| The form of ABA is often called —, or the first movement |
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| The form of ABACA, ABACABA, ABABA, are all often called —, and is usually the last movement |
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| Minuet and Trio has — form (ABA, ABACA, ABACABA, ABABA) |
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| ABA form always has — meter |
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| A virtuosic passage played during a solo concerto |
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| The — was given a cast iron frame to support more tension on the strings |
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| The piano has a combined tension of — lbs. and weighs around — lbs. |
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| — instruments were given values or pistons |
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| The — was invented in 1816 |
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This composer: lived from 1770-1827; parents hoped for a prodigy; met and played for Mozart, but never studied with him; was a composer in both “Classical” & “Romantic” eras;
studied with Haydn |
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| This composer also: had a difficult and temperamental personality; difficult to work with; very stormy temper; kind and generous |
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| — introduced the new form of opera that saved it from extinction, imposed classical restraint on the music, arias and recitatives were less extreme and as natural as possible |
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| Christoph Willibald Gluck |
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| A summary/introduction of major work being performed |
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| The western world finally went back to the “—” style of expressive singing |
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| Two major forms of opera singing |
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| Type of opera that is smaller in scaled, written in vernacular, used spoken dialogue instead of recitable |
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| Type of opera that: dialogue was set a recitative; used trained voice for the first time in effect; ensemble finale |
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| This composer’s operas: always felt the text served the music; “Dies Irae”; dressed adult females as young boys |
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| This composer: initially wanted to study law and go into government, but at 23 entered the music conservatory, and was appointed professor of harmony 3 years later; mostly commonly known for his ballets (Swan Lake, The Sleeping Beauty, and The Nutcracker) |
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| This composer: is accredited with the development of the program symphony, or “Symphonie Fantastique”; Went to Paris to become a doctor, but left and entered the Paris conservatory; A reoccuring theme or melodic idea in this symphony, the “Id?e Fix” |
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| Changing the theme to fit the story’s mood during a piece. This increased the size of a standard orchestra to offer more — and — |
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Thematic Transformation
Volume .and. Colorful Sonorities |
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| A one-movement orchestral work concieved as a kind of poetry expressed in tones instead of words (two terms) |
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| Symphonic Poem .or. Tone Poem |
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| The return to the classical ideals of the classical era |
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