music appreciation exam 2

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struggled to find individual musical expression... burnt manuscripts of his music; in fear that others would go back and scrutinize it: johannes brahms
to over come the challenge of scrutinization, it takes elements from music of the past and incorporate it into: a new composition
full of digital "samples" that "borrow" the sounds of earlier songs: rap music
piece of music used rather than the whole song, in a different piece of music: sample
a remake of an older/ previous song: cover
original written form of a piece of music: manuscrips
the return to emotional expression associated with 19th century romanticism: new romanticism
combination of tones that sounds discordant and unstable, in need of resolution: dissonance
an unprecedented expansion in the way an instrument (including voice) is treated by composers and performers: extended techniques
parody of another work or works, presenting them in a new style or guise: musical quotations
her harmonies and melodies are reminiscent of music from the romantic period: joan touer
sounds divorced from the past; his harmonies are much more dissonant and creates very challenging vocal parts that many singers are unable to perform: george crumb
-to pay tribute to a famous composer -composer might like the meaning behind the music -composer thinks the music is pretty or emotionally stirring: musical borrowings
in musical borrowings composers are no: plagiarizing
insiders view of the past/music -absorbed in the past, and every not stands as a testament of her interpretation: inside
outsiders view of the past/music -marked, set apart, and clearly identified in the score.: outside
characteristic manner of presentation of musical elements (melody, rhythm, harmony, dynamics, form, etc.): style
-focus on value -essential -exchange: cover songs
a continuation of philosophical reflection upon music of the kind that began with the ancient greeks: aesthetic
a bittersweet longing for the past: nostalgic
term for an opera or musical consisting of individual sections or "numbers" that can readily be detached from the whole, as distinct from an opera consisting of continuous music: number
had to physically manipulate the tape rather than a computer: magnetic tape
recording sounds more "nature", including honking horns, slamming doors, and other sounds that were not traditionally considered to be musical instruments (paris, france): musique-concrete
group of composers who were producing music entirely within the studio, using equipment called OSCILLATORS and other noise generators: cologne, germany (musique-concrete?)
many of these new composers were just curious individuals who just wanted to: learn about new software
at times, a live musician would play along with the tame during a concert, replacing: traditional accompanimental instruments
composed 4'33" (four and thirty three seconds): john cage
a pianist walks to a piano, opens the lid, and never plays a single note for four minutes and thirty-three seconds. what was the idea behind this?: the audience became the performance
combines musique-concrete and electronische musik: williams mix (1952)
who composed williams mix?: john cage
in the 1960s and 1970s --- were popular: synthesizers
allows a computer to respond to a live performer: gestural controller
senses the hand gestures of the performer, sent to a computer which translates these movements into sounds: gestural glove
who developed the gestural glove: tod machover
the performer is able to interact with the technology in a live performance: interactive
when a song is --- it is recorded and then incorporated into a musical composition: sampled
how many ways are there to sample? what are they?: two

analog, digital
completely on the computer-: digital sampling
technology has which value?: both essential and exchange
the interweaving of horizontal and vertical elements in the musical fabric: texture
music without extra instruments: acoustic
who wrote not just more idle chatter (1988): paul lansky
exaggerated, grotesque, overdone, bizzare: baroque
development of instrumental genres -the birth of opera: baroque music
-sonata -opera -concerto: instrumental genres
key board began to develop as a solo instrument: concerto
-first appeared in 1682 in rome -multiple movement -music of contrasts' -the expression of emotions or images without words?: concerto
began to develop as a solo instrument: keyboard
multiple movements are usually how many?: 3
-famous and profilic violinist and teacher -music teacher at orphanage and school -composed over 500 concertos -four seasons (1725): antonio vivaldi (1678-1741)
-solo concerto -group of four "programmatic" concertos -each has 3 movements -each based on italian sonnet to issustrate imagery season: four seasons-antonio vivaldi
what were the four programmatic concertos that made up vivaldi's four seasons?: spring
summer
autumn
winter
all together: tutti
one: solo
opening melody (---) returns in different keys after each deatiled scene(---): tutti
solo
suggests certain hierarchical combination of harmonies (functional harmonies): key (major and minor)
a central pitch/harmony (home): tonic
a secondary pitch/harmony (confirms a tonic): dominant
moving one key to another: modulation
means of organizing concerto movements: ritornello
means return: ritornello
ritornello appears in tutti sections generally before and after solo section: ritornello
-it returns either completely or partially -with different keys -solo episodes as modulation: ritornello
map of ritornello: box: line: a and b:: -ritornello (tutti)
-episode (solo/tutti)
-melodic ideas
designed to persuade or move an audience with organized and expressive ideas: rhetoric
the basic structure:: beginning.
middle.
end.
introduction (opnening ritornello): beginning
development (modified ritornello): middle
restatement (final ritornello): end
also functions to reinforce the main ideas of the music: repetition
in the conclusion of vivaldi's "spring", ritornello form acts as a --- --- of baroque rhetoric: sound realization
main idea: ritornello (tutti)
display of performance virtuousity: episode (solo)
contrasting --- --- with the repetition of main idea (ritornello): musical argument
the conclusion iof vivaldi's "spring" is a reflection of: baroque society
-western european and american music is based on a limited numer of pitches that are then combined in almost limitless ways: musical alphabet
how many basic notes are in the alphabet?: 7
the second a is an --- --- than the first: octave higher
-comes from the word "eight", just like the words "octopus" and "octagon" -the two a sounds will sound consonant: octave
--- offer a good way to visualize the musical alphabet: pianos
lowest white key: a
highest white key: c
flat and sharp: black keys
between a and b is a pitch called both: a sharp and b flat
any set of pitches that ascends in order from the lowest pitch to the highest pitch: scale
c d e f g a b c: major scale
c d e flat f g a flat b flat c: minor scale
c d f g a c: pentatonic scale
main scales are made up of:: intervals
kips over one pitch: whole steps
one pitch to the very next pitch: half steps
both the major scale and minor scale are made up of --- and ---: whole steps
half steps
half steps occur between scale degrees 3-4 and 7-8: major scale
half steps occur between scale degrees 2-3 and 6-7: minor scale
uses every single pitch -all intervals are half steps: the chromatic scale
is based on a musical organization system called tonality: key
emphasizes certain pitches over others: toncility
the most important pitch is called the: tonic pitch
the focal or "home" pitch around which all other pitches circulate: tonic
sounds brighter: major key
sounds darker: minor key
minor key sounds darker because of the: third scale degree
keys don't only refer to individual ---, but also encompass ---: pitches
harmonies
in addition to a tonic pitch, there is also a: tonic triad
a chord that has three notes: triad
first not of the triad chord is ---, then ---, then ---: rood
third
fifth
c e g: c major triad
c e flat g: c minor triad
built on the fifth scale degree: dominant triad
tonic and dominant is important because these two chords are often used for: cadenses
--- is said to resolve to the tonic because the ear hears this progression as a strong motion that logically proceeds to the tonic: dominant
serves a dramatic function (moving plot forward) that is less meaningful if performed in part, rather than in entirety: recitative
are relatively brief and have a clear beginning and end: arias
recitative is more like: spoken language
solo vocal declamation that follows the inflections of the text, often resulting in a distinct vocal style; found in opera, cantata and cratorio: recitative
text or script of an opera prepared by a liberettist: libretto
often play an important part in opera: vocal ensembles
types of vocal ensembles: duet
trio
quartet
used on stange bands sometimes rather than the orchestra in the pit: verdi, 19th century composer
allow a prima donna or pimo uomo: arias
maria callas was a: prima donna
famous instrumental solos are: occasional
in the entr'acte between acts 2 and 3 of bizet's carmen: flute solo
the castrato was a --- singer: male
retained a high vocal range in adulthood due to a childhood surgical operation: castrato
male heroes were usually set in the --- voice range: castrato
cario broschi was known as: farinelli
if a famous singer was passing through a city that was producing an opera, the original composer was expected to write a showy aria to: suit the skills of the singer
the composer must write on even if it was originally ...: not part of the opera
a substitute aria could have been used having no connection or not even make sense in: the plot
italian opera reigned: supreme
the da capo aria was: standard structure
a sentimental type of aria that allowed a character to express her suffering: aria cantabile
a flashy aria type that was full of passionate displays of emotion: aria di bravura
no single character could have: two arias in a row
less significant character would have: less arias
singers usually ------- after an aria: exited the stage
lyric song in ternary form commonly found in operas, contatas, and oratorios. (form:aba): da capo aria
de capo means --- --- --- referring to a return of the first section of the aria: of the head
the most common form for arias during the baroque era was the: da capo aria
da capo aria is based on the principle of --- and ---: variation and repetition
extraordinary ability of performance technique: argued that the music's function was to support the text and drama
--- remind us that opera is about a sung drama not just text and music: scholars
--- and --- defies convention due to its performers and intended audience: dido and aeneas
--- and --- created a work that combined music, text, acting and dance into a drama based on mythological subject matter: purcell and nahm tate (librettists)
a short, melodic rhythm or harmonic pattern that is repeated throughout a work or a section of one: ostinato
-fame was mostly limited to his region of germany -dedicated to keyboard players: johan sebastian bach
-born in germany but moved to london to compose italian operas -turned to oratorio (cheaper to perform) -messiah is still played in many towns today: george ferdinand handel
---- --- were based on religious stories from both the old and new testaments: handels oratorios
within handels oratorio, --- were performed: concertos
large scale dramatic genre originating in the baroque, based on a text of religious or serious character, performed by solo voices, chorus, and orchestra: oratorio
vocal genre for solo singers, chorus, and instruments, based on a lyric or dramatic poetic narrative; generally consists of several movements including recitative, arias and ensemble numbers: cantata
-english -dramatic/theatre -in acts -performed in concert halls -choral/solo numbers -freely composed: oratorio
-german -nondramatic -no acts -performed in church services -choral/solo numbers -overall settings and freely composed: cantata
both oratorio and cantata use: religious texts
baroque congregational hymn of the german lutheran church: chorale
both handel and back wrote: secular choral music
non religious: secular
imitation of a melodic statement in a polyphonic texture -featured in both handel's messiah and bach's cantata no. 80 feature this: imitative polyphony
imitative polyphony was a common --- used during the baroque era: texture
interweaving of horizontal and vertical elements in the musical fabric: texture
polyphonic form popular in the baroque era in which one or more themes are developed by imitative counter-point: fogue
a fogue written for a chorus; usually as a part of a larger work, especially common in bach's cantatas: choral fogue
texture with principle melody and accompanying harmony: homophonic
--- has an excerpt that is da capo aira: messiah
performed bach's st. matthew passion in 1829: felix mendelssohn
published a major biographical sutyd of bach in 1802: johann frankel
later expanded the biography between 1873 and 1880: phillip spitta
have recorded many bach pieces; often swinging the beat to make it jazzy sounding: swing swingers
was created in 1815 as a chorus: handel and hadn society of bostan
purpose is to educate the public about religious choral music: handel and haydn society of boston
a stock of musical materials for a particular use: repertoire
johann sebastian bach is a mastery of a type of composition called the: fuge
a polyphonic piece in which the different melodic lines are put together according to specific rules: fuge
texture of multi-voice with two or more melodic lines: polyphonic
one that features multiple independent melodic lines or voices sounding simultaneously: polyphonic piece
you might find it easier to think of a fuge as more of a --- or --- rather than a form: process
proceedure
an event that is in a continual state of development: process
used fugal techniques in the last movement of his very last symphony
used fugal techniques in the last movement of his very last symphony: mozart
the procedures from creating fagues evolved out of methods used to compose --- --; especially --- ---, throughout the late 15th and 16th centuries: polyphonic music
church music
the composers of fague developed fairly strict conventions for creating: counter point
combining multiple --- --- into a polyphonic composition with smooth, constant, pleasing harmonies: melodic lines
subject:: tonic
answer:: dominant
is distringuished by its use of a primary melodic idea called a subject as the basis of itself: fague
one of the melodic lines or voices is likely using a version of this ---, or its ---: subject
answer
at the beginning of a fugue, the subject is clearly --- (usually by itself), then it is --- in another voice (typically at the dominant pitch level): introduced
answered
the contrast between subject and answer is based on the: pitch level
the opening will sound like a conversation between two people which is called: exposition
after the exposition, the subject may appear --- in any of the voices (until the very end) when the subject gets back to ---: freely
tonic
passages within the fugue in which the subject does not appear: episodes
all contrapuntal music and especially fugues can be quite...: difficult to create
require knowledge of musical theory, including scales, harmony and complex notation methods: fugues
a visual analogue of musical sound, either as a record of sound heard or imagined, or as a set of visual instructions for performers: notation
fuges were held in high regards as products of --- --- and fugal procedures were often referred to at the time as the --- ---: musical learning
learned style
a well crafted fugue was a --- of a composers --- of music and his skin in applying this knowledge: demonstration
knowledge
had a special talent for writing contrapuntal music, and he was particularly skilled at creating complicated fugues and fugal music: bach
in his last years, bachs music was regarded as outdated and very ---: complex
fugues in the late 17th and early 18th centuries were typically written for the: keyboard
produced several collections of fugues: johann sebastian bach
bach's two volumes of the well tempered ---, each which contained a prelude and fugue of all twelve major keys and all twelve minor keys: clavier
fagues and fugal passages were often included in compositions for --- --- or in --- ---: instrumental ensembles
larger vocal works
the prefix --- implies that the prelude is --- before another composition: pre
first
the term preluding was used to describe what organists did when they improvised before the choir began to sing: preluding
bach's preludes from the well tempered clavier are mostly not --- in the fashion of the fugues: imitative
the prelude that precedes the fugue is in: c minor
-ornate and complex -depiction of specific affects in a direct manner: 1600-1750
-formal and restrained -depiction of a larger, overarching story: 1750-1825
emphasized reason and individualism over tradition: european intellectual movement
-industrial -scientific advancement -greater equality and freedom -emphasized humanistic pursuits: age of revolution
-rational and balanced -developed orchestral-new games -rise in public concert -educated middle class: "classical period" 1750-1825
-ab -aba -genre: concerto -ritornello form: baroque film
ab: binary
aba: ternary
contrast -repetition -group>solo>group>solo>group: ritornello
-also use of binary and ternary forms -genre:symphony -sonata form: classical form
-contrast -return -exposition>development>recapitulation: sonata form
how are the main musical elements used?: -melody
-rhythm
-texture
-harmony
-form
-dynamics
three clearly-defined sections of sonata form as classical rhetoric: -exposition
-development
-recapitulation
sonata form as classical rhetoric is a means to express music ideas to the ...: audience clearly
longer, more complex -characteristics in everyday life -familiar subject -central characters: the novel
introduction of themes: exposition
-first theme -second theme -third theme: exposition
first and second themes are manipulated: development
-harmonic modulation -fragments of themes from exposition: development
restate main ideas: recapitulation
-themes return "uncathed" -main themes return (in tonic key): recapitulation
the symphony: new genre
new symphony: 1. allegro 2.slow movement 3.minuet 4.allegro: (in sonata form)
(free form)
(in minuet form)
(in sonata form)
eline kleine nachtmusik: a little night music
wolf gang -1787 -genre: --- -chamber orchestra/ensemble -1st movement --- is in sonata form: eline kleine nachtmusik
serenade
allegro
-1756-1791 -patronage -famous for operas, symphonies, string quartets, piano sonatas, plano concerts, etc: wolfgang amadeous mozart
eline kleine nachtmusik: 1st movement theme 1= theme 2= transition between themes= ausing material: exposition

excited, pumctuated
flowing, torid
move to next key
exposition is: repeated
eline kleine nachtmusik: first movement -uses themes of the exposition -modulation (various key areas/instability) retransition (back to tonic key): development
eline kleine nachtmusik: first musik -theme 1 -theme 2 -closing theme: recapitulation
closing section: coda
keyboard instrument where the strings are plucked by quills instead of being struck with hammers: harpsichord
italian for continuous bass: basso continuo
short, recurring instrumental passage in both aria and baroque concerto: riternello
lyric song, for solo voice with orchestral accompaniment, generally expressing intense emotion: aria
solo vocal declamation that follows the inflections of the text, often resulting in a disjunct vocal style: recitative
text or script of an opera: libertto
large-scale dramatic genre originating in the baroque, based on a text of religious or serious character, performed by solo, chorus or orchestra: oratorio
lyrical song in ternary or aba form commonly in operas, cantatas, and oratorios: de capo aria
tragic italian opera: opera seria
instrumental work preceding a larger work: prelude
polyphonic form popular in the baroque era in which one or more themes are developed by imitative counter point: fugue
main idea or theme of a work: subject
in a fogue, a secondary them heard against the subject; a counter theme: counter subject
interlude or intermediate section in the baroque fugue that serves as an era of relaxation between statements of the subject: episode
viruosic solo passage in the manner of an improvisation; near the end of an aria: cadenza
italian comic opera: opera buffa
a represents a minuet in any ab form: minuet
composition in aba form; usually in triple meter: scherzo
-italian comic opera -opera buffa -written in 1786 -lorenzo da ponte libertto -mozart reached his peak: the marriage of figaro; mozart
-exposition development reconvitalation: sections of sonata
opening section of a sonata: exposition
reshaping section of a sonata: development
the section of a sonata where exposition is restated: reconvitalation
creates challenging vocal parts; harmonies are much more disonant; sounds divorced from the past: george crumb
recording sounds from nature (honking horns, slamming doors, etc): music concrete (paris, france)
not just more idle chatter (1988): paul lansky
two chords often used as cadences; built on the fifth scale degree: tonic and dominant
lyric song in ternary form commonly used in opera, cantata or oratia: da capo aria
used an oratoria genre: handel
tonic and dominant: parts of a fugue
smooth constant movements: texture of a fugue
based on pitch level; starts out with a subject: subject and answer
industrial revolution; growth of capitalism with patronage system: growth of middle class
patronage system: system that funded composers
a music historical style period that spanned from 1750-1825: classical era
elaboration of themes: development
resolution of themes: recapitulation

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