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77 Cards in this Set
- Front
- Back
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COMPOSITION or section of a composition in IMITATIVE TEXTURE that is based on a single SUBJECT and begins with successive statements of the subject in all voices.
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fugue
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2 part harpsichord, imitative texture, motive (main subject), then episodes. less strict than a fugue.
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invention
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links entries in an invention
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link
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Restatement of a pattern, either MELODIC or HARMONIC, on successive or different pitch levels.
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sequence
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in a fugue, takes you from dominant to tonic without being jolting. only happens in exposition
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bridge
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means spinning forth. an intense play of motives (1 or more), sequentially, repetitively, Baroque
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Fortspinnung
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Broken or ARPEGGIATED TEXTURE in keyboard and LUTE music from seventeenth-century France. The technique originated with the lute, and the FIGURATION was transferred to the HARPSICHORD.
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style brise
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vocal type subject. short with large note values.
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soggetto
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instrumental style subject. longer with multiple parts. harder to sing.
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andamento
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In SONATA FORM, the first part of the MOVEMENT, in which the main THEMES are stated, beginning in the TONIC and usually closing in the DOMINANT (or relative major).
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exposition (sonata)
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A FORM comprised of two complementary sections, each of which is repeated. The first section usually ends on the DOMINANT or the relative major, although it many end of the TONIC or other KEY; the second section returns to the tonic.
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binary
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A FORM in three main sections, in which the first and third are identical or closely related and the middle section is contrasting, creating an ABA pattern.
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ternary
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BINARY FORM in which the latter part of the first section returns at the end of the second section, but in the TONIC
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rounded
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binary form, initial material does not return
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simple
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binary form, modulates in first section
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continuous
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binary form, doesn't modulate in first section
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sectional
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In the EXPOSITION of a FUGUE, the second entry of the SUBJECT, normally on the DOMINANT if the subject was on the TONIC, and vice versa. Also refers to subsequent answers to the subject.
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answer
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THEME, used especially for the main MELODY used in a RICERCARE, FUGUE, or other IMITATIVE work.
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subject
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Short MELODIC or RHYTHMIC idea that recurs in the same or altered form. the subject in an invention. doesn't have to be answered.
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motive
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like the countersubject in a fugue, but in an invention. it comes back.
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countermotive
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both parts sound the motive (like the exposition in a fugue)
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announcement phase
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In a FUGUE, a passage of free COUNTERPOINT between statements of the SUBJECT.
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episode
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the subject or answer comes back in its entirety. may be heard with a countersubject
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middle entry
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subject occurs for the last time in the original key
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final entry
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motive is shortened...
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fragmentation
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if interval goes up, in inverse it will go down by the same interval
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inversion (melodic)
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flipping parts, like switching hands for Alberti bass
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inversion (textural)
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a three part form made up of binary forms
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compound ternary
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Relatively short setting for organ of a CHORALE MELODY, used as an introduction for congregational singing or as an interlude in a Lutheran church service.
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chorale prelude
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ARIA FORM with two sections. The first section is repeated after the second section's close, which carries the instruction da capo (Italian, "from the head"), creating an ABA FORM.
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da capo aria
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A pattern in the BASS that repeats while the MELODY above it changes.
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ground bass
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A set of pieces that are linked together into a single work. During the BAROQUE, a suite usually referred to a set of stylized DANCE pieces.
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suite
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Highly stylized DANCE in BINARY FORM, in moderately fast quadruple METER with almost continuous movement, beginning with an upbeat. Popular during the RENAISSANCE and BAROQUE; appearing often as the first dance in a SUITE.
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allemande
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A DANCE in BINARY FORM, in triple METER at a moderate tempo and with an upbeat, featured as a standard MOVEMENT of the BAROQUE dance SUITE.
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courante/corrente
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In French BAROQUE music, a slow DANCE in BINARY FORM and in triple METER, often emphasizing the second beat; a standard MOVEMENT of a SUITE.
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sarabande
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Stylized DANCE movement of a standard BAROQUE SUITE, in BINARY FORM, marked by fast compound METER such as 6/4 or 12/8 with wide MELODIC leaps and continuous triplets. The two sections usually both begin with IMITATION.
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gigue/giga
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another word for suite...
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stylized dance
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BAROQUE GENRE of VARIATIONS over a repeated BASS line or HARMONIC PROGRESSION in triple METER.
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passacaglia
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BAROQUE GENRE derived from the CHACONA, consisting of VARIATIONS over a BASSO CONTINUO.
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chaconne
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response to subject at different intervals, but same contour, to mitigate a too immediate effect of the dominant
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tonal answer
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exact transposition of subject up a 5th
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real answer
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parts flip
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invertible counterpoint
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exposition over again after a short episode (can be in a different order)
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counterexposition
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different voices coming in at the same time (before one is finished)
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stretto
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looks like a single melodic line, but more than one melody implied
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compound melody
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uniform lengthening of note values in a melody or phrase
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augmentation
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Uniform reduction of NOTE values in a MELODY or PHRASE.
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diminution
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Backward statement of a previously heard MELODY, passage, or TWELVE-TONE ROW.
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retrograde
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everyone has performed subjects and answers
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exposition (fugue)
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part of exposition, repeat of subject that we already heard in same key
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redundant entry
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...
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double or triple fugue
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The most important service in the Roman church. (2) A musical work setting the texts of the ORDINARY of the Mass, typically KYRIE, GLORIA, CREDO, SANCTUS, and AGNUS DEI. In this book, as in common usage, the church service is capitalized (the Mass), but a musical setting of the Mass Ordinary is not (a mass).
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mass
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GENRE of dramatic music that originated in the seventeenth century, combining narrative, dialogue, and commentary through ARIAS, RECITATIVES, ENSEMBLES, CHORUSES, and instrumental music, like an unstaged OPERA. Usually on a religious or biblical subject.
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oratorio
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Drama with continuous or nearly continuous music, staged with scenery, costumes, and action.
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opera
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FORM that presents an uninterrupted series of variants (each called a VARIATION) on a THEME; the theme may be a MELODY, a BASS line, a HARMONIC plan, or other musical subject.,,,
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continuous variations
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PERIOD of music history from about 1600 to about 1750, overlapping the late RENAISSANCE and early CLASSIC periods.
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Baroque style
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In music history, the era from about 1730 to about 1815, between and overlapping the BAROQUE and ROMANTIC PERIODS.
Musical idiom of the eighteenth century, generally characterized by an emphasis on MELODY over relatively light accompaniment; simple, clearly articulated harmonic plans; PERIODIC phrasing; clearly delineated FORMS based on contrast between THEMES, between KEYS, between stable and unstable passages, and between sections with different functions; and contrasts of mood, style, and figuration within MOVEMENTS as well as between them. |
Classical style
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The quality of being PERIODIC, especially when this is emphasized through frequent resting points and articulations between PHRASES and PERIODS.
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periodicity
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A piece to be played on one or more instruments. (2) BAROQUE instrumental piece with contrasting sections or MOVEMENTS, often with IMITATIVE COUNTERPOINT. (3) GENRE in several movements for one or two solo instruments.
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sonata
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n SONATA FORM, the section after the EXPOSITION, which MODULATES through a variety of KEYS and in which THEMES from the exposition are presented in new ways.
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development
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In SONATA FORM, the third main section, which restates the material from the EXPOSITION, normally all in the TONIC
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recapitulation
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p
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primary theme area
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s
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secondary theme area
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tr
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transition
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k
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closing
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before recap in dev.
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retransition
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Bach wrote it when he was trying to kill himself
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Heiligenstadt Testament
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1685-1750. German. Baroque.
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Bach
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1659-1695. English. Baroque.
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Purcell
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1685-1759. German born. Baroque.
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Handel
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1732-1809. Austrian. Classical.
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Haydn
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1756-1791. Austrian. Classical.
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Mozart
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1770-1827. German. Classical and Romantic.
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Beethoven
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A type of Polish folk dance (and later ballroom dance) in triple METER, characterized by accents on the second or third beat and often by dotted figures on the first beat, or a stylized PIANO piece based on such a DANCE.
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mazurka
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1833-1897. German, worked in Austria. Romantic.
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Brahms
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1810-1849. Polish. Romantic.
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Chopin
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1797-1828. Austrian. Romantic.
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Schubert
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