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MUSC101 Exam 1
Music Appreciation
Term | Definition |
---|---|
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 |
Piece | music with more then one singer or no singers at all |
Three-part system | -Movement -Larger Work -Composer |
Mass "Prefatory Prayers" | -Movement: "Prefatory Prayers" -Larger Work: Mass -Composer: Lenard Bernstein |
Historical Style | Styles change over time |
Historical Periods | -Medieval Era (Middle Ages 475-1450) -Renaissance Era -Baroque Era -Classical Era -Romantic Era -Twentieth Century and beyond |
Patronage | Music sponsored by the church |
Plainchant (chant, Gregorian chant, plainsong) | -Latin text -(Word rhythm) -(Monophony) -For worship |
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 |
Sound | Organized vibrations in the air |
Tone | Sound with a consistent rate of vibration |
Noise | Sound without a consistent rate of vibration |
Pitch | ordering of sounds higher or lower |
Duration | number of beats or fractions of a beat |
Notation | Complex set of symbols used to indicate the pitch and duration of music sound |
Melody | sequence of series of pitches that are reconizable |
Range | Difference between the lowest and highest note |
Contour/shape | Shape of the music |
Conjuct | Melody that moves by a step up and down the scale |
Disjunct Movement | Disjointed melody that moves leaps up the scale |
Phrase | basic unit of construction of a melody |
cadence | a melodic, rhythmic or harmonic line that marks the end of the phrase |
Scale | the organization of the lowest to highest notes used in a piece |
Melodic interval | distance between two notes that come after one another |
Octave | 8th inteval |
Rhythm | anything having to do with time in music |
Beat/Pulse | beats in a repeating series of time |
Accent | to emphasize a beat |
Meter | regular occurring of accenting or non-accented muisc |
Measure/Bar | regularly occurring pattern of accented and non-accented notes |
Downbeat | Name given to the accented beat in a measure |
Metrical Pattern | Duple, Triple, Common |
Non-metric | Melody not based on the meter as a standard of measure |
Syncopation | accent of the beat |
Additive Meter | regular recurring irregular patterm |
Polyrhythm | two rhythmic patterns layered on top of each other |
Harmony | -musical, space, depth or dimension (vertical) -study of chords and their relationship |
Chord | two or more tones sounded at the same time |
triad | standard type of chord, three tone chord |
Third Interval | the most important interval in a chord |
Tonic or Key-note | first note of a scale ("Do") is home base |
Tonality | Principle of organization around a tonic, or home, pitch, based on major or minor scale |
Diatonic harmonic system | a scale built of whole steps and half steps |
Major Scale | Scale that sounds like all the white notes C to C |
Minor Scale | Scale that sounds like all the white notes A to A |
Mondulation | movement from on key to another in the flow of a piece |
Arpeggio | to present the notes one at a time |
Harmonic Progression | Movement from chord to chord |
Harmonic Function | Implied relationship with a home tone and/or with a chord |
Dissonant (Chord) | sounds hash and unstable |
Consonance (Chord) | sounds attractive and stable |
Resolution | moving from dissonant to a consonance |
"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 |
Dominate | is the chord and 5th scale degree and second to the tonic |
Musical Texture | Layers of their composition and their relationship |
Monophony | single layer of melody alone |
Polyphony | two or more melodies that are independent and equally important |
Imitation | Polyphony and they imitate each other |
Counterpoint | Polyphony and they are different then each other |
Harmophony | one layer that is more important then another |
Imitation -More rigid | doing exactly the same thing independently |
"Hallelujah" | -larger work Messaih -Baroque Composition -Composer - Handel |
Theme | melodic unit that is the basic building material of a composition |
Motive/Motif | fragment of a melody or a very short melody |
Sequence Theme | motif or theme appears numerous times at higher and higher pitches |
Thematic development | all the potential theme is explored |
movement (multi-) | piece of music complete in and of it self, but part of a larger work |
Binary Form | -Two-part form -A-B |
Ternary Form | -Three-part Form -A-B-A |
Tempo | The speed of recurrence of the beat |
Allegro Adagio | -fast -slow |
Accelerando | gradually get faster |
Ritardando | gradually get slower |
Forte Piano | -loud -soft |
Crescendo | gradually get louder |
Decrescendo or Diminuendo | gradually get softer |
Interpretation | shaping the expressive content of music |
Timbre | refers to the uniqueness of sound |
Four Principles of Tone | Pitch, Rhythm, Dynamics, Timbre |
Musical Timbre | the color, quality or timbre of a tone is determined by the number and relative intensity of its harmonic |
Woman and Children Vocal Ranges/Timbre | Soprano, Mezzo-Soprano, Alto |
Men Vocal Ranges/Timbre | Tenor, Baritone, Bass |
"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 |
Four "Families" of Instruments | Strings, woodwind, brass, percussion |
Instrument Ensemble | -large: orchestra, band -small: chamber orchestra |
Keyboard Instruments | piano, organ, keyboard |
Conductor | Leader of large ensambles, sets tempo |
Medium | band, orchestra, choir, or ensamble |
Renaissance Era | 1450-1600 |
A Cappella | -without instruments -in the style of the Chapel (Pope's) |
Continuous Imitation | Renaissance polyphonic style in which the motif move from line to line within the texture, often overlapping one another |
Word Painting | the shape of the melody will equal the words |
Cantus Firmus | foundation melody |
Church Modes | church scale, one for every note white key to white key |
Motet | genre, a little word study |
Important Renaissance Painters | Michelangelo, Leonardo, Botticelli |
Josquin-first name | -from early Renaissance -Franco-Flemish training -Italian career |
"Ave Maria...virgo serena" | -composer-Josquin -changing texture and combination of voices -hormorhym texture -melody/harmony-uses a church mode -genre: Latin text |
Homorhythm texture | type of polyphony were they maintain their importance, but give up their independence, and change symbols in the same rhythm |
Genre-The Italian Madrigal | -born in Italy -grew out of popular poetic form'-text: short, lyric/reflective poem -word painting |
The English Madrigal | -the "Elizabethan" Madrigal --"Gloriana" --"Oriana" -developed from Italian Madrial |
John Farmer | -composer of late Renaissance -career from Dublin -Later moved to London to write Madrigals |
"Fair Phyllis" | -composer-John Farmer -english Madriggal -sectional repititions -Contrasting texture -pastoral text -word painting -playful, flirtatious mood |
Musical Transalpina | music from across the alps |