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The organization of sounds in time |
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Pitch; dynamics; tone color; duration |
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relative lowness or highness of a sound. Determined by frequency of its vibrations fast = high slow = low |
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a sound that has a definite pitch |
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the distance in pitch between two tones |
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two pitches whose vibrational frequencies are multiples of each other |
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distance between the lowest and highest pitches an instrument can produce |
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degrees of loudness or softness determined by the amplitude of the vibrations: wide=loud; narrow=soft |
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one tone played more loudly or longer or higher than the tones around it |
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the quality that distinguishes one instrument’s sound from that of another descriptive terms: bright, brilliant, dark, rich |
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7 tones (whole + half steps) |
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11 tones (all half steps) |
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part of the tonal range of an instrument or voice. Tone color may vary from one to another |
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any mechanism that produces musical sounds |
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6 families of Western music |
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strings woodwinds brass percussion keyboard electronic |
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ordered flow of music through time; the pattern of durations of notes and silences in music |
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Regular, recurrent pulsation that divides music into equal units of time; “what you tap your feet to” |
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organization of beats into regular groups |
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Group containing a fixed number of beats |
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in 2 examples: Yankee Doodle Oh! Suzannah Dixie |
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in 3; examples: waltz America Star-Spangled Banner Happy Birthday Amazing Grace |
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in 4 examples: America the Beautiful Battle Hymn of the Republic Auld Lang Syne |
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in 6 examples: Home on the Range Greensleeves Silent Night |
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Rhythm in which the accented beat occurs where you would not expect it |
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Moderately slow; walking pace |
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indicates number of beats per minute |
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a series of single notes that add up to a recognizable whole. It begins, moves, and ends; it has direction, shape, and continuity |
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How classical music is similar to a good novel |
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introduction–>conflict–>climax–>resolution |
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How notes in a melody may move |
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steps, leaps, or stay the same |
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melody that moves mostly by steps |
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melody that moves mostly by leaps |
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span of notes. May be wide or narrow |
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short part of a melody; they often come in balanced pairs |
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repetition of a melodic pattern at a different pitch; often used in the Baroque period |
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resting place at the end of a phrase. May be partial or final. Typically a progression from the dominant to the tonic chord |
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the way chords are constructed and how they follow each other. Adds support, depth, and richness to music |
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combination of 3 or more tones sounded at once (may be block or arpeggio) |
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chord built on the first note of the scale |
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chord built on the fifth note of the scale |
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refers to the presence of a central note, chord, and scale within a piece in relationship with all other tones in the competition (=tonality) |
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basic pitches of a piece of music arranged in order from low to high or high to low. Major and minor are the two basic ones in Western music. |
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sharp and flat signs following the clef; indicate which key the piece is in |
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central key; usually the beginning and the end |
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how many different layers of sound are heard at once; whether they are melody or harmony; how they are related to one another. can be described as transparent, dense, thick, thin, heavy, or light |
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single unaccompanied melody line |
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simultaneous performance of 2 or more melodic lines of relatively equal interest |
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technique of combining several different melodic lines into a meaningful whole |
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one main melody accompanied by chords |
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the organization of musical elements in time |
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creates forward motion, conflict, and change of mood |
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some features are changed while others remain the same |
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A type of musical form (ternary) example: Dance of the Reed Pipes from the Nutcracker Suite |
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another term for polyphonic texture |
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when a melodic idea is presented by one voice or instrument then restated immediately by another example: a round |
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a characteristic way of treating the various musical elements: melody, rhythm, tone color, dynamics, harmony, texture, and form |
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violin viola cello bass guitar harp |
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2 notes played at once (stringed instruments) |
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“throbbing” sound made by slightly wobbling the pitch of a note |
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quick up-and-down movement of the bow |
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whistle-like tones made by lightly pressing a string |
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piccolo flute clarinet oboe bassoon sax recorder |
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trumpet trombone horn (formerly “French” horn) tuba |
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percussion (definite pitch) |
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timpani glockenspiel xylophone celesta chime |
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percussion (indefinite pitch) |
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snare bass drum tambourine triangle cymbals whip gong |
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piano harpsichord organ accordion |
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tape studio synthesizer MIDI |
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places of learning in the Middle Ages; where the music happened! |
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the most important form of music until the Romantic period |
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the official music of the Catholic Church until 1965– Melody set to Latin text– Sung without accompaniment– Fluid rhythm, little sense of beat– Melody intended to enhance the text of the mass and set the mood for prayer– Not written down; learned by rote |
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1098-1179 One of the few medieval composers whose name was signed to the music– Convent in Rupertsburg, Germany– Educated– Musician and visionary– Herbalist– “O Successores” |
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troubadours and trouveres |
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traveling singers in the Middle Ages We have some of their words but usually not the music |
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poem about the troubadour’s life |
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medieval dance One of the earliest surviving forms of instrumental music |
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bowed string instrument of the Middle Ages |
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tubular wind instrument of the Middle Ages |
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bowed string instrument of the Middle Ages Plays the drone in Estampie |
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Medieval music consisting of Gregorian chant plus one or more additional melodic lines (usually parallel) 700-900 |
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After 1150, the center of polyphonic music |
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1170-1200 this school developed rhythmic notation and measured rhythm |
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movement in which primary emphasis on humans rather than divine; Renaissance movement; Revival of Greek thought/culture |
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triple impression printing |
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invented in 1501; necessary for printing music |
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Leading composers in the Renaissance were this. France, Netherlands, Belgium |
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characteristics of Renaissance music |
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Vocal music more important than instrumental; Music written to enhance the text moderation |
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representation in music of specific poetic images |
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“The Golden Age of A Cappella music” |
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in this period, polyphonic lines conceived linearly rather than harmonically; each has great rhythmic independence |
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polyphonic choral composition made up of 5 sections of the ordinary mass |
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Kyrie Gloria Credo Sanctus Agnus Dei |
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5 parts of the ordinary mass |
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polyphonic choral work set to a sacred Latin text other than the mass ordinary |
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Flemish composer (1440-1521) wrote “Ave Maria… Virgo Serena” |
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Written by Josquin Desprez 4 voices Uses imitation duple–>triple–>duple ends quietly and personally |
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music for several solo voices set to a short poem, usually about love |
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another word for word painting |
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Renaissance music that combined homophonic and polyphonic textures. More unusual harmonies than motets Began in Italy; spread to England |
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book of Italian madrigals published with English lyrics; Began the English madrigal craze |
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1575-1623 Wrote “As Vesta Was Descending” |
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Written by Thomas Weelkes Possibly to honor Queen Elizabeth |
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in this period, music was mainly written to order |
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Music was the main form of diversion in these. |
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In the baroque period, this person: supervised performances; composed music for operas, church, dinner, concerts; was the disciplinarian for the other musicians; repaired instruments; and served as the music librarian. |
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old meaning: bizarre, flamboyant, elaborately ornamented |
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new meaning: “fills space with action and movement” |
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How to become a musician in the baroque period |
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Either by being born into it or apprenticing. Or in orphanages. |
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Barbara Strozzi Francesca Caccina Elizabeth Claude Jaquet de la Guerre |
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Three famous women composers of the baroque era |
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in this time period, instrumental music finally rivaled vocal music for importance; polyphony returned. |
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a characteristic of Baroque music–one mood per piece |
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Doctrine of the Affections |
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Baroque period idea that humans could not experience more than one emotion at a time. Specific rhythms and keys were associated with specific moods. |
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forward motion; motor-like |
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baroque aria; ABA’ form. A’ = go back and do A again, but ornamented. |
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characteristics of baroque melody |
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opening melody heard again and again sequence ornamentation |
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characteristics of baroque dynamics |
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periodic sudden shifts–>terraced dynamics |
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baroque dynamic quality–sudden shifts like steps |
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characteristics of baroque texture |
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mostly polyphonic, with sequence/imitation Soprano and bass the most important voices More chordal |
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baroque accompaniment made up of a bass part usually played by 2 instruments: a keyboard and a low melodic instrument (almost always harpsichord); arose during baroque period |
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bass notes with figures (usually numbers) above to indicate chords |
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based on the violin family small by today’s standards–10-40 players basso continuo part usually played by harpsichord + cello or oboe |
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piece that sounds fairly complete but is actually part of a larger work |
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where commoners got to hear great music in the baroque period |
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although musicians were often well-paid by the courts, they were still this. |
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small group of soloists pitted against a larger group of players (tutti)–>creats contrasts between loud and soft |
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piece of music consisting of several movements that contrast in tempo and characterFirst and last movements often in ritornello form |
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typical 3 movements of a concerto |
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fast (vigorous, determined) slow (quiet, lyrical, intimate) fast (lively, carefree, dancelike) |
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form based on alternation between soloists and tutti. Complete ritornello usually heard in 1st and last movements |
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means “all” in a baroque concerto, usually 8-20 musicians, mainly strings and a harpsichord for the basso continuo example: Brandenburg Concertos |
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Brandenburg concerto no 5, movement 1 |
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one of the concertos written by Bach to honor the Margrave of ___. Solos: flute, violin, harpsichord tutti: strings terms: ritornello; concerto; contrast |
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drama that is sung to orchestral accompaniment |
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stars and secondary performers |
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no solos; typically townspeople and soldiers |
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typically not singers–provide dance numbers in an opera |
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people who basically hold space on stage |
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by the end of the baroque period, this was the star of the show! |
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in an opera, must direct both the singers and the orchestra |
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helps the actors with lines |
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date of the beginning of opera in Italy |
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person who writes the text of the opera |
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female opera singer with VERY high range; known for rapid scales and trills |
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female opera singer with a light voice; plays roles that call for grace and charm |
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female opera singer with a full, powerful voice; plays roles calling for passion and intensity |
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male opera singer with a light, bright voice |
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male opera singer with powerful, heroic expression |
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male opera singer who plays comic roles; can sing very rapidly |
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male opera singer with very low range; can sing dignified roles |
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song that is part of an opera. Solo voice with orchestral accompaniment. This piece will express the emotional state of the character |
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song from an opera that imitates the rhythms and pitch fluctuations of speech. Lot of repeated notes. Typically 1 note/syllable. Carries the action forward. example: Tu se morta |
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piece sung by 2, 3, or 4 singers. May be polyphonic. Mozart was the master of this. |
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generates atmosphere and comments on the action. Modeled after the “Greek chorus” |
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short musical composition, purely orchestral, that opens an opera and sets the overall dramatic mood |
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orchestral introduction to later acts in an opera |
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Italian “thinking group” that started opera in 1600. Wanted to create a new vocal style modeled on speech. |
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wrote the first opera in 1600 |
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Wrote Orfeo Wanted to create music of emotional intensity–invented pizzicato and tremolo |
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earliest surviving opera. Written by Monteverdi story of Orpheus and Euridice |
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“You Are Dead” Act II recitative from “Orfeo” by Monteverdi terms: word painting, recitative |
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violin teacher, composer, conductor for the music school of the Pieta wrote “The Four Seasons” |
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music associated with a story, poem, idea, or scene example: Spring by Vivaldi |
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Ritornello: birds–> streams–> thuinder/lightning–> birds again |
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illustrates shepherd sleeping. Violas are barking dog throughout |
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pastoral dance. Ritornello form. Dotted-note rhythm. |
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Child prodigy, but not from a musical family Employed in Germany but took an extended leave to England Impresario, composer, performer |
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Most known for English oratorios and Italian operas Used polyphony and changes between major and minor keys |
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By Handel. Part of “The Messiah” includes sudden changes among monophonic, polyphonic, and homophonic |
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anthology of English madrigals written to honor Queen Elizabeth I |
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a recitative accompanied by continuo alone, in which the continuo merely provides harmonic support; there are no melodic elements or ornamental elements to the continuo accompaniment ex: Tu se morta |
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large-scale composition for chorus, vocal soloists, and orchestra. Usually set to a narrative text. ex: Handel’s Messiah |
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the “talkie” part of an opera |
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put the words together for The Messiah |
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the number of movements in the Messiah |
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Ev’ry Valley Shall Be Exalted |
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Aria in Handel’s Messiah terms: word painting; aria; oratorio |
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most famous choral work ever moves between poly-, mono-, and homophonic |
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period of music that corresponded to the “Age of Enlightenment” |
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mid-a8th century composers entertaining their listeners with music offering contrasts of mood and theme. Typically light and graceful in character |
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period characterized by balance |
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strings woodwind brass percussion |
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4 sections of orchestra in classical period |
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1. fast–sonata form 2. slow– theme & variations (sometimes sonata) 3. dancelike–minuet & trio or scherzo 4. fast–rondo or sonata rondo or sonata |
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4 movements of a symphony or string quartet |
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instruments of a string quartet |
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form of a single movement consisting of 3 main sections–exposition, development, recapitulation |
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Theme 1 in tonic Bridge Theme 2 in new key closing theme Repeat |
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middle section of sonata form; themes “duke it out” in fragments, many keys |
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3rd section of sonata form Theme 1 Bridge Theme 2 Closing theme (all in tonic) |
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“tail”; optional ending to sonata form |
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Symphony no 40 in Gm 1st movement |
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Mozart symphony “Mr Mozart is in the closet” in sonata form |
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A basic musical idea is repeated over and over and changed each time (ex: Haydn Symphony no 94 in Gmaj 2nd mvt (Surprise)) |
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typical 2nd movement of a symphony, songlike, almost always NOT in tonic key |
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melodic idea that accompanies a main theme–results in polyphony Used in Haydn Symph. no 94 in G maj (Surprise Symphony) |
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“joke”; same form as minuet and trio, but quicker, more energetic, rhythmic drive and rough humor |
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A work that is usually light in mood, meant for evening entertainment |
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Symphony no 94 in G major |
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Symphony by Joseph Haydn, called the “Surprise Symphony” Theme & variations form Uses countermelody |
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in 3 often the 3rd movement of a symphony 3 sections |
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a (repeat) b a’ (repeat) c (repeat) d c’ (repeat) a b a’ |
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Mozart 3rd movement serenade |
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often the 4th movement in a symphony upbeat, very stable due to constant return to theme A ex: Beethoven String Quartet in C minor, op 18, no 4 |
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graphed A B A C A or A B A C A B A |
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A B A development section A B A |
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Beethoven String Quartet in C Minor, op 18, no 4, 4th movement |
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Rondo form Folklike theme–sounds like gypsy music |
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a group of works published together. Beethoven’s no 18 was a collection of string quartets |
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an extended, ambitious composition usually lasting between 20 and 45 minutes, expoiting the extended range of tone color and dynamics of the classical orchestra. Usually 4 movements: fast, slow, dancelike, fast |
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three-movement work for an instrumental soloist and orchestra |
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“Father of the Classical Period” Worked for the Esterhazy family in Vienna Very prolific |
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child prodigy died young over 600 compositions |
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Mozart opera unique blend of comic and serious |
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Don Giovanni Leporello Donna Anna Don Ottavio The Commandante |
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characters of Don Giovanni opening scene |
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the bridge between the classical and romantic periods first ideal of the “creative genius” deaf |
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only opera written by Beethoven; revolutionary theme |
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Letter from Beethoven to unknown lover |
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Beethoven’s 3rd symphony Written to honor Napoleon, but later B scratched his name out and renamed it |
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letter written by Beethoven to his brothers, confessing his deafness and his near suicide–but that his art would keep him going. |
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two sets of symphonies written by Haydn to honor London |
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“fate knocking at the door” |
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name for the rhythm of Beethoven’s Symphony no 5 |
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name for the 2nd theme of Beethoven’s Symphony no 5 |
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cultural movement that stressed emotion, imagination, and individuality |
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deliberate use of folksongs, dances, legends, and history of the composer’s homeland |
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music that draws on materials from a foreign land |
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harmony that uses chords containing tones not in the prevailing key |
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short piano pieces meant to be played in the home |
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melody returns in a later movement or section, but its character is transformed by changes in dynamics, orchestration, or rhythm ex: Symphonie fantastique |
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period in which piano became a fixture in every middle-class home |
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composition for solo voice and piano, in which poetry and music are intimately fused ex: Erlkonig |
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same music is used for each stanza of a poem (ex: hymns) |
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new music for each stanza of a poem (ex: Erlkonig) |
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Romantic art songs grouped in a set (ex: Schubert Die Winterreise) |
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Prolific composer in Vienna; died age 31 Lived Bohemian life with friends Wrote over 600 songs |
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parties in which only Schubert’s music was played |
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Composer who wrote almost exclusively for piano Polish/French Made $$ teaching piano to daughters of the rich Love affair with George Sand |
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poem about dying boy, father trying to outrace death on horseback. Music by Schubert |
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wrote miniatures No programmatic titles colorful harmonic chord progressions hint of melanchoy |
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night piece–slow, lyrical, intimate piano composition |
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instrumental music associated with a story, poem, idea, or scene ex: Symphonie fantastique |
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NON-program music (ex: Brahms) |
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one movement, usually sonata form NOT meant to usher in a stage work |
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program music composition in several movements ex: Symphonie fantastique |
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music to be performed before and during a play |
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Composer who fell in love with Shakespearean actress Harriet Smithson and wrote “Symphonie fantastique” about her Well-known music critic One of the first great conductors wrote for HUGE orchestras |
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symphonic poem or tone poem |
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one-movement piece; ex: Sorcerer’s Apprentice May be any form |
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5-movement symphony by Hector Berlioz about his obsession with Harriet Smithson |
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single theme meant to represent one thing ex: “beloved” theme in Symphonie fantastique |
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feelings awakened during French Revolution and Napoleonic Wars Resulted in new enthusiasm for folk songs, legends, dances, fairy tales |
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Polish/French composer Worked in both NY and Prague Wrote New World Symphony (Symphony no 9 in Emin) |
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Major opera composer Italian Wrote: La Boheme Mme Butterfly Tosca |
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4 normal characters live in a flat in Paris. One falls in love with the girl next door, who dies of TB |
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Rodolfo–poet Marcello–painter Colline–philosopher Schaunard–musician Mimi–seanstress |
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Hildegard of Bingen Medieval Gregorian chant |
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Josquin Desprez Renaissance motet |
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Thomas Weelkes Renaissance madrigal |
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Brandenburg Concerto no 5 in D Major, mvt 1 |
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Bach Baroque concerto grosso |
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Monteverdi Baroque Recitative |
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Symphony no 40 in G minor, mvt 1 |
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Mozart Classical sonata form |
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Eine Kleine Nachtmusik, mvt 3 |
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Mozart Classical serenade (minuet & trio form) |
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Symphony no 5 in C minor, mvt 1 |
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Beethoven Classical symphony (sonata form) |
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Symphony no 94, “Surprise” symphony, mvt 2 |
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Haydn Classical theme & variations |
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String quartet Op 18, no 4, mvt 4 |
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Beethoven Classical string quartet (rondo form) |
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Berlioz Romantic program symphony |
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Prelude to the Afternoon of a Faun |
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Schoenberg 20th-c. song cycle |
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Five Pieces for Orchestra |
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Webern 20th-c. orchestral composition |
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Sonatas and Interludes for Prepared Piano |
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combinations of 2 chords heard at once 20th-c. |
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chord made up of tones only a half step or whole step apart 20th-c. |
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use of 2 or more keys at once 20th-c. |
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2 keys used at once 20th-c. |
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absence of tonality or key |
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developed by Schoenberg Equal prominence given to each of the 12 chromatic tones |
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2 or more contrasting, independent rhythms at the same time |
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motive or phrase that is repeated persistently at the same pitch throughout a section |
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scale of 6 notes each a whole step apart |
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movement in art showing light and reflections rather than objects Debussy’s music |
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Movement in 20th-c. music to evoke primitive power through percussive sounds, intense rhythm. ex: Stravinsky Rite of Spring |
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