Music Appreciation
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| Concert Etiquette | -Enter early
-No talking or other noises
-Know when to applaud
-If the music has started, wait for a break in the music before to enter the hall
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| Piece | music with more then one singer or no singers at all
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| Three-part system | -Movement
-Larger Work
-Composer
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| Mass "Prefatory Prayers" | -Movement: "Prefatory Prayers"
-Larger Work: Mass
-Composer: Lenard Bernstein
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| Historical Style | Styles change over time
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| Historical Periods | -Medieval Era (Middle Ages 475-1450)
-Renaissance Era
-Baroque Era
-Classical Era
-Romantic Era
-Twentieth Century and beyond
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| Patronage | Music sponsored by the church
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| Plainchant (chant, Gregorian chant, plainsong) | -Latin text
-(Word rhythm)
-(Monophony)
-For worship
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| Hildegard von Bingen -"Alleluia, O virga mediatrix" | -Composer - Hildegard
-Renaissance era
-monophonic music
-Abbess
-Mystic - 3 collections of prophecies and visions
-Composer, poet, and playwright - worship music
-Healer
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| Sound | Organized vibrations in the air
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| Tone | Sound with a consistent rate of vibration
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| Noise | Sound without a consistent rate of vibration
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| Pitch | ordering of sounds higher or lower
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| Duration | number of beats or fractions of a beat
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| Notation | Complex set of symbols used to indicate the pitch and duration of music sound
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| Melody | sequence of series of pitches that are reconizable
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| Range | Difference between the lowest and highest note
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| Contour/shape | Shape of the music
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| Conjuct | Melody that moves by a step up and down the scale
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| Disjunct Movement | Disjointed melody that moves leaps up the scale
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| Phrase | basic unit of construction of a melody
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| cadence | a melodic, rhythmic or harmonic line that marks the end of the phrase
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| Scale | the organization of the lowest to highest notes used in a piece
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| Melodic interval | distance between two notes that come after one another
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| Octave | 8th inteval
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| Rhythm | anything having to do with time in music
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| Beat/Pulse | beats in a repeating series of time
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| Accent | to emphasize a beat
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| Meter | regular occurring of accenting or non-accented muisc
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| Measure/Bar | regularly occurring pattern of accented and non-accented notes
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| Downbeat | Name given to the accented beat in a measure
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| Metrical Pattern | Duple, Triple, Common
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| Non-metric | Melody not based on the meter as a standard of measure
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| Syncopation | accent of the beat
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| Additive Meter | regular recurring irregular patterm
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| Polyrhythm | two rhythmic patterns layered on top of each other
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| Harmony | -musical, space, depth or dimension (vertical)
-study of chords and their relationship
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| Chord | two or more tones sounded at the same time
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| triad | standard type of chord, three tone chord
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| Third Interval | the most important interval in a chord
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| Tonic or Key-note | first note of a scale ("Do") is home base
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| Tonality | Principle of organization around a tonic, or home, pitch, based on major or minor scale
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| Diatonic harmonic system | a scale built of whole steps and half steps
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| Major Scale | Scale that sounds like all the white notes C to C
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| Minor Scale | Scale that sounds like all the white notes A to A
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| Mondulation | movement from on key to another in the flow of a piece
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| Arpeggio | to present the notes one at a time
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| Harmonic Progression | Movement from chord to chord
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| Harmonic Function | Implied relationship with a home tone and/or with a chord
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| Dissonant (Chord) | sounds hash and unstable
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| Consonance (Chord) | sounds attractive and stable
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| Resolution | moving from dissonant to a consonance
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| "A Little Night Music," first movement | -composer - Mozart (w. Amadeus)
-Elegant
-Classical Era
-Medium String Orchestra
-Easy listening music
-Tuneful "whist able" melodies
-Balanced structure
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| Dominate | is the chord and 5th scale degree and second to the tonic
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| Musical Texture | Layers of their composition and their relationship
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| Monophony | single layer of melody alone
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| Polyphony | two or more melodies that are independent and equally important
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| Imitation | Polyphony and they imitate each other
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| Counterpoint | Polyphony and they are different then each other
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| Harmophony | one layer that is more important then another
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| Imitation -More rigid | doing exactly the same thing independently
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| "Hallelujah" | -larger work Messaih
-Baroque Composition
-Composer - Handel
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| Theme | melodic unit that is the basic building material of a composition
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| Motive/Motif | fragment of a melody or a very short melody
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| Sequence Theme | motif or theme appears numerous times at higher and higher pitches
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| Thematic development | all the potential theme is explored
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| movement (multi-) | piece of music complete in and of it self, but part of a larger work
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| Binary Form | -Two-part form
-A-B
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| Ternary Form | -Three-part Form
-A-B-A
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| Tempo | The speed of recurrence of the beat
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| Allegro Adagio | -fast
-slow
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| Accelerando | gradually get faster
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| Ritardando | gradually get slower
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| Forte Piano | -loud
-soft
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| Crescendo | gradually get louder
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| Decrescendo or Diminuendo | gradually get softer
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| Interpretation | shaping the expressive content of music
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| Timbre | refers to the uniqueness of sound
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| Four Principles of Tone | Pitch, Rhythm, Dynamics, Timbre
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| Musical Timbre | the color, quality or timbre of a tone is determined by the number and relative intensity of its harmonic
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| Woman and Children Vocal Ranges/Timbre | Soprano, Mezzo-Soprano, Alto
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| Men Vocal Ranges/Timbre | Tenor, Baritone, Bass
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| "O Fortuna"- means o fortion | -Composer: Carl Orff
-Rhythm and mete: more prominent then any other era, highly accented, hypnotic
-Harmony: harsh dissonance
-Media:Chorus and orchestra with emphasis on percussion
-Form: three verses (Strophic)
-Expression: sounds pagan/primal
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| Four "Families" of Instruments | Strings, woodwind, brass, percussion
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| Instrument Ensemble | -large: orchestra, band
-small: chamber orchestra
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| Keyboard Instruments | piano, organ, keyboard
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| Conductor | Leader of large ensambles, sets tempo
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| Medium | band, orchestra, choir, or ensamble
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| Renaissance Era | 1450-1600
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| A Cappella | -without instruments
-in the style of the Chapel (Pope's)
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| Continuous Imitation | Renaissance polyphonic style in which the motif move from line to line within the texture, often overlapping one another
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| Word Painting | the shape of the melody will equal the words
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| Cantus Firmus | foundation melody
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| Church Modes | church scale, one for every note white key to white key
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| Motet | genre, a little word study
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| Important Renaissance Painters | Michelangelo, Leonardo, Botticelli
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| Josquin-first name | -from early Renaissance
-Franco-Flemish training
-Italian career
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| "Ave Maria...virgo serena" | -composer-Josquin
-changing texture and combination of voices
-hormorhym texture
-melody/harmony-uses a church mode
-genre: Latin text
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| Homorhythm texture | type of polyphony were they maintain their importance, but give up their independence, and change symbols in the same rhythm
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| Genre-The Italian Madrigal | -born in Italy
-grew out of popular poetic form'-text: short, lyric/reflective poem
-word painting
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| The English Madrigal | -the "Elizabethan" Madrigal
--"Gloriana"
--"Oriana"
-developed from Italian Madrial
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| John Farmer | -composer of late Renaissance
-career from Dublin
-Later moved to London to write Madrigals
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| "Fair Phyllis" | -composer-John Farmer
-english Madriggal
-sectional repititions
-Contrasting texture
-pastoral text
-word painting
-playful, flirtatious mood
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| Musical Transalpina | music from across the alps
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Created by:
NickUD
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