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Music History
Chapter 16
| Question | Answer |
|---|---|
| The first thorough formulation of the theory of tonal harmony is attributed to _____. | Jean-Philippe Rameau |
| To identify a triad, one has to classify a harmony not according to its sounding bass note but _____. | root |
| The French term _____ describes music with such characteristics as elegance, grace, and charm. | galant |
| The Italian composer _____, a contemporary of Bach and Handel, spent most of his career in Portugal and Spain. | Domenico Scarlatti |
| The _____ was an independent genre of Italian comic opera that had many of the same traits as the intermezzo. | opera buffa |
| An important center of development of the empfindsamer Stil was ____. | Berlin |
| The important treatise Versuch uber die wahre Art das Clavier zu spielen (Essay on the true manner of playing the keyboard) was written by _____. | Carl Philipp Emanuel Bach |
| When the second part of a binary form reestablishes the tonic key with the material of the first part, adapted in such a way that no modulation takes place, the structure is called _____ binary form. | rounded |
| In the eighteenth century the concerto was replaced as the leading genre of orchestral music by the _____. | sinfonia |
| The famous Mannheim steamroller was actually a(n) _____. | orchestrated crescendo |
| (T/F) Rameau's theory insisted that harmony should always be derived from melody. | False |
| (T/F) The standard early eighteenth-century Italian independent sinfonia generally had three movements. | True |
| (T/F) The term First Berlin School identifies an important group of song composers in the mid-eighteenth century. | True |
| (T/F) Characteristic of the newer styles of music in the eighteenth century was an unwillingness on the part of younger composers to bind themselves to insistent concentration on a single affection. | True |
| (T/F) In the Guerre des bouffons the philosopher Jean-Jacques Rousseau was the main supporter of the French position | False |
| (T/F) Johann Stamitz made his greatest contributions to music in the area of scoring. | True |
| (T/F) In the newer style of the eighteenth century the rate of harmonic change was slower than it had been in the previous style. | True |
| (T/F) French opera comique resembled Italian opera buffa in using a very rapid, parlando style of recitative. | False |
| (T/F) All music composed from 1600 to 1750 represents the Baroque aesthetic. | False |
| (T/F) The most important established musical form for future developments in the eighteenth century was the form used for dance music. | True |
| written by Rameau in 1722. developed the theory of functional, tonal harmonic progressions. | Traite de l'harmonie |
| functional harmony | |
| A harmonic abstraction built in thirds. (Chord) | triad |
| inversion | |
| The fundamental bass of a triad | root |
| The harmony of closure, built on the first note of the scale | tonic |
| The triad that most strongly led to the tonic, built on the fifth scale degree | dominant |
| The triad constructed on the fourth scale degree | subdominant |
| A triad that could appear in two different keys could be used as a pivot from one key to another by treating the triad as having one function when it arrived and another when the music moved. | modulation |
| term that imlies elegance, charm, intimacy, grace, clarity, and naturalness | galant style |
| rococo | |
| He wrote Versuch einer Anweisung die Flote traversiere ze spielen. | Johann Joachim Quantz |
| Treatise on flute playing and music in general. Written by the German flutist and theorist, Johann Joachim Quantz. It used the term galant to describe the keyboard works of the Italian composer Domenico Scarlatti. | Versuch einer Anweisung die Flote traversiere ze spielen |
| Italian composer. Son of the famous Italian opera composer, Alessandro Scarlatti. Known mainly for his keyboard music, though he also composed in other genres. | Domenico Scarlatti |
| independent comic operatic genre | opera buffa |
| Guerre des bouffons | |
| Jean-Jacques Rousseau | |
| A genre defined partly by its light subject material and partly by its use of unaccompanied spoken dialogue rather than the recitative of the French tradegie lyrique or the Italian opera | opera comique |
| "sensibility" or "sentimentality" The term implies that the feelings expressed are somewhat naively emotional. | Empfindsamkeit |
| sentimental style | empfindsamer Stil |
| One of the greatest composers of the empfindsamer Stil. He was the second son of J.S. Bach. | Carl Philipp Emanuel Bach |
| C.P.E. Bach wrote this treatiser on keyboard playing. In this book he took for granted the ideals of the empfindsamer Stil, particularly stressing the flexibility of music to move quickly from one emotional state to another. | Versuch uber die wahre Art das Clavier ze spielen |
| Frederick the Great | |
| Charles Burney | |
| Bartolomeo Cristofori | |
| fortepiano | |
| Gottfried Silbermann | |
| First Berlin School | |
| Sturm and Drang | |
| rounded binary form | |
| sinfonia | |
| Giovanni Battista Sammartini | |
| Mannheim | |
| Johann Stamitz | |
| "Mannheim steamroller" | |
| "Mannheim rocket" |
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