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MUSI212 Exam2 > The master deck > Flashcards

The master deck Flashcards

1
Q

The Baroque Period (1600-1750)

A

more elaborate musical ornamentation, made changes in musical notation, and developed new instrumental playing techniques. Baroque music expanded the size, range, complexity, and also established opera as a musical genre

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2
Q

Classical Period (1750-1820)

A

Classical music expressed melodic differences and instrumental color.
Beethoven is also know to be a romantic composer and was a bridge from the classical to the romantic period.

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3
Q

Romantic Period (1850-1910)

A

The romantic period evolved from the ideas of previous composers from the classical phase, but also went further into their expressions of their own feelings and love.
Composers in the romantic era included Ludwig van Beethoven,
Franz Schubert, and Richard Wagner.
The music usually had about 30-40% dissonance and around 60% consonance.

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4
Q

Impressionism (1875-1945)

A

The impressionism period used whole tone and pentatonic scales and overlapping rhythms and orchestration techniques

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5
Q

Pointillism (1883-1945)

A

Pointillism can be described by different musical notes made in seclusion, rather than in a linear sequence, giving a nice sound texture.

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6
Q

Mozart (1756-1791)

A

Classical Period Composer.
Mozart specialized in many different types of music symphonic, concertante, chamber, operatic and choral music.
He almost single-handedly developed and popularized the Classical piano concerto.

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7
Q

Haydn (1732-1809)

A

Was one of the most prolific and prominent composers of the classical period. Hayden wasn’t exactly like Mozart, Hayden had music that establishes the dominant key is similar or identical to the opening theme.

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8
Q

Beethoven (1770-1827)

A 
composed music that served as a crossing between the Classical and Romantic periods of music. His life started with classical composition but later in life he forecasted the Romantic period.
American Revolution.
French Revolution.
Napoleonic Wars.
Congress of Vienna.
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9
Q

Romantic Period COmposers

A 
Brahms [1833-1897]
Tchaikovsky [1840-1893] 
Schumann [1810-1856]
Dvorak [1841-1904] 
Chopin [1810-1849]
Liszt  [1811-1886]
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10
Q

Decorative Pitches

A

Terms used to describe specific application of dissonance in classical music.

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11
Q

Passing tone

A

non-harmonic note inserted for transition between harmonic notes. A passing tone is approached by a step and is resolved by a step. Passing tones is one of the most common types of decorative pitches.

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12
Q

Accented Passing tone

A

an accented passing tone is a type of passing arrives on an accented beat in the measure

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13
Q

Suspension

A

The prolongation of one or more tones of a chord into a following chord to create a temporary dissonance. A suspension arrives by sustain and is solved by step.

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14
Q

Appoggiatura

A

A grace note performed before the note of the melody and falling on the beat. An appoggiatura is approached by leap and resolved by step. Leap to a dissonance pitch and resolve by step.

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15
Q

Neighbor/Auxiliary tone

A

A decorative pitch approached by step and returns back to the consonant pitch by step.

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16
Q

Escape tone

A

: a decorative pitch approached by a step from a chord tone and left by a skip in the opposite direction.

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17
Q

Anticipation

A

An anticipation is approached by step and resolved by sustain. You can find composers such as Bach using this technique and style.

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18
Q

Opera

A

is a stage work where nearly all the lines are sung. They exist in every culture, the most generally popular being Italian and German operas.

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19
Q

Oratorio

A

is like an opera but not staged; a concert piece.

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20
Q

Cantata

A

is a concert piece, like a short oratorio, for choir and instrumental ensemble.

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21
Q

Agogic Accents

A

which is perceived solely because of long duration of duration, not due to increased volume or pitch variation.

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22
Q

Simple meter

A

involves two subdivisions for each principle beat and can be expressed as duple, triple, or quadruple, indicated in the meter signature with a top number of 2, 3, or 4 accordingly.

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23
Q

Compound Meter

A

involve three subdivisions for each principle beat and can be expressed as duple, triple, or quadruple, indicated in the meter signature with a top number of 6, 9, and 12 accordingly.

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24
Q

Motive

A

the smallest unit of musical design, three to five notes with an intriguing interval structure and compelling rhythm.

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25
Q

Melody

A

pitches from a fixed set organized into musical phrases that together express a complete memorable, musical idea/sentence.

26
Q

Antecedent Phrase

A

dependent musical phrase ending with a progressive melodic cadence with a subsequent interrogative quality; not free-standing.

27
Q

Consequent Phrase

A

independent musical phrase ending with a terminal melodic cadence, serving as an answer/conclusion to an antecedent phrase.

28
Q

External Extension

A

melodic material added at the end of a period.

29
Q

Internal Extension

A

melodic material injected in the middle of a period.

30
Q

Sequence

A

restatement of a melodic line starting from a different pitch in the scale while basically maintaining the same integral elements of the phrase.

31
Q

Sonata-Allegro Form

A

/A transition B transition/ [repeated]//development//recapitulation.

32
Q

Harmonic Rhythm

A

the speed of the delivery of harmony/chords.

33
Q

Meter

A

marking that indicated how many units of note value will occur in a measure [i.e. 4/4 = 4 quarter notes in a measure, 3/8 – 3 eighth notes in a measure]

34
Q

Tempo

A

speed at which music is occurring, indicated either exactly with a metronome marking or more ambiguously with an informative instruction

35
Q

Dynamics

A

indications expressed in abbreviation of Italian words that translate to very softly, softly, medium softly, medium loudly, loudly, very loudly

36
Q

Classical

A

symphonies arise from the Italian Overture [fast-slow-fast], whereas the French Overture [slow-fast-slow] informs symphonies in later periods as a preferred over-arching tempo frame.

37
Q

Four Movements of Classical Period

A

I. Sonata-Allegro Form [fast] II. open/non-strict form [slow] III. Minuet & Trio [slow] IV. Rondo, Variations, or Sonata-Allegro Form [fast].

38
Q

Exposition of Sonata-Allegro

A

comprised of a principle theme in the key of the tonic and a secondary theme, in a closely related key, with transition material gradually modulating between keys through the use of sequence and repetition over a cadential formula in the new key

39
Q

Retrograde

A

Appearance of the music backwards.

40
Q

Tonic

A

First degree of the scale or pitch

41
Q

Supertonic

A

Second degree of the scale

42
Q

Mediant

A

Third degree of the diatonic scale

43
Q

Subdominant

A

Fourth degree of the diatonic scale

44
Q

Dominant

A

fifth degree of the scale

45
Q

Submediant

A

The sixth degree of the scale

46
Q

Leading Tone

A

Seventh degree of the scale

47
Q

Half Step Major

A

3rd 4th, 7th 8th

48
Q

Half Step Minor

A

2nd 3rd, 5th 7th

49
Q

Relative Minor

A

is built on the 6th degree of the scale

50
Q

Parallel minor

A

built on the 1st degree of the scale

51
Q

Tertial Harmony

A

Chords built by thirds

52
Q

Figured Bass

A

Notational system in the Baroque Era that uses Arabic numerals

53
Q

Classical Music Order

A

Renaissance, Baroque, Classical, Romantic, Impressionist, Serial, Expressionist

54
Q

Rondo form

A

a/b/a/c/a/d/a/c/a/b/a

55
Q

Ritournello

A

predecessor of rondo form

56
Q

Concerto

A

work involving a solo performer

57
Q

Programme Music

A

extra-musical sources, results in tone paintings, tone poems, and music that seeks to capture in sound

58
Q

Cyclic Form

A

Centrally organizes all symphonic movements by replacing key, meter, and fixed forms of the sonata-allegro form

59
Q

Coda

A

new music added at the end of a movement to create a more dramatic conclusion

60
Q

Introduction

A

music occurring before an official form begins to unfold.

61
Q

Overture

A

music meant to set the mood.

62
Q

Cadenza

A

extended solo section in a concerto that showcases the virtuosic ability of the soloist

MUSI212 Exam2 (1 decks)

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