Cset 3 Ms Visual And Performing Arts

Front 1

Abstraction

Back 1

THe essence of an idea applied to the art of movement.
Much of the art of earlier cultures – signs and marks on pottery, textiles, and inscriptions and paintings on rock – were simple, geometric and linear forms which might have had a symbolic or decorative purpose.

Front 2

Adagio

Back 2

The opposite of allegro, or a slower tempo; A set of practice exercises in class consisting of extensions and balances.

Front 3

Alignment

Back 3

A way in which part of the dancer's body are in line with one another while the dancer is moving.

Front 4

Allegro

Back 4

From the musical term, this referes to quick or lively movements.

Front 5

Arabesque

Back 5

A pose in which the working leg is extended with a straight knee directly behind the body.

Front 6

Attitude (Dance)

Back 6

A pose modeled after the statue of the winged mercury by Giovanni Bologna in which the working leg is extended behind the body with the knee bent, it can be also held in front of the body.

Front 7

barre

Back 7

A round rail attached to the wall horizontally, about three and a half feet above the floor, for dancers to hold during the first half of techniques class; it is also used for stretching the legs by placing the geet or legs on it.

Front 8

Body Movement

Back 8

Includes locomotor and axil (contained movement around an axis of the body.)

Front 9

Choreography

Back 9

The steps of a dance as put together for performance or the art of composing dances.

Front 10

Classical
Dance

Back 10

1. Lexicon of dance as taught in the original academis.
2. Ballets as created during the Imperial Russioan days (Sleeping Beauty, THe Nutcracker, and Swan Lake)
3. Style of performing that was developed in France, Italy, Denmark, and Russia, or the kind of dancing that comes from that style.

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Creative MOvement

Back 11

The movement that is primary and nonfunctional, with emphasis on body mastery for expressive and communicative purposes.
Creative Movement is a joyful way for children to explore movement through music, develop physical skills, channel energy, stimulate imagination and promote creativity. Creative movement uses body actions to: communicate an image (the wind), communicate an idea (a journey) or communicate a feeling (strength).

Front 12

Dance

Back 12

All inclusive term meaning the aesthetics of movement. A dance is the organization of moves with a beginning, middle, and end in sequential form.

Front 13

Dance-pointe

Back 13

On the ball of the foot, or half toe.

Front 14

Elevation

Back 14

The ability to get up into the air and remain there long enough to perform various movements or poses,

Front 15

Extension

Back 15

Raising the leg to a straightened position with the foot very high above the ground; the ability to lift and hold the leg in position off the ground.

Front 16

Force

Back 16

Release of potential energy into kinetic energy.

Front 17

Grand jete

Back 17

A leap from one leg to the other in which the working leg is kicked or thrown away from the body and into the air; the pose achieved in the air differs, as the direction the leap takes.

Front 18

Grand jete en tournan

Back 18

In this leap, the dancer turns halfway in midair to land facing the direction in which the movement started.

Front 19

Improvisation

Back 19

Movement without previous planning.

Front 20

Kinesthetic Awareness

Back 20

Feeling the dance movements of others in one's own muscles.

Front 21

Lifts

Back 21

A part of pas de deux in which one dancer is lifted off the ground by another.

Front 22

Line (dance)

Back 22

The arrangement of head, shoulders, arms, torso, and legs while dancing.

Front 23

Movement Materials

Back 23

Sequences, motifs, and phrases developed as the choregraphed dance.

Front 24

Pas de deux

Back 24

A step for two; specific codified form that is choregraphed in many classical ballets; this is also used to refer to any section of a dance performed by two dancers together.

Front 25

Passe

Back 25

A passing position in which the foot passes by the knee of the supporting leg. When this position is held, as in pirouttes, with the foot of the working leg, it is known as retire.

Front 26

Pirouette

Back 26

To twirl or spin; a turn on one foot that can be executed outward, away, from the body or inward toward the body.

Front 27

Pointe

Back 27

Dancing on toes.

Front 28

Postmodern Dance

Back 28

A term coined in the 1960's by those who wanted to create movements outside the influences of any of th then-traditional modern dance pioneers, such as Cunningham, Graham, Humphrey, Limon, and Taylor.

Front 29

Promenade

Back 29

An adagio movement in which the dancer pivots completely around on one foot while maintaining a pose with the working leg.
Square dance, tango.

Front 30

Romantic Era

Back 30

1820 - 1870 in which ballet was characterized primarily by supernatural subject matter, long white tutus, dancing on the toes, and theatrical innovations that permitted the dimming of the house lights for theatrical illusion.

Front 31

Space
Dance

Back 31

Immediate area surrounding the body; the area in which bodies can move at all levels.

Front 32

Spotting

Back 32

Focusing the eyes on one point in the distance in order to keep balance while turning.

Front 33

Dance

Back 33

Art of movement and expression.
Provides students with opportunities to express their creative, physiological, and technical abilities as hey practice and refine their skills in arranging, performing, and interpreting movement skills.

Front 34

Elements of dance

Back 34

Space, time , levels (dynamics), force (energy).

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Space
Locomotor

Back 35

walking, running, leaping, jumping, hopping, galloping and sliding.

Front 36

Space
Nonlocomotor

Back 36

Stretching, pushing, twisting, bending, kicking, sinking, or curling.

Front 37

Space Combined Locomotor

Back 37

Traditional folk steps
Two step, paddle, grapevvine, step hop, chug, and spinning

Front 38

Space between dancers

Back 38

Individual, group, or class
Space between dancers (side by side, supported, far, or near.
Interaction between dancers-leader, follower, mirror, unison or parting.

Front 39

Time
Music

Back 39

1. Rhythm
2. Tempo
3. Beat
4. Meter
5. Syncopation
6. Rhapsodic Rhythms

Front 40

Beat

Back 40

The pulse of music. Basic unit of time. Even or uneven

Front 41

Meter

Back 41

2/4 time, 3/4 time etc

Front 42

Meter

Back 42

The pattern of a music piece's rhythm of strong and weak beats; 2/4 time, 3/4 time etc

Front 43

Rhapsodic Rhythms

Back 43

Non metric (breath, water or wind)

Front 44

Levels (Dance)
Dynamics

Back 44

1. Direction
2. Form and Shape
3. Level
4. Range
5. Pathway
6. Focus

Front 45

Direction

Back 45

Forward, backward, up, down, sideways, diagonal, straight, circle, out, in, zig zag or spiral.

Front 46

Form and Shape

Back 46

Angular, rounded, twisted, bent, crooked, symmetrical, or asymmetrical.

Front 47

Range

Back 47

Wide, narrow, big, or little

Front 48

Pathway

Back 48

Floor, elevated, or air patterns

Front 49

Focus

Back 49

Gaze, floor, or away.

Front 50

Force (dance)

Back 50

1. Quality of energy
2. Degree of Energy

Front 51

Quality of energy

Back 51

sustained (smooth), suspended (light), swing (under-curve), sway (over-curve), collapsed (loose), percussive (sharp), or vibrate (shudder)

Front 52

Degree of Energy

Back 52

Stong, weak, heavy, light, dynamic, static, flowing or tense.

Front 53

Cultural Dance

Back 53

Important historical significance from ancient civilizations. Chinese ribbon dance, the Polish polonaise, India's Kathakali or Bharatanatym; clogging.
Historical dances include the pavane, gilliard, the minuet, charleston, twist, cisco, hip-hop, and lambada.

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Religous/Ceremonial dances

Back 54

Choreography played a significant role in many cultures.
Performed celebrations, rituals, and rites of passage, battles and to celebrate joyful occasions.

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Folk Dance

Back 55

A form of a culutural dance; originated from medieval times when townspeople danced to celelbrate.
Must include Four factors.
1. Dance movements must predate the nineteenth century
2. Dance is performed by peasants or royalty.
3. The choregoraphy is derived from tradition.
4. There is no teacher
Variations include square dancing and barn dancing.

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Playing and sing with movemnt (Folk Dance)

Back 56

London Bridges, Hokey Pokey, Ring around the Rosie, Farmer and the Dell, BINGO, Pop goes the Weasel.

Front 57

May Pole Dance
(Folk Dance)

Back 57

Danced on May Day in Germany and Sweden; Maypole is a tall pole decorated with floral, garland, flags, and streamers. Ribbons are attached to a pole, so that children can hold a ribbon as they dance.

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Modern Dance

Back 58

Born in the 20th century as a result of dancers resisting the rigid structure of classical ballet dance; Often unstructured and makes deliberate use of gravity and body weight to enhance movement. Encourages students to exprtess feelings and emotions through movement.
Type of creative dance involving specialized movement techniques; emphasis is on expression and communication.

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Theatrical Dance

Back 59

Based on music, songs, dialogue, and dance-ballet, jazz and tap. Other productions include ethno cultural, kabuki, Russian and celtic dances.

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Social Dance

Back 60

Socializing is the main focus, therefore a dance partner is essential. Hip-hop, line dance, ballroom, waltz, foxtrot, tango, rumba, jive and swing.

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Prehistory to Beginnig of Middle Ages (A.D. 400)
Characteristics
Dance

Back 61

Circle Form; Use of imagery.

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Prehistory to Beginnig of Middle Ages (A.D. 400)
Gender Roles

Back 62

War and hunting for men, seasons and planting for women; Accompaniments came from drums, harps, flutes and chants.

Front 63

Prehistory to Beginnig of Middle Ages (A.D. 400)
Forms

Back 63

Social dance which celebrated births, special events, rights of passage; Ritual dance and hunting magic; fertility dance, which marked the changing of the seasons and sought favor with the Gods.

Front 64

Prehistory to Beginnig of Middle Ages (A.D. 400)
Historical Evolution
Dance

Back 64

1. Egypt: Movement associated with gods/funerals
2. Greece: Theater-chorus; also the festival of Dionysus.
3. Rome: pantomime/dance expression
4. India: Formalized Hand Movements (Hindu dance-oldest world dance.
5. Java: Eloborate costumes; balance and moderation of traditional dance;
6. China: Ceremonial dance with each character having specific hand movement, and martial dancing
7. Japan: Kabuki-it involves stomping, eloborate costumes, is male only, and is still current.

Front 65

Middle Ages
(500 - 1400)
Dance

Back 65

1. The church attempted to restrict pagan dance, but folk dances evolved from earlier ritual dance.
2. Characteristics of folk dance: running, walking, hoping, and skipping all are linked to culture, music and the history of a group; they take form in a circle
3. Current Examples: Polka, square dance, historic dancesMexican El Jarabe tapatio.

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Middle Ages
(500 - 1400)
Folk Dance

Back 66

All had reecreational aspects and basic steps such as running, walking, hopping, and skipping; all are linked to culture, music, and the history of a group, they take form of a circle.

Front 67

Middle Ages
(500 - 1400)
Current dance examples in the 20th century

Back 67

Polk, square dances; historical dances-cossack dance of Russia, polonaise of Poland, Czardas Hungarian tavern dance, and Mexican El Harabe Tapatio (hat dance)

Front 68

Renaissance Dance
(1400 - 1600)

Back 68

1. Evolved from Pagenats and processions of the period.
2. Ballet evolved from France (1500's) and moved to Italy; led to court dancing (nobility in a palace setting) stepes were slow and fast; lack of spotaneity-defined steps.
3. Music to accompany specific, technical ballet steps; a theatrical art form developed- music, costumes, setting and plot.
4. Shakespeare's Romeo and Juliet; Greek and Roman mythology.
5. Minuet a formal aristocratic court dance developed at the end of the period.

Front 69

18th and 19th Centuries
Dancing
Romantic Era/Classical Period

Back 69

1. Formal dance spread to the coninent; professional choregraphy; costuming, introduction of the waltz 123 rhythm; court dance.
2. Ballet developed through Europe which led to virtuoso dacing; expressibe capcity of te body; pointe footwork and the heel-less shoe.
3. Era of Romanticism early 1800's. Emphasis on emotions and fantasy, true pointe work; evolution of lightness in flght.
4. Focus was on the ballerina; the male dancer was secondary.

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Early 20th Century
Dance

Back 70

1. Revolutionary aspects of Ballets Russes (Russia)-new movement
2. Revolutionary aspects of early modern dance. Rag time jazz emerged and the flapper era influecned fast-moving dances like the Charleston; Isadora Duncan and Martha Graham-freedom and break from restrictive classical ballet and tutu.

Front 71

Late 20th Century (Dance)

Back 71

1. Growth of contemporary dance, post moodernism in the 1960's; Movement toward simplicity and a less sophisticated technique-frequent rejection of costumes
2. More eclectic; ballet and ethnic usedd in the same performances; all male groups; intense theatrical effects in lighting, costumes and sets.
3. Marth Graham and pschodrama: intense movement often depictin pain, fear, and loce, dance forms that sculptured by human body postions.
3. George Balanchine; Director of the NY city balley, broadway and hoolywood shows; emphasis on speed on mobility lean body types.
5. Social dance and mass culture: Rock n Roll, MTV, hip-hop. ballroom dancing (tango)

Front 72

Framework For Dance Activity Instruction

Back 72

1. Expectations for a safe, enjoyable learning environment.
2. Determine physical abilities and special needs of students.
3. PRovide students with research and learning opportunities for cross disciplines.
4. Begin with warm-up and cool down. Exercises should include steps to be used in the dance activity.
5. Separate the dance into steps.
6. Teach one part of the basic step pattern at a time.
7. Explain the floor pattern.
8. Use key words and counts to cue the steps and directional changes, and to alert students.
9. Encourage opprotunities for different dance experiences such as solo, line, circle, scatter, or group formations of three and four. This dispels the idea that one must have a partner to dance.
10. PRovide an opprotunity for students to refine their skill levell.
11. Allow opportuntiies for all students to perform, and not just the most able dancers.
12. Provide opportunities for interpreation of dance.
13. Provide a classroom dance that includes different styles of dance from cultural and historical context.

Front 73

Harmony

Back 73

Two or more tones played simultaneously that support the melody and give music texture or mood; A group of notes played behind the melody; You can chnage how music sounds by changing the harmony.

Front 74

Pitch

Back 74

Hearing a note and being able to reproduce it either covally or with an instrument. Vocal cords and musical instruments produce vibrations in the air; as the frequency of these vibrations change, the pitch chnages. The faster the vibration, the higher the notes, ; the slower the vibration the lower the pitch.

Front 75

Pitch

Back 75

the degree of height or depth of a tone or of sound,
Hearing a note and being able to reproduce it either covally or with an instrument. Vocal cords and musical instruments produce vibrations in the air; as the frequency of these vibrations change, the pitch chnages. The faster the vibration, the higher the notes, ; the slower the vibration the lower the pitch.

Front 76

Intonation

Back 76

Refers to whether the pitch of a particular note is played in tune, sharp (higher), or flat(lower).

Front 77

Rhythm

Back 77

The pattern of musical movement through time; makes music move and flow.
It is measured in units of time and organized by sets or patterns tha can be repeated; beat within different lengths and accents that comvine into patterns; steady pulse.

Front 78

tempo

Back 78

the pace of the beat; measured by the number of beats per minute; the faster the tempo, the more beats per minute
Tempo is an important component to change the expressiveness of character and mood of the musical composition; Reflects energy, aggression, or viatlity (if tempo is fast)
The speed with which incidents that make up the action take place.

Front 79

Presto

Back 79

Very fast

Front 80

Moderato

Back 80

Moderate

Front 81

largo

Back 81

Very slow

Front 82

Tone

Back 82

Sound produced by an individual instrument or singer.

Front 83

Timbre

Back 83

The unique tonal quality of musical sound; It is the tone color. Makes one instrument sound different from another. It can be described as bright, shril, brittle, light, harsh, forceful, or dark.

Front 84

Chamber Music

Back 84

Music played by one to 20 performers. Intimate

Front 85

Chord

Back 85

Several notes sounded together (CEG).

Front 86

Consonance

Back 86

The combinatin of tones that produces a quality of relaxation.

Front 87

Dissononace

Back 87

The combination of notes that produces a quality of tension.

Front 88

Fugue

Back 88

Short theme called a subject; contains both rhythmic and melodic motifs; The opening of the fugue is announced byone voice alone.

Front 89

Lied

Back 89

A type of german song that is usually romantic.

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Lyre

Back 90

An ancient harp.

Front 91

Motif

Back 91

1. A recurring group of notes, such as the four notes played at the beginning of (an restated throughout Beethoven's 5th symphony.
2. the smallest element of a song, after the single note itself, that there is. It is the idea that sparks a song when you are songwriting. It is normally a collection of 3 or 4 notes.
3. A recurring theme.

Front 92

Movement

Back 92

A large section of a lengthy compostion.

Front 93

Opera

Back 93

A drama, either tragic or comic, that is sung to an orchestral accompaniment; based on biblical stories; large scale compostion with vocal soloists, chorus, and orchestra.

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Opus

Back 94

A work, usually identified by a musical number.

Front 95

Oratorio

Back 95

A major orchestral piece with solo voices and chorus.
large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias. However, opera is musical theatre, while oratorio is strictly a concert piece—though oratorios are sometimes staged as operas, and operas are sometimes presented in concert form. In an oratorio there is generally little or no interaction between the characters, and no props or elaborate costumes. A particularly important difference is in the typical subject matter of the text. Opera has to do with mythology; This piece can be performed for the church-sacred topics.

Front 96

Orchestra

Back 96

An instrumental ensemble composed of strings, woodwinds, brass, and percussion.
Ancient Greek Theatre, the open dancing area in front of the stage house. In modern usage, the orchestra is the lowest and usually most expensive array of seats directly in front of the stage. This should not be confused withe orchestr

Front 97

Rondo

Back 97

A musical form whose main feature is the return of the main theme, which alterantes with secondary themeL
simple rondo: ABABA
Sencond Rondo: ABACA
Third Rondo: ABACABA

Front 98

Sonata

Back 98

A multi-movement instrumental work for solo keyboard, or keyboard and another instrument, or small chamber ensemble.

Front 99

Song Form

Back 99

The structure of a song in which the first section of a simple ternary form is repeated; for example, AABA

Front 100

Symphony

Back 100

An elaborate musical composition, many which are between 20 - 45 minutes in lenght; A classical symphony usually consists of four movements that are intended to stir up a wide range of emotions through contrasts in tempo and mood,

Front 101

Syncopation

Back 101

A rhythmic effect produced when the expected thythmic pattern is deliberately upset.
A shift of accent in a passage or composition that occurs when a normally weak beat is stressed.

Front 102

Staff

Back 102

Staff is a set of five horizontal lines and four spaces. These are where the notes are positioned. The higher note on a staff, the higher the pitch,

Front 103

Clef

Back 103

Clef is the symbol at the beginning of each staff indicating the pitch or the range of sounds that should be played.
Treble Clef-Higher notes
Base Cleff-Lower notes

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Measure and Bar lines

Back 104

A measure is formed by barlines (vertical lines on staff) an contains a set number of beats as determined by the time signature.

Front 105

Note Value

Back 105

Each note has a specific duration representd by a solid black or hallow oval shape. Some have flags and others have stems attached representing different values.

Front 106

Time Signature or meter

Back 106

Time signature is a way to measure rhythmic units. It is noted at the beginning of a composition and looks like a mathematical fraction. The top number denotes the number of beats in a measure and the bottome number denotes what type of note will receive the beat.

Front 107

Scale

Back 107

S scale is a succession of notes arranged in an ascendind order. Seven of the 12 pitches (tones) that create an octave in western music are named after the 7 letters of the alphabet- ABCDEFG or CDEFGAB

Front 108

Musical Instruments

Back 108

1. String
2. Woodwind
3. Brass
4. Pecussion
5. Keyboard
6. Electronics

Front 109

Symphony Orchestra

Back 109

1. String
2. Woodwind
3. Brass
4. Percussion

Front 110

Strings

Back 110

Largest family of the orchestra; Stretch over the bodya and neck of the intrument and attach to small ornamental heads where they are tuned by turning pegs. (Violin, viola, cello, double bass make higher pitched sounds and the larger intruments (Cello and double Bass) produce low rich sounds. Played with bow or can be plucked.

Front 111

Woodwind Intruments

Back 111

Made of wood; Consist of narrow pipes with an opening in the bottom end and a mouth piece at the top. As air blows through from the mouthpiece, sound is produced.
Mouth piece is called reed
Bassoon, oboe, saxaphone, clarinet, flute. Smaller intruments play higher pitches, longer ones = lower notes.

Front 112

Brass Inst.

Back 112

Produce sound through breath as the vibrations from the players lips buzz against metal cut shaped mouth pieces; can play louder than any instrumental section.
Tusks, horns, shells, wood, french horn, Trombone, Trumpet, Tuba.

Front 113

Percussion

Back 113

Any instrument that produces a sound when it is being hit, shaken, rubbed, or scraped
Tambourine, maracas, castanets, claves, xylophone, timpani, cybals, gong, triangle, brass drum, chimes, celesta, bells, wood block, guiro, bongos, conga, cowbells, and snare drum. Sometimes piano and harp .

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Keyboard family

Back 114

Piano and harpsichord and organ.

Front 115

Auditiory Skills

Back 115

Hearing the sound of music; attentive listening and further develop aural acuity. Children must be able to hear and reproduce the tones of music in their minds when no sound is acutally being produced.

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Translative Skills

Back 116

Reading and writing music-they develop cognitive associations of meaning. Experience with sounds helps children link visual symbols of music notation with sound.

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Creative Skills

Back 117

Creating music; Performing both imporviesed and written music should be encouraged.

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Performance Skills

Back 118

a. Singing
b. Playing Instruments
c. Body Movemnt
d. Conduction
e. Musical analysis

Front 119

Singing

Back 119

Should be chosen based on the physical development of students' voices; Listening while singing should be encouraged to develop interpretive skills and understanding of the structure and elements of music.

Front 120

Playing Instruments

Back 120

Concepts of sound, pitch, Rhythm, and so on; Playing instruments can be used to accompany and produce hoarmony.

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Body Movement

Back 121

Moving to music is a learned skill that promotes acuity of perception.

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Conducting

Back 122

Throuch conductiong speech chants, involving changes in tempo, dynamics, pitches, and so forth; fosters sensitivity to musical expression

Front 123

Muscial Analysis

Back 123

Students should compare their listening and playing exercies; should be encouraged to verbalize their musicl analysis.

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Implications for teaching music in the classroom

Back 124

1. Valuable opportunity to build active listiening skills.
2. Helps shape the cogntive and mental processes in children.
3. Has its own forms, time periods, and cultural characteristics
4. Enhance other subject areas, particularly visual arts.
5. Extends beyond knowlege and skils.
6. Can be a form of therapy that offers a unique medium for self-expression
7. Muscial intruments can be created from material from the environment, and children can create instruments in the classroom

Front 125

Middle Ages/Medieval
500-1400
Historical Themes

Back 125

1. Spread of chritianity; development of Europe, the crusades, rise of universities, influence of Islam, this was the longest period.

Front 126

Middle Ages/Medieval
500-1400
Music style/Elements

Back 126

1. Sacred music was most prevelant.
2. Gregorian Chant was a melody set to sacred Latin texts-official music of roman catholic church. (monophonic style of music)
3. Secular song developed by the end of the 12th century, popular songs were not bound by the tradtions of the church and were performed by troubadours.

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Monophonic Style

Back 127

Meaning one melodic and no line music; notation consisted of just the pitch of the notes; noted rhythm was added at the end of the 12th century.

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Polyphonic Style

Back 128

Two or more melodic lines appeared at the end f the 12th century, notation and chromatic scale-octives of 12 notes; Secular songs developed; not bound by church and were performed by troubadours.

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Renaissance Era\1400 - 1600
Historical Themes

Back 129

End of feudilism; redicovery of ancient greek and Roman culture and ideals; art and music own sake; scientific advances age of patronage.

Front 130

Renaissance Era\1400 - 1600
Instrumental dance Music

Back 130

Music and dane were connected; new intruments-keyboard and the lute; printing press preserved and extended music.

Front 131

Renaissance Era\1400 - 1600
Music Styles/elements

Back 131

Polyphonic emphasis on harmony, sacred and secular.

Front 132

Baroque Era
1600 - 1750
Historical Themes

Back 132

Scientific Investigation, New World exploration and empire, composers: Monteverdi, Handel, and Bach.

Front 133

Baroque Era
1600 - 1750
Music Styles/elements

Back 133

1. Heavily ornate style, counterpoint (Technique of combining several meldoic lines into a meaningul whole; melodic line; emphsis on contrast and volume; imitiative polyphony (many homophonic style) (CHords under a melodic line; Secular music ; Court composers; Keyboard music for the harpischord and organ.

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Baroque Era
1600 - 1750
Developments
Music/dance

Back 134

Opera (Staged dramatic vocal music and entertainment), Orchestra, ballet, and sonata (solo instrument with accompaniment.)

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Classical Era
1750 - 1820
Hitorical Themes
Music

Back 135

Industrail Revolution. Age of reason and enlightenment, age of revolutiohn, revolutionary music such as the Fren Marseillaise; ORchestra gained importance; trombones introduced; development of the piano, Rocco style; elegance and courtly graced: minuet developed as a dance style.

Front 136

Classical Era
1750 - 1820
Classical Style
Music

Back 136

Homophony-a single melodic line and an accompaniment) simple textures and melodies; expansions of textures, melodies, and variations; String quartet (Two violins, viola, and cello)Opera, concerto; Creative impulses for Haydn, Mozart, and Beethoven.

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Romantic Period
1820-1900
Historical Themes

Back 137

Rise of European Nationalism, new social orders, intense emotion in arts, Poe in literature; Romanticism derived from comcepts of heroes, love and chivalry associated with the Middle Ages; Nature as themes; Composers-Chopin, liszt, Berlioz, Mendelssohn, and Schumann

Front 138

Romantic Period
1820-1900
Opera

Back 138

Verdi (Italy), Wagner (Geramny); themes from literature and folk tales.

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Romantic Period
1820-1900
Genres (Music)

Back 139

Symphonic poem-(orchestral work that portrayed a story ) and concert overture (Rossini's William Tell). Emphsisis was on the sonata and symphony, included the introduction of dissonance to create emotion, featuring virtuoso performers.

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Modern Era
1900's
Music

Back 140

`Evolution of the musical world, rebellion, unique sounds, widening gap between art and popular music (beatles)
Technology allowed for mass appeal and a new direction in music making sound recordings, electronically created sounds, computer music, and composing;
Polytonality (playing two keys at once)
Pucci and his operas Madama Butterfly and La Boheme; Debussy and Impressionism, Stravinsky and his ballet The rite of Spring
Influence of blues and jazz-roots in African rhythms and hormonies with modern instrumentation, improvisation, and syncopation
Rock N Rol, R & B, Counrty, and folk, hip-hop.

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Action

Back 141

Character-Character Interaction, both external and internal by which characters attempt to achieve their objective.

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Antagonsit

Back 142

Usually a character that resists the protagonist; Conflict results from the efforts of the protagonist to achieve his or her objective in spite of the obstacle introduced by the antagonsit

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Arena Staging

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The conficuration of audience and actor in which the audience esstially surrounds the playing area. Also known as the theater Round

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Aristotelian Theater

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Espoused by Aristotle.
Includes clear, simple plotting; strong characters, High levels of intellectual content and a minimum of spectacule.
Plays should include three unities action, physical space, and time be writtenin five acts, avoid violence and not mix comedy and tragedy,

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Block (verb)

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To decide upon the gross movements of actors upon the stage. Assign physical relationship of actors and the locations of entrances and exists, creates stage pictures

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Broadway Theater

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Model that dominated the American Thatere from the end of the 19th century until after WWII; PRofit making enterprise in which shares of a productions are sold to investors with the expectation that they will receive a return on their investment; Aspires to very long runs of a single play using star performers appearing with the widest possible audience appeal.

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Center Stage

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tHE EXACT CENTER FO THE FLOOR OF THE STAGE.

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Character

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A figure portayed in the play.

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Chorus

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A group of characters in a play who comment on the action, speaking directly to the audience.

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Chronlogical Time

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Time as a linear experience related to cause and effect. Developments can include flashback and flash-forward.

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Climax

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The point of the play that completes the rising action. A new piece of imformation is made public that tips the balance one way or another. It is follwed by the denouement. Most exciting ppart of the play.

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Comedy

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Play that ends happyily; A genre of dramtic literature that is lighter in tone than drama but more serious than farce; Characters are less developed, the theme is less weighty, the language is wittier, and the ending is happy. Humor more physical, the characters are more broadly drawn, and the plots are more contrived.

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Company

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All the people associated with producing a play.

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Conflict

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Central feature of dramtic action;

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Connotative Meaning

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Symbols that are vague in terms of strict definition, but rich in poetic meaning; evokes an emotional rather than intellectuall response.

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Content of Theater

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What is portrayed in theatre, the interaction of at least one character with some aspect of his or her environment. Since the portrayed interaction is normally with anther person (or an aspect of the natural environment endowed with human qualities), the content of theatre is character-character interaction.

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Conventions
Theater

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The temporary rules of the performance. The conventions of the theatre are specific to particular cultures, styles of theatre, and even individual productions.

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Creative Drama

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A form of intertainment in which students improvise scenes for their own growth, not that of an audience. In some cases, the aim of creative drama is to learn subjects other than theatre- history, literature.; in others it is to learn about theatre itself

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Denouement

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In traditional dramatic theory, the portion of action that immediately follows the climax of a play; the last remainig loose ends are tied up, including disposition of any unresolved conflicts and the reestablishment of stasis. ( condition of balance and harmony)

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Director

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Modern theatre, Job is to bring life the vision of the play wright or provide artistic meaning to the theatre expereince.

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Downstage

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The portion of the proscenium stage that is closest to the audience.

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Drama

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Category in literature that is intended for the stage; The perception that a series of real-life events have the kind of meaning commonly expereinced in the theatre or films, as in dramatic rescue or the drama of a summit meeting.
Reenactment of life situations for entertainment and human understanding; does necessarily require a live-formal audience.

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Dramatic Criticism

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The work of a drama critic. IT consists of commentary on a play or script intended to enrich the experience of seeing the play or reading the script by others; can appear in written form, public talks, or media.

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Dramatic Question

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The first and most important element in rising action. As soon as conflict has been established, the next question must be, How will this turn out? Raises the issues of which of the conflicting parties will prevail and, in doing so, begin to develop suspense.

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Environmental staging

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The form of physical relationship between audience and performers in which there is little or no clear definition between the space dedicated to each. The conventions of environmental staging dictate that audience and performers use the same space during the course of the experience.

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Exposition

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The playwright device of providing information to the audience. Retrospective exposition usually occurs early in action and give the audence important information about what has occurred before the play begins; provides informtion about events offstage happening during the play.

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Flashback

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Manipulation of time; A scene from earlier in the story is shown after those that occur later. Common in films.

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Form
Theater

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The relationship of all the parts of plays of a certain type considered apart from any single example of that type as in the form of a farce and the form of the well-made play. What emerges is a model or ideal of a theatrical experinece that can be used to describe specific examples.

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Full-Length Play

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A single play that consists of 3-5 acts, usually filling two to four hours.

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Gallery (Elizabethan Theater)

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In the Elisabethan theatre, one of a tier of alcoves surrounding the interior of the yard where, in enclosed boxes and on benches, those who could afford the greatest comfort could sit. Found in most renaissance theatres; they continue today in tiers of balconies and boxers found in most opera houses.

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Illumination

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Casting light upon an otherwise darkened stage.

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Improvisation

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Acting without a script or prepared text.

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Inciting Incident

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The first incident in the chain of events called rising action; Throws the world of the play into disequilibrium; the remainder of the play is an attempt to reestablish that balance; Can be very simple-piece of news emerging from a casual conversation.

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Kabuki

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A classical Japanese theatre form that combines colorful song and dance, flamboynt characters and extravagant plots in a popular art that has retained its wide popularity since the early 17th century.

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Lighting plot

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A plan of the stage showing the location of each lighting instrument, its size and characters, and the area of the stage where its light will fall.

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Melodrama

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The genre of theatre that is normally placed between tragedy and drama wnd which shares some characteristics with each. IT is largely serious in tone, placing its major figures in great jeopardy, but unlike tragedy, saves them from destruction at the end. The moral stance of melodrama is always clear: the good characters are very good, the bad ones very bad.

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Mood

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In lighting, the use of elements of stage lighting to evoke or support particular emotional states in the audience of a play. This is the place on the humorous-serious scale that a ply is expected to occupy.

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Multiple Plots

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More than one story line is presented; plots kept separtate until late in the play, at which point they intersect; Work best when each separate plot is somehow a treatment of the same theme or in some way shares an important theatrical element with the others.

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Neoclassic Drama
17th - 18th century

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Plays of the neoclassic period; Renaissance writers attempted to recapture the glory of theatre in ancient greece and Rome. Particulary in seventeenth and 18th century France, this effort was aided by the application of certain rules of playwriting such as the unities (action, place, time), the enforced use of rigid verse forms, and the general concern for decorum on stage.

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One-act play

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A play of short duration (usually less than an hour) that can be presented without an intermission and without major changes in scenery.

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Pastoral Play

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An extinct genre of play, popular during the Italian Renaissance, which is set in a countryside populated by nymphs, satyrs, shepherds, sherdesses, and wandering knights. Upbeattone, pastoral lay existed chiefly to give courtiers a chance to indulge a taste for dressing up peasants, singing, and dancing. The pastoral play may have been the Renaissance's attempt to recapture the Greek satyr play.

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Pit

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Elizabethan theatre; portion of theatre immediately in front stage; lowest admission fee; people stood. Today it is the orchestra.

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Playscript

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A detailed written description of a ply intended to give the reader as clear a sense of the produced work as possible.

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Plot

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The series of incidents that make up the action of a play

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Proscenium Arch

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Major architectural feature of Wester theaters since the Renaissance; An opening wall between two rooms. In one room the actors perform; In the other room the audience is located.

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Proscenium Staging

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Physical configuration between actor and audience; Consists of a fairly narrow array of audience members gathered on one side of the stage only

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Protagonist

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The first person to enter a contest; major figure in tradtional theater and the person around whom the action of the play turns

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Antagonist

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The person or force that resists the protagonist, forming conflict of the play.

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Restoration Comedy

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Comedy of the English Restoration (1660-1700); glittering language, salacious plots, and frequently debauched characters.

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Revolving Stage

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Portion of stage so it rotates and pivots; used to change setters; downstage scenenry reveal scenery.

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Rising Action

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The portion of the plot that begins with the inciting incident and continues until climax; build intensity; offer suspense.

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satyr Play

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A form of greek drama that coexisted with tragedy in the classical period; same ideas presented in tragedies, ridiculing the gods and heroic legends, using bawdiest language, dance , and song to do it.

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Stage Left

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The side of the stage to the left of an actor facing the audience.

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Stage Right

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The side of the stage to the right of an actor facing the audience.

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Stereotyped Character

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Assumption that all members of a group possess certain simple behavioral traits

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Stock Company

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18th - 20th century a form of resident company actors were hired according to lines of work and large numbers of plays were prepared, usually with very shoryt rehearsal periods and short runs

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Storyboard

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A visual display of the plot of the play or film in which each scene is represented by a picture or short description

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Thrust Staging

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The physical configuration of audience and performers in which at least some part of the stage extends into, and is surrounded by, the audience. The audience surrounds the acting area to no more than 270 degrees; beyond that, the configuration is called arena staging.

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Elements of Theatre

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1. Acting
2. Theatre
3. Drama
4. Improvisation
5. Scriptwriting
6. Technical Support Tools
7. Stage

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Elements of Theater
Acting

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Development and communication of characters in formal or informal productions, improvisations.
Acting techniques: physical and vocal warm-ups, pantomime and mime, improvisations, voice and diction exercises, theatre games, performance, monologues, and script reading.
Sensory Elements: Movement, sound, spectacle
Expressive Qualities: Mood, emotion, ideas and dynamics.

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Theatre

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Formal presentation of characters in formal or informal productions or improvisations.
1. Plot and Conflict
2. Setting
3. Character
4. Language
5 Rhythm and Unity

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Improvisation

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Creative, Cooperative, spontaneous, and flexible response to changing and unexpected dramatic stimuli. It embraces problem solving without preconception of how to perform and llows anything within the environment to be used during the experience.

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Scriptwriting

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Based on culture, imagination, literature, and personal life experiences. Classroom activities can include reading and analyzing scripts, outlining dramatic structure, and working together in groups to plan scenarios.

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Technical Support Tools

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Costumes, sets, lights, props, makeup, and sound.

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Stage

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Structure where all drama and theatre take place.
Proscenium theatres, amphitheaters, Black box theatre.

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Black Box Theatre

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Acting area is undefined so that each theater may adapt specifically to a particular production.

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Interpreting Theatre
Intent

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Involves the objective, purpose, theme, or basic idea of a work of drama.

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Interpreting Theatre
Structure

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Interaction of all elements; Includes design, rhythm, climax, conflict, balance, and sequence.

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Interpreting Theatre
Effectiveness

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1. Involves the degree to which a dramatic work succeeds.
2. Evaluation of the work's success in such things as entertaining, informing, illuminating, persuading, inspiring, amusing, engaging, shocking, and instilling awe.

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Interpreting Theatre
Worth

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1. Value of judgement
2. Assessment of knowledge, insight, wisdom or feeling imparted by a work.

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Ancient Greek Theatre
600-400 B.C.

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1. Amphitheaters
2. Playwrights: Sophocles, heroes glorified but with tragic flaw, influenced of gods and Euripides.
3. Violence took place off stage.
4. Thespis was first actor
Plots came from legends; Dionysus Festivals (tragedies/comedies/satire)
5. Central actors and diaogues, mask were used to show age and emotion.
6. Women not allowed to act
7 Greek tragedy was not associated with theatre staging today.

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Roman Theatre
300 B.C. - A.D. 500

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1. Latin Versions of Greek Plays, less influenced by religion.
2. Introduction of subplot
3. Women were allowed minor plots
4. Spectacles of the Coliseum
5. Impressive theaters
6. Raised stage-was built at ground level with a raised seating area.
7. Christians disapproved of low comedy and pagan rituals.

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Medieval Theatre
500 - 1300 A.D.

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1. Theater building were not permitted; minstresl, traveling groups and jugglers from greek-roman period; open stage area.
2. Church/liturgical drams-intended to educate regarding religous events, not to entertain.
3. Illustrated religious holidays to an illiterate population "everyman"
4. Genres: Passion play, miracle play, and morality play with themes of religious loyalty.
5. Theater groups evolved into town guilds.

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Renaissance and Reformation Theatre
1400 - 1600 AD

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1. Rebirth of Greek and Roman art, culture, and literature.
2. Professional actors and set design.
3. Open stages, apron stages, to proscenium arch.
4. Emphasis on performer
5. Protestant Reformation led to secular works; Commedia dell arte-improvisation, acting groups, situational comedy.
6. State Licensed official theatre companies.

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Elizabethan Theatre

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1. Playwrights included Christopher Marlowe and Ben Johnson.
2. Theatre was supported by Queen Elizabeth; patronage, open air theatre, language of the educated, satire.
3. William Shakespeare wrote comedies, histories, and tragedies

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Restoration England
1660's

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1. 1642-Parliment closed theatres in England which allowed French into theatre mechanics.
2. Theatre architecture: France introduced new technology for scenery and set changes, artificial lighting, theatres began to be roofed in, drama moved indoors, and the stage was raised above the audience.
3. Scene changes slid by on panels; Proscenium stage architecture.
4. Baroque Period-Playwrights Racine and moliere influenced theater.
5. Women began to appear on stage in the roles of boys and young men.

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18th Century Theatre

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1. Changes in econmics, society, ruling powers, determined direction of playwrights.
2. Acting began to mimic life
3. Art of acting became prominent
4. Plays often dealt with ordinary people.
5. Commercial theatre evolved.

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19th Century Theatre

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1. Technology changed the theatre-gas lighting was changed to electrical, mechanisms were created for changing scenery.
2. Growth of melodrama
3. Actor predominated over the author; serious drama; Shaw, Isben, and Chekhov stood out.
4 U.S: Playhouses in major cities, resident companies, touring actors, influence of melodrama, minstrels.
5. 1880's to 1920's- Golden age of Ameroican Theatre; mass appleal, more sophisticated plots, and staging, moving away from hero character; vaudeville.

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20th Century Theatre

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1. New movements such as realism, naturalism, symbolism, and impressionism.
2. Commerical Theatres (Ziegfeld Follies to musical Oklahoma and Phantom of the Opera.
3. Serious dram- Eugene O neil, Arthur Miller, Tenessee Williams
4. Comedy Neil Simon
5. Actor's Studio Elia Kazan and lee Strasberg.
6. Experimental theatre-against naturalism
7. Community Theatre and ensemble theatre (group).

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Balance (Principles of Art)

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1. Sense of visual stability in a compostion
2. Arrangement of elements in order to create a feeling of equilibrium.
3. Symmetrical/asymemtrical.

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Symmetrical

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1. weight equally distributed.
2. Formal balance/classical appearance.

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Asymmetrical

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1. Visual emphasis, or pull to one side.
2. Informal balance

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Contrast

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1. Represents 2 things that are opposite.
2. Help compostion depict two dramatic dfferences ( which helps make objects become apparent to the viewer).
3. Heavy and light, curved or straight, positive and negative.

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Emphasis
Art

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1. Draws your eye to a visual focal point
2. Help an object stand out and grab your attention; center of interest.

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Pattern

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1. Objects in a compostion that are repeated
2. Repeating shapes, colors, or lines
3. Predicted designs or random patterns.

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Unity (Art)

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1. Sense that all components of a compostion belong together.
2. Intention of successful artist is to master unity.
3. Shapes, lines, and color appear to fit together as the viewer gazes upon the piece of art.
3. Creates a sense of that the artwork is self-contained ahd has life of its own, whole and complete.

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Persepecitive: LInear

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1. A technique for representing three dimensional objects on a flat surface.
2. Renaissance artists invented technique based on math principles to give painting a realistic appearance
3. Converging lines meet at a single vanishing point, the human eye perceives objects at a distance.
4. Larger objects appear closer and smaller objects appear more distant.
5 LInes of buildings are slanted to make them appear at a distance.

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Perspective: Atmospheric or Aerial
Principles of Art

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1. Used to create depth and dimension
2. Overlapping color, size, and contrast are used to reproduce the effects of distant objects.
3. In landscape, lighter objects lose focus and clarity as they appear farther away.

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Elements of Art

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1. Color
2. Line
3. Shape (form and Contour)
4. Texture
5. Space

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Color

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1. Visible light reflected off objects
2. Used to creat a symbolic representation of mood and emotion
3. Three main qualities: Hue, Value, and Intensity

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Hue

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The characteristic feature by which we distinguish one color from another, but it does not distitinguish the color's value or intensity.
2 The particular point on the color specturm.

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Primary colors

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Red, Yellow, Blue

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Secondary Colors

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Orange, green, purple (violet)
Created when mixing two primary colors together.

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Teritiary Colors

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Created by mixing secondary colors.
Color tend to be muted or grayish to provide variation of the secondary color.

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Complemtary Colors

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Pairs of colors that sit opposite one another on the color wheel and do not share any common characteristics.
Purple and yellow.
These colors are used to create contrast that can be interpreted as vibrant and stimulating,

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Value

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Lightness or darkness of a color; It's range is from white to black and the value of a color is changed by adding either white or black.
2. Used to create mood-dark colors can suggest gloom, mystery

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Intensity

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1The brilliance or dullness of color.
2. Brighter colors are associated with stronger emotions and heightened energy.
3. Dull colors associated with weaker state of energy,

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LIne

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1. Continuous mark that can change direction, length, and width.
2. Joined together they make a shape
3. Can create silhouette, outline, or contour.
4. Defines edges
5. Can be real or implied
6. Straight, Curved, jagged, diagonal, horizontal, vertical, wavy, parallel, perpendicular, zig sag, dashed.

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Horizontal line

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Suggest a state of rest, continuity, and stability since objects that are parallel to the earth are often at rest.
Can give a sense of space.

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Vertical Lines

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Communicate a sense of strength, rigidityy or height, and artists often use vertical lines to suggest spiritulaity or reaching toward the sky.

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Diagonal Lines

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Often communicate opposition or movement, while curved lines communicate a sensual of softening quality.

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Shape (Form and Contour)

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1. Form-has 3 dimensions, height weight, and depth.
2. Define objects on a piece of art.
3. Continuous line that meets to create a closed shape.
4. Contour Line-Create dimension
5. Shapes have two dimensions height and width.
6,
Organic Shapes-Things that appear in the natural world.

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Texture

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1. The way a compostion might actually feel, or the way it might appear to feel with our eyes.
2. Artists creatively use, color, line, and shape to simulate the object.

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Space
Art

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Space within the boundaries of the compostion
2. Helps the compostion look like form and gives the artwork a feeling of depth.
3. Negative Space is the space between or around the object..

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Classical Art (400 B.C. - A.D. 400)

Back 245

1. Ancient Greece and Roman.
2. Architecture-Parthenon, Coliseum, aquaducts, vautls and domes.
3. Pottery-=black on white (Greek and ROman Life)
4. Painting- Murals, portraiture.
5. Frescos-pigments with water
6. Key Characteristics-Physical Beauty; mathematical; definite proportion, celebrated great events.

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Byzantine (400-1400) Art

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1. Eastern Roman Empire
2. Key Characteristics: Religious imagery; Mosaics (flat two-dimensional; created with glass); icons; elongated bodies stylized background; gold leaf; mosaics decorated churches; triptych-3 panel art work.

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Early Middle Ages
500 - 1000 AD Art

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1. Greco Roman Influence: Influence of religion; sacred art, spatially flat; illustrated Book of Kells.
2. Romanesque architectural style: Heavy Walls; Round, ribbed arches, transept and nave, grand.

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Later Middle Ages
1000-1400 Art

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1. Gothic Art: Religious-the church was the sol patron of the arts, spatially flat; sahpe of human body was used to communicate emotions, manuscript illumination.
2. Gothic Architectural Style 1200: Influenced by christianity; Age of Chivalry, rapid growth of commerce; led to proliferation of majestic cathedrals (Chartres, Notre Doame; Cologne)
3. Gothic Windows: Stained Glass, Flying buttress (Higher, LIghter)- Towering monuments to God.
4. Frescoes; Termpera painting, with egg tempera as binder; illuminated manuscripts; vegetable oils.

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Renaissance Art
1400 - 1600

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1. Rebirth of Greco Roman Classical Form 9 Development of cities -Florence and Venice.
2. Art PatronageChurch or cour/private collectors.
3. Humanism: Indviduality and self worth
4. Sculpture: David-life from Marble; art and Architecture Sistine Chapel.
5. Art Influenced by Religion (Pyramid structure) Raphael-unity of subject, style and techniques (Madonna and Child)
6. Humanism: Depictions of the natural world; study of light and perspective. complex and crowded space.
7. New Technology: Printin press, use of oils, landscapes
8. Drawings Michelangelo's studies
9. Influence of Northern Europe/ Flemish Surface Details; Realistic light; Religious portraits.

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Baroque
1600-1750

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1.Foundations in Italy and Germany; Influenced by scientific revolution; age of Enlightenment 16th and 17th centuries
2. Counter Reformation-against Protestantism-paintings of faith/martyrdom; Age of absolute Monarchs Louis XIV.
3. Characteristics; Very Grand; complex style; appeal to sense; strong emotion, emphasis on depth/space, genre scenes of landscapes with out people.
5. Rocco (1750's - 1800's): Influenced by French Revolution and Industrial Revolution moved to more delicate/pale colors them of romantic love
5. Revolt against Rococo: Movement toward Naturalism and Romanticism-beauty of nature-senses over intellect; love of ruins and exotic cultures, new sense of nationalism; uniqueness not conformity.

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Impressionism
1860's - 1900
Origin of Modern Art

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1. Influenced by sceince, concern for light and color on object; new techniques allowed for painting outside; rejected themes of the French Salon; emphasis on primary colors and small brush strokes; side by side placement of primary colors, little white or black.
2. Manet, Monet, Renoir, Cassatt; Degas
3. Sculpture; Rodin-rebel agains perfect body type; rough hewn.
4. Neo Impressionsim: Tiny dots of primary colors to produce secondary colors; colors placed in scientifically measured dots (Georges Seurat)
5. relatively small, thin, yet visible brush strokes; open composition; emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time); common, ordinary subject matter; the inclusion of movement as a crucial element of human perception and experience; and unusual visual angles.

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Post Impressionism
1880's - 1900's

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1. Characteristics: paint indoors or outside; emotions through the use of color/swirling color/thich applications, complementary colort=s, new subject matter: away from the narrow spectrum of viewing- Starry Night; South Pacific Art
2. Examples: Van Gogh; Gauguin; Cezanne
3. Watercolor (Transparent) Overpainting; Turner

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20th Century Art

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1. Fauvism: wild Animals: Influenced by Technology of thje early 20th century; expansion of color-right from the tube and asertive brush strokes, discord of color Matisse
2. Cubism: Traditional subject matter portrayed by overlapping geometric forms; fragmentation of form; influenced by African tribal arts; masks and sculpture; move toward abstract art; Multiple Images of one subject on a two dimensional surface (Picasso, Braque, development of collages :Found Scupture.
3. Surrealism (1920's): Metaphysical painting Subconscious mind (Freud) Through fantastic imagery Salvador Dali, Chagall-distorted everyday objects.
4. Abstract Impresionism (1950s): Dribbles, splatters, splashes; Navajo sand paintings; Jackson Pollock, de Kooning, and Kandinsky
5. Pop Art; Reaction against abstract painting; Comics; Warhol; Lichtenstein (Iconic art) acrylics.
6. American Regional Art: From 1930;s rural art-everday life; expanded on landscape painting of the 1870;s; Grand Wood (American Gothic)

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Classical Art (400 B.C. - A.D. 400)

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1. Ancient Greece and Roman.
2. Architecture-Parthenon, Coliseum, aquaducts, vautls and domes.
3. Pottery-=black on white (Greek and ROman Life)
4. Painting- Murals, portraiture.
5. Frescos-pigments with water
6. Key Characteristics-Physical Beauty; mathematical; definite proportion, celebrated great events.

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Sculpture

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1. Molding shapes in three-dimensional form.
2. May be cast-molten metals poured into molds
3. Carved from wood, stone, or marble.
4. Shaped from clay or welded together.

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Painting

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1. Two domensional means of re-creating reality or arranging abstract forms in color on a flat surface.
Surfaces can be walls. wooden panels, canvas, paper and parchment, vases

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Types of Painting

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1. Watercolor
2. Oil
3. Tempera
4. Acrylic

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Frescoes

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Pigments are applied diretly over wet plaster to seal in the art on a wall or ceiling.

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Architecture

Back 259

Organization of space and form to porvide a structure for living, working, worshipping, or other residential or civic needs.

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Romanesque Churches

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1. ROund Arches
2. Valuted ceilings
3. Heavy walls that are decorated. with symbolic features of Christianity.

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Melody

Back 261

The arrangement or grouping of pitches; a succession of a single tune.
A rhythmically organized sequence of single tones so related to one another as to make up a particular phrase or idea

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Major Scales

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1. Diatonic
2. Proceed W W 1/2 W W W 1/2
(W= whole step and 1/2 equals 1/2 step).

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Minor Scale

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1. Diatonic
2. W 1/2 W W 1/2 W W

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Chromatic Scale

Back 264

Half steps between two octaves.
CC#D#EE#FF# etc.

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Grace Note

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distinguished from a regular note by print size. A grace note is indicated by printing a note that is much smaller than a regular note, sometimes with a slash through the note stem

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Trill

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a musical ornament consisting of a rapid alternation between two adjacent notes, usually a semitone or tone apart,

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Appoggiatura

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A grace note performed before a note of the melody and falling on the beat.

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DS al fine

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indication to start back at the segno, and continue playing until you reach the final barline, or a double-barline marked with the word fine.

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Coda

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term used in music in a number of different senses, primarily to designate a passage that brings a piece (or one movement thereof) to a conclusion.

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fine

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the end, often in phrases like al fine

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Tenor

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type of male singing voice and is the highest male voice within the modal register.

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Baritone

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is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice.

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bass

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possesses the lowest vocal range of all voice types.

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Soprano

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a vocal range (using scientific pitch notation, where middle C = C4) from approximately middle C (C4) to "high A" (A5)

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Madrigals

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secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six.

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Aria

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A solo voice with accompaniment occurring during a longer form such as and opera

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Impressionism

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Used words or tone colors to portray events or scenes.
relatively small, thin, yet visible brush strokes; open composition; emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time); common, ordinary subject matter; the inclusion of movement as a crucial element of human perception and experience; and unusual visual angles.
1870's and 1880's
Monet

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DC al fine

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Repeat to the beginning and play till the end.

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Contour Lines

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OUTLINE AND PRESENTS EXTERIOR EDGES OF OBJECTS; DEFINES A FORM OR EDGE

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Orthogonals

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In linear perspective drawing, they are the diagonal lines that can be drawn along receding parallel lines (Rows of objects and vanishing points.

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Bucolic

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Of or relating to the pleasant aspects of the countryside and country life.
A pastoral poem

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Languid

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Displaying or having a disinclination for physical exertion or effort; slow and relaxed.
(of an occasion or period of time) Lazy and peaceful.

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Foreshortening

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Exaggerating linear perspective by drawing the near parts of a n object in close proximity smaller as they get further away.

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Linear Perspective

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Drawing objects smaller as they get further away.
Still photographs naturally employ linear perspective.