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1
Q

Chamber music (11) Trout

A
  • music for small ensemble (two to ten players)
  • one player per part
  • usually performed without conductor
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2
Q

Piano quintet (11) Trout

A
  • chamber music ensemble consisting of piano and four other instruments
  • most common grouping is piano with string quartet, though other combinations were possible
  • also refers to a composition written for five instruments including piano
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3
Q

String quartet (11) Trout?

A
  • the most important chamber music genre of the Classical era; remained popular in the 19th and 20th centuries
  • performing forces: violin, second violin, viola, and cello
  • usually in four movements: fast-slow-moderately fast-fast
  • first movement is usually in sonata form
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4
Q

Theme and variations (11) Trout

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 slow movement of sonata cycle
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5
Q

Concerto (19) Violin

A
  • a multi-movement work for soloist(s) and orchestra
  • showcases virtuosity of soloist(s)
  • in the 19th century, generally included a first movement in sonata form
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6
Q

Sonata form (19) Violin

A
  • formal structure often used in first movement of sonata cycle
  • consists of exposition (statement of two or more contrasting themes), development (departure), and recapitulation (return)
  • also known as sonata-allegro form
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7
Q

Cadenza (19) Violin

A
  • a solo passage heard in a concerto, aria, or any large orchestral work
  • often of a virtuosic nature
  • suggests and improvised style
  • 19th century cadenzas were usually written out by the composer
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8
Q

Character piece (26) Carnaval

A
  • an instrumental piece, most often for solo piano, based on a programmatic idea
  • usually identified by an evocative title
  • pieces were often grouped in collections or “cycles”
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9
Q

Sotto voce (26) Eusebius - Carnaval

A
  • Italian term, literally “under voice”

- played in a soft, intimate manner

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10
Q

Art song (33) Liebst

A
  • the musical setting of a poem
  • for solo voice, generally with piano accompaniment
  • applies to songs in any language
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11
Q

Lied (plural Lieder) (33) Liebst

A
  • the musical setting of a German poem
  • for solo voice, generally with piano accompaniment
  • flourished in the 19th century
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12
Q

Strophic form (33)

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
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13
Q

Modified strophic form (33) Liebst

A
  • a song structure that allows for some repetition of music
  • some changes to the melody, harmony, and
    accompaniment take place to reflect the text, such as a shift to tonic major or tonic minor key
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14
Q

Durchkomponiert (through-composed) (33)

A
  • a song structure that does not repeat entire sections of
    the music
  • as a result, melody, harmony, and piano accompaniment
    are able to reflect the meaning of the text as the story
    unfolds
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15
Q

Song cycle (33) Pierrot - 88 (Liebesfruhling)

A
  • a collection of art songs united by a central theme or narrative thread
  • intended to be performed together
  • poetic text drawn from the same author
  • C. Schumann, Liebig du um Schonheit
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16
Q

Rondo form (38) Ein deutsches

A
  • Classical form structure often used in sonata cycle
  • Section A recurs, with alternating sections creating contrast
  • Section A is heard three more times or more in the tonic key
  • ABACA or ABACABA
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17
Q

Inversion (38) Ein deutsches

A
  • thematic material presented “upside down”
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18
Q

Homorhythmic texture (38) Ein deutsches

A
  • all voices sing or play the same rhythm
  • results in a blocked chordal texture (homophonic)
  • delivers the text with clarity and emphasis
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19
Q

Hemiola (38) Ein deutsches

A
  • a temporary shift of the metric accents

- notes grouped in threes are momentarily grouped in twos or vice-versa

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20
Q

Etude (43) La Campanella

A
  • French for “study”
  • solo instrumental work intended to develop technical facility
  • focuses on one or more specific technical challenges
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21
Q

Opera (49) La traviata

A
  • drama that is sung
  • combines vocal and instrumental music with drama (staging and acting), visual arts (costumes and scenery), and often dance
  • components include recitatives, arias, ensembles, and choruses
  • created in Italy ca 1600 and remains popular today
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22
Q

Recitative (49) La traviata

A
  • a speech-like style of singing used in operas, oratorios, or cantatas
  • follows inflections of the text, resulting in rhythmic
    flexibility
  • usually used to advance the plot; moves through text quickly
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23
Q

Aria (49) La traviata

A
  • Italian for “air” (an old English word for a song)
  • a solo song with orchestral accompaniment heard in an opera, oratorio, or cantata
  • highly emotional, often virtuosic
  • may have lyrical or dramatic qualities; often serves to reveal the characters’ most intimate emotions
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24
Q

Bel canto (49) La traviata

A
  • Italian for “beautiful singing
  • a style used in early 19th-century Italian opera
    demonstrated in the works of Rossini, Bellini, Donizetti, and (early) Verdi
  • emphasized purity of tone and lyrical melodies of a
    highly ornamented nature
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25
Q

Libretto (49) La traviata

A
  • the text of an opera, oratorio, or cantata
    usually written by someone other than the composer
  • the writer of the libretto is referred to as the librettist
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26
Q

Ensemble (49) La traviata

A
  • a musical number in an opera featuring any number of soloists, but generally a group smaller than a “chorus”
  • often serves as a musical and dramatic climax
  • each person expresses their own emotions directly to the audience
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27
Q

Coloratura soprano (49) La traviata

A
  • Italian for “coloring,” referring to the embellishing of melodic lines
  • a high female voice capable of singing florid lines in
    an extended range, demanding great agility and often
  • creating virtuosic effects
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28
Q

Music drama (57) Die Walkure

A
  • term used by Wagner to describe the synthesis of music and drama
  • served to distinguish his operatic style from the
    “traditional” operas of his day
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29
Q

Gesamtkunstwerk (57) Die Walkure

A
  • German for “total art work”
  • an ideal expounded by Wagner, Die Walkure in his writings
  • achieved through the perfect union of text, music, and stagecraft (costumes, scenery, lighting)
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30
Q

Leitmotif (57) Die Walkure

A
  • German for “leading motive”
  • a device perfected by Wagner in his music dramas
  • a melodic fragment imbued with meaning, representing
  • a character, place, object, or emotion
    undergoes thematic transformation as the opera unfolds
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31
Q

Chromatic harmony (57) Die Walkure

A
  • from Greek word for color, khroma
  • extensive use of notes outside the prevailing key
  • frequently involves modulations to distant keys
  • increasingly used for heightened expression in 19th-century music
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32
Q

Heldentenor (57) Die Walkure

A
  • German for “heroic tenor”
  • a male voice with a high range, possessing incredible strength and stamina
  • associated specifically with Wagner’s operas
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33
Q

Program music (65) Romeo Ovt

A
  • significant trend in 19th-century music
  • instrumental music with extramusical associations (literary, poetic, visual)
  • descriptive title identifies the connection
  • some works include a written text or “program” provided by the composer
34
Q

Concert overture (65) Romeo Ovt

A
  • a single-movement orchestral work with literary or pictorial associations
  • usually in sonata form
  • independent concert work: not connected to an opera or ballet
  • Tchaikovsky, Romeo and Juliet Overture
35
Q

Symphony (75) Sym 4

A
  • multi-movement orchestral work
  • developed in the 18th century, especially by Haydn, Mozart, and Beethoven
  • typically in four movements
  • generally includes at least one movement in sonata form
36
Q

Cyclical structure (75) Sym 4

A
  • material heard in one movement recurs in later movements
  • creates structural unity in a multi-movement work
  • a characteristic employed by Romantic composers in various genres, but notably in their symphonies
37
Q

Impressionism in music (81) Jeux

A
  • 19th- and early 20th-century French style associated most closely with the music
    of Claude Debussy and Maurice Ravel
  • often programmatic
  • use of non-traditional scales: modes, whole-tone, pentatonic; ninth chords, parallel
    harmonies
  • blurring of the metrical pulse
  • examples: La cathédrale engloutie (Claude Debussy), Nocturnes (Claude Debussy)
38
Q

Pentatonic scale (81) Jeux

A
  • a scale consisting of five different pitches; for example, C-D-E-G-A
  • easily rendered by playing the five black keys on the piano
  • common to the folk music of many European and Asian cultures
39
Q

Whole-tone scale (81) Jeux

A
  • a non-traditional scale employed by composers of the late 19th and 20th centuries
  • consists of six different pitches, all spaced a whole tone (whole step) apart; for example C-D-E-F sharp-G sharp-A sharp-(C)
40
Q

Glissando (81) Jeux

A
  • derived from French glisser, “to slide”; s glide or slide from one pitch to another
  • on the harp, a quick strumming of all the strings with a broad sweeping hand movement, creating shimmering effects
  • on the piano, a rapid ascending or descending slide along the keys (white or black)
41
Q

Second Viennese School (86) Pierrot

A
  • the triumvirate of early 20th-century composers Arnold Schoenberg and his disciples Alban Berg and
    Anton Webern
  • their musical style encompasses atonality,
    Expressionism, and in many cases the twelve-tone
    method of composition, which they developed
  • example: first movement of Alban Berg’s Violin Concerto
42
Q

Expressionism in music (86) Pierrot

A
  • early 20th-century German style
  • marked by extreme dissonance, angular melodies, irregular rhythmic groupings
  • explored deeply physiological themes
  • examples: Erwartung op. 17 (Arnold Schoenberg); Bluebeard’s Castle (Bela Bartok)
43
Q

Atonality (86) Pierrot

A
  • music that has no tonal center, no sense of key

- examples: Five Pieces for Orchestra, op. 16 (Arnold Schoenberg), Sonatine (Pierre Boulez)

44
Q

Twelve-tone music (86)

A
  • a method of composition developed by Schoenberg
  • an approach used to organize atonal music
  • based on a fixed order of the twelve chromatic pitches forming a tone row
  • also referred to as dodecaphonic music (derived from the Greek for “twelve”
45
Q

Tone row (86)

A
  • fixed order of the twelve chromatic pitches
  • the basis of a twelve-tone composition
  • the row undergoes manipulations including:
    transposition, inversion, retrograde, and retrograde inversion
46
Q

Inversion (86)

A
  • rewriting a melody upside down
47
Q

Retrograde (86) Der Mondfleck - Pierrot

A
  • rewriting a melody backwards
48
Q

Retrograde inversion (86) Sym, op. 21 - 102 (Der Mondfleck - Pierrot)

A
  • rewriting a melody upside down and backwards
49
Q

Diminution (86) Der Mondfleck - Pierrot

A
  • a rhythmic device in which the note values of a melody are shortened, retaining the proportional relationships
  • as a result, the music sounds faster
50
Q

Klangfarbenmelodie (88) Sym, op. 21

A
  • German for “tone-color melody”
  • a concept developed by Schoenberg in the early 20th century
  • individual notes of a melody are distributed among
    several instruments and often over a wide range
  • creates an angular melody and sparse sound
  • often compared to pointillism in painting
51
Q

Sprechstimme (88) Der Mondfleck - Pierrot

A
  • German for “speech-voice”
  • a vocal technique developed by Schoenberg and used for the first time in his song cycle Pierrot lunaire
  • the singer/reciter performs what sounds like “pitched speaking”
  • rhythm is precisely notated
  • pitches are approximated
52
Q

Rondeau (88) O alter - Pierrot

A
  • a poetic form developed in the 14th century
  • generally, the poem consisted of four verses: the first verse was repeated partially in the second verse and completely in the fourth verse
  • the musical rondeau often took its shape from the poem’s structure
  • Schoenberg, Pierrot lunaire
53
Q

Pointillism (88) Sym, op. 21 - 102 (Der Mondfleck - Pierrot)

A
  • a term derived from the post-Impressionist style of
    painting that used dots of pure color on the canvas
  • in music, this dappled effect was achieved through the use of Klangfarbenmelodie and the delicate weaving of the contrapuntal lines
54
Q

Canon (88) Der Mondfleck - Pierrot

A
  • from the Latin for “law”
  • strict imitation of a musical line at a fixed interval
    throughout
  • can be a complete polyphonic composition or a
    technique used within a work
55
Q

Expressionism in music (95) Wozzeck

A
  • early 20th-century German style
  • marked by extreme dissonance, angular melodies, irregular rhythmic groupings
  • explored deeply physiological themes
  • examples: Erwartung op. 17 (Arnold Schoenberg); Bluebeard’s Castle (Bela Bartok)
56
Q

Cluster chord (95) Wozzeck

A
  • a dissonant chord consisting of major and minor seconds
  • on the piano, three or more adjacent keys
  • often employed in atonal music
57
Q

Serialism (101)

A
  • a compositional approach developed in the 20th century
  • any number of musical parameters (such as pitch, rhythm, dynamics, tone color) are organized using a specific ordering (set) that undergoes manipulation
  • sometimes used as a synonym for dodecaphonic (or twelve-tone) music
  • examples: Le marteau sans maitre (Pierre Boulez), Violin Concerto (Alban Berg)
58
Q

Twelve-tone music (101)

A
  • a method of composition developed by Schoenberg
  • an approach used to organize atonal music
  • based on a fixed order of the twelve chromatic pitches forming a tone row
  • also referred to as dodecaphonic music (derived from the Greek for “twelve”
59
Q

Tone row (101) Sym, op. 21

A
  • fixed order of the twelve chromatic pitches
  • the basis of a twelve-tone composition
  • the row undergoes manipulations including:
    transposition, inversion, retrograde, and retrograde inversion
60
Q

Inversion (101) Sym, op. 21

A
  • thematic material presented “upside down”
61
Q

Retrograde (101)

A
  • rewriting a melody backwards
62
Q

Neo-Classicism (107)

A
  • a post-World War I style marked by a return to absolute music and traditional formal structures
  • cultivated a less emotional, more detached sensibility
  • example: Symphony No. 1, op. 25 (“Classical”) (Sergei Prokofiev), Symphony of Psalms (Igor Stravinsky)
63
Q

Ostinato (107) Concerto for Orchestra

A
  • a short rhythmic or melodic pattern repeated through a section or a work
64
Q

Polytonality (107) Concerto for Orchestra

A
  • the simultaneous use of two or more keys
65
Q

Orchestral suite (111) reworked R+J Suite

A
  • a group of contrasting orchestral movements, often drawn from a larger dramatic work such as a ballet
  • often programmatic in nature
  • played in a concert setting, outside of its original dramatic context
66
Q

Choreography (111) ballet R+J Suite

A
  • the art of designing dance steps and movements in a ballet (or musical)
67
Q

Ballet (111) R+J Suite

A
  • highly stylized type of dance that often interprets a
    story
  • first developed in the 17th century at the court of
    Louis XIV; flourished in the 19th-century Russian court
  • many significant composers, including Tchaikovsky,
    Stravinsky, Debussy, and Prokofiev, composed music for ballets
68
Q

Mode of limited transportation (117)

A
  • any scale type that can only be transposed once
  • first mode of limited transportation is the whole-tone scale
  • second mode is the octagon in scale in which the pattern alternates whole steps and half steps
  • absence of a central pitch or pull to a tonic
69
Q

Sourdine (117) Quatuor

A
  • French for “mute”
  • an instruction given to string and brass instruments to use their mutes
  • creates softer dynamics and veiled, subdued instrumental effects
70
Q

Micropolyphony (122) Atmospheres

A
  • developed by Ligeti (Atmospheres)
  • the weaving of many separate melodic strands into a complex polyphonic fabric
  • the sheer density of the music renders the individual lines imperceptible
71
Q

Harmonics (122) Atmospheres

A
  • many musical instruments can evoke different pitches above a single pitch
  • on a stringed instrument, a harmonic is produced by lightly depressing a string at specific points on its length
  • composers use harmonics for effect often to create an “eerie’ quality
72
Q

Fanfare (125) Fanfare

A
  • a loud ceremonial piece or flourish often featuring brass instruments and percussion
  • played on important occasions to announce an arrival or to launch or commemorate an event
  • Copland, Fanfare for the Common Man
73
Q

Tam-tam (125) Fanfare

A
  • percussion instrument
  • a type of flat-faced gong
  • akin to the Chinese chau
74
Q

Gamelan (134) Canada

A
  • traditional orchestral ensemble of Java and Bali (Indonesia)
  • comprised of metallophones, xylophones, gongs, drums, and singers
  • their shimmering sonorities inspired the works of many composers including Debussy, Poulenc, Cage, and Reich
75
Q

Indeterminacy (134) Canada

A
  • also called aleatoric music (from the Latin word alea meaning “dice”)
  • a 20th-century development whereby composers introduced elements of chance and randomness into their score and/or performances
  • the composer may specify certain parameters (for example, pitch or rhythm) but leave other musical decisions to the individual performers
  • exponents of indeterminacy in music include John Cage, Krzysztof Penderecki, and Witold Lutoslawski
76
Q

Prepared piano (134) Sonatas

A
  • developed during the 1940s by John Cage
  • as specified by the composer in the score, the piano is modified by the insertion of foreign objects (for example, nails, screws rubber bands) in between the strings; in addition, muting devices (for example, leather strips, pieces of paper) are woven between the strings
  • pitched and non-pitched percussive sounds result, evoking the shimmering resonance of the gamelan orchestra
77
Q

Minimalism in music (138) Electric

A
  • a musical style that evolved in the late 20th century
  • characterized by the seemingly endless repetition of short melodic, rhythmic, or harmonic patterns with little variation, often creating a hypnotic effect
  • associated with compositions by Steve Reich, Philip Glass, John Adams, and Michael Nyman
  • examples: Glassworks (Phillip Glass), Drumming (Steve Reich)
78
Q

Indeterminacy (143)

A
  • also called aleatoric music (from the Latin word alea meaning “dice”
  • a 20th-century development whereby composers introduced elements of chance and randomness into their score and/or performances
  • the composer may specify certain parameters (for example, pitch or rhythm) but leave other musical decisions to the individual performers
  • exponents of indeterminacy in music include John Cage, Krzysztof Penderecki, and Witold Lutoslawski
79
Q

Graphic notation (143) Snowforms

A
  • visually descriptive approach to music notation first developed during the 1950s by avant-garde composers such as Karlheinz Stockhausen and John Cage
  • symbols and shapes outside the realm of traditional notation used to convey microtonal pitches, texture, articulation, rhythm, and tempo
  • frequently used in combination with elements of traditional notation
  • time markings on the score (real time) often used in place of time signatures and bar
    lines (metric time)
  • examples: Threnody for the Victims of Hiroshima (Penderecki), Makrokosmos (George Crumb), Snowforms (Schafer)
80
Q

Acoustic ecology (143) Snowforms

A
  • a discipline that studies the relationship between living beings and their environment through sound
  • one outcomes of this field is the creation of soundscape composition; for example, Epitaph for Moonlight and Snowforms, both by R. Murray Schafer

ARCT History (1 decks)

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