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Music exam 2
Music 100 exam
| Question | Answer |
|---|---|
| Harmony | -simultaneous tones -working together |
| Tonality | momentum toward a specific final tone |
| Primary chords | includes three major chords: the tonic, the dominant, and the subdominant |
| interval | -distance between 2 frequencies |
| tonic key | main key |
| full cadence | complete pause |
| chord | 3 or more tones played together |
| key | 12 tones |
| scale | unique set of 7 tones |
| half cadence | incomplete pause |
| chord progression | logical sequences |
| consonance | combination of sounds that feel stable or relaxed |
| major mode | sounds of strength, optimism, and happiness |
| dissonance | combination of sounds that feel tense or unstable |
| modulation | change of key within a musical work |
| minor mode | sounds of pathos, grief, and tragedy |
| baroque period | -1600-1750 -dramatic and energetic -ornate and full of detail -major/minor tonality -terraced dynamics |
| age of reason | -progress in science and mathematics -improved technology = new instruments -system of pitch organization |
| age of absolutism | -absolute monarchs ruled with unlimited power -patronage system [royal court or church] |
| doctrine of affect | music stimulating emotion and mood |
| opera | -reflected ancient greek drama or religious stories -play that is sung |
| recitative | -musically heightened speech -definite speech [sung not spoken] -free rhythm -Ex. Claudio Monteverdi: Orfeo |
| aria | -song like -emphasis on melody and clear meter -Ex. Henry Purcell Dido and Aneas -first opera in English |
| chorus | -creates atmosphere and comments on the action -Ex. Glory to God |
| Camerata | developed the opera in Florence late 1500s |
| dance suite | -multi-movement instrumental composition -Ex. Bach Orchestral Suite No. 3 |
| hapsichord | keyboard instrument built during the age of reason |
| concerto | -multi-movement work for orchestra 1-3 soloists -three movements -returning theme: ritornello -Ex. Antonio Vivaldi Four seasons, spring |
| ritornello form | returning theme |
| fugue subject | single theme in a fugue |
| form | refers to the arrangement or organization of the various elements in a work AA or AA' |
| repetition | the immediate restatement of an idea, passage, or section |
| contrast | the presentation of new material, significantly different from what came before A B A |
| return | -like repetition but not immediate -returns after a contrasting section A B A or A B A' |
| variation | restatement of a melody or other structure in which certain elements are in same while others are varies A, A1, A2 |
| strophic form | vocal work in which two or more verses of text are sung to the same melody |
| variation form | consists of a main idea called a theme followed by a number of more or less varied restatements of the idea |
| binary form | two large parts that are significantly different from each other |
| ternary form | three clearly defined sections that form an ABA pattern |
| classical period | -1750-1825 -Classical Ideal -natural ideals -simplicity favored -moderation -balance |
| enlightenment | -Locke, Voltaire, Rousseau -Applied reason to social and political problems -developed social contact concept -promoted worth of the individual -anti-authoritarian and secular emphasis |
| franz joseph haydn | -last important court composer -1732-1809 -worked for hungarian court -flourished under the patronage system -knew mozart and taught beethoven -composed symphonies, string quartets, operas, chamber music |
| wolfgang mozart | -1756-1791 -child prodigy -left court position and moved to vienna to be independent composer -died in poverty |
| ludwig van beethoven | -1770-1827 -1st independent composer -moved to vienna in 1792 -composer and performer -defined composer as an artist |
| classical style | -simpler textures: homophonic texture -simpler melodies: even phrases -simple rational forms |
| sonata cycle | -multi-movement blueprint for all instrumental genres -4 sections within: I, II, III, IV |
| sonata form | -consists of three large sections: exposition, development, and recapitulation |
| exposition | -presents the melodies [themes] and tonalities -broken up into 4 parts 1. First theme 2. transition [bridge] 3. Second theme 4. Closing theme |
| development | -intensity, instability, change -explore and examine the ideas from the exposition -Reworks material from exposition (no new themes presented) -Finishes by returning to tonic key |
| recapitulation | -First theme: tonic key -Transition on bridge -Does not modulates -Second theme: in tonic key -Closing theme: in tonic key -Sometimes a Coda |
| coda | -tail -ending added to the recapitulation -emphasize final cadence and drain energy off of the piece |
| symphony | large scale instrumental composition for a full orchestra Ex. Mozart Symphony no. 35 Ex. Beethoven Symphony no 5, I |
| concerto | -for orchestra and soloist |
| string quartet | -two violins, viola, and cello |
| solo sonata | -instrumental soloist with piano accompaniment |
| opera buffa (comic opera) | -reformed serious opera -plots drawn from contemporary life -stories poked fun at human shortcomings -Ex. Mozart: The Marriage of Figaro Act I scene I |
| oratorio | -substitute for opera during lent -story from the bible -not staged -Ex. Frideric Handel: Messiah |
| fugue | -instrumental work based on imitative polyphony -played on a single instrument -Ex. Bach Well Tempered Clavier |
Created by:
taydizzle25
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