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Music Appreciation 2
| Term | Definition |
|---|---|
| classicism | did not imply a strict adherence to traditional forms, the composers of the Viennese School experimented boldly and ceaselessly with the materials at their disposal |
| patronage system | sponsorship of an aristocracy that viewed the arrs as a necessary adornment of life |
| public concerts | the public flocked to hear the latest works |
| sonata-allegro form | exposition, development, recapitulation, coda |
| cadenza | a virtuosic solo passage in the manner of an improvisation that comes toward the end of a movement |
| Kierchel | K. 453, put Mozart's pieces in order |
| concerto | piece of music for solo instrument accompanied by the orchestra |
| 1750-1825 | dates of classical period |
| french, american, industrial | revolutions of the classical period |
| vienna, austria | musical center of the world |
| Enlightenment | stressed the centrality of reason in human experience |
| motive | smallest melodic or rhythmic unit |
| sequence | repeated at a higher or lower level |
| symphony | held the central place in Classical instrumental music |
| bridge | transitional passage |
| exposition | statement |
| development | conflict and action, the essence of drama |
| recapitulation | restatement |
| coda | an extension of the closing idea that leads to the final cadence in the home key |
| 1756-1791 | years that mozart lived |
| wolfgang amadeus | mozarts first names |
| the magic flute | mozarts final opera |
| requiem | mozarts final (unfinished) piece |
| sonata | an instrumental work for one or two instruments |
| heroic, dedicated to Napoleon Bonaparte, Eroica | III |
| having to do with nature, Pastorale | VI |
| choral | IX |
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