| Question | Answer |
| Harmony | -simultaneous tones
-working together |
| Tonality | momentum toward a specific final tone |
| Primary chords | includes three major chords: the tonic, the dominant, and the subdominant |
| interval | -distance between 2 frequencies |
| tonic key | main key |
| full cadence | complete pause |
| chord | 3 or more tones played together |
| key | 12 tones |
| scale | unique set of 7 tones |
| half cadence | incomplete pause |
| chord progression | logical sequences |
| consonance | combination of sounds that feel stable or relaxed |
| major mode | sounds of strength, optimism, and happiness |
| dissonance | combination of sounds that feel tense or unstable |
| modulation | change of key within a musical work |
| minor mode | sounds of pathos, grief, and tragedy |
| baroque period | -1600-1750
-dramatic and energetic
-ornate and full of detail
-major/minor tonality
-terraced dynamics |
| age of reason | -progress in science and mathematics
-improved technology = new instruments
-system of pitch organization |
| age of absolutism | -absolute monarchs ruled with unlimited power
-patronage system [royal court or church] |
| doctrine of affect | music stimulating emotion and mood |
| opera | -reflected ancient greek drama or religious stories
-play that is sung |
| recitative | -musically heightened speech
-definite speech [sung not spoken]
-free rhythm
-Ex. Claudio Monteverdi: Orfeo |
| aria | -song like
-emphasis on melody and clear meter
-Ex. Henry Purcell Dido and Aneas
-first opera in English |
| chorus | -creates atmosphere and comments on the action
-Ex. Glory to God |
| Camerata | developed the opera in Florence late 1500s |
| dance suite | -multi-movement instrumental composition
-Ex. Bach Orchestral Suite No. 3 |
| hapsichord | keyboard instrument built during the age of reason |
| concerto | -multi-movement work for orchestra 1-3 soloists
-three movements
-returning theme: ritornello
-Ex. Antonio Vivaldi Four seasons, spring |
| ritornello form | returning theme |
| fugue subject | single theme in a fugue |
| form | refers to the arrangement or organization of the various elements in a work
AA or AA' |
| repetition | the immediate restatement of an idea, passage, or section |
| contrast | the presentation of new material, significantly different from what came before
A B A |
| return | -like repetition but not immediate
-returns after a contrasting section
A B A or A B A' |
| variation | restatement of a melody or other structure in which certain elements are in same while others are varies
A, A1, A2 |
| strophic form | vocal work in which two or more verses of text are sung to the same melody |
| variation form | consists of a main idea called a theme followed by a number of more or less varied restatements of the idea |
| binary form | two large parts that are significantly different from each other |
| ternary form | three clearly defined sections that form an ABA pattern |
| classical period | -1750-1825
-Classical Ideal
-natural ideals
-simplicity favored
-moderation
-balance |
| enlightenment | -Locke, Voltaire, Rousseau
-Applied reason to social and political problems
-developed social contact concept
-promoted worth of the individual
-anti-authoritarian and secular emphasis |
| franz joseph haydn | -last important court composer
-1732-1809
-worked for hungarian court
-flourished under the patronage system
-knew mozart and taught beethoven
-composed symphonies, string quartets, operas, chamber music |
| wolfgang mozart | -1756-1791
-child prodigy
-left court position and moved to vienna to be independent composer
-died in poverty |
| ludwig van beethoven | -1770-1827
-1st independent composer
-moved to vienna in 1792
-composer and performer
-defined composer as an artist |
| classical style | -simpler textures: homophonic texture
-simpler melodies: even phrases
-simple rational forms |
| sonata cycle | -multi-movement blueprint for all instrumental genres
-4 sections within: I, II, III, IV |
| sonata form | -consists of three large sections: exposition, development, and recapitulation |
| exposition | -presents the melodies [themes] and tonalities
-broken up into 4 parts
1. First theme
2. transition [bridge]
3. Second theme
4. Closing theme |
| development | -intensity, instability, change
-explore and examine the ideas from the exposition
-Reworks material from exposition (no new themes presented)
-Finishes by returning to tonic key |
| recapitulation | -First theme: tonic key
-Transition on bridge
-Does not modulates
-Second theme: in tonic key
-Closing theme: in tonic key
-Sometimes a Coda |
| coda | -tail
-ending added to the recapitulation
-emphasize final cadence and drain energy off of the piece |
| symphony | large scale instrumental composition for a full orchestra
Ex. Mozart Symphony no. 35
Ex. Beethoven Symphony no 5, I |
| concerto | -for orchestra and soloist |
| string quartet | -two violins, viola, and cello |
| solo sonata | -instrumental soloist with piano accompaniment |
| opera buffa (comic opera) | -reformed serious opera
-plots drawn from contemporary life
-stories poked fun at human shortcomings
-Ex. Mozart: The Marriage of Figaro Act I scene I |
| oratorio | -substitute for opera during lent
-story from the bible
-not staged
-Ex. Frideric Handel: Messiah |
| fugue | -instrumental work based on imitative polyphony
-played on a single instrument
-Ex. Bach Well Tempered Clavier |
