Help
Options
Didn't know it?
click below
click below
Knew it?
click below
click below
Don't Know
Remaining cards (0)
Know
retry
shuffle
restart
0:00
Embed Code - If you would like this activity on your web page, copy the script below and paste it into your web page.
Normal Size Small Size show me how
Normal Size Small Size show me how
Music Exam 2
UNM Music Appreciation 129
| Question | Answer |
|---|---|
| Baroque | Exaggerated, abnormal, or even bizarre. |
| Camerata | "Salon" A group of Florentine writers, artists and musicians. |
| Major-minor tonality | The organizational system of the 2 main scale types. |
| Equal temprament | A new tuning system that allowed instruments to play in any key. |
| Ternary | Form that can be represented as statement (A); contrast (B); return of statement (A). |
| Binary (A, B) | Form that can be represented as statement (A) and counterstatement (B). |
| Baroque Period | 1600-1750 |
| Monody | Solo song with instrumental accompaniment; goal to recreate the musical-dramatic art of ancient Greece |
| Basso Continuo | Italian for "continuous bass." Also refers to performance group with a bass, chordal instrument (harpsichord, organ), and one bass melody instrument (cello, bassoon) |
| Figured Bass | Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer |
| Recitative | Solo vocal declamation that follows the inflections of the text, often resulting in a disjunct vocal style |
| Aria | Lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion |
| Ground bass | A repeating melody, usually in the bass, throughout a vocal or instrumental composition. |
| Oratorio | Large-scale dramatic genre originating in th Baroque, based on a text of religious or serious character, performed by solo voices, chorus, and orchestra; similar to opera but without scenery, costume, or action. |
| Cantata | Multimovement work for a solo vocalist, choir, and instrumental accompaniment. Chorale Tune, local language |
| Concerto grosso | Baroque concerto type based on the opposition between a small group of solo instruments (the concertino) and orchestra (the ripieno) |
| Ritornello | Short, recurring instrumental passage found in both the aria and the Baroque concerto; theme alternates with episodes |
| Suite | Multimovement work made up of a series of contrasting dance movements, generally all in the same key |
| Fugue | Polyphonic form popular in the Baroque era in which on or more themes are developed by imitative counterpoint |
| Prelude | Instrumental work preceding a larger work |
| Equal temperament | Tuning system based on the division of the octave into twelve equal half steps; the system used today |
| Multimovement Cycle | A three or four movement structure used in Classical-era instrumental music Movement 1 - Sonata-Alegra form (fast) Movement 2 - Slow Movement 3 - Dance; Minuet and Trio Movement 4 - Finale |
| Symphony | Large work for orchestra; generally three or four movements |
| String Quartet | Chamber music |
| Serenade | Classical instrumental genre that combines elements of chamber music and symphony, often performed in the evening or at social function. |
| Concerto | Instrumental ensemble ranging from forty to eighty member or more, consisting of wind and percussion instruments |
| Forms | Structure and design in music, based on repetition, contrast, and variation; the organizing principle of music |
| Minuet and trio | AABBCCDDAB |
| Sonata-rondo | ABABACABA |
| Sonata-allegro | Three parts: Exposition Development Recapitulation Intro (repeat) Exposition (repeat) Development Recap (Coda) |
| Theme | Melodic idea used as a basic building block in the construction of a composition |
| Variations | The composition procedure of altering a pre-existing musical idea. |
| When I am Laid in Earth | Purcell |
| Unison Chorale | Bach |
| Rejoice Greatly | Handel |
| Alla Hornpipe | Handel |
| Spring Concerto | Vivaldi |
| Contrapunctus I | Bach |
| Emperor Quartet | Haydn |
| Eine Kleine Nachtmusik | Mozart |
| Trumpet Concerto | Haydn |
| Catalogue Aria | Mozart |
| Monody | Vocal style established in the Baroque, with a solo singer(s) and instrumental accompaniment. |
| Camerata | Literally, Italian for salon; a gathering for literary, artistic, musical, or philosophical discussions, notably the Fliorentine Camarata at the end of the sixteenth century. |
| Figured bass | Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer. Also thorough-bass. |
| Basso continuo | Italian for "continuous bass." See figured bass. Also refers to performance group with bass, chordal instrument (harpsichord, organ), and one bass melody instrument (cello, bassoon). |
| Major-minor tonality | A harmonic system based on the use of major and minor scales, widely practiced from the seventeenth to the late nineteenth century. See also tonality. |
| Equal temperament | Tuning system based on the division of the octave into twelve equal half steps; the system used today. |
| Doctrine of the affections | Baroque doctrine of the union of text and music. |
| Castrato | Male singer who was castrated during boyhood to preserve the soprano or alto vocal register, prominent in seventeenth- and early-eighteenth-century opera. |
| Opera | Musical drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and pantomime, scenery and costumes. |
| Recitative | Solo vocal declamation that follows the inflection of the text, often resulting in a disjunct vocal style; found in opera, cantata, and oratoria. Can be secco or accompagnato. |
| Secco | Recitative singing style that features a sparse accompaniment and moves with great freedom. |
| Accompagnato | Accompanied; also a recitative that is accompanied by orchestra. |
| Aria | Lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio. |
| Da capo aria | Lyric song in ternary, or A-B-A, form, commonly found in operas, cantatas, and oratorios. |
| Overture | An introductory movement, as in opera or oratorio, often presenting melodies from arias to come. Also an orchestral work for concert performance. |
| Sinfonias | Short orchestral work, found in Baroque opera, to facilitate scene changes. |
| Librettist | The author of a libretto. |
| Libretto | Text or script of an opera, oratorio, cantata, or musical (also call the "book" in a musical), written by a librettist. |
| Masque | English genre of aristocratic entertainment that combined vocal and instrumental music with poetry and dance, developed during the sixteenth and seventeenth centuries. |
| Hornpipe | Country dance of British Isles, often in a lively triple meter; optional dance movement of solo and orchestral Baroque suite; a type of duple meter hornpipe is still popular in Irish traditional dance music. |
| Ground bass | A repeating melody, usually in the bass, throughout a vocal or instrumental compoisition. |
| Cantata | Vocal genre for solo singers, chorus, and instrumentalists based on a lyric or dramatic poetic narrative. It generally consists of several movements, including recitatives, arias, and ensemble numbers. |
| Oratorio | Large-scale dramatic genre originating in the Baroque, based on a text of religious or serious character, performed by solo voices, chorus, and orchestra; similar to opera but without scenery, costumes, or action. |
| Chorale | Congregational hymn of the German Lutheran church. |
| Bar form | Three-part A-B-A form, frequently used in music and poetry, particularly in Germany. |
| Collegium musicum | An association of amateur musicians, popular in the Baroque era. Also a modern university ensemble dedicated to the performance of early music. |
| Ritornello | Short, recurring instrumental passage found in both the aria and the Baroque concerto. |
| Opera seria | Tragic Italian opera. |
| Ballad | A form of English street song, popular from the sixteenth through the eighteenth centuries. Ballads are characterized by narrative content and strophic form. |
| Ballad opera/dialogue opera | English comic opera, usually featuring spoken dialogue alternating with songs set to popular tunes. |
| monody | "one song"; solo song with instrumental accompaniment |
| Florentine Camerata | group of writers who cultivated monody; aristocratic humanists who aimed to resurrect the musical-dramatic art of ancient Greece |
| figured bass | Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer |
| basso continuo | "continuous bass"; system which employed two instrumentalists for the accompaniment- one played the bass line on a cello or bassoon, the other filled in the harmonies on a chordal instrument (harpsichord, organ, lute, etc) |
| equal temperament | tuning that adjusted (or tempered) the mathematically "pure" intervals within the octave to equalize the distance between adjacent tones, making it possible to play in every major and minor key without experiencing unpleasant sounds |
| doctrine of affections | the idea of an entire piece or movement being built on a single affection |
| castrato | male singer who was castrated during boyhood in order to preserve the soprano or alto register of his voice for the rest of his life |
| opera | large-scale drama that is sung |
| recitative | musical declamation, or speech, in which the plot and action are advanced |
| secco | style of recitative which is accompanied only by continuo instruments and moves with great freedom |
| accompagnato | style of recitative which is accompanied by the orchestra and thus moves more evenly |
| aria | lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio |
| da capo aria | ternary form (A-B-A) that brings back the first section with embellishments improvised by the soloist |
| overture | an instrumental number heard at the beginning of most operas, which may introduce melodies from the arias |
| sinfonias | short instrumental work to facilitate scene changes |
| libretto | the text or script of the opera |
| librettist | writes the text of the work, working with the opera composer |
| masque | type of entertainment that combined vocal and instrumental music with poetry and dance; became popular among the aristocracy |
| hornpipe | dance form often associated with sailors |
| ground bass | a repeated phrase that descends along the chromatic scale, always symbolic of grief in Baroque music |
| Barbara Strozzi | composer of high-quality and masterful music, singer; professional musician when few women were |
| Henry Purcell | wrote "Dido and Aeneas" |
| monody | new genre of music a solo singer with a music accompaniment |
| New Harmonic Structure | -figured bass -abbreviated shorthand of notes -created through improvisation |
| Basso Continuo | performed on two instruments -chordal instrument and bass |
| virtuoso musician | a musician that is really good |
| subtle dynamic changes | -technical improvement in instruments -more difficult music |
| castrato | a boy who has been castrated in boyhood to sing high - this happened because women were not paid to sing |
| countertenor/falsetto | high male voice |
| Johann Sebastian Bach | 1685-1750 -German composer -devout Lutheran -played the organ -music teacher -had sacred and secular patrons -wrote only one Catholic Mass -chamber musician for the duke of Weimar |
| The Well-Tempered Clavier | -24 preludes and figures -prelude: short organ piece -one for every possible key |
| Brandenburg Concertos | chamber ensemble -small group of people |
| Toccata and Fugue in D Minor | -written for the organ -fugue: a polyphonic composition based on imitation |
| George Fredrick Handel | 1685-1759 -had and International career -taught at a music school in London -he wrote vocal music -wrote an opera series -wrote 40+ operas in his life time -wrote oratorios -wrote orchestral suites -water music - wrote the Messiah |
| Oratorio | -sung by a large group -has a chorus, soloists and and orchestra -sacred text (words exactly from the Bible) -like an Opera but... -no costumes -no scenery AND -no lighting |
| Rejoice Greatly | -Messiah No. 18 - composed by Handel -words from the Bible -characteristics: melisma -genre: oratorio |
| Hallelujah | -Messiah No. 44 -composed by Handel -words from the Bible -characteristics: contrasting textures -genre: oratorio |
| Sonata | -chamber group -sonata da camera-->chamber and dances -sonata de chiesa--> sacred -usually two violins and basso continuo |
| Baroque Concerto | -instrumental -contrast and unity -orchestra and -soloist -concerto grosso -small group |
| Antonio Vivaldi | 1876-1741 -violinist -composer -music teacher -prolific composer -wrote 500 concertos -chamber music -operas -concerto |
| "The Four Seasons" | genre: solo concerto -group of four separate violin concerto -each concert is named after a season: Summer, Fall, Spring, and Winter -programmatic: inspired by poem, or a reading -Spring "La Primavera" -concerto solo violin |
| 1750 | the date of the death of Bach; is the reason why people agree on the dates of the Baroque era |
| Baroque era | literally means exaggerated, abnormal, or even bizarre; was characterized by appalling poverty and wasteful luxury, magnificent idealism and savage oppression; the age of reason and discovery |
| Michelangelo | this man's art reflected the Baroque love of the dramatic; Venetian school of painters also adopted this technque |
| musical works | the creation of these often were for specific occasions--an opera for a royal wedding, a dance suite for a court festivity, a cantata for a religious service, etc. |
| monody | literally "one song"; solo song with instrumental accompaniment; consisted of a melody moving freely over a foundation of simple chords |
| Camerata | a group of Florentine writers, artists, and musicians that first cultivated monody; wanted music to heighten the emotional power of the text |
| basso continuo | a system which often employed two instrumentalists for the accompaniment; one played the bass line on a cello or bassoon, and the harmonies were filled in with a chordal instrument (harpsichord, organ, or lute) |
| figured bass | a type of notation where the composer put a numeral above or below the bass note, indicating the chord required |
| major and minor keys | became the most powerful force in music; simpler styles and harmonies led to this; each chord could assume its function in relation to the key center |
| equal temperament | a tuning system that allowed instruments to play in any key; adjusted the mathematically "pure" intervals within the octave to equalize the distance between adjacent tones |
| rhythm | was vigorous and based on regular accent and carried by a moving bass part; helped capture the drive and movement of this dynamic age |
| wide leaps | the expansion of melody; helped create melodies that were highly expressive of the text |
| dissonant chords | chords that could be used more freely for emotional intensity and color |
| terraced dynamics | was achieved by adding octaves or instruments; the more, the louder; forte and piano |
| virtuoso | the best in a field |
| doctrine of affections | basically the wedding of music and poetry; when an entire piece or movement was normally built on a single affection; established the mood of the piece |
| castrato | a male singer who was castrated during boyhood in order to preserve the soprano or alto register of his voice for the rest of his life; associated with opera |
| improvisation | played a significant role in Baroque music; musicians added embellishments to what was written down |
| exoticism | the interest in far-off lands; became a discernible element of Baroque music |
| opera | the most important new genre of the Baroque era; is a large-scale music drama that combines poetry, acting, scenery, and costumes with singing and instrumental music; usually based on Greek mythology |
| recitative | the section that moves the drama along in an opera; is disjunct and similar to talking; question and answer dialogue |
| secco | Italian for "dry"; a style of recitative which is accompanied only by continuo instruments and moves with great freedom |
| accompagnato | a style of recitative which is accompanied by the orchestra and thus moves more evenly |
| aria | Italian for "air"; a song that is usually of a highly emotional nature; the showstopping piece that could be removed from the performance |
| da capo aria | a formal convention that developed in aria's early history; uses ternary form |
| ensemble | a number of people in an opera where the characters pour out their respective feelings |
| orchestra | also supports the actions of the opera by setting the appropriate mood for the different scenes |
| overture | an instrumental number heard at the beginning of most operas, which may introduce melodies from the arias |
| sinfonias | musical interludes between scenes |
| librettist | a person whom the opera composer works with; writes the text of the work, using dramatic insight to create characters and the storyline, with its main threads and subplots |
| libretto | the text or script of the opera; must be devised to give the composer an opportunity to write music for the diverse numbers that have become the traditional features of this art form |
| Lully | the most important composer of the French Baroque opera; his operas won him favor with the French royal court under King Louis XIV; was the first to succeed in adapting recitative to the inflections of the French language |
| masque | a type of entertainment that combined vocal and instrumental music with poetry and dance; became popular among the aristocracy; popular in England; many were presented privately in the homes of the nobility |
| Henry Purcell | considered the greatest English Baroque era composer; assimilated all of the Baroque era's achievements |
| ground bass | a repeated phrase the descends along the chromatic scale, always symbolic of grief in Baroque music |
| Barbara Strozzi | was most likely an illegitimate daughter; wrote 7 secular pieces; made her mark as a composer of high-quality and masterful music and as a singer; it has also been suggested that she was a courtesan |
| cantata | literally "to sing"; was an integral part of the church service in the Lutheran tradition; most Sundays required their own one of these and there were more for holidays; was dramatic and short |
| chorale | a hymn tune specifically associated with German Protestantism; originally sung in unison but then transformed into 4 part harmony; was originally a battle cry of the Reformation; became the unifying thread of cantatas |
| arias | elaborate movements with ornate vocal lines; where Bach's lyricism found its purest expression; perceived as a king of duet between the voice and a solo instrument |
| Johann Sebastian Bach | an organ virtuoso; born in Germany; had 19 children (not many survived) and 4 sons became leading composers; was cantor at St. Thomas's Church in Leipzig; wrote over 200 cantatas |
| Well-Tempered Clavier | considered the pianist's Old Testament; contains Bach's most important keyboard works |
| ritornello | a melodic idea that reappears; unifies the movement |
| bar form | standard three-part structure (A-A-B) |
| oratoria | means "a place of prayer"; a large-scale musical work for solo voices, chorus, and orchestra; based on a biblical story |
| Handel | embodies the worldliness of the Baroque; wrote serious operas; founded the Royal Academy of Music; started writing oratorias after The Beggar's Opera |
| The Beggar's Opera | opera written by John Gay that had sensational success because it was sung in English, it was humorous, and it was cheaper than Handel's operas; had tunes familiar to the audience |
| instrumental music | for the first time in history, this became as important as vocal music; new instruments were developed while old ones improved |
| timbre | tone color; instruments were specifically chosen by Baroque composers for this |
| gut | what the strings of Baroque instruments were made of; produced from animal intestines; yielded a softer yet more penetrating sound |
| woodwinds | used for color in the late Baroque; were especially effective in suggesting pastoral scenes |
| trumpet | became a solo orchestral instrument; contributed a bright sonority to the orchestral palette |
| Water Music | dance suite by Handel; written for a party floating down the Thames River; winds, brass, and strings; 22 numbers were written for this suite; marked by lively rhythms and catchy melodies; alla hornpipe |
| Royal Fireworks | Handel's other famous suite |
| rondeau | a French form that was frequently employed by later eighteenth century composers; five part structure that is unified by the repetitions of the opening ritornello (a recurring theme) set against several contrasting sections |
| Mouret | Frenchman who served a son of Louis XIV; most famous for his ensembles; had an affluent lifestyle but died penniless |
| concerto | an instrumental form based on the opposition between two dissimilar bodies of sound |
| solo concerto | a type of concerto with a solo instrument and accompanying group; violin was featured often here; consisted of three movements |
| concerto grosso | a type of concerto that was based on the opposition between a small group of instruments (concertino) and a larger group (tutti, ripieno) |
| keyboard instruments | played a central role in chamber music, taking an equal role in small ensembles to melody instruments; also the most popular solo instruments for both home music-making and professional performers |
| organ, harpsichord, and clavichord | the three most important keyboard instruments of the Baroque; provided continuo in ensemble music |
| organ | an instrument used in both the home and at church; had a pure, transparent timbre, terraced levels of soft and loud were achievable due to the use of multiple keyboard |
| harpsichord | an instrument in which the strings were plucked by quills; its tone could not be sustained ; the pressure of the fingers on the keys produced subtle dynamic nuances but the piano's extremes of loud and soft |
| passacaglia | a keyboard form that is structured on a repeating bass line, or ground bass, over which continuous variations are created |
| chaconne | a keyboard form built on a succession of harmonic progressions repeated over and over |
| prelude | a keyboard form that is a short study based on the continuous expansion of a melodic or rhythmic figure; mostly homophonic |
| toccata | a keyboard form that was free and often highly virtuosic |
| fugue | a contrapuntal composition in which a single theme pervades the entire fabric, entering in one voice and then in another; based on the principle of imitation; main theme is the subject |
| subject | the main theme of a fugue; constitutes the unifying idea; stated alone at the beginning in one of the voices and then imitated |
| answer | the voice that imitates the subject |
| exposition, episodes, recapitulation | the structure of a fugue |
| The Art of Fugue | Bach's collection of fourteen fugues and four canons; was his last demonstration of contrapuntal mastery |
| Rococo | literally "shell"; took shape as a reaction against the grandiose gestures of the late Baroque; yielded to a single melody line with a simple chordal accompaniment; wanted music to be simple and express natural feelings |
| opera buffa | Italian comic opera; an example would be John Gay's "The Beggar's Opera" |
| opera | large-scale music drama that combines poetry, acting, scenery, with singing and instrumental music |
| recitative | musical declamation, or speech that advances plot in opera: more connected to dialogue; sing-talking |
| basso continuo | instrumental part often played by two instruments |
| equal temperament | adjusted the mathematically pure intervals within the octave to equalize the distance between adjacent tones |
| overture | instrumental number heard at the beginning of most operas |
| aria | lyrical, more repetition, worth remembering, air, releases emotional tension |
| da capo aria | ternary, A-B-A, brings back to the first section with embellishments improvised by the soloist |
| libretto | text or script of the opera |
| ground bass | a repeated phrase that descends along the chromatic scale |
| cantata | a musical composition for voices and orchestra based on a religious text; served Lutheran church |
| oratorio | large-scale dramatic genre with a sacred text performed by solo voices, chorus, and orchestra; it is not staged or costumed |
| chorale | hymn tune, unifies cantata and sung in four part harmony |
| suite | a set of stylized dance pieces |
| ritornello | unifies movement, recurring several times (recurring theme) |
| concerto | there is a solo and a grosso (group), gross contains ritornello (RSRS) |
| fugue | a contrapuntal composition in which a single theme pervades the entire fabric; based on the principle of imitation; grandchild of renaissance polyphony |
| sinfonias | interludes |
| hornpipe | dance form often associated with sailors |
| scotch snap | short-long rhythm |
| organ | transparent timbre |
| harpsichord | strings plucked by quills, tone cannot be sustained |
| subject | main theme of the fugue |
| passacaglia | structured on a repeating bass line |
| chaconne | a continuous set of variations based on a repeating harmonic progression. it is very similar to a passacaglia |
| exposition | first section of the fugue |
| episodes | interludes that serve as areas of relaxation |
| augmentation | longer time values |
| diminution | shorter time values |
| retrograde | pitches stated backwards |
Created by:
100000534521744