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Music History Final
| Question | Answer |
|---|---|
| minimalism | movements in various forms of art and design, especially visual art and music, where the work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. |
| prepared piano | a piano that has had its sound altered by placing objects (preparations) between or on the strings or on the hammers or dampers. |
| theremin | two metal antennas which sense the position of the player's hands, so it can be played without being touched. |
| neo-romanticism | late 19th century and early 20th century, a return to the emotional expression associated with nineteenth-century Romanticism |
| total serialism | Extremely complex, totally controlled music in which the twelve-tone principle is extended to elements of music other than pitch. |
| metric modulation | a change (modulation) from one time signature/tempo (meter) to another, wherein a note value from the first is made equivalent to a note value in the second |
| avant-garde | any form of music working within traditional structures while seeking to breach boundaries in some manner,[11] or to describe the work of any musicians who radically depart from tradition altogether. |
| primitivism | using older styles and forms of music, incorporating them into new compositions. |
| neo-classicism | a twentieth-century trend, particularly current in the period between the two World Wars, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism" |
| neotonality | a manner of musical composition which spans all styles, from early in musical history to the present day. |
| parlando-rubato | a constantly changing tempo used in a song or in speech. |
| Gebrauchsmusik | music that exists not only for its own sake, but which was composed for some specific, identifiable purpose, like a particular historical event or as with music written to accompany dance |
| symbolism | music inspired by and/or incorporating symbols, such as Debussy and Wagner, wherein the song has elements that represent some part of life or experience |
| Stephane Mallarme | inspired Debussy with his poem "the afternoon of a faun". French symbolist poet and critic. |
| atonality | music that lacks a tonal center, or key. |
| twelve-tone method | a method of musical composition in which all 12 notes are given more or less equal importance, and the music avoids being in a key. |
| sprechstimme | A vocal style in which the melody is spoken at approximate pitches rather than sung on exact pitches. |
| bel canto | an italian operatic style of singing in which the vocal part(s) are more featured, rather than focusing on the plot or orchestral part. Very sophisticated singing. |
| grand opera | a genre of 19th-century opera generally in four or five acts, characterised by large-scale casts and orchestras, and (in their original productions) lavish and spectacular design and stage effects |
| leitmotif | a musical term, referring to a recurring theme, associated with a particular person, place, or idea |
| song cycle | a group of songs designed to be performed in a sequence as a single entity |
| johann goethe | considered the supreme genius of modern German literature. very influential to German literature as well as musical artists, including Shubert who used his poetry to write many song cycles. |
| idee fixe | a theme or idea that spans the entire musical movement or composition - a fixation on a single idea |
| florestan | the embodiment of Schumann's passionate, voluble side. Made-up character that he would use in his works - imaginary. |
| mazurka | a Polish folk dance in triple meter, usually at a lively tempo, and with accent on the third or second beat |
| concert etude | contains significant artistic content and played in concert. |
| nocturne | a short piano piece marked by highly embelished melody, sonorous accompaniments, and contemplative mood |
| heiligenstadt testament | a letter written by Ludwig van Beethoven to his brothers Carl and Johann at Heiligenstadt, expressing his despair over increasing deafness and his desire to overcome his physical and emotional ailments in order to complete his artistic destiny |
| fidelio | a German opera in two acts by Ludwig van Beethoven. It is Beethoven's only opera |
| immortal beloved | is the mysterious addressee of a love letter which composer Ludwig van Beethoven wrote on 6–7 July 1812 in Teplitz, found in his estate after his death. He writes to her hoping to develop some sort of relationship |
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