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Music History Exam 3
| Term | Definition |
|---|---|
| Age of Enlightenment and Reason | an intellectual movement (late 17th to 18th century) emphasizing reason, individualism, and skepticism of tradition, challenging religious and monarchical authority to promote liberty, scientific inquiry, and social progress through rational thought |
| Querelle des bouffons | a major Paris debate over French vs. Italian opera, sparked by Italian opera buffa (like Pergolesi's La serva padrona). Jean-Philippe Rameau vs Jean-Jacques Rousseau |
| Sublime in music | a burgeoning concept, shifting from representing natural grandeur (like Burke's terror/awe) toward evoking profound, often overwhelming, inner experiences of infinity and freedom |
| Cosmopolitan | music that was universal in its appeal and style, transcending local or national boundaries and embracing a broad range of cultural influences/composers traveling across borders |
| Triadic harmony in Rameau’s Traité de l’harmonie | the fundamental building block of harmony, derived from the natural overtones of a single note (octave, fifth, third) and treating chords as independent entities rather than just melodic intervals |
| Performance practice | the study of how musical pieces were performed historically, focusing on unwritten techniques, or the methods used to interpret and present music in a live setting |
| Patronage system | a historical and modern arrangement where wealthy individuals (patrons) or institutions financially support musicians, composers, and artists, often commissioning works in exchange for loyalty, services, or cultural prestige |
| the Eszterházy family | a powerful Hungarian dynasty famous for being major patrons of classical music, especially during the 18th century, most notably employing Joseph Haydn at their Eszterháza estate |
| Impresario | a visionary entrepreneur who organizes, finances, promotes, and produces public entertainments like operas, concerts, and shows |
| Kapellmeister | a German term for a director or master of music, historically the person in charge of a court or church music establishment, responsible for composing, rehearsing, and conducting music |
| Pio Ospedale della Pietà | ("House of Mercy") in Venice was a 14th-century orphanage for abandoned girls that became a world-renowned music school, famous for its virtuosic all-female orchestras and choirs, especially during the time of composer Antonio Vivaldi |
| private venue | private venues for gatherings included grand private homes (palaces, stately homes, salons), exclusive clubs, private rooms in taverns/inns, and often outdoor spaces like gardens or hunting lodges, used for aristocratic balls, musical performances |
| public venue | evolved significantly from courtly settings to include theaters, palace halls, coffee houses, music rooms (like London's "song & supper" rooms), and purpose-built concert halls, with cities like Vienna becoming key centers |
| Bach’s style assimilation | refers to his practice of masterfully synthesizing different national musical styles (primarily Italian and French) and integrating various genres, forms, and compositional techniques into his own unique, complex, and comprehensive German Baroque style |
| Rousseau’s unité de mélodie | (unity of melody) is a core concept in his musical thought, meaning that a musical composition should present a single, clear, and dominant melody to the listener's ear, even if other parts (harmony) exist |
| Fortspinnung “forward spinning” | "forward spinning" is a musical term that describes the continuous development of a musical motif into an entire musical structure. It is particularly characteristic of the Baroque era |
| Virtuosity | the display of exceptional technical skill, mastery, and brilliance, allowing a performer (a virtuoso) to execute extremely difficult passages with apparent ease, precision, and deep musicality, captivating audiences with astonishing feats |
| Ornamentation | adding decorative notes and flourishes (like trills, mordents, turns, grace notes, slides) to a main melody to enhance its beauty, expression, and style |
| Mannheim School | a group of mid-18th-century composers, notably led by Johann Stamitz, associated with the Mannheim court orchestra in Germany, famous for pioneering innovations that laid groundwork for the Classical style |
| Mannheim School Rocket | a dramatic musical effect from the 18th-century Mannheim School, featuring a swiftly ascending, broken chord (arpeggio) or scale that builds in volume (crescendo) as it climbs, creating a powerful, explosive lift in the music |
| Mannheim School Roller | an 18th-century orchestral technique from the Mannheim School, featuring a long, gradual crescendo (getting louder) combined with a rising melodic line |
| Mannheim School Sighs | a musical innovation of the Mannheim School, referring to a specific melodic figure used for expressive effect in the mid-to-late 18th century |
| Mannheim School Birds | refers to Respighi's suite The Birds (Gli uccelli), which used 17th/18th-century music to imitate birdsong (doves, hens, nightingales) |
| Learned (baroque) | a traditional, highly structured, and contrapuntal style, often associated with sacred music (like masses and motets) and the works of masters like J.S. Bach, emphasizing complex counterpoint, intricate melodic lines |
| Galant | light, elegant, and simple musical movement in the 18th century (c. 1720-1770) that reacted against the complexity of the Baroque era, favoring clear melodies, homophonic textures |
| Empfindsamkeit | "sentimentality" in music, also called Empfindsamer Stil "sensitive style", was an 18th-century German aesthetic movement focusing on expressing "true, natural", and deeply personal feelings, moving away from the consistent moods of the Baroque |
| Clavichord | compositions played on the clavichord, a delicate, early keyboard instrument where small metal blades (tangents) strike strings, producing soft, expressive tones with subtle dynamic control and vibrato (Bebung) |
| Sturm und drang | a late 18th-century German artistic movement characterized by an emphasis on emotional extremes, rebellion, and individualism, rejecting the rationalism of the Enlightenment |
| Concerto grosso | a Baroque-era musical composition for an orchestra that features a small group of soloists, called the concertino, in contrast with a larger ensemble, the ripieno |
| Tragedies en musique | a 17th-18th century French opera genre, pioneered by Jean-Baptiste Lully, featuring five acts, mythological/epic plots (though often with happy endings), and a prologue celebrating royalty |
| Opera seria | formal Italian style of "serious opera" featuring noble characters, mythological/historical plots, and a strict structure (recitative for plot, da capo arias for emotion) that emphasized solo vocal virtuosity |
| Oratorio | a large-scale musical work for soloists, choir, and orchestra, telling a dramatic story (often biblical) in concert form, without costumes or staging |
| Overtures | an instrumental introduction to an opera, ballet, or oratorio, often called a "Sinfonia," using a fast-slow-fast or sonata form to set the mood and themes for the larger work |
| Fugue | a complex, polyphonic piece built on a short, principal theme (subject) that is imitated and developed by multiple interwoven melodic lines (voices), creating a rich, contrapuntal texture |
| Intermezzo | a short, comic musical entertainment performed between the acts or scenes of a serious opera (opera seria) or play |
| Sonata | a standard multi-movement instrumental work, usually for a solo instrument (like piano) or a solo instrument with keyboard accompaniment (like violin sonatas) |
| Symphony | a large, multi-movement orchestral work, standardized by composers like Haydn and Mozart (c. 1750-1820), typically in four movements: a fast sonata form first, a slow second, a dance-like Minuet/Trio |
| String Quartet | a chamber music ensemble consisting of first and second violins, viola, and cello. |
| Da capo aria | a Baroque-era musical form in ternary (\(ABA\)) structure where a solo singer performs an aria, followed by a contrasting section (\(B\)), and then returns to the beginning (\(A\)) with added embellishments and ornamentation |
| Secco recitative | (Italian for "dry recitative") is a speech-like singing style in Baroque and Classical opera/oratorios, characterized by a flexible rhythm that follows natural speech, minimal "dry" accompaniment |
| Accompagnato recitative | style of dramatic vocal music in opera and oratorio where the singer is accompanied by the full orchestra |
| Ritornello form | a musical structure popular in the Baroque period that alternates between a recurring musical theme (the ritornello) and contrasting sections called episodes |
| Tutti ritornello | a Baroque musical form where the full orchestra (tutti) plays a recurring instrumental theme (ritornello), which acts like a chorus, alternating with contrasting sections for soloists |
| Solo episodes | a solo refers to a passage or entire piece of music featuring a single performer, while an episode is a section in a musical form that contrasts with the main recurring theme (ritornello) |
| Rounded binary form | a two-part musical structure where a main theme (A) is presented, followed by a contrasting section (B) that modulates, and then a partial return of the opening A material (A') concludes the piece |
| Sonata form | a fundamental structure in Classical music, typically the first movement of sonatas, symphonies, and concertos, built on a three-part pattern: Exposition, Development, and Recapitulation |
| Rondo form | a musical structure defined by a recurring main theme (A, the refrain) alternating with contrasting sections (episodes B, C, etc.), typically structured as ABACA or ABACABA |
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