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Terms MUHL 186 Final
| Question | Answer |
|---|---|
| Mass ordinary | unchanging parts of mass kyrie gloria credo sanctus agnus dei |
| Cantus Firmus | new line of music that accompanies chant ~1300 |
| Organum | Started by Leonin and Perotin started parallel, but later added duplum and triplum and florid considered and example of trope |
| Motet | Poetry set to music can be sacred (Ave Maria) or secular (Courtly Love) |
| Ars Nova | Treatise on New Music by de Vitry - divided meter in 2 and 3 focus on how to notate rhythm |
| Rhythmic Modes | Used head shapes to notate rhythm - semi and breve NEUMES!!!!! |
| Fauxbourdon | False bass - type of bass that gives independence to lowest bass and avoid homorhythm |
| Homorhythm | Similar or identical rhythms |
| Isorhythm | Repeating rhythmic and melodic pattern in a sequence |
| Cyclic mass | Mass where there is a motif/theme that carries throughout the piece |
| Madrigal | 16th century Polyphonic sophisticated Spanish chamber music with poetic lyrics |
| Chorale Tune | Strophic text and corresponding melody Lutheran roots |
| Strophic | Same music used for all stanzas and verses of the song |
| Prima Pratica | Late 16th and early 17th cen Focus on counterpoint and imitative polyphony |
| Seconda Pratica | 17th century Flexbility in dissonance and emotional expression |
| Monody | One voice set with instrumental accompaniment |
| Basso Continuo | Figured bass played by cello, viola de gamba, bassoon, organ, lute, etc |
| Recitative | Speechlike/declamatory solo section in an opera |
| Aria | 16th cen setting for voice and lute in opera Character piece |
| French Overture | Orchestral intro in 17th and 18th century Seen in operas mostly |
| Suite AND MOVEMENTS | Dancelike piece of music with multiple movements Allemande, Courante, Sarabande Some in triple meter, Latin American roots! |
| Passacaglia | Triple meter with ostinato bass line, points of imitation, Baroque genre, improvisatory |
| Toccata | Virtuostic improvisatory genre |
| Da Capo Aria | Format where the Aria returns to the start of the piece, 2 contrasting parts |
| Coloratura | Type of soprano, florid musical style, sweet style |
| Opera Seria | "Serious Opera", 18th century, virtuosic vocal performances, castrati, recits and arias |
| Fugue | Music with points of imitation upon a main theme, counterpoint, development |
| Chorale Cantata | Cantata with a chorale as central theme for music Usually religious in subject |
| Ritornello form | Home key rit ---> solo ---> alt ket rit ---> solo ---> home key rit Big guy: Vivaldi |
| Opera Buffa | Comedic opera - rooted in Intermezzo, everyday characters |
| Galant Style | Dancelike, light style with elegant ornamentation |
| Empfindsamer Stil | Introspective emotion/sentimental style CPE BACH! |
| Symphony | First one by Sammartini Large scale instrumental work with multiple movements; pulls from numerous cultural and stylistic roots Overtime went from just strings to winds too |
| String Quartet | Viol Viol Viola Cello - replaced trio sonata, 4 movements Mozart, Haydn |
| Rondo Form | Fast paced, exciting, usually a movement in Mozart Piano Concerto - ABACABA |
| Concerto Movement Form | Three movements 1: fast pasted - Sonata form!! (Expo, Development, Recap, Cadz) 2: slow - emotional and reflective 3: fast paced and virtuosic - rondo and sonata form combined |
| Eroica Symphony | Beethoven Symphony 3, heroic character based on Napoleon 1st mvmt: Opening tonic chords, shift to V, marcia funebre second mvmt |
| Lied/Lieder | Romantic style - German art song for voice and piano Use of song cycle, often folk-based |
| Mazurka | Exciting and informal Polish dance |
| Nocturne | Based on night - reflective Romantic piece usually for piano |
| Symphonie Fantastique | Berlioz: supernatural elements, syncopation, hemiola, personal experience-based, Dies Irae chant, Idee Fixe |
| Cyclic Symphony | Symphony with a recurring motif/theme throughout - Symphonie Fantastique Idee Fixe |
| Program Music | Music written for a certain event - usually patriotic Russian Easter Overture |
| Carnaval | Schumann - set of character pieces Incorporates Primitivism/exoticism - Sphinxes |
| Bel Canto | 17th cen - simple opera singing that highlights natural beauty of voice 19th cen - ornamented, florid opera that highlights virtuosity |
| Gesamtkunstwerk | Universal/Collective Work - work that is meant to summarize and highlight aspects of a culture/cultural experience |
| Music Drama | Storyline acting, music, singing similar to an Opera - what Wagner called all of his operas Thoroughcomposed with motifs |
| Leitmotifs | Leading motifs - recurring theme that is associated with a character or idea |
| Tristan Chord | Dominant sev chord with an augmented 6th Chromaticism and tension - roots for atonality Often used by Wagner |
| Music of the Future | Slogan of the New German School founded by Liszt and Wagner Embraced Romantic principles |
| Impressionism | Conceptual artistic movement that focused on the feeling and vibe of something more than the total reality of it |
| Primitivism | non-Western exotic ideas from other cultures, usually Pagan or indigenous i.e. Rite of Spring, Firebird, Petrushka, Madame Butterfly |
| Atonal Syntax | Rules and ideas that structure atonal music -how dissonance and chromaticism should be used |
| Serialism | Repitition and organization of different elements of music |
| 12 Tone Composition | Atonal and dissonant type of composition that dictates what order each tone of chromatic scale should be used in Pioneered by Schoenberg |
| Neoclassicism | 20th century style that aimed to revive elements of classical music Pulcinella - based on Pergolesi Intermezzo Sonata form, fugues, theme and variation |
| Atonal Music | Music where each note is of equal significance - 12 notes (chromatic) |
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