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world of music final
college music appreciation
| Question | Answer |
|---|---|
| who were the three best known renaissance composers according to the book | Josqin de prez, Giovanni Pierluigi Palestra, and Giovanni Gabriele |
| what was the rhythym of the gregarian chant? | slow, one note per syllable |
| Which religious institution dominated the history of Western music for it's first 1400 years? | catholic churches |
| what is the difference between a syllabic and melimatic setting of text. | melismatic has several notes or more per syllable syllabic is one note per syllable |
| What are the scale patterns of the Gregorian chant called? | They are called modes and have mystical sound with the major/minor sound. |
| What is an imitative counterpoint? | It is where voices enter seperately with voice and phrase repeating last voice and phrase, row your bout round |
| What is the problem with thick Renaissance polyphony, particularly to the liturgy(text from the church) | The imitative lines and overlapping busyness hide the text, and it is hard to understand and perceive the message |
| In the Renaissance period, patronage of the arts began to shift. Where did they shift from and to? | Instrumental music, percussion |
| Which country were polyphonic settings in mass most prevalent? | Italy |
| What Language are madrigals typically written in? | The vernacular...italian.. |
| What is it called when secular music and drama are added to the church liturgy | Liturgical drama |
| What century did polyphonic texture first come in to existance | baroque |
| what period are michealangelo, da vinci, Luther, and Shakespear associated with? | Reanaissance |
| Which modern day instrument was viele a forerunner of | violin |
| which language were Roman catholic chants sung in? | latin |
| who is credited with having invented the greogorian chant | pope gregory the great |
| how did gutenbergs invention in the 15th century affect the development of music? | his moveble type invention created a foundation for the modern music industry |
| the motet was sung by who | by a church choir as part of a church service |
| what type of composition is a madrigal | It is a secular composition, about love, pastoral theme, or a secular topic |
| How independant was instrumental music from vocal music during the renaissance? | there was no music only for instuments, only for vocal and instumental |
| What texture is used in Gregorian chant | monophonic sung in unison |
| What language are polyphonic settings of the mass sung in | Latin |
| what are the three choral genres listed in the text for the renaissance period | Mass motet, Madrigal |
| During the baroque period, which 4 countries did music florish in? | Italy France Germany England |
| Which texture underwent significant development in the baroque per. | harmonic |
| In the baroque tonal system,what does the tonic represent | Chord of rest |
| In the barouque tonal system, what does the dominant represent | chord of movement |
| What is modulation | change of tonality from key of stability to contrast/ instability |
| what are terraced dynamics | contrasted and abrupt levels of loudness |
| what were the primary instruments of the baroque orchestra | violins trumpets,oboes, flutes |
| what was a popular plucked baroque instrument | lute |
| when did opera begin | 1600 |
| where did opera begin | Italy |
| what re the 4 baroque orchestral forms in the book | concerto, concerto grosso, overture, dance suite |
| how many movements are in a concerto | 3 |
| WHICH INSTRUMENTS WERE KEYBOARD WORKS WRITTEN FOR | HARPSICHORD |
| WHICH INSTRUMENT USUALLY PLAYED THE ACCOMPIANMENT FOR THE A CANTATA | ORGAN |
| WHAT OCCASION WAS MUSIC FOR THE ROYAL FIREWORKS WRITTEN FOR | TO CELEBRATE THE END OF THE WAR OF AUSTRIA SUCESSION FROM LONDON |
| WHO WERE THE 2 MAIN COMPOSERS OF THE BAROQUE PERIOD | BACH AND HANDEL |
| HOW MANY PERFORMERS PLAY IN A TRIO SONATE | 4 |
| WHAT WAS THE FUNCTION OF THE RECITATIVE< HOW IS THE ARIA DIFFERNT | THE REC. IS FOCUSED ON THE WORDS, AND THE ARIA IS FOCUSED ON THE MELODY |
| WHAT TEXTURE IS USED IN THE FUGE | POLYPHONIC BASED ON INTERWOVN MOLODIES |
| WHAT GENRE IS MESSIAH | BAROQUE |
| WHERE WERE THE ARTS CENTERED DURING THE THE CLASSIC PERIOD | COURTS AND COMMUNITIES OF AUSTRIA AND GERMANY |
| WHAT DOES CRESCENDO MEAN | GRADUALLY LOUDER |
| IN CONTRAST WITH THE BAROQUE PERIOD, THAT WAS DESCRIBED AS HAVING OPTULENT SPLENDOR, WHOE WOULD THE CLASSICAL PERIOD BE DESCRIBED | EMOTIONALLY RESTRAINED, BALANCED, CLARITY AND SYMMETRY, CLEAR PRECISE AND FORMAL |
| WHICH KEYBOARD INSTRUMENT WAS NEW IN HE CLASSIC PERIOD | PIANO FORTE |
| WHICH ENSEMBLE PLAYED A CONCERTO | ORCHESTRA |
| WHAT ROLE DID THE MAJOR MINOR TONAL PLAY IN THE BAROQUE PERIOD | THE SYSTEM ESTABLISHED CHORDS |
| IN A 4 MOVMENT CLASSIC WORK WHICH FROM IS USUALLY THE 3RD MOVEMENT | DANCE |
| WHAT IS THE MOST COMMON CHAMBER MUSIC ENSEMBE OF THE CLASSIC ERA | STRING QUARTET |
| WHAT IS LIBRETTO | TEXT/LYRICS AND POETRY OF AN OPERA |
| WHAT METER IS A MINUET AND TRIO IN | TRIPLE METER |
| WHICH COUNTRY DID HAYDN MOZART AND BEETHOVEN SPEND MOST OF THEIR CAREETS IN | AUSTRIA |
| WHO WAS HAYDN EMPLOYED BY FOR 30 YRS/ | PRINCE ESTERHAZY OF AUSTRIA |
| WHICH CLASSIC PERIOD COMPOSER WAS A CHILD PRODIGY | MOZART |
| WHICH OF BEETHOVENS COMPOSING PERIODS DID MAN OF HIS MOT FAMOUS WORKS COME FROM | CLASSICAL EARLY WORK |
| WHICH SYMPHONY DID BEETHOVEN WRITE WHEN DEAF | 9TH SYMPHONY |
| WHAT CLASSIC PERIOD GENRE FEATURES A CADENZA | CONCERTO |
| WHAT IS A CODA | THE CONCLUSION OF A SONATA BUILDING UP WITH A CADANCE |
| WHO COMPOSED THE PATHETIQUE SONATA | BEETHOVEN |
| WHO WAS THE PRIMARY PATRON DURING THE CLASSIC PERIOD | NOBLEMAN |
| WHAT HAPPENED WITH INSTRUMENTAL MUSIC DURING THE CLASSICAL PERIOD | MUSIC FOR INSTRUMENTAL PIECES WERE WRITTEN AND EVOLVED CHANGES IN STYLE, AND MOVEMENTS |
| WHAT WAS THE TYPICAL CHARACTERISTIC OF RHYTHYM DURING THE CLASSIC PERIOD | LIGHT BEAT AND CRISP RHYTHYM |
| HOW EASY WAS IT FOR MOZART TO ATTAIN ROCOGNITION ND INCOME | CONCERTS, COMMISSIONS, AND MUSIC SALES MADE IT FAIRLY EASY FOR HIM |
| WHAT WERE ATTRIBUTES OF THE ROMANTIC PERIOD | ROMANTISIZED EVERYTHING REJECTED RIDGIDNESS, EVERYTHING WAS EMOTIONAL AND IMAGINATIVE |
| WHAT WAS THE CAUSE OF THE FEELINGS OF NATIONALISM DURING THE ROMANTIC PERIOD | AS A REACTION AGAINST THE DOMINANCE OF GERMAN ROMANTICISM |
| WHAT WAS THE TEXTURE OF MOST MUSIC DURING THE 19TH CENTURY | HOMOPHONIC |
| WHAT WAS THE DOMINANT ELEMENT OF 19TH CENTURY MUSIC | CHROMATISISM AND DISSONANCE |
| HOW DID BALLET BEGIN BEFORE IT BECAME AN INDEPENDANT GENRE | IT STARTED AS PART OF AN OPERA |
| WHAT IS THE GERMAN WORD FOR ART SONGS? | LIEDER |
| HOW MANY LIEDER DID SCHEBERT WRITE | 600 |
| WHAT IS THE PRIMARY INSTUMENTATION FOR AN ART SON | KEYBOARD |
| WHAT DOES STROBIC MEAN | MUSIC SAME FOR EACH VERSE OF POETRY |
| OF THE CONTROVERSY BETWEEN TRADITIONALISTS AND REVOLUTIONARIES, WHICH WAS BRAHAMS | BRAHAMS WAS A TRADITIONALIST |
| WHERE DID CHOPIN SPEND HIS PERSONAL LIFE | PARIS |
| WHAT GENRE OF MUSIC DID VERDI COMPOSE | ITALIAN OPERA |
| WHAT DID WAGNER CALL HIS OPERAS | MUSIC DRAMAS WITH MUSIC DRAMA AND POETRY |
| WHO WAS WAGNERS WEALTHY PATRON | KING LUDWIG THE 2ND |
| WHAT DOES VIRTUOSO MEAN | MUSICIAN WITH MASTERLY ABILITY |
| WHO WROTE ROMEO AND JULIET | TCHAIKOVSKY |
| WHAT ARE THE 3 GENRES THAT YOUR TEXT REFERS TO AS MINIATURES | CHARACTER PIECES, SOLO PIANO PIECES(CHOPIN ETC), AND LIEDER(SOLOIST WITH PIANO ACCOMP) |
| WHAT WAS RHYTHYM LIKE IN 19TH CENTURY MUSC | LESS REGULAR AND MORE COMPLEX\ |
| WHAT GENRES OF MUSIC DID SCHUBERT COMPOSE | ART SONGS |
| HOW WAS TCHAKOVSKY ABLE TO COVER HIS LIVING EXPENSE WHILE HE COMPOSED | HIS WEALTHY PATRON vON mECK |
| HOW AVAILABLE WERE MUSICAL OPPORTUNITIES FOR MENDALSSOHN | HE HAD THE FINEST OPPORTUNITIES, COULD TRAVEL AND HAD AN ORCHESTRA AT HIS SERVICE |
| HOW IMPORTANT WAS THE BUSINESS ASPECT OF MUSIC IN THE ROMANTIC PERIOD? | VERY IMPORTANT |
| WHO WROTE LE SACRE DU PRINTEMPS | STRAVINSKY |
| WHAT BECAME AN IMPORTANT COMPOSITIONAL DEVICE IN MODERN MUSIC | SILENCE |
| WHAT EXTERNAL CIRCUMSTANCES CONTRIBUTED TO NEW DEVELOPMENTS IN 20TH CENTURY MUSIC | ECONOMIC FACTORS, SOCIAL UPHEAVALS, SHIFTS IN PATRONAGE |
| WHO DID CONCEPTS OF IMPRESSIONISM ORIGINATE WITH | FRENCH PAINTERS MONET AND RENOIR |
| WHAT IS IMPRESSIONISM IN MUSIC A REACTION AGAINST | MASSIVE INTERLLECTUAL GERMAN MUSIC LIKE BRAHAMS AND WAGNER |
| WHO IS AN IMPORTANT IMPRESSIONISTIC COMPOSER | CLAUDE DE BUSSEY |
| WHAT IS LE MER ABOUT | THE WIND AND SEA |
| WHAT WAS THE TEXTURE OF MOST MUSIC DURING THE 19TH CENTURY | HOMOPHONIC |
| WHAT WAS THE DOMINANT ELEMENT OF 19TH CENTURY MUSIC | CHROMATISISM AND DISSONANCE |
| HOW DID BALLET BEGIN BEFORE IT BECAME AN INDEPENDANT GENRE | IT STARTED AS PART OF AN OPERA |
| WHAT IS THE GERMAN WORD FOR ART SONGS? | LIEDER |
| HOW MANY LIEDER DID SCHEBERT WRITE | 600 |
| WHAT IS THE PRIMARY INSTUMENTATION FOR AN ART SON | KEYBOARD |
| WHAT DOES STROBIC MEAN | MUSIC SAME FOR EACH VERSE OF POETRY |
| OF THE CONTROVERSY BETWEEN TRADITIONALISTS AND REVOLUTIONARIES, WHICH WAS BRAHAMS | BRAHAMS WAS A TRADITIONALIST |
| WHERE DID CHOPIN SPEND HIS PERSONAL LIFE | PARIS |
| WHAT GENRE OF MUSIC DID VERDI COMPOSE | ITALIAN OPERA |
| WHAT DID WAGNER CALL HIS OPERAS | MUSIC DRAMAS WITH MUSIC DRAMA AND POETRY |
| WHO WAS WAGNERS WEALTHY PATRON | KING LUDWIG THE 2ND |
| WHAT DOES VIRTUOSO MEAN | MUSICIAN WITH MASTERLY ABILITY |
| WHO WROTE ROMEO AND JULIET | TCHAIKOVSKY |
| WHAT ARE THE 3 GENRES THAT YOUR TEXT REFERS TO AS MINIATURES | CHARACTER PIECES, SOLO PIANO PIECES(CHOPIN ETC), AND LIEDER(SOLOIST WITH PIANO ACCOMP) |
| WHAT WAS RHYTHYM LIKE IN 19TH CENTURY MUSC | LESS REGULAR AND MORE COMPLEX\ |
| WHAT GENRES OF MUSIC DID SCHUBERT COMPOSE | ART SONGS |
| HOW WAS TCHAKOVSKY ABLE TO COVER HIS LIVING EXPENSE WHILE HE COMPOSED | HIS WEALTHY PATRON vON mECK |
| HOW AVAILABLE WERE MUSICAL OPPORTUNITIES FOR MENDALSSOHN | HE HAD THE FINEST OPPORTUNITIES, COULD TRAVEL AND HAD AN ORCHESTRA AT HIS SERVICE |
| HOW IMPORTANT WAS THE BUSINESS ASPECT OF MUSIC IN THE ROMANTIC PERIOD? | VERY IMPORTANT |
| WHO WROTE LE SACRE DU PRINTEMPS | STRAVINSKY |
| WHAT BECAME AN IMPORTANT COMPOSITIONAL DEVICE IN MODERN MUSIC | SILENCE |
| WHAT EXTERNAL CIRCUMSTANCES CONTRIBUTED TO NEW DEVELOPMENTS IN 20TH CENTURY MUSIC | ECONOMIC FACTORS, SOCIAL UPHEAVALS, SHIFTS IN PATRONAGE |
| WHO DID CONCEPTS OF IMPRESSIONISM ORIGINATE WITH | FRENCH PAINTERS MONET AND RENOIR |
| WHAT IS IMPRESSIONISM IN MUSIC A REACTION AGAINST | MASSIVE INTERLLECTUAL GERMAN MUSIC LIKE BRAHAMS AND WAGNER |
| WHO IS AN IMPORTANT IMPRESSIONISTIC COMPOSER | CLAUDE DE BUSSEY |
| WHAT IS LE MER ABOUT | THE WIND AND SEA |
| WHAT IS A TYPIAL FEATURE OF THE MUSIC OF AVANT GUARDE COMPOSERS | BRANCH OUT MINIMIZE INFLUENCES FROM THE PAST, DEVELOP LANGUAGE |
| HOW DID STRAVINSKY'S FAME BEGIN IN PARIS? | HE COMPOSED 3 BALLETS |
| WHAT WAS THE AUDIENCES RESPONSE TO THE PERFORMANCE OF THE RITE OF SPRING | CAUSED A RIOTUS RESPONSE IT BECAME CLASSIC |
| WHAT IS A 12 TONEATONAL MELODY CALLED? | SERIAL COMPOSITION |
| WHO IS THE FATHER OF 12-TONE TECHNIQUE | shoenberg |
| what school did shoenberg retire from as a professor of composition | university of california |
| what is the name of a piano method book written by Bartok | Mikrokosmos |
| what classical ideals does neoclassical music reflect | control order emotional restraint adherance to formal struture |
| wgat dud sine 20th C composers do to not alienate audiences | design to please the masses, instrumentation, transparent texture |
| what is spechstimme | vocal style where melody is spoken out |
| how much material is used in minimalism | least amount possible |
| how popular was bartoks music before his death | not popular at all |
| How similar is each performance of chancemusic to a subsequent performance | never performed the same way again |
| which to elements of music did 20th c composers emphasize over others | tonality and dissonance |
| how ofter is dissonane and sustained tension found in 20th century music | often |
| WHEN DID A SEPERATION BETWEEN CLASSICAL AND POPULAR MUSIC OCCUR IN THE UNITED STATES | SECOND HALF OF THE 19TH cENTURY |
| WHICH COUNTRY DID AMERCANS TRAVEL TO FOR MUSICAL ED IN THE 19TH C. | EUROPE |
| WHAT STYLE DID AMERICAN COMPOSERS CREAT IN THE IN 19TH? | GERMAN, AUSTRIAN, THEY WERE STARTING TO THINK THAT AMERICAN WAS EQUAL IN THE LAST HALF |
| WHAT CAUSED ARTISTS TO EMIGRATE FROM RUSSIA, GERMANY AND EASTERN EUROPE TO THE US IN THE 30'S | FLEEING PERSECUTION AND HARDSHIP |
| WHEN DID THE us COME TO BE VIEWED AS CENTER OF MUSICAL EXCELLANCE | MID 20TH CENTURY |
| WHO EST THE FIRST FORMAL MUSIC PROGRAM IN THE PUBLIC SCHOOLS IN THE US | HANDEL AND HAYDN 1815 SOCIETY |
| HOW DID COMPOSERS INSURE A NATIONALISTIC FLAVOR IN THE MUSIC THEY CREATED | QUOTE FOLK REPETORE OF MOODS OF MUSIC |
| WHO WAS THE FIRST GREAT INNOVATOR OF THE 20TH CENTURY AMERICAN MUSIC | CHARLES IVES |
| WHICH AMERICAN COMPOSER IS THE BEST KNOWN AND MOST SUCCESSFUL | AARON COPELAND |
| HOW MUCH HAVE IMMIGRANTS CONTRIBUTED TO THE MUSIC OF THE US | TREMENDOUS AMOUNT |
| HOW DID AMERICANS FEEL ABOUT VIRTUOSITY? what was valued more than artsts quality | americans valued europeans romanticism and valued personality over technical proficiency |
| how would you define american nationalism | music that was a matter on natl pride and would reach a broad audience |
| how interested was copeand in innovation | interested but not in the expense of disrupting past music |
| what was the first important classical popular genre in the us | opera |
| what type of music did the public want in the us | classical popular |
| when american pchestras were first esablished in the us who did they hire | black |
Created by:
miss rhonda