Music101 2
Terms
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- In what ways does music serve different functions in different societies?
- religious and civic ceremonies. rhythm to work to. entertainment
- what are the names and dates of the various style periods?
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Renaissance (1450- 1600)
Boroque (1600- 1750)
Classical (1750- 1825)
Romantic (1800- 1900)
Impression (1890-1920)
20th Century (1900-2000) - how was art music primarily used throughout the middle ages?
- in church services
- who was the major patron of the arts in the middle ages?
- the church
- Two well known Renaissance artists
- Botticelli-, Michaelangelo
- a cappella
- the sixteenth century has come to be regarded as the golden age of the a capella style. the term refers to a vocal work without instrumental accompaniment
- what occurs when continuous imitation is used?
- polyphony in such works was based on a principle called continuous imitation. in this procedure, the motives are exchanged between vocal lines, the voices imitating one another so that the same theme or motive is heard now in the soprano or alto,now in the tenor or bass, resulting in a close-knit musical fabric capable of the most subtle and varied effects.
- word painting
- making the music reflect the meaning of the words was much favored in secular music.
- modal
- refers to various melodic and harmonic types that prevailed in the early and later Middle Ages.
- tonal
- which refers to the harmony based on major-minor tonality that came later.
- syllabic text setting
- with one note sung to each syllable of text.
- melismatic
- with long groups of notes set to a single syllable of text.Descended from the elaborate improvisations heard in Middle Eastern Music, became an expressive feature of Gregorian chant and exerted a strong influence on subsequent Western music.
- In which cultures does the use of chant occur?
- Gregorian chant, jewish cantorial chant, Islamic call to prayer, buddhist throat sinigng, santeria chant
- Who was the major patron of the arts in the Middle ages
- the church
- Renaissance motet
- sacred form with a single Latin text, for use in the Mass and other religious services. Motets in praise of the Virgin Mary were extremely popular because of hte many religious groups all over Europ devoted to Marian worship. These works, written for three, four, or more voices were sometimes based ona chant or other cantus firmus.
- Ordinary of the Mass
- Sections of the Roman Catholic Mass that remain the same from day to day throughout the church year
- The proper of the mass
- sections of the roman catholic mass that vary from day to day throughout the church year according to the particular liturgical occasion
- what are the five basic sections of the musical setting of a mass?
- Kyrie, Gloria, Credo, Sanctus, Agnus Dei
- Chanson
- in the fifteenth century, the chanson was the favored genre at the courts of the dukes of Burgundy and the kings of France, all great patrons of the arts. Chansons were usually written for three or four voices. they were set to the courtly love verses of the French Renaissance poets.
- madrical
- in the madrical, Renaissance composers found one of their chief forms for secular music. The sixteenth-century madrigal was an aristocratic form of poetry and music that flourished at the Italian courts, wehre it was a favorite diversion of cultivated amateurs. the text consisted of a short poem of lyric or reflective character, often including the emotional words for weeping, sighing, tremblign, and dything. which the italian madrigalists set with a wealth of expression
- how many notes are in a chromatic scale
- 12 half tones
- how many notes are in a major and minor scale
- seven notes
- what is a key
- a group of related tones that revolve around the central tone, tonic, or keynote, to which they ultimately gravitate.
- you would find pentatonic scales in music from what parts of the world?
- Africa, Far East, Native America
- in what music would you find microtones?
- jazz selections, cajun dance tunes
- raga
- in music of india, the scale formations called ragas contain certain pitches that are heard in only one direction. these scales also have extra-musical associations connected with certain emotions, colors, seasons, times of day, or magical properties.
- transposition
- the act of shifting all the tones of a musical composition a uniform distance to a different pitch level
- modulation
- the process of passing from one key to another.
- name three basic triads
- tonic, dominant, subdominant
- who were the camareta
- florentine writers, artists, and musicians. Aristocratic humanists who aimed to resurect the musical-dramatic art of ancient Greece. Deduced that music must heighten the emotional power of the text. Led to the way of the opera through emotionally depicting dramas.
- basso continuo
- employed two instrumentalists for the accompaiment. performance group witha bass, chordal instrument (harpsichord, organ) and one bass melody instrument (cello, Bass)
- figured bass
- Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer.
- manjor and minor tonality
- one of the most significant changes in music history. the thrust to the keynot, or tonic, became the most powerful force in music, and each chord could assume its function in relation to the key center.
- equal tempera ment
- greatly increased the range of harmonic possiblitites that were aviailable to the composer. by slightly adjusting or tempering the mathematicall pure intervals within the octave to equalize the distance between adjacent tones, it became possible to play in vevery major and minor key without experieneing unpleasant sounds.
- continuous melody
- a movement may start with a striking musical figure that then spins out ceaselessly. in vocal music, wide leaps and the use of chormatic tones helped create meoldies that were hightly expressive in text.
- terraced dynamics
- used by Baroque keyboard instruments, such as harpsichord and organ, inherently produceds a kind of graduated, or terraced, gynamics by the use of different registrations.
- Doctrine of the Affections
- Baroque doctrine of the union of text and music
- Ritornello
- short, recurring instruemental passage found in both the aria nd the baroque concerto
- what role did women play in baroque society
- operas.
- castrati
- the rise of ther opera saw the development of a phenomenal vocal technicque, exemplified in th ealry eighteenth century. boys were castrated in order to preserve the soprano or alto register of his voice for the rest of his life. acquired an incredibly agile voice with enormous range. unrivalled by most singers today. lung power of male with brilliance of the female upper register. associated with heroic male role. farinelli, most famous. abolished after the French Revolution.
- improvisation
- singers and players alike added thier own embellishments to what was written down as their creative contribution. the practice was so widespread that baroque music sounded quite different in performace from what was notated on the page.
- recitative
- solo vocal declamation that follows the inflections of the text, often resulting in a disjunct vocal style; found in opera, cantata, and oratoria
- aria
- lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantat, and oratorio
- libretto
- text or script of an opera, preprared by a librettist
- name three major composers from the Baroque period.
- Bach, Handel, Vivaldi
- opera
- music drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and pantomime, scenery and costumes.
- oratorio
- large-scale dramatic genre originating in the Baroque, based o n a text of religious or serious character, performed by solo voices, chorus, and orchestra; similar to opera but without scenery, constumes, or action.
- suite
- multimovment work made up of a series of contrasting dance movements, generally all in the same key.
- fugue
- polyphonic form popular in in the Baroque era in which one or more themes are developed by imitative counterpoint.
- cantata
- a work for one or more solo vocalists with instrumental accompaniement (chorus was later added to the genre) based on one of three poetic genres, lyric, dramatic, narrative. earliest cantatas short and intimate, and ususally based on a secular text, they genrally consisted of several sections set as recitatives and arias, among the impoartan proponents of this genreis the singer Barbara Strozzi.
- sacred cantata
- baroque cantats could be based on either secular or sacred themes. the late-Baroque master J.S. Bach wrote both types, but it is his scred Luteran cantats that are his enduring legacy. In the Lutheran tradition, to which Bach belonged, the sacred cantat was an integral part of the church service, related, along with the sermon and prayers that followed it, to the Gospel for the day.
- solo concerto
- the concerto for solo insturemtn and an accompanying instrumental group, lent itself to experiments in sonority and virtuoso playing, especially in the and of the Italian master Antonio Vivaldi.The violin was the instrument featured most frequenly in the solo concerto, which usually consisted of three movements, in teh sequence Allegro-adagio-allegro.
- concerto grosso
- based on the opposistion between a small group of instruments, the concertino, and a larger group, the tutti, or ripieno FULL. Bach captured the spirti of the concerto grosso in his six Brandenburg Concertos, written for presentation to the Margrave Christian o fBrandengurg.
- what is meant by the subject, answer, and countersubject of a fugue.
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subject: the main theme, constitutes the unifying idea, the focal point of interest in the contrapuntal web. stated alone at the beginning in one of the voices
Answer: imitates the subject in another voice.
Counter subject: the first voice continues while the answer starts. - composers of the baroque time
- monteverdi, purcell, barbara strozzi, corelli, vivaldi, handel, bach
- composers of the classical time
- haydn, mozart, beethoven, schubert
- melody of baroque time
- continuous melody with wide leaps, chromatic tones for emotional effect
- melody of classical time
- symmetrical melody in balanced phrases and cadences; tuneful diatonic, with narrow leaps
- rhythmn of baroque time
- single rhythm predominant; steady, energetic pulse; freer in vocal music
- rhythm of classical music
- dance fhythms favored; regularly recurring accents
- harmony baroque
- chromatic harmony for expressive effect; major-minor system established with brief excursions to other keys
- harmony classical
- diatonic harmony favored; tonic-dominant relationship expanded, becomes basis for large-scale form
- texture of baroque
- monodic texture(early Baroque); polyphonic texture(late Baroque); linear-horizontal dimension
- texture classical
- homophonic texture; chordal-vertical dimension
- instrumental genres baroque
- fugue, concerto grosso, trio sonata, suite, chaconne, prelude, passacaglia
- instrumental genres classical
- symphony, solo concerto, solo sonata, string quartet, other chamber music genres
- vocal genres baroque
- opera, mass, oratorio, cantata
- vocal genres classical
- opera, mass, oratorio
- form baroque
- binary form predominant
- form classical
- ternary form becomes importatn, sonata allegro form developed
- dynamics baroque
- subtle dynamic nuances; forte/piano contrats; echo effects
- dynamics classical
- continuously changing dynamics through crescendo and decrescendo
- tibre of baroque
- continuous tone color throughout one movement
- timbre classical
- chaning tone colors from one section to the next
- permorming forces baroque
- string orchestra, with added woodwinds, organ and harpsichord in use
- permorming forces classiccal
- orchestra standardized into four choirs; introduction of clarinet, trombone, ;rise of pinao to prominence
- emotion baroque
- `single affection;emotional exuberance and theatricality
- emotion classical
- emotional balance and restraint.
- absolute music
- pure music. form is especially important, since there is no prescribed story or text to hold the music together. the story is the music itself, so its shape is of primary concern for the composer, the performer, and the listener.
- sonata
- an instrumental work for one or two instruments, consisting of three ro four contrasting movements. the movemtns followed the basic mulitmovement cycle described earlier in teh discussion of string quartet, symphony, and concerto. usually 3 movements
- what happens int eh exposition of the sonata-allegro
- opening section of sonata-allegro form, statement, generally presents the two opposing keys and their respective themes.
- developemnet of sonata-allegro
- conflict and action, the essence of drama. conflicts erupt and the action reahces maximum intensity. foreiggn keys. buiilding tension
- recapitulation
- the development has run its course, tensions lets up. a bridge passage leads back to the key of the tonic. restatement.
- theme and variations form
- variation os ruling principle. the theme is stated at the outset, so that hte audience learns the basic idea that serves as the point of departure. tthemes is apt to be a small two-or three-part idea, simple in character to allow room for elaboration. each variation sets forth the idea with some new modification-one my say a new disguise. found in second movement
- what occurs in a minuet and trio form?
- an ABA form (A= minuiet; B=Trio) in a moderate triple meter; often the third movement of the clasical multimovment cycle
- scherzo-
- replaced the minuet. generally the third movmeent but occasionaly appearing as the second; it is usuallky the 3/4 meter. three-part form. faster pace and more vigorous rhythm than the minutet.
- rondo
- often ends the clasical sonata and symphony. a lively movement filled with the spirti of the dance. distinguishing characteristic is therecurrence of a musical idea, the rondo theme, or refrain, in alternation with contrasting episodes musch like the ritornello procedure of the Baroque era.
- multimovment cycle: first movment
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character:long and dramatic
Form:sonata-allegro
Tempo:allegro - mulitmovement cycle second movemnet
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character: slow and lyrical
form; theme and variations; sonata form ABA or rondo
Tempo: andante, adagio, largo - multimovement cycle: third movement
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character: dance like minuet (18th century) scherzo (19th century)
form: minuet trio, scherzo trio
tempo: allegretto allegro - multimovment cycle: fourth movmenet
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Characher: lively,"happy ending" (18th century) epic-dramatic with triumphal ending (19th century)
form: sonata-allegro
sonata-rondo
theme and varations
tempo: allegro, vivace , presto - what basically unifies the various movments of a multimovment composition?
- connected by key. thematic linkage in 19th century. cyclical structure: a theme from earlier movements reappears in the later ones as a kind of motto or unifying thread.
- natural horns
- wihtout valves
- patronage system
- gave musicians econic securty and provided a socail framwork within which they could function. offered important advantages to the great masters who sucessfully adjusted to its requirements, as the career of haydn clearly shows. on the other hand, mozart's tragic end, as we will see illustrates how heavy the pnalty could be for those unable to make that adjustment.
- encore
- an extra piece or the repetition of a piece performed in resonce to audience applause.
- chamber music
- music for asmall ensemble. one player to a part.
- opus number
- work number
- K. usually included in the programming of Mozar'ts compositions
- refers to the catalogue of MOzart's works by Ludwig Kochel, who numbered them all in what he determined to be the order of their composition.
- describe the typical orchestra of the classical period
- the classical masters established hte orchestra as we know it today. an ensemble of the four instrumental familes. the heart of the orchestra was hte string choir. woodwinds assist strings. brass provides melody. timpani supplied rhythm. 32-40 players. small since still in salons.
- in which musical genres did haydn excell
- symphony and string orchestra
- who was haydn's patron
- Esterhazys family
- symphony
- lart work for orchestra, generally in three or four movments
- typical tempos for each movement?
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First: slow introduction, allegro
Second:largo, adagio, andante
Third: moderate
Fourth: allegro molto or presto - concerto
- instrumental genre in several movments for solo instrument (or instrumental group) and orchestra