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The absence of any feeling of tonality
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| In the most advanced style |
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| A style of singing that brings out the sensuous beauty of the voice |
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| Term for early Romantic opera, which featured belcanto singing |
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| An early 19th century genre resembling an opera overture – but without any following opera |
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| “Day of wrath” : a section of the Requiem Mass |
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| A type of sonata form developed for use in concertos |
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| A composition for two singers or instrumentalists |
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| Music played by small groups, such as a string quartet or a piano trio |
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| A type of contemporary music in which certain elements, such as the order of the notes or their pitches, are not specified by a composer, but are left to chance |
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| A short Romantic piano piece that portrays a particular mood |
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| A musical style employing all or many of the twelve notes of the chromatic scale much of the time |
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| The set of twelve pitches represented by all the white and black otes on the piano, within one octave |
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| A large composition for orchestra and solo instrument |
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| “total work of art” in german – Wagner’s term for his music dramas |
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| Sliding from one note to another on an instrument such as a trombone or violin |
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| Monophonic texture in which subtly different versions of a single melody are presented simultaneously |
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| A piece of music designed to aid technical study of a particular instrumentation |
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| An early 20th century movement in art, music, and literiture in Germany and Austria |
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| A hold of indrinite length on a note, the sign for such a hold in musical notiation |
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| The technique of reducing a theme to fragmentary motives |
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| A simple anthem based on a hymn, with a little counterpoint |
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| A Polish dance in lively triple meter |
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| A late 20th century style incolving many repititions of simple musical fragments |
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| (1) A popular 17th and 18th century dance in moderate triple meter; (2) a movement in sonata, symphony, etc., based on this dance |
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| A french artistic movement in the late 19th and early 20th centuries |
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| Reading or playing a melody or a twelve-tone seriese upside down, i.e., playing all its upward intervals downward and vice versa |
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| “Guiding or leading, motive” in Wagner’s operas |
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| German for “song”; also a special genre of Romantic songs with piano |
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| A large group of instruments playing together |
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| In classical concerto form, the first of two expositions, played by the orchestra without the soloist |
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| A motive, phrase, or theme repeated over and over again |
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| A set of variations on a short theme in the bass |
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| Wagner’s name for his distinctive type of opera |
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| A 19th century movement promoting music build on national folk songs and dances, or associated with national subjects |
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| A 20th century movement involving a return to the style and form of older music, particularly 18th century music |
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| “Night Piece” ; tiele for Romantic miniature compositions for piano, etc. |
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| An eight note scale (used by Stravinsky and others) consiting of half and whole steps in alternation |
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| A musical form consisting of one main theme or tune alternating with other themes or sefctions (ABACA, ABACABA, etc.) |
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| “Robbed” time; the free treatment of meter in performance |
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| A form developed by Beethoven from minuet to use for movements in larger compositions; later sometimes used alone by Chopin |
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| The technique of composing with a series, generally a twelve-tone series |
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| A fixed arrangements of pitches (or rhythms) held to throughout a serial composition |
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| A Polish court dance in a moderate triple meter |
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| A piece of instrumental music associated with a story or other extramusical idea |
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| A symphony with a program, as by Berlioz |
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| Genre of African American popular music of the 1980s and ’90s, featuring rapid recitation in rhyme |
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| Reading or playing a melody or twelve-tone series backward |
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| Genre of African American music of the early 1950s, forerunner of rock |
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| A piece of orchestral program music in one long movement |
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| A three part musical form in which the last section repeats the first; ABA form |
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| A form consisting of a tune (the theme) plus a number of variations on it |
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| A song with new music for each stanza of the poem; as opposed to a strophic song |
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| (1) A piece for three instruments or singers; (2) the second or B section of a minet movement, scherzo, etc. |
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| In Classical concerto form, the second of two expositions, played by the soloist and the orchestra |
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| A chamber-music piece in several movements, typically for the three main instruments plus continuo in the Baroque period, and for only one or two instruments since then |
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| Sonata form (sonata-allegro form) |
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| A form developed by the Classical composers and used in almost all the first movements of their symphonies, sonatas, etc. |
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| A group of songs connected by a general idea or story, and sometimes also by musical unifying devices |
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| A song in severas stanzas, with the same music sung for each stanza; as opposed to through-composed song |
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