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| Music that is independent of words, drama, visual images, or any kind of representational aspects. There are themes. Brahms. |
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| introduced by Liszt. Instrumental music with a narrative or descriptive meaning. For example, music that depicts a scene or story. Wagner and Liszt |
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| “beautiful singing” Elegant Italian vocal style of the early nineteenth century marked by lyrical, embellished, and florid melodies that show off the beauty, agility, and fluency of the singer’s voice. |
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| “singing play” opera with spoken dialogue, musical numbers, and usually a comic plot. Inspired by ballad operas. |
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| “total artwork” coined by Richard Wagner. Dramatic work in which poetry, scene design, staging, action, and music all work together toward on artistic expression. |
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| “leading motive” In opera, a motive, theme, or musical idea associated with a person, thing, mood, or idea, which returns in original or altered form thoughout. |
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| Only for piano. No programme. Depicts a character, emotion, or theme. Not an entire story, like programme music. |
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| a group of songs performed in succession that tells or suggests a story. |
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| Lieder (strophic, modified strophic, through-composed) |
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| song with German words. songs for voice and piano in 18th and 19th centuries. |
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| Coined by Liszt. same as tone poem. one movement work of programme music for orchestra that conveys a poetic idea, scene, or succession of moods by presenting themes that are repeated, varied, or transformed |
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| independent orchestra work in one movement, usually descriptive. |
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| Strauss: Don Juan. Same as symphonic poem. |
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| fixed idea or obsession. Coined by Berlioz for a melody that is used throughout a piece to represent a person, thing, or idea. Used to transform the music to suit the mood or situation. |
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| Berlioz and Liszt. method devised by Liszt to provide unity, variety, and a narrative-like logic to a composition by transforming the thematic material into new themes or other elements, in order to reflect the diverse moods needed to portray a programmatic subject. |
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| Gesamtkunstwert, or total artwork. Wagner’s vision has been called music drama, but he rejected that. He suggested the phrase as “acts of music made visible” |
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| songs for home performance in English. Usually strophic. Expressiveness is entirely voice, the accompaniment is simply there. Meant to be altered by the performer based on the interpretation (unlike lieder) Jeanie with the Light Brown Hair. |
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| finding out more about other cultures. Bizet’s Carmen and Saint-Saen’s Samson and Delilah |
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| moguchaya kuchka. Balakirev, Borodin, Cui, Musorgsky, Rimsky-Korsakov |
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| of a poem. Consisting of two or more stanzas that are equivalent in form and can be sung to the same melody |
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| variant of strophic form. The music for the first stanza is varied for later stanzas. There is a change of key, rhythm, character, or material. |
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| Composed throughout. Each stanza or other unit of the poem is set to new music rather than a strophic manner to a single melody |
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| people united through characteristics, such as common language, shared culture, historical traditions, national institutions and rituals |
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| In Paris. Middle-class audiences, always included ballet, stage machinery, choruses, crowd scenes. Rossini’s William Tell |
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| comic or semi-serious opera including spoken dialogue and fewer singers. Predecessor of Lyric Opera (Theatre Lyrique) Gounod’s Faust or Romeo et Juliet |
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| established St. Petersburg Conservatory |
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| White actors blackened their faces to impersonate African-Americans |
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| Mainstream of European music. Education was in German. 1860- Czech National Theatre established in Prague. Smetana: national Czech music, inspired by music of Liszt, and Italian and German opera. Dvorak: Rusalka |
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| orchestra that performed works of Haydn, Mozart, Beethoven, and Gounod. |
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| National Society of Music |
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| supported French music. Focuses on works by Rameau, Gluck, and 16th century French composers. |
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| founded by Vincent d’Indy |
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| French tradition. Drew upon works of Gounod and Couperin. Became a professor of composition at the Paris Conservatoire. Requiem. |
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| Cosmopolitan tradition. born in Belgium. Studied at the Conservatoire and became a professor of organ there as well. Wrote using classical forms, genres, and counterpoint. Thematic transformation, cyclic unity, Wagnerian harmony. Three Chorales. |
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| art songs: individual, self-contained pieces that are not a part of a larger story. based on poetry, accompanied by piano. published individually, in a collection, or as a set/cycle. intended to be performed in a recital. lieder, chanson, text painting, accompaniment equals importance of vocal line. Chromaticism is acceptable. Schumann, Schubert |
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| short mood piece with beautiful embellished melodies about sonorous accompaniment. “song without words.” |
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| designed to develop certain skill |
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| Polish folk dance. Chopin |
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