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0
Q

a passage within a fugue In which neither subject nor answer is present

A

episode

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1
Q

provides structure for guided improvisation

A

figured bass

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4
Q

solo concerto

A
  • popular instrumental genre of the baroque era for soloist and orchestra
  • generally in three movements: fast-slow-fast
  • frequently employed ritornello form
  • intended to showcase the virtuosity of the soloist
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6
Q

baroque practice of changing dynamics abruptly

A

terraced dynamics

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7
Q

monophonic texture

A

single line of unaccompanied melody

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9
Q

emerged in the classic era

A

sonata cycle

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10
Q

counterpoint

A

combination of to or more melodic lines

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11
Q

a structure employed in the first and third movements of the baroque concerto

A

ritornello form

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12
Q

allowed music to be performed “in tune” in all keys

A

equal temperament

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13
Q

often performed in aristocratic social settings and at outdoor events

A

serenade

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14
Q

the second statement of the main theme in a fugue

A

answer

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15
Q

word painting

A
  • musical pictorialization
  • music mirrors the literal meaning of the words
  • achieved through melody, rhythm, or harmony
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16
Q

trio

A

contrasting middle section

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17
Q

emphasis on symmetry, balance, and proportion

A

classicism

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20
Q

polyphonic texture

A

combination of two or more melodic lines, also referred to as counterpoint

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23
Q

recitativo accompagnato

A
  • Italian for “accompanies recitative”
  • a speech-like, declamatory style of singing
  • supported by instrumental ensemble or orchestra
  • allows for greater connection with the text
  • employed in opera, oratorio, and cantata
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24
Q

generally in two parts

A

French overture

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25
Q

intended to showcase the virtuosity of the soloist

A

solo concerto

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26
Q

performed or “realized” by the basso continuo

A

figured bass

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27
Q

terraces dynamics

A
  • baroque practice of changing dynamics abruptly

* results in stark contrast rather than gradual change

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29
Q

multi-movement orchestral genre

A

serenade

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31
Q

consists of recitatives, arias, ensembles, and choruses

A

oratorio

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32
Q

a highly structured, imitative contrapuntal composition

A

fugue

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35
Q

a single theme or subject prevails

A

fugue

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36
Q

music mirrors the literal meaning if the words

A

word painting

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37
Q

demonstrates vocal virtuosity and often serves to highlight key words

A

melisma

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38
Q

ternary form

A
  • three-part form (ABA)
  • section B generally creates contrast in key and/or material
  • often used in baroque arias
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39
Q

first part-slow tempo, homophonic textures, features dotted figures

A

French overture

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40
Q

menuet

A

a stylized dance of French origin developed in the baroque period

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43
Q

overlapping subject entries in close succession

A

stretto

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44
Q

in performance the return of section A is generally ornamented

A

da capo aria

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45
Q

menuet and trio

A
  • menuet: a stylized dance of French origin developed in the baroque period
  • in triple meter
  • graceful, elegant character
  • trio: contrasting middle section
  • ternary form (ABA)
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46
Q

a sustained bass note the provides a rudimentary harmonic foundation

A

drone

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47
Q

second part-fast tempo, imitative texture

A

French overture

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48
Q

graceful, elegant character

A

menuet and trio

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49
Q

music for small ensemble (two to ten players)

A

chamber music

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50
Q

rapidly ascending melody outlining arpeggio

A

rocket theme

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51
Q

a large-scale work for soloists, choruses, and orchestra

A

oratorio

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52
Q

music without extra-musical associations

A

absolute music

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56
Q

generally in three movements: fast-slow-fast

A

solo concerto

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57
Q

ABACA or ABACABA

A

rondo form

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58
Q

from the Portuguese barroco meaning irregularly shaped it misshapen pearl

A

baroque

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60
Q

achieved through melody, rhythm, or harmony

A

word painting

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61
Q

supported by instrumental ensemble or orchestra

A

recitativo accompagnato

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62
Q

homorhythmic texture

A
  • all voices sing the same rhythm
  • results in a blocked chordal texture (homophonic)
  • delivers the text with clarity and emphasis
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65
Q

homophonic texture

A

single line of melody supported by a harmonic accompaniment

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66
Q

oratorio

A
  • 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
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68
Q

section A recurs, with alternating sections creating contrast

A

rondo form

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69
Q

are in a contrasting key; generally in the dominant or relative major (exposition)

A

second theme

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70
Q

a stylized dance of French origin developed in the baroque period

A

menuet

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71
Q

a sustained note over which harmonies change

A

pedal point

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73
Q

development

A
  • the second main section in sonata form
  • themes from the exposition are manipulated through fragmentation, sequential treatment or changes to orchestra
  • modulations and increases harmonic tension
  • new themes may also be introduced
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74
Q

rocket theme

A
  • rapidly ascending melody outlining arpeggio

* often used as a dramatic opening motive in classical-era works

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75
Q

contrasting middle section

A

trio

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78
Q

demonstrated in the symphony, sonata, or concerto

A

sonata cycle

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80
Q

serious subject, generally based on biblical texts

A

oratorio

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81
Q

pertains to the highest level of excellence

A

classicism

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82
Q

themes from exposition are manipulated through fragmentation, sequential treatment or changes to orchestra

A

development

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83
Q

modulations and increased harmonic tension

A

development

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84
Q

the third main section in sonata form

A

recapitulation

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85
Q

sonata form

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 know as sonata-allegro form
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86
Q

delivers the text with clarity and emphasis

A

homorhythmic texture

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87
Q

short melodic or rhythmic idea

A

motive

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88
Q

basso continuo

A
  • baroque performance practice
  • generally involves two performers-one playing the notated bass line, one realizing the harmonies as indicated by the figures bass
  • harmonies usually played on harpsichord or organ
  • provides harmonic framework
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89
Q

the most common song type in baroque opera and oratorio

A

da capo aria

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90
Q

consists of exposition (statement of two or more contrasting themes), development (departure), and recapitulation (return)

A

sonata form

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91
Q

first and second themes are both restated in the tonic

A

recaptulation

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95
Q

generic titles reflecting tempos, genres, of forms

A

absolute music

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96
Q

prelude

A
  • a short keyboard work in improvisatory style

* often paired with a fugue

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97
Q

usually written by someone other than the composer

A

libretto

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98
Q

the initial statement of the main theme of a fugue

A

subject

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99
Q

a recurring counter-melody

A

countersubject

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100
Q

one player per part

A

chamber music

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102
Q

pedal point

A

a sustained note over which harmonies change

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103
Q

recapitulation

A
  • the third main section in sonata form

* first and second themes are restated in the tonic

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106
Q

often used as a dramatic opening motive in classical-era works

A

rocket theme

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107
Q

performing forces; violin I, violin II, viola, and cello

A

strong quartet

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109
Q

the second main section in sonata form

A

development

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110
Q

Viennese school

A
  • 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
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112
Q

the text of an opera, oratorio, or cantata

A

libretto

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113
Q

Italian for “jest” or “joke

A

scherzo and trio

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114
Q

also known as “pure music”

A

absolute music

115
Q

scherzo and trio

A
  • 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 dramatic than the elegant menuet
  • could be humerus or ironic
  • a contrasting middle section was used, and an ABA form resulted (scherzo-trio-scherzo)
117
Q

refers to the cultures of Ancient Rome and Greece as well as the art, architecture and music of the late 18th century

A

classicism

118
Q

from the Italian stringere, meaning “to tighten”

A

stretto

119
Q

cyclical structure

A
  • material heard in one movement recurs in later movements

* creates structural unity in a multi-movement work

121
Q

serenade

A
  • multi-movement orchestral genre
  • for small orchestra or chamber ensemble
  • popular instrumental genre in the classical era
  • often performed in aristocratic social setting and outdoor events
122
Q

method of tuning keyboard instruments

A

equal temperament

124
Q

in the tonic key (exposition)

A

first theme

126
Q

exposition

A
  • the first main section in sonata form
  • two contrasting themes are stated
  • the fist theme is in the tonic key
  • the second theme(s) is in a contrasting key; generally in the dominant or relative major
128
Q

most important chamber-music genre of the classical era

A

sonata form

131
Q

second theme(s) of an exposition

A

in a contrasting key;generally in the dominant or relative minor

132
Q

new themes may also be introduced

A

development

133
Q

two-part musical form: A:||:B + A:||

A

rounded binary form

134
Q

popular instrumental genre in the classical era

A

serenade

137
Q

frequently used in baroque dances and keyboard pieces

A

binary form

139
Q

usually in four movements: fast-slow-moderately fast-fast

A

string quartet

140
Q

the first main section in sonata form

A

exposition

142
Q

subject

A
  • the initial statement of the main theme if a fugue

* in the tonic key

144
Q

results in a blocked chordal texture (homophonic)

A

homorhythmic texture

146
Q

section A heard three times or more in the tonic key

A

rondo form

147
Q

binary form

A
  • two-part form (AB)
  • section A generally ends with open cadence
  • frequently used in baroque dances and keyboard pieces
148
Q

first theme of an exposition

A

in the tonic key

150
Q

for small orchestra or chamber ensemble

A

serenade

151
Q

coda

A
  • Latin for “tail” (cauda)

* a concluding section reaffirming the tonic key

154
Q

could be humorous or ironic

A

scherzo and trio

155
Q

usually performed without a conductor

A

chamber music

158
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 are of the era
  • now applied to art, architecture, and music of the 17th and early 18th century
159
Q

coda

A
  • Latin for “tail” (cauda)

* a concluding section reaffirming the tonic key

160
Q

a group of notes sung on a single syllable/vowel

A

melisma

163
Q

libretto

A

•the text of an opera, oratorio, or cantata

164
Q

string quartet

A
  • most important chamber-music genre of the classical era
  • performing forces; violin I, violin II, viola, and cello
  • usually in four movements: fast-slow-moderately fast-fast
  • first movement usually in sonata form
167
Q

recitativo secco

A
  • Italian for “dry recitative”
  • a speech-like, declamatory style of singing
  • supported only by continuo
  • employed in opera, oratorio, and cantata
168
Q

musical pictorialization

A

word painting

169
Q

Italian die “full” or “complete”

A

ripieno

170
Q

rounded binary form

A
  • two-part musical form: A:||:B + A:||

* material form section A returns within section B

171
Q

Latin for “tail” (cauda)

A

coda

172
Q

a baroque orchestral genre

A

French overture

174
Q

answer

A
  • the second statement of the main theme in a fugue

* usual in the dominant key

177
Q

material heard in one movement recurs in later movements

A

cyclical structure

179
Q

a statement of the subject in which one or more intervals is adjusted to accommodate the harmony

A

tonal answer

181
Q

countersubject

A
  • a recurring counter-melody

* accompanies entries of the subject and answer

183
Q

Italian for “dry recitative”

A

recitativo secco

185
Q

classical formal structure often used in sonata cycle

A

rondo form

187
Q

three-part form (ABA)

A
  • ternary form
  • da capo aria
  • menuet and trio
188
Q

material from section A returns within section B

A

rounded binary form

189
Q

a melody is stated and then undergoes a series of transformations

A

theme and variations

190
Q

in late 18th century Vienna, Austria flourished as a musical centre

A

Viennese school

191
Q

theme and variations

A
  • a melody is stated and then undergoes a series of transformations
  • changes can be made to melody, harmony, rhythm, or orchestration
  • often used in slow movement of sonata cycle
193
Q

melisma

A
  • a group of notes sung on a single syllable/vowel

* demonstrates vocal virtuosity and often serves to highlight key words

194
Q

often used in baroque arias

A

ternary form

195
Q

in triple meter

A
  • menuet and trio

* scherzo and trio

196
Q

classicism

A
  • pertains to the highest level of excellence
  • possessing ensuring value or timeless quality
  • refers to the cultures of Ancient Rome and Greece as well as the art, architecture, and music of the late 18th century
  • emphasis in symmetry, balance, and proportion

*Baroque music had no clarity because of polyphony

197
Q

also known as sonata-allegro form

A

sonata form

198
Q

often changes can be made to melody, harmony, rhythm, or orchestration

A

theme and variations

199
Q

creates structural unity in a multi-movement work

A

cyclical structure

200
Q

smallest unit used to form a melody or theme

A

motive

201
Q

Beethoven substituted it in place of the menuet in the sonata cycle

A

scherzo

202
Q

often used in slow movement of sonata cycle

A

theme and variations

206
Q

motive

A
  • short melodic or rhythmic idea

* smallest unit unit to form a melody or theme

207
Q

formal structure often used in first movement of sonata cycle

A

sonata form

209
Q

all voices sing the same rhythm

A

homorhythmic

211
Q

tonal answer

A

a statement of the subject in which one or more intervals is adjusted to accommodate the harmony

212
Q

refers to the musical style forged by Haydn, Mozart, and Beethoven and his contemporaries

A

Viennese school

215
Q

was a reaction against the complex polyphony of renaissance music

A

the “affections”

217
Q

multi-movement structure

A

sonata cycle

218
Q

Italian for “accompanied recitative”

A

recitativo accompagnato

219
Q

first movement usually in sonata form

A

string quartet

223
Q

chamber music

A
  • music for small ensemble (two to ten players)
  • one player per part
  • usually performed without a conductor
224
Q

A shirt keyboard work in improvisatory style

A

prelude

225
Q

a speech-like, declamatory style of singing

A
  • recitativo accompagnato

* recitativo secco

226
Q

absolute music

A
  • music without extra-musical associations

* also known as “pure music”

227
Q

two contrasting themes are stated

A

exposition

232
Q

supported only by continuo

A

recitativo secco

237
Q

accompanies entries of the subject and answer

A

countersubject

239
Q

the “affections”

A
  • a baroque philosophy inspired by Ancient Greek and Roman writers and orators
  • refers to emotional states of the soul
  • in baroque music, a single “affection” (one clear emotion) is usually projected through an entire composition or movement
  • vocal music depicted he emotions of the text or dramatic situation
  • was a reaction against the complex polyphony of Renaissance music
  • also referred to as the “doctrine of affections”
240
Q

a common mannerism in baroque music

A

tierce de picardie

243
Q

employed in opera, oratorio, and cantata

A
  • recitativo secco

* recitativo accompagnato

245
Q

fugue

A
  • a highly structured, imitative contrapuntal composition

* a single theme or subject prevails

246
Q

often paired with a fugue

A

prelude

249
Q

rondo form

A
  • classical formal structure often used in sonata cycle

* section A recurs, with alternating sections creating contrast

250
Q

French overture

A
  • a baroque orchestral genre
  • first developed at court of Louis XIV by Jean-Baptiste Lully
  • generally in two parts
  • first part-slow temp, homorhythmic texture, features dotted figures
  • second part-fast tempo, imitative texture
254
Q

sonata cycle

A
  • emerged in the classical era
  • multi-movement structure
  • demonstrated in the symphony, sonata, or concerto
255
Q

figured bass

A
  • a type of musical shorthand developed in the baroque era
  • numbers are placed below the bass line to show harmonic progression
  • performed or “realized” by the basso continuo
  • provides the structure for guided improvisation
257
Q

real answer

A

an exact transposition of the subject

258
Q

ostinato

A
  • Italian for “obstinate” or “persistent”

* a rhythmic or melodic pattern repeated for an extended period

266
Q

possessing enduring value or timeless quality

A

classicism

268
Q

a work in a minor key ends in the tonic major (raised 3rd)

A

tierce de picardie

273
Q

refers to emotional states of the soul

A

the “affections”

285
Q

generally involves two performers-one playing the notated bass line, one realizing the harmonies as indicated by the figure bass

A

basso continuo

291
Q

first developed at court of Louis XIV by Jean-Baptiste Lully

A

French overture

293
Q

frequently employed ritornello form

A

solo concerto

294
Q

da capo aria

A
  • the most common song type in baroque opera and oratorio
  • three-part structure (ternary form): ABA
  • in performance the return of section A is generally ornamented
296
Q

ritornello form

A
  • a structure employed in the first and third movements of the baroque concerto
  • the opening passage (ritornello) is re-stated throughout the movement
297
Q

single line of unaccompanied melody

A

monophonic texture

299
Q

a rhythmic it melodic pattern repeated take an extended letkkd

A

ostinato

301
Q

an exact transposition of the subject

A

real answer

304
Q

all semitones within the octave are divided equally; created enharmonic equivalents (C sharp/D flat)

A

equal temperament

305
Q

tierce de picardie

A
  • a work in a minor key ends in the tonic major (raised 3rd)

* a common mannerism in baroque music

309
Q

popular instrumental genre of the baroque era for soloist and orchestra

A

solo concerto

312
Q

the opening passage is re-stated throughout the movement

A

ritornello form

313
Q

section A generally ends with open cadence

A

binary form

315
Q

Italian for “obstinate” or “persistent”

A

ostinato

320
Q

numbers are placed below the bass line to show harmonic progression

A

figured bass

321
Q

ripieno

A
  • Italian for “full” or “complete”

* a term used to denote the use of the full orchestra in the baroque concerto

328
Q

harmonies usually played on harpsichord or organ

A

basso continuo

329
Q

first used as a derogatory term in reference to the overly ornate art if the era

A

baroque

330
Q

section B generally creates contrast in key and/or material

A

ternary form

332
Q

stretto

A
  • from the Italian stringere, meaning “to tighten”

* overlapping subject entries in close succession

335
Q

now applied to art, architecture, and music of the 17th and early 18th centuries

A

baroque

340
Q

drone

A
  • a sustained bass note that provides a rudimentary harmonic foundation
  • common in folk music
341
Q

a term used it denote the use if the full orchestra in the baroque era

A

ripieno

342
Q

single line of melody supported by a harmonic accompaniment

A

homophonic texture

346
Q

a baroque philosophy inspired by Ancient Greek and Roman writers and orators

A

the “affections”

347
Q

equal temperament

A
  • method of tuning keyboard instruments
  • all semitones within the octave are divided equally; created enharmonic equivalents (C sharp/D flat)
  • allowed music to be performed “in then” in all keys
349
Q

two-part form (AB)

A

binary form

351
Q

provides harmonic framework

A

basso continuo

352
Q

vocal music depicted the emotions or the test or dramatic situation

A

the “affections”

353
Q

also referred to as the “doctrine of affections”

A

the “affections”

355
Q

common in folk music

A

•drone

361
Q

combination of two or more melodic lines

A
  • counterpoint

* polyphonic texture

362
Q

a type if musical shorthand developed I the baroque era

A

figured bass

364
Q

baroque performance practice

A

basso continuo

History 1: An Overview (8 decks)

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