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Stack #932328
| Question | Answer |
|---|---|
| As Vesta Was Descending: Composer | Thomas Weelkes |
| As Vesta Was Descending: Date | 1601 |
| As Vesta Was Descending: Genre | English Madrigal |
| As Vesta Was Descending: Style Period | Renaissance |
| As Vesta Was Descending: Performing Forces | 6 Voices |
| “La Primavera” from The Four Seasons: Composer | Antonio Vivaldi |
| “La Primavera” from The Four Seasons: Date | 1725 |
| “La Primavera” from The Four Seasons: Genre | Solo Concertos |
| “La Primavera” from The Four Seasons: Style Period | Baroque |
| “La Primavera” from The Four Seasons: Performing Forces | Solo Violin, String Orchestra, Continuo |
| Organ Fugue in g minor “Little”: Composer | Johann Sebastian Bach |
| Organ Fugue in g minor “Little” : Date | 1709 |
| Organ Fugue in g minor “Little”: Genre | Fugue |
| Organ Fugue in g minor “Little”: Style Period | Baroque |
| Organ Fugue in g minor “Little”: Performing Forces | Solo Organ |
| Piano Sonata in C minor, Op. 13 “Pathetique: Composer | Ludwig Van Beethoven |
| Piano Sonata in C minor, Op. 13 “Pathetique: Date | 1798 |
| Piano Sonata in C minor, Op. 13 “Pathetique: Genre | Piano Sonata |
| Piano Sonata in C minor, Op. 13 “Pathetique: Style Period | Classical |
| Piano Sonata in C minor, Op. 13 “Pathetique: Performing Forces | Solo Piano |
| Erlkonig (The Erlking): Composer | Franz Schubert |
| Erlkonig (The Erlking): Date | 1815 |
| Erlkonig (The Erlking): Genre | Art Song |
| Erlkonig (The Erlking): Style Period | Romantic |
| Erlkonig (The Erlking): Performing Forces | Solo Voice with Piano |
| Symphonie Fantastique Mvt. IV: Composer | Hector Berlioz |
| Symphonie Fantastique Mvt. IV: Date | 1830 |
| Symphonie Fantastique Mvt. IV: Genre | Program Symphony |
| Symphonie Fantastique Mvt. IV:Style Period | Romantic |
| Symphonie Fantastique Mvt. IV: Performing Forces | Orchestra |
| Prelude to “The Mid-Afternoon of a Faun”: Composer | Claude Debussy |
| Prelude to “The Mid-Afternoon of a Faun”: Date | 1894 |
| Prelude to “The Mid-Afternoon of a Faun”: Genre | Orchestral Prelude |
| Prelude to “The Mid-Afternoon of a Faun”: Style Period | 20th Century |
| Prelude to “The Mid-Afternoon of a Faun”: Performing Forces | Orchestra |
| A Survivor from Warsaw: Composer | Arnold Schoenberg |
| A Survivor from Warsaw: Date | 1947 |
| A Survivor from Warsaw: Genre | Twelve-Tone Cantata |
| A Survivor from Warsaw: Style Period | 20th Century |
| A Survivor from Warsaw: Performing Forces | Narrator, Male Chorus, Orchestra |
| Middle Ages | Vocal and Sacred |
| Baroque | Vocal and Instumental |
| Classical Composers | Beethoven Mozart Hyden |
| Monophonic | One sound |
| Homophonic | melody under clear accomp. |
| Polyphonic | 3 equally different parts equally the same |
| Drone | the note that holds whild other notes are moving |
| Word Painting | Musical ideas using literacy text |
| Motet | Sacred usually in Latin |
| Madrigal | Secular in many languages |
| John Dowland | Lute player famous for flow my tears |
| Thomas Weelkes | Church organ player- As vesta was Desending |
| Oratorio | Religious work that tells a story |
| Opera | has a plot secular text |
| solo concerto | one soloist |
| concerto grosso | more than one soloist |
| sonata | instrumental piece of music |
| suite | instrumental mult. movement based on dances |
| J. S. Bach | 1750 |
| George Handel | 1759 |
| Antonio Vivaldi | 1741 |
| exoticism | music that incorporates different things |
| art song | solo voice and piano |
| program music | not much repetition |
| neoclassicism | return to classicism control, balance, simple, straight forward |
| impressionism | type of music very thin makes you think of a painting. |
| chance music | anything goes |
| twelve-tone | technique in which the composer picks 12 pitches and scientificly composes them together |
| Sonata Form | expostion development recapitulation coda |
| Theme and Variations Form | A A1 A11 A111 A1111 closing |
| Minuet and Trio Form | ABACABA |
Created by:
megan.trennel86