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 |