Musc 221 Final

Front 1

distance from one pitch to another. building blocks of music in general

Back 1

Interval

Front 2

Main tune, organized sequence of notes with some type of pattern

Back 2

Melody

Front 3

Large leaps in melody

Back 3

disjunct

Front 4

smooth melody

Back 4

conjunct

Front 5

two distinct but related melodies heard at the same time

Back 5

counterpoint

Front 6

more than one melody at the same time

Back 6

polyphony

Front 7

changes based on instrument octave, One single musical sound

Back 7

note/tone

Front 8

succession of pitches

Back 8

scales

Front 9

scale based on hierarchy that have extra-musical connotations

Back 9

modes

Front 10

notes in between half steps

Back 10

microtone

Front 11

based on the way in which pitches are sounded simultaneously and how they relate to each other

Back 11

harmony

Front 12

sequence of chords in a piece of western music

Back 12

chord/harmonic progressions

Front 13

Chords in which the different pitches all fit together nicely, creating a “pleasant” or “settled” effect

Back 13

consonance

Front 14

chords that are jarring, creating tension or creating a need for resolution

Back 14

dissonant

Front 15

organization of sounds in time

Back 15

rhythm

Front 16

The pulse of the music

Back 16

beat

Front 17

speed or rate with which beats pass

Back 17

tempo

Front 18

type of grouping of beats

Back 18

meter

Front 19

Each group of beats in a meter

Back 19

measure/bar

Front 20

Specific points in the music that are in some way emphasized

Back 20

accent

Front 21

When a beat is divided into smaller units

Back 21

subdivision

Front 22

accent falls on a weak beat or in-between beats

Back 22

syncopation

Front 23

In complex music, where rhythms based on different subdivisions of the beat are heard simultaneously

Back 23

polyrhythm

Front 24

In some types of music or certain compositions, the meter may change within the course of a piece

Back 24

polymeter

Front 25

Polymeter done repeatedly in an alternating fashion. one two three four five six, one two three four five six.

Back 25

hemiola

Front 26

no discernible organization according to meter

Back 26

non-metric music/free meter

Front 27

structure of music

Back 27

form

Front 28

Dates of renaissance

Back 28

1400-1600

Front 29

new conviction that solutions to problems and the achievement of personal fulfillment could come from human intellect and effort rather than only from divine revelation or grac

Back 29

humanism

Front 30

Libro de la Musica de Vihuela de Mano Intitulado “El Maestro"

Self-taught vihuelist

First to include verbal tempo indications

Back 30

Luis Milan

Front 31

Tres Libros en Cifras Para Vihuela Pub

Over 70 works for 4-course guitar, harp, organ, fantasies

Fantasia Que Contrahaze el Harpa en la Manera de Ludovico

Back 31

Alonso Mudarra

Front 32

Los Seys Libros del Delphin de Musica 1538

First to have “Diferencias” and symbols indicating tempo

Back 32

Luis de Narvaez

Front 33

English composer, lutenist, singer

highest paid court musician in the history of the renaissance

mostly dance music: Pavanes, Galliard, Almaines, and jig-like peices

Back 33

John Dowland

Front 34

scale passages, redouble note, ornamentation

Back 34

redobles

Front 35

– chordal passages, chord

Back 35

consonancias

Front 36

cadences (end of phrase)

Back 36

coronadas

Front 37

scale, little fingers, use fingers as picks

Back 37

dedillo

Front 38

2 fingers, alternate thumb and index

Back 38

dos dedos

Front 39

graphic representation of string where you indicate where to press on the fret

Back 39

tablature

Front 40

highly imaginative, elegant and sophisticated while mantaining a free formal structure.

Back 40

Renaissance Fantasy

Front 41

Theme and Variations usually based on popular tunes of the time

Back 41

Diferencias

Front 42

Dance of slow-moderate tempo that originated in Italy during the late Renaissance and it was in Duple Meter

Back 42

Pavanes

Front 43

A leaping dance in quick triple meter also of Italian origin

Back 43

Galiards

Front 44

alternation of consonancias and redoubles, exclusively vihuela, alternate chords and scales

Back 44

Estilo Galante

Front 45

Baroque dates

Back 45

1600-1750

Front 46

A thorough Bass-line/Continuous Bassline

Back 46

basso continuo

Front 47

combination of bass note and numbers in order to decipher the harmonic construction of a chord

Back 47

figured bass

Front 48

minor scale sequence

Back 48

WHWWHWW

Front 49

major scale sequence

Back 49

WWHWWWH

Front 50

the two main models for the Baroque concerto

Back 50

Roman and North Italian

Front 51

The Concerto model that was mainly designed for a soloist and/or group of soloists where the orchestration always remained the same (i.e. 4-part string orchestra 2 Violins, Viola, Cello over a Basso Continuo line

Back 51

North Italian Concerto

Front 52

The Concerto Model that was mainly designed for a group of soloists where the orchestration was dependant upon the orchestration of the concertino (or group of soloists) over a Basso Continuo group

Back 52

Roman Concerto

Front 53

fast tempo dances baroque

Back 53

gigue and courante

Front 54

gigue

Back 54

fast tempo, English, conpound meter

Front 55

inventive use of binary form

Back 55

domenico scarlatti

Front 56

Café where one would go to watch classical guitar performances

Back 56

Café Cantantes

Front 57

song part of flamenco

Back 57

Cante

Front 58

dance part of flamenco

Back 58

Baile

Front 59

guitar part of flamenco

Back 59

Toque

Front 60

scratching nails on strings

Back 60

rasgueado

Front 61

finger tap on guitar

Back 61

golpe

Front 62

type of golpe: finger tap and rasgueado combined

Back 62

capriole

Front 63

playing chords in a harp-like effect

Back 63

arpeggios

Front 64

slurs produced with left hand

Back 64

ligados

Front 65

born in Madrid, 1880-1949, belonged to gypsy family, got his first guitar as a teenager, when he was 20 he was a favorite in café cantantes, he formed cante/toque duo with Antonio Chacon

Back 65

Ramon Montoya

Front 66

1904-1974, follower of Ramon Montoya tradition, created fusion of styles from Javier Molina, Manolo de Huelva, and Ramon Montoya, he was much more Flamenco sounding than Montoya, he was king of Flamenco guitar in Spain and started the percussive sound

Back 66

Nino Ricardo

Front 67

self-taught, child prodigy, 1912-1991, first to bring Flamenco guitar outside of Spain

Back 67

Sabicas

Front 68

1947-2014, revolutionized the way in which Flamenco and Flamenco guitar is played today, paved the way for all new experimentation of the new generation of players, began playing at age 6, at age 9 he was taken out of school to practice 12 hours a day, not educated musically or otherwise

Back 68

Paco de Lucia