music appreciation exam 2
Terms
undefined, object
copy deck
-
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