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| Drama presented in music, with the characters singing instead of speaking. (p. 100) |
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| Group of humanists, musicians, poets who discussed trends in art. Revival of greek drama. (notebook) |
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| Serious opera. Principal type of Italian Baroque opera; plots mostly derived from ancient history. (p. 155) |
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| Italian comic opera. Depicted contemporary people in comic situations. (p. 210-11) |
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| In opera buffa. A number sung by two or more people. Depict different sentiments of the participating characters simultaneously. (p. 211) |
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| “Beautiful song”. Romantic opera style; glorification of beautiful singing. (p. 277) |
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| The Artwork of the Future |
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| Richard Wagner. 1851 revised 1868. |
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| Wagner’s idea. “Total artwork”. The merging of drama, music, and stagecraft. Name for the concept that formed the basis of music drama.(p. 243) |
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| Name for Wagner’s new kind of opera in which music shares the honors with poetry, drama, and philosophy. (p. 285) |
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| Wagner. Guiding motive. (p. 283) |
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| Das Rheingold, Die Walkure, Siegfried, Die Gotterdammerung |
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| Japanese. Stage action consists of highly restrained, stylized, and symbolic gestures and movements. Limited ensemble. (p. 314) |
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| Japanese. Puppet theatre. One singer/narrator accompanied by shamisen (jap. lute). (p. 315) |
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| Japanese. Adopted features from Noh and Bunraku. More modern stories, appealed to urban merchant class. (p. 315) |
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| Most famous genre of music involved in kabuki. “Long song”. Extended piece for a singer and the onstage orchestra. (p. 315) |
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| Chinese term for Beijing Opera. “theater of the capital”. Mixture of song, spoken dialogue, instrumental music, dance, elaborate costume, martial arts. (p. 316) |
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| dsisplacement of accents. Used a lot in jazz. (p. 14) |
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| Special category of black folk song whose subject is loneliness, trouble, and depression of every shade. (p. 397) |
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| First important center of jazz. Imaginative and individual performance styles. (p. 399) |
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| Ten to twentyfive players. Improvisation limited. Variety of tone color and instrumental effects. (p. 401) |
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| Trumpet and sax with rhythm section and piano. Determined to return to improvisation of a new technical virtuosity. (p. 406) |
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| Musical comedies, closely tied to the outpouring of popular songs in the 20s and 30s. (p. 411) |
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