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Monteverdi
Purcell
Corelli
Bach
Vivaldi
Handel
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Basically everybody else
Weber
Rossini
Schubert
Mendelssohn
Chopin
Schumann
Liszt
Wagner
Franck
Smetana
Brahms
Tchaikovsky
Dvorak
Sousa
Puccini
Mahler
Strauss
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| Twentieth Century Composers |
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Debussy
Schoenberg
Ravel
Bartok
Stravinsky
Prokofiev
Hindemith
Gershwin
Copland
Shostakovich
Penderecki
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Soprano
(Mezzosoprano)
Alto
Tenor
(Baritone)
Bass
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| Many melodies (like a symphony) |
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| Polyphonic choral piece in sacred Latin |
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(emotional) Solo voice w/ orchestral accompaniment
In operas, oratorios, and cantatas
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| Vocal solo more lyrical than a recitative and less elaborate than an aria. |
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| Translating poems into song |
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| Lenghthening of fugue subject |
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France
Debussy
Stresses tone color, atmosphere, fluidity
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Dancelike vocal homophonic
fa-la
Renaisssance England
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Basso Ostinato
(Ground Bass)
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Bass idea consistent while melody changes
Baroque
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Italian fellowship, began in 1575
Set foundation for the start of opera
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Flat notes in scale
Vocal blues have form A A’ B
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| In Sonata form, transition section between exposition and development |
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For chorus, vocal soloists, and instrumental ensemble
Several movements
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The stupidest, most disgusting songs composed by pure randomness
Idiot developer: John Cage in the 1950s
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Medieval
Renaissance
20th Century
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Single movement orchestra piece
Sonata form
Romantic
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| Shortening of fugue subject |
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| Transitional section in a fugue |
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French for “study”
Pieces to master techniques
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| First part of sonata-form movement |
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German, Austrian
20th Century
Emotion and dissonance
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Unaccompanied
Sacred Latin
Official music of Roman Catholic Church
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2 or more persons playing same basic melody but w/ different ornamentation or rhythm
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| Theme shared between movements |
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| Melodic idea repeated by another player (like a round) |
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During a play
Sets the mood;
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Musical idea associated with a noun
Wagner operas;
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For several voices
Short secular poem
Word painting;
Renaissance;
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Sacred choral piece
Made up of 5 sections;
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Trancelike, unchanging
1960s;
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A B A
Minuet Trio Minuet;
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Vocal
Same music for each stansa of a poem;
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Some stanzas have same music, while some stanzas have new music
Romantic;
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1920-1950
Imitation of 18th Century Music;
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| New Orleans (Dixieland) Jazz |
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| Phrase repeated at same pitch |
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1 tone usu. in bass
Held while other voices change
In Fugues;
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| 5-tone scale in folk music and far East |
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| Triple meter, Polish court dance |
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| 3rd section of sonata in Tonic Key |
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| Reverse of fugue: last note first |
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| Repeated section of music |
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Short piano/piano accompaniment piece
19th Century;
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A B A C A
Typical of final movements;
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A B A
Typical 3rd movement in triple meter;
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| Immediate repetition in a different pitch |
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Mid-20th Century
Ordered group of musical elements;
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Single movement:
Exposition, Development, Recapitulation
A B A;
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| A B A – Development – A B A |
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In Fugue:
Subject imitated before finished;
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| Same music repeated for each stanza |
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| Same key but different everything else |
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| Particular ordering of 12 tones. |
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| Developed by Schoenberg, early 1920s |
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16th – 17th Century composers, wrote for several choruses
St. Mark’s Cathedral
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Six tones each a whole step away from the next
Debussey
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