

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31
Q

music consisting of a single line or melody with no harmony or accompaniment

A

Monophonic Texture

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32
Q

two or more independent melody lines (or voices) heard simultaneously; referred as contrapuntal texture

A

Polyphonic Texture

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33
Q

scale patterns distinguished by unique order of half and whole steps; referred to by Greek names (Dorian, Phrygian etc.)

A

Modes

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34
Q

the earliest notated symbols (originally indicates direction of dotted line - later shape of squares or diamonds) used in Western art music

A

Neumes

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35
Q

vocal music without instrumental accompaniment

A

A Cappella

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36
Q

a form of plainchant, sacred liturgical music of the Roman Catholic Church, generally with Latin texts and modal, monophonic melodies with unmeasured rhythm

A

Gregorian Chant

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37
Q

sometimes called “plainsong” with monophonic texture, modal melodies, relatively narrow melodic range and unmeasured prose rhythm

A

Plainchant

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38
Q

most important service in the liturgy of the Roman Catholic Church; includes prayers, Bible readings, reenactments, consists of texts that are variable (Proper) and texts that remain the same (Ordinary)

A

Mass

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39
Q

changing, variable prayers of the Mass that are linked to the church calendar with sections that include: Gradual, Introit, Communion, Alleluia

A

Mass Proper

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40
Q

the fourth sections of the Mass Proper with texts based primarily on the Psalms; generally melismatic and performed in responsorial style

A

Gradual (Mass Proper)

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41
Q

performance method where a solo voice (verse) alternates with choral passages (respond)

A

Responsorial Singing

42
Q

an elaborate and florid style of text setting, with many notes sung on one syllable

A

Melismatic (Text Setting)

43
Q

several notes (2-4) for a single syllable of text

A

Neumatic (Text Setting)

44
Q

Syllabic (Text Setting)one note for a single syllable of text

A

Syllabic (Text Setting)

45
Q

vocal music where one or more new melodic lines are added to an existing Gregorian chant, the earliest form of polyphony developing by Notre Dame School (early styles: perfect fourths, fifths, octaves - later more independent melodic parts and intervals)

A

Organum

46
Q

“fixed song”, borrowed material which serves as the structural basis for a new polyphonic composition

A

Cantus Firmus

47
Q

refers to the voice that contains the cantus firmus

A

Tenor

48
Q

style of organum where the notes of the original chant are sung by a lower voice in long note values; “organum purum”

A

Organal Style

49
Q

style of organum with more rhythmic movement of the cantus firmus; sometimes “note-against-note” movement between voices

A

Discant Style

50
Q

an early part in evolution of rhythmic notation with 6 basic rhythmic patterns that provided rhythmic structure and kept two or more voices in rhythmic alignment when they were not moving note-against-note

A

Rhythmic Modes

51
Q

sacred or secular vocal composition with or without instrumental accompaniment

A

Motet

52
Q

characteristic feature of the 13th century motet where two or more texts are heard at the same time

A

Polytextuality

53
Q

secular song with French text

A

Chanson

54
Q

medieval aristocratic poet-musicians who lived in the North of France

A

Trouvère

55
Q

song structure where the same music is performed for each verse of the poem

A

Strophic Form

56
Q

a stately medieval couple’ dance involving elaborate and vigorous body movements

A

Estampie

57
Q

simultaneous variation involving two or more voices or instruments playing the same melody in more than one way; one part plays melody, added voices are often improvised

A

Heterophony

58
Q

French for “low”, indicating soft; a Medieval designation for indoor instruments

A

Bas

59
Q

stringed instrument with wooden sound box; strings are struck with small hammers producing delicate

A

Dulcimer (Bas)

60
Q

ancient stringed instrument with trapezoidal wooden sound box; plucked with fingers or plectrum

A

Psaltery (Bas)

61
Q

a bowed string instrument, ancestor of the violin

A

Vielle (Bas)

62
Q

Lute (Bas)plucked instrument of Middle Eastern origin with rounded body and frets

A

Lute (Bas)

63
Q

French for “high” indicating loud; a Medieval designation for outdoor instruments

A

Haut

64
Q

reed instrument with piercing tone; ancestor of oboe

A

Shawn (Haut)

65
Q

brass instrument with a slide, ancestor of the trombone

A

Sackbut (Haut)

66
Q

unchanging prayers of the Mass, whose components are: Kyrie, Gloria, Credo, Sanctus, Agnus Dei

A

Mass Ordinary

67
Q

style with greater complexity in melody, harmony, and rhythm and included use of isorhythm, hocket and musica ficta

A

Ars Nova Style

68
Q

compositional device which combines melodic patterns (colour) with rhythmic patterns (talea)

A

Isorhythm

69
Q

a performance practice applied in modal music where performers raised or lowered pitches by half a step to avoid undesirable intervals

A

Musica Ficta

70
Q

a melodic line split between two voices, alternating notes and rests

A

Hocket

71
Q

type of polyphony associated with Renaissance style “counterpoint” comes from Latin “note against note” and “imitation” refers to the passage of a motive or theme

A

Imitative Counterpoint

72
Q

a series of thematic entries where a motive or theme is passed from one voice to another

A

Points of Imitation

73
Q

in a multi-voiced composition, all the voices sing in the same rhythm; coupled with syllabic text setting which delivers the text clearly

A

Homorhythmic Texture

74
Q

popular secular vocal genre based on relationship between poetry and music with vivid music painting

A

Madrigal

75
Q

musical pictorialization employed in madrigals, operas, and oratorios where the music reflects the meaning of the text

A

Word Painting

76
Q

melodies and harmonies that include notes within an octave in tonal or modal context; from Greek khroma (colour)

A

Chromaticism

77
Q

Italian and English strophic song type generally in simple dance like style often including “fa-la-la” refrain

A

Ballett

78
Q

syllables with no meaning such as “fa-la-la” or “nonny-nonny-no”

A

Nonsense Syllables

79
Q

a work based on the statement of a melody (theme) followed by a series of transformations (variations)

A

Variations

80
Q

compositional style that highlights the unique technical capabilities of an instrument

A

Idiomatic Writing

81
Q

a generic term used for all plucked keyboard instruments in England; smaller and lighter than harpsichord

A

Virginal

82
Q

Harpsichorda popular Baroque keyboard instrument in which small quills pluck the strings

A

Harpsichord

83
Q

a Baroque performance practice, generally involving 2 performers: one playing the notated bass line and one realized the harmonies indicated by the figured bass

A

Basso Continuo

84
Q

a type of musical shorthand developed in the Baroque era; numbers placed below bass line to show harmonic progression - provides structure for guided improvisation

A

Figured Bass

85
Q

a Baroque philosophy inspired by ancient Greek and Roman writers and orators referring to emotional state of soul; vocal music depicted emotions of text or dramatic situation

A

The “Affections” (Affects)

86
Q

two part form (A ll B ll) where section A generally ends with an open cadence in dominant or relative Major key; both parts often repeat

A

Binary Form

87
Q

two part form (A ll B + A1 ll) where material from section A returns within section B

A

Rounded Binary Form

88
Q

three part form (A ll B ll A) where section A ends with closed cadence and section B creates contrast

A

Ternary Form

89
Q

drama that is sung, combining vocal and instrument music with drama, visual arts and often dance; components include recitative, arias, ensembles and choruses

A

Opera

90
Q

the text of an opera, oratorio or cantata

A

Libretto

91
Q

a style of a single vocal melody with simple instrumental accompaniment (one song)

A

Monody

92
Q

a recitative-like melody moving freely over a foundation of simple chords meant to heighten emotional power of text

A

Stile Rappresentativo

93
Q

male soprano or alto voice

A

Castrato

94
Q

a speech-like, declamatory style of singing supported only by continuo; employed in opera, oratorio and cantata

A

Recitativo Secco

95
Q

a highly emotional and virtuosic solo song with accompaniment in an opera, oratorio or cantata

A

Aria

96
Q

a Baroque compositional device consisting of continuous repetition of a short melody over which variations occur

A

Ground Bass

97
Q

opera that is sung throughout and generally based on historical or mythological subjects

A

Opera Seria

98
Q

the most common type of aria in Baroque opera and oratorio employing ternary structure and ornamented return of section A

A

Da Capo Aria

99
Q

a sacred or secular multi-movement choral work consisting of recitatives, arias, ensembles, and choruses, formed part of the Lutheran Church service

A

Cantata

100
Q

a hymn tune intended for congregational singing that harmonized for four voices

A

Chorale

RCM History 10 (1 decks)

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