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| (frequency) the rate of sound |
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| The amplitude of the wave (the amount of energy it contains) |
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| The quality of sound, defined by the number of overtones in the sound. |
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| A strong/weak pattern repeated over and over again |
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| The speed of the music; the rates at which regular beats of the meter follow another |
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| An organized series of pitches |
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| Using chords to accompany a melody |
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Sound is creating by air being blown through an instrument
piccolo
flute
oboe
clarinet
bassoon
trumpet
french horn
trombone
tuba |
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| sound is created by a vibrating string
piano
harp
violin
viola
cello
double bass |
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| Idiophones/Membranophones |
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Idiophone creates music by itself, membraphone by a vibrating membrane
percussion |
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| one melodic line with accompaniant |
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| more than one melodic line with accompaniant |
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| The Ordinary + The Proper |
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Kyrie – Lord have mercy/Christ has mercy
Gloria – Glory to go in the highest
Credo – Creed (I believe in)
Sanctus: Holy, holy, holy
Agnus Dei: Lamb of God who takes away sing |
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Introit
Gradual
Alleluia/Tract
Sequence
Offertory
Communion |
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Eight services, all 150 psalms + antiphons (bridge music between psalms)
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Martins
Laubs
Prime
Terce
Sext
None
Vespers
Compline |
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Hildegard of Bingen
12th century, monophony
*Woman singing with drone underneath* |
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Troubadour song
Bernart de Ventadorn
12th century, homophony
*man singing with guitar-like accompaniment* |
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Alleluia:Diffusa est gratia
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Perotin
13th century, organum (polyphony)
*starts with men singing “Alleluia” with the counterpoint coming in later* |
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From “Dido and Aeneas” by Henry Purcell
17th century, homophony
*woman singing “when I am laid”..with simple, slow accomp* |
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From “Julius Caesar” by G.F. Handel
18th century, homophony
*opens with strings and harpsichord, first words the woman sings are “La giustizia”. Characterzied by melismas* |
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From “Don Giovanni” by W.A. Mozart
18th century, homophony
*sung by a man first, when the woman coming in later* |
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| The Young Person’s Guide to the Orchestra |
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Britten
20th century
our only orchestra piece, polyphony |
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Dorian (starts on D)
Phyrigan (starts on E)
Lydian (starts on F)
Mixyolydian (starts on G)Also the plagal modes, each starting a 4th below the each of the four original tonics
For example:
HYPOdorian starts on A |
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| Rite or body of rites for public worship – used expressly for church services |
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discovered that music can be measured/is a function of ratios
foundation for our concept of consonant and dissonant intervals |
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| particular intervallic/melodic patterns named after geographic locations and associated with their indigenous ethnic groups
Known now as the modes |
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| Aristotle/Plato, this doctrine implies that music has the power to effect its listeners. For example, if one listened to a certain tonos (music associated with a certain group of people/characteristics), one could be influenced by such characteristics |
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| Grammar, Rhetoric, Logic
principles of expression and persuasion |
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| Arithmatic, Geometry, Astronomy, Music
principles of measurement, governing the nature/human nature |
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*1098-1179
*was an Abbess
*Woman composer in the middle ages
*wrote on medicine and natural history
*”Ordo Virtutum” – major work |
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| *beginning of Notre Dame school -> notated music |
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*approx. 1000
*evolved out of plainchant
*is plainchant with counterpoint melody |
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*was modal
*nonmetrical
*free rhythm with focus on text rather than music |
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| * 1570-1578
A group of noblemen who wanted to act out the original style of Greek Drama
Intermedi: one act operas, usually performed in the intermissions of other dramas |
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*16th century
*traveling troupe that went around performing moral plays in the vernacular
*social commentary
*stock set of characters
for example: lovers, military hero, old man, saucy maid, sad clown, etc. |
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| Three Basic Elements of Opera |
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Overture: Introductory orchestral music that played a variety of roles depending on when the opera was written
Aria: Extended solo for male/female soloist; focus on voice
Recitative: text-focused, with minimal accomp. – the “dialoge” |
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opera seria
vocal fireworks
castrati
Da Capo Aria: A/B/A’ with embellishments |
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tragedie lyrique
DRAMA
created in/revolved around French Court
virture plays
French Overture: Dotted rhythms |
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