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24 Cards in this Set
- Front
- Back
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Hildegaard von Bingen
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Medieval: 12th Century: Columba Aspexit;
chant dedicated to St. Maximus, monophony, plainchant, soloist and chorus together, poem, symbolic nature of images (Dante's animals) |
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texture
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refers to the numberof voices and melodies
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form
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repetition;
a chant is formless because it changes with each new note |
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Saltarello
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Medieval: 14th Century: anonymous;
dadnce piece, homophony, form, 3 sections and the first one is a refrain repeated 8 times |
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Josquin
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Renaissance: 1502: Ave Maria;
motet, rich (close) polyphony, religious choral music, "Hail Mary," mostly polyphony with some homophony for variation |
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Weelkes
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Renaissance: 1603: "As Vest Was from Latmos Hill Descending"
madrigal, text painting, from collection of madrigals written in honor of Queen Elizabeth (Triumphs of Oriana) |
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Handel
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Baroque: 1733: "Fammi Combattere"
opera aria, melody with accompaniment, ritornello, recitative, from opera Orlando, sung by castrated man |
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aria
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one person sings about how he/she feels, like a soliloquy
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recitative
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talk and sing at same time
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ritornello
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instrumental part between verses
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opera
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introduces new texture called melody with accompaniment
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Bach
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Baroque: 1730: Fugue in G-Minor
fugue, entrances of melody with interruptions of episodes, starts with exposition (intro of all 4 voices), episode always made up of sequence, subject (soprano) versus countersubject (other 3 voices), pedal points in bass voice |
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sequence
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repetition in ascending or descending pitches
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pedal point
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bass voice holds note for long time
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subject vs. countersubject
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main melody versus back-up
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episode
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segments of ccountermelody repeated in sequence
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Mozart
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Classical: 1788: Symphony #40
first movement in sonata form, 2 tonal (melodic areas) and the second is very difference from the first and is slower and sweeter, bridge, texture is melody with accompaniment, orchestra, tonal color (timbre), development is polyphonic, recapitulation changes in key signature and has a longer, more developed bridge and has a sadder second area |
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sonata
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exposition, development, recapitulation
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timbre
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tonal color, the different sounds of different instruments and pitches
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bridge
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separates two areas in the sonata's exposition
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development
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alters primary melody in timbre, tempo, texture, and melodic range
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recapitulation
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replays exposition with slight variations intended to magnify the drama of the music
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stretto
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closely overlapping melody in sequence
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classical music
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named so because it returns to the balance, proportion, and order of Greece
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