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Intro to Music Final
| Term | Definition |
|---|---|
| Silent movies | movies without sound, but still had music, often a live performance |
| “Talkies” | movies that had recorded music and or dialogue added into the movie after the fact |
| The Jazz Singer (1927) | The first instance of synchronized sound during a film |
| Classical Scoring Technique (CST) | music made to match a specific movie. sounds like an orchestra playing in the background of a movie |
| Mickey-mousing | highlighting specific actions on-screen with specific musical cues |
| King Kong (1933) | first movie to use Classical Scoring Technique |
| The Sea Hawk (1940) | was one of the first movies to embody operatic and symphonic techniques |
| Spaghetti Westerns | name given to Western movies that were filmed in Italy and Spain because of cheaper production costs - and often had Italian directors |
| Ennio Morricone/Sergio Leone (composer-director pair) | Morricone wrote much of his music before actually seeing cuts of the film he was scoring for, Sergio Leone, would often play Morricone’s music as he was filming a scene so that the actors could hear it and have it help shape the scene |
| The Good, the Bad, and the Ugly (1967) | Duel Scene with Spanish-sounding trumpet and percussive sound effects (Morricone wrote the score |
| Bernard Hermann/Alfred Hitchcock (composer-director pair) | It was unusual in that it used only a string orchestra (violins, violas, cellos, and basses) and not a full orchestra |
| Psycho (1960) | uses the string instruments in an unusual way for sound effects |
| John Williams | composed music for Star Wars, E.T., Jaws, Harry Potter, Indiana Jones, etc. |
| John Williams’s use of leitmotif | leitmotifs remain consistent across several films |
| Spotting session | session where composer sees the cut of the film in order to plan out how he or she will write the music |
| Orchestrator | someone who arranges a composer’s piano music for an orchestra |
| Diegetic | Music that is understood to have its source within the film itself – it is heard by both the characters in the movie and by us, the viewers |
| Source-connected diegetic | Music that we hear and see being played in some way on the screen – we see the source of the sound on the screen |
| Source-disconnected diegetic | When it is implied that the music we are hearing in a movie is coming from within the movie itself, but we don’t explicitly see the source of the sound on the screen |
| Non-diegetic | music that the characters themselves do not hear, but the viewer does |
| Metadiegetic | we hear it as the soundtrack to the movie, and the characters are dancing to it, but we never see its source on the screen |
| The Graduate (1967) | first film to use pre-existing popular songs in its soundtrack |
| Montage | Technique in which many short visual clips (“cuts”) are grouped together as a unit |
| Battleship Potemkin (1925) | Originally shown with a live orchestra performing a score written by Edmund Meisel |
| Anachronism | something that is chronologically out of place, or that appears in a time period other than that in which it normally exists |
| Prochronism | music from the present-day placed in a film that takes place in the past |
| Parachronism | music from the past appearing in a time period much later than it is originally from |
| Participatory | it exists for people to participate in the music-making, not simply watch or listen (often religious/spiritual function) |
| Presentational | created for people to watch, as a spectacle, but not participate in (orchestra concert) |
| Baroque concerts | Often 2-4 hours long. Usually featured music of one composer. Included genres like symphonies, concertos, overtures, string quartets |
| Overture | something that was written for the beginning of a concert or opera |
| Concerto | work for a solo instrumentalist or group of soloists with orchestra |
| Symphony | work for an orchestra, divided into 3 or 4 sections called movements |
| String Quartet | work for 2 violins, viola, and cello |
| Ornaments | Baroque instrumental music had lots of ornamentation (like visual art) |
| Trill | rapidly alternating between notes |
| Turn | pitches directly above and below a written note |
| Appogiatura | emphasizing a note that is not part of the harmony before returning to one that is |
| Terraced Dynamics | no crescendos and diminuendos, just sudden changes between dynamic levels |
| Harmonic Rhythm | Melodies usually in high-pitched instruments, some accompaniment, and basso continuo |
| Basso Continuo | Harmonic engine. Low pitched instrument + keyboard instrument (usually harpsichord or organ) |
| Figured Bass | a bassline with the intended harmonies indicated by figures rather than written out as chords, typical of continuo parts in baroque music. |
| Concerto Grosso | A work for groups of solo instruments |
| Ritornello Form | In the Baroque period, concertos usually followed this form |
| Tutti | Alternation between the whole orchestra playing |
| Concertino | just the featured solo instruments playing with little accompaniment |
| Fugue | a common polyphonic instrumental music in the Baroque period |
| Subject | main melodic idea. In fugues, the subjects happen beginning in different registers, overlapping each other (like imitative polyphony) |
| Episode | section of music where the subjects are not heard (interludes between the subjects) |
| Trio Sonata | Work for two higher-pitched instruments (often violin or recorder) and basso continuo |
| Theme and Variations | A work consisting of one melody with many variations |
| Sonata Form | formal structure that composers in the Classical period began to use, 3 main sections (Exposition, Development, and Recapitulation) |
| Exposition | A presentation of the main melodic/rhythmic ideas that the movement will use |
| Development | The piece begins to move through many different keys, and the main melodic/rhythmic ideas presented in the exposition are manipulated, developed, taken apart, and put back together in different ways |
| Recapitulation | The Recapitulation section in Sonata form brings back the original melodic/rhythmic ideas that were first presented in the Exposition |
| Tone Poems | programmatic works for orchestra. They usually were not broken up into movements, and were usually not as long as a symphony |
| Nationalism | use of musical ideas or motifs that are identified with a specific country, region, or ethnicity |
| Neo-classicism | composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint |
| Programmatic music | instrumental art music that attempts to render an extra-musical narrative musically |
| Fantasia | Disney film-length animated work that interpreted various important pre-existing concert pieces for orchestra in the form of cartoons and imaginative animated sequences |
| The Sorcerer’s Apprentice | Programmatic music, original Tone Poem (“L’apprenti Sorcier”) written by French composer Paul Dukas in 1897...based on a poem by Johann Wolfgang von Goethe, with the same title, written in 1797 |
| Night on Bald Mountain | Programmatic music, original Tone Poem written by Russian composer Modest Mussorgsky, based on Russian author Nicolai Gogol’s written version of an ancient Russian Legend |
| Leitmotif | Short melodic themes that are attached to specific characters, ideas, places, feelings, or things |
Created by:
NovaAnglz
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