vocab Flashcards

1
Q

Baroque

A
  • from the Portuguese barroco meaning “irregularly shaped or misshapen pearl”
  • first used as a derogatory term in reference to the overly ornate art of the era
  • now applied to art, architecture, and music of the 17th and early 18th centuries
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2
Q

basso continuo

A
  • baroque performance practice
  • generally involves two performers - one playing the notated baseline, one realizing the harmonies as indicated by the figured bass
  • harmonies usually play on harpsichord or organ
  • provides harmonic framework
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3
Q

figured bass

A
  • a musical shorthand developed in the Baroque era
  • numbers are placed below the baseline to show harmonic progression
  • performed or realized by the basso continuo
  • provides a structure for guided improvisation
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4
Q

the Affections

A
  • also refferd to as the “doctrine of affections” or the “affects”
  • a Baroque philosophy inspired by ancient Greek and Roman writers and orators
  • refers to emotional states of the soul
    in Baroque music, a single “affect” (one clear emotion) is usually projected through an entire composition or movement
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5
Q

ornamentation

A
  • music embellishment to decorate a melodic line
  • either represented with symbols or improvised
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6
Q

monophonic texture

A
  • a single line of unaccompanied melody
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7
Q

polyphonic texture

A
  • a combination of two or more melodic lines
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8
Q

homophonic texture

A
  • a single line of melody supported by a harmonic accompaniment
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9
Q

concerto

A
  • a popular instrumental genre of the Baroque era for soloists and orchestra
  • generally in three movements: fast-slow-fast
  • frequently employed ritornello form
  • intended to showcase the virtuosity of the soloists
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10
Q

ritornello form

A
  • a structure employed in the first and third movements of the Baroque concerto
  • the opening passage is restated throughout the movement serving as a refrain
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11
Q

ripieno

A
  • Italian for “full” or “complete”
  • a term used to denote the use of the full orchestra in the Baroque concerto
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12
Q

ostinato

A
  • Italian for “obstinate” or “persistent”
  • a rhythmic or melodic pattern repeated for an extended period
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13
Q

pedal point

A
  • a note, or series of notes, sustained through harmony changes in other parts
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14
Q

programmatic writing

A
  • music with a descriptive element, inspired by extramusical associations, like a story or painting
  • evolved into a significant feature of 19th-century instrumental writing (program music)
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15
Q

idiomatic writing

A
  • highlights the unique technical capabilities of an instrument in the style of writing
  • opposite of “generic”
  • developed in the Baroque era
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16
Q

binary form

A
  • two-part form: A||B||
  • both parts often repeat
  • section A generally ends with an open cadence in the dominant or relative major key
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17
Q

rounded binary form

A
  • two-part form: A||B + A₁||
  • opening material from Section A returns after B material
  • key structure similar to binary form
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18
Q

ternary form

A
  • three-part form: A||B||A||
  • section A generally ends with a closed cadence in the tonic key
  • section B generally creates contrast in key and/or material
  • often used in Baroque arias and Classical menuet and trio movements
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19
Q

equal temperament

A
  • a method of tuning keyboard instruments
  • the octave is divided into twelve equal semitones
  • facilitated the composition and performance of music in all keys
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20
Q

clavier

A
  • a German word for keyboard instruments other than the organ
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21
Q

prelude

A
  • a short keyboard work in improvisatory style
  • often paired with a fugue
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22
Q

fugue

A
  • highly structured, imitative contrapuntal composition
  • a single theme or subject prevails
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23
Q

counterpoint

A
  • combination of two or more independent melodic lines
  • also referred to as “polyphonic texture”
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24
Q

subject

A
  • the initial statement of the main theme of a fugue
  • in the tonic key
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25
answer
- the second statement of the main theme in a fugue - usually in the dominant key
26
real answer
- an exact transposition of the subject
27
tonal answer
- a statement of the subject in which one or more intervals is adjusted to accommodate the harmony
28
countersubject
- a recurring countermelody - accompanies entries of the subject and answer
29
episode
- a passage within a fugue in which neither subject nor answer is present - frequently sequential
30
oratorio
- a large-scale work for soloists, chorus, and orchestra - serious subject, generally based on biblical texts - consists of recitatives, arias, ensembles, and choruses - developed in the Baroque era
31
French overture
- a Baroque orchestral genre, often the orchestral introduction to an opera or oratorio - first developed at the court of Louis XIV by Jean-Baptiste Lully - generally in two parts - first part - slow tempo, homophonic texture, features dotted figures - second part - fast tempo, imitative texture
32
libretto
- the text of an opera, oratorio, or cantata - usually written by someone other than the composer
33
recitative
- a speech-like style of singing used in operas, oratorios, and cantatas - follows inflections of the text, resulting in rhythms flexibility - usually used to advance the plot or storyline; moves through text quickly
34
recitativo secco
- Italian for "dry recitative" - a speech-like, declamatory style of singing - supported only by continuo - employed in opera, oratorio, and cantata
35
aria
- Italian for "air" - a solo song with accompaniment, heard in an opera, oratorio, or cantata - highly emotional and often virtuosic - may have lyrical or dramatic qualities; often serves to reveal the characters' most intimate emotions
36
da capo aria
- an aria (solo song) employing a ternary (ABA) structure - in performance, the return of Section A is generally ornamented - the most common type of aria in Baroque opera and oratorio
37
word painting
- musical pictorialization - the music mirror the literal meaning of the words - achieved through melody, harmony, or rhythm
38
melisma
- a group of notes sung on a single syllable/vowel - demonstrates vocal virtuosity and often serves to highlight key words
39
Classicism
- refers to the art, architecture, and music of the late 18th century - adheres to principles of symmetry, balance, and proportion
40
Viennese
- refers to the musical style forged by Haydn, Mozart, and Beethoven and their contemporaries - in late 18th century Vienna, Austria flourished as a musical centre
41
absolute music
- instrumental music without pictorial associations - generic titles reflecting tempos, genres, or forms
42
sonata form
- formal structure often used in the first movement of a sonata cycle - consists of exposition, development, and recapitulation - also known as sonata-allegro form
43
exposition
- the first main section in sonata form - two contrasting themes are stated - the first theme is in the tonic key - the second theme (or themes) are in a contrasting key, generally in the dominant or relative major
44
development
- the second main section in sonata form - themes from the exposition are developed through use of sequences, fragmentation, inversion, or changes to orchestration - modulations and increased harmonic tension and dissonance - new themes may also be introduced - generally ends with dominant preparation
45
recapitulation
- the third main section in sonata form - a recapitulation of the exposition - second theme and codetta are usually restated in the tonic - bridge remains in the tonic (no need to modulate)
46
coda
- Latin for "tail" (cauda) - a concluding section reaffirming the tonic key - not always present
47
sonata cycle
- multi-movement structure that emerged in the Classical era - demonstrated in the symphony, sonata, or concerto
48
introduction
- not a standard component of the form - usually slow - establishes the tonic key - creates musical tension
49
first theme
- establishes the tonic key - present a distinctive melodic and rhythmic character - often sets the mood for the entire movement
50
bridge
- begins in the tonic key and transitions into the key of the second theme
51
second theme
- a contrasting theme that establishes the new key (usually the dominant or relative major)
52
codetta
- affirms the new key - generally concludes with a repeat sign
53
chamber music
- music for small ensemble (two to ten players) - one player per part - usually performed without a conductor
54
string quartet
- the most important chamber music genre of the Classical era - performing forces: first violin, second violin, viola, cello - usually in four movements: fast-slow-moderately fast-fast - first movement is usually in sonata form
55
theme and variations
- 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 the slow movement of a sonata cycle
56
serenade
- a multi-movement orchestral genre - for small orchestra or chamber ensemble - popular instrumental genre in the Classical era
57
rocket theme
- rapidly ascending melody outlining an arpeggio - often used as a dramatic opening motive in Classical-era works
58
menuet and trio
- menuet: a stylized dance of French origin developed in the Baroque era, in triple meter with a graceful, elegant character - trio: contrasting middle section - ternary (ABA) form (menuet, trio, menuet)
59
rondo form
- Classical formal structure often used in sonata cycle - Section A recurs, with alternating sections creating contrast - ABACA or ABACABA
60
sonata-rondo form
- combines elements of sonata form and rondo form - typical layout: ABACABA (ABA functions as the exposition; C functions as the development; second ABA functions as the recapitulation)
61
symphony
- a multi-movement orchestral work originating in the 18th century - usually in four movements: fast-slow-moderate-fast - at least one movement is in sonata form
62
cyclical structure
- material heard in one movement recurs in later movements - creates structural unity in a multi-movement work
63
motive
- a short melodic or rhythmic fragment used in building or developing a melody
64
scherzo and trio
- Italian for "jest" or "joke" - Beethoven substituted the scherzo in place of the menuet as the third movement in the sonata cycle - also in triple meter, but generally more dynamic than the elegant menuet - as with the menuet and trio, it contains a contrasting middle section (trio), resulting in ABA form (scherzo-trio-scherzo)
65
Romanticism
- origins can be traced to late 18th-century literature that served as inspiration for art and music - emphasis on creative imagination and expression of emotions
66
program music
- significant trend in 19th-century music - instrumental music with literary, poetic, or visual associations - descriptive titles are common - some works include a written text or "program" provided by the composer
67
chromatic harmony
- extensive use of notes outside the prevailing key range - from the Greek word for colour, khroma - increasingly used for heightened expression in 19th-century music
68
exoticism in music
- fascination with foreign lands and cultures - important element of 19th-century musical style - evoked through melody, rhythm, harmony, and orchestration
69
nationalism in music
- patriotism expressed in music - important element of 19th-century musical style - influence of folk song and dance, myths and legend, landscapes, historical events
70
art song
- the musical setting of a poem - for solo voice, generally with piano accompaniment
71
Lied
- the musical setting of a German poem - for solo voice, generally with piano accompaniment - flourished in the 19th century
72
through-composed
- 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
73
polonaise
- stately Polish dance in triple meter - often proud and majestic in character - often includes characteristic rhythmic figures
74
rubato
- Italian for "robbed time" - a characteristic of Romantic music - a flexible tempo for expressive purposes
75
program symphony
- a 19th-century multi-movement orchestral work - modelled after the 18th-century symphony with programmatic elements - includes a descriptive title - the accompanying text often outlines the program
76
idée fixé
- French for "fixed idea" - devised by Berlioz - a recurring theme that undergoes transformation - serves as a unifying thread in a multi-movement composition - in Symphonie Fantastique, it represents "the beloved"
77
col legno
- Italian for "with the wood" - novel effect used by Berlioz - players tap on the strings with the wooden parts of their bows
78
Dies irae
- Latin for "day of wrath" - a monophonic chant melody dating from late Middle Ages - drawn from the Romantic Catholic Requiem (Mass for the dead) - 19th-century audiences would have associated the tune with funeral services
79
opera
- drama that is sung - combines vocal and instrumental music with actin, costume, and scenery - components include recitative, arias, ensembles, and choruses - originated in Italy around 1600
80
habañera
- Cuban dance-song - 2/4 time - characteristic rhythmic motive, often used as an ostinato
81
modal scales
- the use of scales (modes) in which the pattern of whole steps and half scales is different from conventional major and minor scales; for example, Dorian, Lydian, and Mixolydian - common in music of the Middle AGes and Renaissance; rediscovered by 20th-century composers
82
whole-tone scale
- a non-traditional scale employed by composers of the late 19th and 20th centuries - consists of six different pitches, all spaces a whole tone apart
83
pentatonic
- a scale consisting of five different pitches - common to the folk music of many European and Asian cultures
84
expanded tonality
- the use of extremely chromatic harmony while still maintaining allegiance to a tonal centre
85
polytonality
- the simultaneous use of two or more tonal centres
86
atonality
- the total absence of any tonal centre - characterized by unresolved dissonances
87
changing meter
- shift of metrical groupings - manifested through changes of time signatures
88
polyrhythm
- the simultaneous use of two or more conflicting rhythms
89
symphonic poem
- one of the most important forms of orchestral program - a single-movement work, generally in free form, with literary or pictorial associations - invented by Franz Liszt
90
impressionism in music
- employs harmonic vocabulary: whole-tone, modal, pentatonic scales; parallel chords - suggests images rather than directly depicting them - features individual treatment of instruments and use of muted instruments - metric pulse is frequently obscured
91
Symbolism
- a French literary movement of the late 19th century - authors sought to suggest subject matter rather than depict it specifically
92
ballet
- a highly stylized type of dance that often interprets a story - first developed in the 17th century
93
choreography
- the art of designing the dance steps and movements in a ballet (or musical)
94
primitivism
- an effect created largely through rhythm - use of strong accents, heavy syncopation, polyrhythms, expanded percussion section - demonstrated best in Stravinsky's The Rite of Spring
95
musical
- a unique 20th-century genre developed in the United States - a play with spoken dialogue but featuring musical numbers: songs, dances, choruses
96
jazz
- a musical style developed in the early 20th century in the United States - combines elements of African, popular, and European music - based on improvisation
97
verse-chorus structure
- a common song structure in popular music - verses develop the character/storyline, while the "chorus" acts as a tuneful refrain
98
hemiola
- a temporary shift of the metric accents - notes grouped in threes are momentarily grouped in twos or vice versa
99
minimalism in music
- characterized by the. repetition of melodic, rhythmic, and harmonic patterns with little variation
100
fanfare
- a loud ceremonial tune - features brass instruments - used to herald the arrival of an important person, the launch of an event, or in commemoration of someone