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CUI Music History 2
| Question | Answer |
|---|---|
| Schubertiad | Musical parties that were assembled by Schubert's friends where he could try out new works |
| Lied | German word for song |
| song cycle | Groups of songs that belong together in poetry and music |
| character piece | Brief compositions that quickly establish a definite mood or atmosphere |
| strophic form | elaborating a piece of music by repetition of a single formal section |
| Johann Michael Vogl | The most important interpreter of Schubert's songs during the composer's lifetime |
| through-composed form | not following any simple repetitive or symmetrical musical plan |
| Johann Wolfgang con Goethe | Poet - most celebrated German writer of his time |
| ballad | a poem in stanzas that tells a story and rises quickly to a dramatic climax |
| scena (type of song) | operatic type song - moves through contrasting sections, changes from tuneful to recitational melody, and avoids symmetric repetitions or even a concentric tonal plan |
| Louis Philippe | formerly Duke of Orleans, declared the new monarch and dubbed the "citizen king" |
| July Revolution | the French people deposed their monarch, King Charles X |
| grand opera | grandiose length, lavish use of chorus and ballet, and spectacular scenic efforts |
| Giacomo Meyerbeer | Berlin born, most successful composer of grand opera |
| Eugene Scribe | one of the most popular French playwrights of his time |
| double escapement action | invention that allowed a piano to a hammer to strike a string in rapid repetition |
| recital | a public concert in which a pianist played alone |
| Prix de Rome | Rome Prize - most coveted award for a young composer |
| concert overture | short works (Berlioz called overtures) ment for concert purposes rather than as preludes to any longer composition |
| programmatic symphony | musical "novel" |
| idee fixe | "obsession" - recurrent melody |
| cyclicism | The explicit recurrence of a theme in several movements of a multi-movement composition |
| ophicleide | keyed brass instruments that are now normally replaced by tubas |
| song collection | group of songs that share no striking musical or poetic ideas |
| romance (type of song) | simple strophic piece with little musical sophistication |
| melodie | songs of more complex form and greater artistry |
| George Sand | pen name of novelist Aurore Dudevant involved in a 9-year affair with Chopin |
| mazurka | an old Polish country dance in triple time with accents often on beats two or three of a measure |
| nocturne | piano character piece - delicate and dreamy in its evocations of the night |
| etude | studies |
| Hugo Riemann | one of the world's leading musical theorists |
| functional harmony | Riemann - chords represent one of three harmonic functions within a key, tonic, dominant, subdominant |
| complete works (type of musical edition) | intended for study and reference rather than performance |
| Gewandhaus Orchestra | named after the hall in which it performed |
| Bartholdy | Added to the Mendelssohn family name after the conversion from Judaism to Christianity |
| Bach Revival | Bach's music was performed, published, and studied |
| canon | term used today for the generally accepted body of musical works, composed almost entirely in the eighteenth and nineteenth centuries that has come to dominate our serious musical culture |
| Neue Zeitschrift fur Music | Berlioz - New Journal for Music |
| Carnaval | a collection of more than twenty small pieces, each bearing a title of a person or event at an imaginary masked ball during carnival season |
| Singspiel | "play with singing" simple musical numbers are inserted into a lighthearted or folkish spoken play |
| Friedrich Kind | an amateur writer who lived in Dresden |
| romantic opera | Weber - Mysterious events take place and there is an aura of the supernatural, just as in a popular type of literature of the time called the "romance" |
| Wolf's Glen Scene | finale to Act 2 of Der Freischultz |
| melodrama (in opera) | voices speak in alternation with or accompanied by orchestral music |
| Bayreuth | Bavarian village where Wagner lived |
| total work of art (Gesamtkunstwerk) | opera that had outstanding drama and music |
| music of the future | the integrated and dramatic artwork of opera would be the music of the future |
| music drama | new term for opera |
| Valhalla | a hall in which heroes killed in battle were believed to feast with Odin for eternity |
| Wagner tuba | mid-range brass instrument |
| leitmotive | leading, or associative, motives |
| simple recitative | accompanied by a keyboard instrument, or sometimes by the cello or bass |
| impresario | theater manager |
| introduction (as an operatic number) | balances the finale, relatively long and multi-sectioned |
| cavatina (in Rossini's operas) | section 2 of 3 of introduction, entrance aria |
| stretta | section 3 or 3 of introduction |
| Rossini crescendo | crescendos that coincide with repetitions of ever-shorter phrases, a steady thickening or orchestration, and an ever-quicker harmonic motion |
| Teatro alla Scala | in Milan |
| Risorgimento | resurgence |
| brindisi | a cliche of Italian opera |
| scene | a passage calling a particular selection of characters to the stage |
| preghiera | prayer scene |
| nationalism | the love for and allegiance to one's region of birth and its people, culture, and language |
| Austro-Hungarian Monarchy | 1867 |
| Bedrich Smetana | Czech composer who used his music to celebrate his nation and its history |
| Lisztomania | the emotional effect Liszt had on his audiences |
| symphonic poem | highly original in form, often starting with a standard design and changing the order of events and tonalities in a free way that is better geared to capture the spirit or character that he had in mind |
| recital | type of concert created by Liszt |
| rhapsody | epic |
| cimbalom | dulcimer |
| Gypsy scale | minor scale with raised forth and seventh degrees |
| trio (of a march) | contrasting section of a march |
| New German School | modernist faction in European music under Liszt |
| transformation of themes | changing a themes character at each reappearance |
| "Musikverein" | "Music Society" - Society of the Friends of Music |
| waltz | nineteenth century dance of choice |
| Johann Strauss, Jr. | "Waltz King" |
| Cecilianism | movement in the Catholic Church in German lands that urged a greater uniformity in church music |
| Mikhail Glinka | first significant and original Russian-born composer |
| Mariinsky Theater | theater places at the disposal of a state-supported Russian opera troupe |
| Mily Balakirev | brilliant pianist and composer |
| kuchka ("handful") | Balakirev's circle |
| The Five | Mily Balakirev, Rimsky-Korsakov, Cesar Cui, Alexander Borodin, and Modest Mussorgsky |
| Boris Godunov | opera based on a play by Alexander Pushkin that deals with the life of an early Russian tsar |
| ballet | a theatrical presentation in which a story or idea is communicated by music, mime, and dancing |
| Marie Taglioni | the first ballerina to specialize in dancing en pointe, on the toes, which is done with the aid of special shoes |
| scenario | ballet stories |
| choreographer | "ballet master" |
| mime | the leading dancers communicate bu way of standardized hand movements, poses, and facial expressions |
| variations (ballet) | dances for a single performer |
| divertissement | "entertainments" episodes with dancing and spectacle that gave little connection to the surrounding story |
| Marius Petipa | collaborated with Tchaikovsky on The Sleeping Beauty and The Nutcracker |
| celesta | bell-like instrument controlled by a keyboard |
| suite | music from a ballet to use for concert work |
| Des knaben Wunderhorn | "The Youth's Magic Horn" a collection of some seven hundred German folk poems |
| oboe d'amore | ungainly alto oboe |
| Alexander Zemlinsky | taught Alma Schindler(Mahler) composition |
| Arthur Sullivan | The most successful of the native English composers of the late nineteenth century |
| operetta | a type of light opera that was well established in Paris and Vienna by mid-century |
| William Gilbert | London writer paired up with Arthur Sullivan |
| choir festival | summer festivals that featured choral singing |
| Handel Festival | most famous choir festival, held every third year beginning 1857 |
| Pomp and Circumstance | written by Edward Elgar |
| B-A-C-H motive | Bb-A-C-B, musical letters of Bach's name |
| compound melody | a selection that leaps back and forth between two melodies |
| "Nimrod" | ninth movement of Enigma |
| English Hymnal | Vaughan Williams helped edit |
| impresario | a person who organizes and often finances concerts, plays, or operas |
| Ricordi | publishing firm |
| Arture Toscanini | artistic director and principal conductor |
| verismo | realism |
| Pietro Mascagni | composer of first verismo opera |
| Ruggero Leoncavallo | composer of Clowns |
| Belle epoque | beautiful era |
| Paul Verlaine | poet |
| fete galante | a popular social occasion among the aristocracy of the eighteenth century |
| impressionism | artwork that seemed to record mere impressions gained from observing nature rather than advancing the more accepted academic principles and subjects of painting |
| Claude Monet | quintessential impressionist painter |
| whole-tone scale | scale made of whole steps |
| octatonic scale | alternating whole steps and half steps |
| pentatonic scale | duplicates the intervals of the black keys |
Created by:
JamesBogert
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