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MUS 010 Final


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Lyrical manner midway in style between recitative and aria, especially in operatic solo scenes.
Absolute music
music without illustrative or programmatic intent.
Term used primarily to describe the work of the painters Monet, Renoir, etc, where loosely articulated images are fashioned form blotches of color; the goal was a particularly powerful brilliance. The term is used by extension in music to describe the work of the French masters Debussy and Ravel.
The Mighty Handful
Term first used by a Russian critic to describe an affinity group of five nationalist Russian composers: Balakirev, Borodin, Cui, Mussorgsky, and Rimsky-Korsakov.
Term used rather loosely to describe the music of Schoenberg and his school. The artist portrays not simply an object but his or her internal reactions; what results is (in art) exaggerated, distorted, internalized.
Literally, "robbed time": the improvisatory adjustment of strict meter.
12-bar blues form
Has a distinctive form in both lyrics and chord structure which has been used in songs in many forms of popular music. Most commonly, lyrics are in three lines, with the first two lines almost the same with slight differences in phrasing and interjections.
Bel canto opera
Prevailing vocal ideal in solo vocal music from the Baroque forward. ("beautiful singing").
Symphonic poem
One-movement work for orchestra with narrative or descriptive intent. Same as tone poem.
popular American music style at 20th century, characterized by strongly syncopated(ragged) rhythms ; the usual form is like that of the American march, involving two strains and a trio.
Chance music
music in which some element of the composition is left to chance or some primary element of a composed work's realization is left to the determination of its performer(s).
Electronic music
Refers to music that emphasizes the use of electronic musical instruments or electronic music technology as a central aspect of the sound of the music.
Thematic Transformation
the recomposition of a theme as it it reused so that gradually its character becomes radically different.
In opera and related genres, a vocal passage imitating the rhythms and inflections of speech.
Sacred Harp
tradition of sacred choral music that took root in the Southern region of the United States. It is part of the larger tradition of shape note music.
Serial music/12-tone technique
Compositional technique in which elements have been prearranged in a fixed series.
Emphasis on the spiritual or passionate (as opposed to the intellectual) in literature, art, and music. Used particularly to describe music written from the 1830s to the end of the century.
German for "leading motive," a compositional device developed by Wagner.
A principle melody, a basic point of melodic reference in a movement .
Placing the accent on the ordinarily weak beats of a measure.
Big Band/Swing
A type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s.
an artistic movement in particular which originated as a reaction to the Enlightenment, or the general tendency to idealize any social behavior judged relatively simple or primitive, whether in the arts, social sciences or elsewhere.
Jazz style that emerged in the 1940s, an alternative developed by black musicians to the white big bands.
Musique concrete
Term applied to an early technique of electronic music where segments of magnetic tape were manipulated (pitch modification by speed change), cut (loops, etc.) and respliced and then stored to be used for compositional effect.
Wagner's theory of opera wherein all branches of art, including poetry, narrative, design, and architecture, are harnessed in a global art form, opera.
Magnetic tape
A medium for magnetic recording generally consisting of a thin magnetizable coating on a long and narrow strip of plastic.
German term for a solo song, especially to the Romantic text of the late eighteenth or nineteenth century.
Passage of improvisatory display for the soloist, especially in a concerto.
Ballets Russes
a ballet company established in 1909 by the Russian impresario Serge Diaghilev. Infamous for Rites of Spring.
Operatic scene for one character, generally embracing a recitative, aria, and finale close.
Having no allegiance to tonality; not having a key.
Dies irae
Gregorian plainchant for dead the sequence from the Requiem Mass.
performance ability of the musician in question, who is capable of displaying feats of skill well above the average performer.
the forcing of any people or ethnic population to leave their traditional homelands, the dispersal of such people, and the ensuing developments in their culture.
Theme and Variations
type where the given theme is modified in a series of variations.
Musical style in which rhythms, melodies, or instruments evoke the color and atmosphere of far-off lands/outside influences.
Song cycle
Group of songs, generally with texts by the same poet, unified by a story line or literary theme.
Florid embellishment of a vocal line, especially for soprano in the high register; also a soprano who specializes in such parts.
Music drama
Term applied to Wagnerian opera and related works that suggests a different and by implication more serious treatment of character and plot than that found in traditional opera.
Text of an opera.
Polish country dance in triple meter, often with accentuation of the second beat.
Term that describes the most progressive or radical element of an artistic movement.
Work built on an ostinato bass (ground bass), often a descending chromatic bass.
Idee fixe
Berlioz used this term to describe the motto theme of his Symphoie fantastique (1830), and said in the printed program that it had to do with the artist's vision of his beloved.
a music genre which combines two or more genres.
Composition for solo voice, usually a movement of a larger work.
Program music
iterary context of a descriptive ("programmatic") piece, especially in the nineteenth century.
Describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features.
refers to the use of musical ideas or motifs that are identified with a specific country, region, or ethnicity, such as folk tunes and melodies, rhythms, and harmonies inspired by them. Musical nationalism can also include the use of folklore as a basis for programmatic works including opera.

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