Gmk June Exam

Front 1

Name the processes of music.

Back 1

Composing

Performing

Listening

Producing

Marketing

Publishing

Front 2

Composing:

Back 2

The act of bringing into existence which has not existed before.

Front 3

Performing:

Back 3

The most essential process of music. Always consists of an intention and an execution. One can perform a pre-existing piece or improvise.

Front 4

Listening:

Back 4

Most common process. Is comprised of aesthetic appreciation, discussing a piece or to privately experience a understanding.

Front 5

Producing:

Back 5

The act of commissioning, recording editing and managing a composition and it's final product.

Front 6

Marketing:

Back 6

Original methods included live performance and published sheet music. Now we use the internet and cell phones.

Front 7

Publishing:

Back 7

Used to be hand drawn. The music typewriter was invented in the 20th century. Publishing includes commissioning music, copyrighting, typing scores, editing scores, proof reading and binding.

Front 8

Sacred music of the middle ages:

Back 8

Gregorian chant (monophonic)

Organum (polyphonic): used cantus firmus.

Notre dame school:

Ars antica

Ars Nova (more strict metre)

Front 9

Secular music of the middle ages:

Back 9

Troubadours, Trousers and Minstrels were travelling musicians.

Had more strict rhythm due to the music being dances.

Front 10

Middle ages dances:

Back 10

Estampie: triple, strong fast beat.

Pavane: slow

Galliard: quick

Front 11

Renaissance characteristics, text and music:

Back 11

Vocal music > instruments

Music is written to enhance text

Affects are more important

Word painting is frequent.

Front 12

Renaissance characteristics, texture:

Back 12

Vocal music is polyphonic.

Secular dances are homophonic.

Renaissance has thicker texture than the middle ages.

Harmony is important, dissonance is off beat.

Front 13

Renaissance characteristics, rhythm and melody:

Back 13

Calm and balanced effect.

Gentle rhythmic flow.

Melodies are constructed stepwise.

Front 14

Renaissance characteristics, Form:

Back 14

Motet: polyphonic vocal music set to Latin text.

Mass: polyphonic choral work set to Latin text.

Madrigal: a part song for several voices.

Ballett: a dance like composition, more homophonic. Has the Fa la la refrain.

Front 15

Renaissance characteristics, form continued:

Back 15

Dances: Pavane- slow, duple metre

Galliard- quick in triple

Bourree- quick in duple

Front 16

Secular music Renaissance: Vocal

Back 16

Text is everyday speech

For small vocal ensembles

Front 17

Secular music Renaissance: Instrumental

Back 17

Music ensembles were small

Size was determined by the occasion.

Front 18

The mass, five parts and translations:

Back 18

Kyrie Eleision: God have mercy

Gloria in excelsis Deo: Glory to God in the highest.

Credo: I believe in one God

Sanctus: Holy

Agnus dei: Lamb of God

Front 19

How is the material of the mass derived:

Back 19

Plainchant melody

Secular melodies

Original themes

A complete composition broken up between different parts.

Front 20

Renaissance Baroque differences:

Back 20

To be written

Front 21

Early Baroque characteristics:

Back 21

Counterpoint is avoided

More dissonance

Emphasis is placed in the setting of texts

Vocal and instrumental music is split.

Front 22

Middle Baroque characteristics:

Back 22

Bel Canto

Aria and recicativo

Contrapuntal texture

Major and minor keys

Vocal and instrumental are the same

Front 23

Late Baroque characteristics:

Back 23

Large genres develop fully

Constant harmonic progression

Instrumental interchangeability

Instrumental music > Vocal music

Front 24

Baroque features:

Back 24

1.Recicativo: rapid speech like singing, free rhythmic flow with sparse accompaniment.

2. Aria: homophonic vocal work with poetic text accompanied by harpsichord and other instruments.

2.1Dacapo aria: ABA form, second A section is highly embellished.

3.Basso continuo: Largely improvised accompaniment using fuligured bass.

Front 25

Baroque characteristics:

Back 25

Unity of mood

Consistent forward motion

Terraced dynamics

Polyphonic texture

Baroque orchestra

Front 26

Name the Baroque Forms:

Back 26

Orchestral suite

Concerto grosso, solo concerto

Cantata

Baroque opera

Passion

Oratorio

Trio sonata

Prelude and Fugue

Protestant chorale

Front 27

Baroque form: orchestral suite

Back 27

Allemande

Courante

Sarabande

Gigue

Front 28

Baroque form: concerto

Back 28

Three movements: fast slow fast

Solo/concertino and tutti

Tutti is basso continuo and strings.

Solo is one person in solo concerto

Front 29

Baroque form: Cantata

Back 29

Secular: solo voice with instrumental accompaniment.

Sacred: same as secular but with sacred text

Front 30

Baroque opera:

Back 30

A drama sung with orchestral accompaniment

Solo aria

Recicativo

Choruses

Front 31

The Camerata:

Back 31

A group of intellectuals in Florence in 1580. Wanted to revive Greek dramas.

1. Music must be dutiful to the text and meaning.

2. Polyphony and counterpoint are unsuitable for expression of emotion.

3. A single line melody with sparse accompaniment is recommended.

4. The setting must follow the rhythm of the text and the melody the of the natural infliction of the voice.

5. The singer must perform with expression.

Front 32

Development of the Opera:

Back 32

All aspects are extended

Bel canto develops

The castrati dominate the opera scene

The Ballett is used, the french overture is added where the double dotted rhythm is used.

Singspiel us created which incorporates the spoken word

Opera enters England

Front 33

Baroque form: Prelude and Fugue

Back 33

Always played together

The prelude establishes the mood and key of the piece.

Highly polyphonic

Uses stretto, the imitation of the subject before its completion.

Front 34

Baroque form: the Protestant Chorale

Back 34

Tunes were adapted for chorales:

Catholic plain chant

Popular secular songs

New songs were composed

New compositions were created from chorale tunes:

1. Chorale Harmonisation

2. The embellished Chorale

3. The motif Chorale

4. The Chorale Fantasia

5. Chorale Fugue

6. Motet Chorale

Front 35

Baroque form: Oratorio

Back 35

A large work for voice and orchestra with a Biblical theme. Performed without costumes, scenery or action.

Front 36

Baroque form: Passion

Back 36

An oratorio describing the life and death of Christ. Can be set to biblical text or have a freely devised Libretto.

Front 37

Baroque form: Trio sonata

Back 37

1. Sonata da Chiesa: Church sonata, organ cello and soloists, slow fast slow fast.

2. Sonata da camera: chamber sonata, harpsichord, cello and soloists, fast slow fast.