| Term | Definition |
| Concert Etiquette | -Enter early
-No talking or other noises
-Know when to applaud
-If the music has started, wait for a break in the music before to enter the hall |
| Piece | music with more then one singer or no singers at all |
| Three-part system | -Movement
-Larger Work
-Composer |
| Mass "Prefatory Prayers" | -Movement: "Prefatory Prayers"
-Larger Work: Mass
-Composer: Lenard Bernstein |
| Historical Style | Styles change over time |
| Historical Periods | -Medieval Era (Middle Ages 475-1450)
-Renaissance Era
-Baroque Era
-Classical Era
-Romantic Era
-Twentieth Century and beyond |
| Patronage | Music sponsored by the church |
| Plainchant (chant, Gregorian chant, plainsong) | -Latin text
-(Word rhythm)
-(Monophony)
-For worship |
| Hildegard von Bingen
-"Alleluia, O virga mediatrix" | -Composer - Hildegard
-Renaissance era
-monophonic music
-Abbess
-Mystic - 3 collections of prophecies and visions
-Composer, poet, and playwright - worship music
-Healer |
| Sound | Organized vibrations in the air |
| Tone | Sound with a consistent rate of vibration |
| Noise | Sound without a consistent rate of vibration |
| Pitch | ordering of sounds higher or lower |
| Duration | number of beats or fractions of a beat |
| Notation | Complex set of symbols used to indicate the pitch and duration of music sound |
| Melody | sequence of series of pitches that are reconizable |
| Range | Difference between the lowest and highest note |
| Contour/shape | Shape of the music |
| Conjuct | Melody that moves by a step up and down the scale |
| Disjunct Movement | Disjointed melody that moves leaps up the scale |
| Phrase | basic unit of construction of a melody |
| cadence | a melodic, rhythmic or harmonic line that marks the end of the phrase |
| Scale | the organization of the lowest to highest notes used in a piece |
| Melodic interval | distance between two notes that come after one another |
| Octave | 8th inteval |
| Rhythm | anything having to do with time in music |
| Beat/Pulse | beats in a repeating series of time |
| Accent | to emphasize a beat |
| Meter | regular occurring of accenting or non-accented muisc |
| Measure/Bar | regularly occurring pattern of accented and non-accented notes |
| Downbeat | Name given to the accented beat in a measure |
| Metrical Pattern | Duple, Triple, Common |
| Non-metric | Melody not based on the meter as a standard of measure |
| Syncopation | accent of the beat |
| Additive Meter | regular recurring irregular patterm |
| Polyrhythm | two rhythmic patterns layered on top of each other |
| Harmony | -musical, space, depth or dimension (vertical)
-study of chords and their relationship |
| Chord | two or more tones sounded at the same time |
| triad | standard type of chord, three tone chord |
| Third Interval | the most important interval in a chord |
| Tonic or Key-note | first note of a scale ("Do") is home base |
| Tonality | Principle of organization around a tonic, or home, pitch, based on major or minor scale |
| Diatonic harmonic system | a scale built of whole steps and half steps |
| Major Scale | Scale that sounds like all the white notes C to C |
| Minor Scale | Scale that sounds like all the white notes A to A |
| Mondulation | movement from on key to another in the flow of a piece |
| Arpeggio | to present the notes one at a time |
| Harmonic Progression | Movement from chord to chord |
| Harmonic Function | Implied relationship with a home tone and/or with a chord |
| Dissonant (Chord) | sounds hash and unstable |
| Consonance (Chord) | sounds attractive and stable |
| Resolution | moving from dissonant to a consonance |
| "A Little Night Music," first movement | -composer - Mozart (w. Amadeus)
-Elegant
-Classical Era
-Medium String Orchestra
-Easy listening music
-Tuneful "whist able" melodies
-Balanced structure |
| Dominate | is the chord and 5th scale degree and second to the tonic |
| Musical Texture | Layers of their composition and their relationship |
| Monophony | single layer of melody alone |
| Polyphony | two or more melodies that are independent and equally important |
| Imitation | Polyphony and they imitate each other |
| Counterpoint | Polyphony and they are different then each other |
| Harmophony | one layer that is more important then another |
| Imitation
-More rigid | doing exactly the same thing independently |
| "Hallelujah" | -larger work Messaih
-Baroque Composition
-Composer - Handel |
| Theme | melodic unit that is the basic building material of a composition |
| Motive/Motif | fragment of a melody or a very short melody |
| Sequence Theme | motif or theme appears numerous times at higher and higher pitches |
| Thematic development | all the potential theme is explored |
| movement (multi-) | piece of music complete in and of it self, but part of a larger work |
| Binary Form | -Two-part form
-A-B |
| Ternary Form | -Three-part Form
-A-B-A |
| Tempo | The speed of recurrence of the beat |
| Allegro
Adagio | -fast
-slow |
| Accelerando | gradually get faster |
| Ritardando | gradually get slower |
| Forte
Piano | -loud
-soft |
| Crescendo | gradually get louder |
| Decrescendo or Diminuendo | gradually get softer |
| Interpretation | shaping the expressive content of music |
| Timbre | refers to the uniqueness of sound |
| Four Principles of Tone | Pitch, Rhythm, Dynamics, Timbre |
| Musical Timbre | the color, quality or timbre of a tone is determined by the number and relative intensity of its harmonic |
| Woman and Children Vocal Ranges/Timbre | Soprano, Mezzo-Soprano, Alto |
| Men Vocal Ranges/Timbre | Tenor, Baritone, Bass |
| "O Fortuna"- means o fortion | -Composer: Carl Orff
-Rhythm and mete: more prominent then any other era, highly accented, hypnotic
-Harmony: harsh dissonance
-Media:Chorus and orchestra with emphasis on percussion
-Form: three verses (Strophic)
-Expression: sounds pagan/primal |
| Four "Families" of Instruments | Strings, woodwind, brass, percussion |
| Instrument Ensemble | -large: orchestra, band
-small: chamber orchestra |
| Keyboard Instruments | piano, organ, keyboard |
| Conductor | Leader of large ensambles, sets tempo |
| Medium | band, orchestra, choir, or ensamble |
| Renaissance Era | 1450-1600 |
| A Cappella | -without instruments
-in the style of the Chapel (Pope's) |
| Continuous Imitation | Renaissance polyphonic style in which the motif move from line to line within the texture, often overlapping one another |
| Word Painting | the shape of the melody will equal the words |
| Cantus Firmus | foundation melody |
| Church Modes | church scale, one for every note white key to white key |
| Motet | genre, a little word study |
| Important Renaissance Painters | Michelangelo, Leonardo, Botticelli |
| Josquin-first name | -from early Renaissance
-Franco-Flemish training
-Italian career |
| "Ave Maria...virgo serena" | -composer-Josquin
-changing texture and combination of voices
-hormorhym texture
-melody/harmony-uses a church mode
-genre: Latin text |
| Homorhythm texture | type of polyphony were they maintain their importance, but give up their independence, and change symbols in the same rhythm |
| Genre-The Italian Madrigal | -born in Italy
-grew out of popular poetic form'-text: short, lyric/reflective poem
-word painting |
| The English Madrigal | -the "Elizabethan" Madrigal
--"Gloriana"
--"Oriana"
-developed from Italian Madrial |
| John Farmer | -composer of late Renaissance
-career from Dublin
-Later moved to London to write Madrigals |
| "Fair Phyllis" | -composer-John Farmer
-english Madriggal
-sectional repititions
-Contrasting texture
-pastoral text
-word painting
-playful, flirtatious mood |
| Musical Transalpina | music from across the alps |
