Intro To Music Test 3

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Absolute Music

Back 1

Music for music's sake. Classical period.

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Program Music

Back 2

Music that tells a story or paints a picture, deliberate extra-musical content. Romantic/modern period.

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Incidental and Entr-Act Music

Back 3

Music originally intended to be played during a play or between the scenes or acts of a play..

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Concerto

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A compound form, usually 3 movements, for soloists and orchestra.

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Dances

Back 5

Single dance pieces and marches NOT derived from opera or ballet.

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Overture

Back 6

An orchestral composition intended to introduce an opera or oratorio.

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Orchestral Music with Narrator

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Having spoken lines during the course of the music; usually dramatic with one movement.

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Concert Overture

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Orchestral pieces of one movement initiating the works composed for introducing operas.

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Baroque Symphony Suite

Back 9

An orchestral composition of several dance pieces with standard structure and style of movements. Absolute.

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Ballet Music

Back 10

Music originally intended to accompany a ballet.

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Orchestral Music with Chorus and Solo Voices

Back 11

Like other symphonic works, except that singers are used to add more effects of tone color (with or without text).

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Symphonic Poems

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One movement compositions for orchestra based on extra-musical associations. Not structured. Programmatic.

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Transcriptions

Back 13

Works written for one medium and then arranged for a different medium.

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Symphonic Variations

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A complete composition employing the theme and variation structure. Not part of a symphony.

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Symphony

Back 15

A compound form of one to five (usually 4) movements using the sonata plan for orchestra. Structured and absolute.

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Program Symphony

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A compound form for orchestra using the sonata plan based on extra-musical associations. Structured and programmatic.

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Modern Symphonic Suite

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An orchestral composition of several descriptive movements using no standard structure style of movements. Programmatic.

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Beethoven Symphony No. 6

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Program Symphony.

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Dukas: Sorcerers Aprentice

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Symphonic Poem

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Grofe: Grand Canyon Suite

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Modern Symphonic Suite.

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Handel: Water Music Suite

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Baroque Symphonic Suite.

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Copland: Billy the Kid

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Ballet.

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Beethoven: Messiah

Handel: Messiah

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Overture.

Front 24

Brahms: Variations on a Theme by Haydn

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Symphonic Variations.

Front 25

Stravinsky: The Story of a Soldier

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Orchestra with Narrator.

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Beethoven: Symphony No. 9

Holst: Planets

Back 26

Symphony with Chorus.

Front 27

Moussorgsky/Ravel: Pictures at an Exhibition

Baba Yaga and Great Gate of Kiev

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Transcription.

Front 28

Opera and Oratorio

Back 28

Stories set entirely to music.

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Recetative

Back 29

Speech-like style, simple accompaniment; may start and stop, advances the story.

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Aria

Back 30

Song-like, lyrical, more elaborate.

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Arioso

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Has qualities of aria and recetative.

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Ensemble

Back 32

Small vocal solo group.

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Chorus

Back 33

Large vocal group.

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Opera

Back 34

Based on plays, are secular, are staged, uses the aria.

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Oratorio

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Based on scripture, are mostly sacred, are performed as a concert, makes more use of a chorus.

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Two types of opera

Back 36

Comic and serious.

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Operetta

Back 37

Light, comic opera using spoken dialogue (instead of recetative).

Front 38

Libretto

Back 38

Text of an opera or oratorio.

Front 39

Music Drama (Wagner)

Back 39

Music serves the drama.

Continuous music.

Free form common.

Leit motif used to unify the work.

Front 40

Cantata

Back 40

Short oratorio (20-40 min long). Usually do not have an overture.

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Passion

Back 41

Oratorio on the events leading up to and including the crucifixion of Christ (Good Friday oratorio).

Front 42

Contribution of Catholics

Back 42

2 forms: Mass (various types: ordinary, proper, wedding, requiem). Plainsong (chant of scripture and prayers).

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Contributions of Lutherans

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2 forms: Chorale (slow, stately hymn-vocal). Chorale Prelude (instrumental, polyphonic work based on a chorale melody).

Front 44

Contributions of Anglicans

Back 44

Anthem (sung by a trained choir, no congregation).

Front 45

Hymn

Back 45

Directed to or theological statements about God. Simple rhythm, diverse harmony (each note takes a different chord).

Front 46

Gospel Song

Back 46

Directed to other people, testimonial. Simple harmony, diverse rhythm.

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Gospel Hymn

Back 47

Like hymn texts. Like gospel song music in a popular style.

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2 Principles from Romans 14

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1. Principle of Love: we are instructed to not engage in someone that we know negatively affects another believer whose conscience is weak in that area.

2. Principle of Faith: does this cause you to fall down in your faith; in your growth as a Christian?

Front 49

Principles for Evaluating Sacred Music

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1. Music, in and of itself, is good. God is the creator of music. A musical sound is neutral.

2. A Christian must not deliberately give offense to a sensitive brother by public use of music.

3. Message is Primary: Clarity and Quality.

4.Music either complements or conflicts with message.

5. Do the background fit the voice or instrument?

6. Musical elements should be in plank: melody, harmony, rhythm.

7. Does the performer overshadow or enhance the message.

8. Is the music appropriate? Is the spirit of Christ evidenced by sensitivity given to the audience and setting?

9. Is the music positive and nourishing to the mind, emotions and spirit?

Front 50

Incongruity

Back 50

Putting things together that do not fit or agree.

Front 51

Caricature

Back 51

Exaggeration

Front 52

Parody

Back 52

A style out of normal context

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Borrowed Melody

Back 53

A specific melody out of its normal context

Front 54

Deliberate Wrong Notes

Back 54

Wrong notes by virtue of repetition or accent

Front 55

Humorous Text

Back 55

Funny Words

Front 56

Traditional Jewish Music

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1. Vocal tradition.

2. Based on traditional jewish chants.

3. Culturally colored - by the music of the cultures into which the jewish people have been dispersed.

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Chutzpah

Back 57

Nerve tempered with respect

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Kavannah

Back 58

Deep inside-out feelings

Front 59

The OT Jewish Service

Back 59

The shame, the 10 commandments, the maid (standing prayer), instruments (ugav, minor, organ, shofar, symbols).

Front 60

Reading the Torah

Back 60

Chanted and sung. Considered disrespectful to God to simply speak the words of the Torah.

Front 61

Tropes

Back 61

Short melodic motives used for chanting scripture or prayers. They are strung together to create complete chants.

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Orthodox Jews

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Rabbi: Interprets the law.

Hazzan: Interprets the prayers.

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Conservative Jews

Back 63

Rabbi: Interprets the law and performs public relation duties.

Hazzan: Interprets the prayers and performs public relation duties.

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Reformed Jews (1850)

Back 64

Rabbi: Like a priest.

Hazzan: Like a music director.

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Sephardic Music

Back 65

Origins: Spain/Iberian Peninsula

Ashkenazic v. Sephardic: Western European v. Eastern Middle East.

Hazzan: Must have impeccable pronunciation; music ability is less important than pronunciation.

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Chassidic Music

Back 66

Origins: Ukraine in the 1700s.

Essence: One does not have to be a learned Jew or have to know the Torah. Experience, feelings, and emotion is all one needs to worship God.

Niggun: Son sung on a neutral syllable. No text other than a neutral syllable like bim-bam or la.

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Orthodox relates to...

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Fundamentalism

Front 68

Conservative relates to...

Back 68

Evangelicalism

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Reformed relates to...

Back 69

Mainline denominations (liberal)

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Chassidic relates to...

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Pentacostalism

Front 71

Connection between Western music and traditional Jewish music

Back 71

Western music traces its origins to gregorian chant which was inspired by jewish synagogue music and worship practices.

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Jazz 1900s

Back 72

Based on black traditions and european styles. Improvisation and based on 12 bar blues progression. Intense emotion beyond european style. New Orleans. Slave field dollars and work songs.

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Jazz 1920s

Back 73

Chicago. From combos (3-5), jazz became "big-band" (14-18.

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Jazz 1930s

Back 74

New York City (Harlem). white and black groups were segregated; however, their style influenced each other. After WWII, big band declined.

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Blues/Ballad

Back 75

3-line text with 12 bar harmonic progression. White=regular rhythm and repetitive and smooth. Black=rhythmically diverse.

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Dixieland

Back 76

Instrumental form of a small combo. Improvised and polyphonic.

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Swing/Big Band

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1920 dance purpose - swing fashion from 8th notes played unevenly. Swing action of dance especially to faster tempos. Big Band was also for dance.

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Gospel

Back 78

Based on Negro spiritual wish is more rhythmic and choppy. Whiter version is more smooth and european in style.

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Boogie Woogie

Back 79

Piano style with a steady walking LH bass accompanying a syncopated, rhythmic melody in the RH.

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Bebop

Back 80

Progressive/Improvisatory. Post WWII, sometimes with vocals. Highly sophisticated harmonic progressions. Influenced revival of the Medeival church modes.

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Fusion

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Blend of jazz and forms. Came into practice in the late 1960s and early 1970s.

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Rock

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Beat Accent on 2 and 4. Originated 1954. Blend of blues, rockabilly, and bebop.

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Disco

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Beat accent on 1 and 3 or equally on all beats at a tempo of 120-128 beats per minute. Late 1970s which has high intensity and an incessant driving beat.

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Funk and Rap

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Form of rock that returned to a more rhythmic, choppy black style.

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Punk

Back 85

Originated in American garage-bands in the 1960s. Mainstream rock reduced to basic elements of loud, distorted sound with rock' roll guitar playing very fast.

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Alternative

Back 86

Opposite of pop, describing new rock music.