Music 141-Exam 2

Front 1

phrase

Back 1

-a musical sentence
-a single melodic idea

Front 2

conjunct motion

Back 2

-smooth, stepwise motion
-Schubert's "An die Musik" because it is a lyric song

Front 3

disjunct motion

Back 3

-leaps, especially large leaps

Front 4

register

Back 4

-range of pitches in a melody; vocal or instrumental

Front 5

meter

Back 5

-the underlying pattern of beats that maintains itself consistently throughout a work

Front 6

triple meter

Back 6

-accented beat followed by two unaccented beats

Front 7

duple meter

Back 7

-accented beat followed by an unaccented beat

Front 8

measure

Back 8

-a rhythmic unit

Front 9

syncopated

Back 9

-notes run against the regular pulse of a musical meter
-accents on beats other than 1 and 3

Front 10

major mode

Back 10

-melodies sound brighter and happier

Front 11

minor mode

Back 11

-melodies sound darker and more somber

Front 12

unison

Back 12

-both (all) voices sing exactly the same note
-usually at the end of a cadence
-beethoven's s-s-s-L motif

Front 13

tonic

Back 13

-central tonality/key area; "home" key

Front 14

modulate

Back 14

-change of key

Front 15

monophonic

Back 15

-single melodic voice/line, with no accompaniment

Front 16

homophonic

Back 16

-melodic line with a subordinate accompaniment
-an opera with a soloist singer and accompanying yet subordinate music below them
-Chopin's "Mazurka in Bflat major" and "Nocturne in Eflat major"

Front 17

polyphonic

Back 17

-melody performed against another line of equal importance

Front 18

timbre

Back 18

-the character of a sound
-determined by the kind of instruments or voices performing it
-Brahms' "Symphony no. 4, finale/4th movement"
-there are 30 variations on the concise theme and each one differentiates itself through timbre/instrumentation

Front 19

dynamics

Back 19

-determine the volume of a given work or passage in a work of music
-Beethoven's "symphony no.5"

Front 20

ternary form

Back 20

-form of minuet (ABA)
-minuet proper, trio, minuet proper

Front 21

sonata form

Back 21

-expanded version of rounded binary form: two reprises and a simultaneous return to the opening idea and key halfway through second reprise
-first reprise always modulates to a new key and ends in that new key
-theme presented in new key in first reprise and repeated in second reprise in the tonic

Front 22

exposition

Back 22

-the first reprise, which exposes all the movement's ideas
-first part of sonata form

Front 23

development

Back 23

-second part of sonata form
-first half of second reprise; harmonically unstable and unpredictable
-ideas intensively developed

Front 24

recapitulation

Back 24

-second half of second reprise
-repeats all ideas of first reprise in original key of tonic
-DOES NOT MODULATE!!!

Front 25

theme and variations

Back 25

-a theme is presented and then altered in a succession of individual variations
-some element of the theme (usually its melody) is preserved throughout but varied in such a way that it remains interesting

Front 26

alternating (double) theme and variations

Back 26

-just like regular theme and variations form BUT there are two different themes instead of just one
-Beethoven's "symphony no. 5, mvt. 2"
-theme 1 flowing and lyrical
-theme 2 like a fanfare with trumpets and drums; begins softly

Front 27

strophic form

Back 27

-same music is used for different strophes (stanzas) of the text
-simplest of all song forms: only the words change from strophe to strophe
-Schubert's "An die Musik"

Front 28

modified strophic form

Back 28

-the strophes present variations of the same basic musical ideas
-each strophe is different from the next, but they are also connected through shared melodic, rhythmic and textural elements
-Schubert's "Erlkonig"

Front 29

syllabic

Back 29

-one note per syllable

Front 30

melismatic

Back 30

-multiple notes over a single syllable

Front 31

opera

Back 31

-drama that is sung rather than spoken
-early baroque opera was attempt to recreate sung dramas of greek antiquity
-music enhances text and injects heightened emotion to the story

Front 32

symphony

Back 32

-public genre to be performed in a large space by a large ensemble before a large audience
-no one instrument stands out

Front 33

comic opera

Back 33

-"opera buffa"
-uses many of the same conventions as serious opera (arias, recitatives, ensembles, choruses) but the plots do not revolve around mythical or historical figures
-tend to deal with very believable characters who behave as individuals, not as symbols, and we can relate to all of them to varying degrees
-mozart's "The Marriage of Figaro": nobility do not always act noble and the servants use their quick wits to gain the upper hand

Front 34

lied

Back 34

-german word for song
-generally for voice and piano, though it can also be for multiple voices and piano, or for multiple voices alone
-cultivated in the home before on a small gathering of listeners or none at all
-Shubert's "An die Musik"

Front 35

lyric song

Back 35

-subgenre of a song
-captures a mood
-it doesn't tell a story but merely conveys a general sense of a particular mood
-Shubert's "An die Musik" conveys sense of deep peace, of transport beyond the realm of worldly cares and suffering

Front 36

ballad

Back 36

-a song that tells a story
-it has characters and definite sequence of events
-moves through a variety of moods: anxious to playful to threatening to tragic
-Shubert's "Erlkonig"

Front 37

mazurka

Back 37

-a Polish folk dance in triple meter, often with a heavy accent on the second or third beat of each measure
-Chopin's "Mazurka in B flat major"

Front 38

nocturne

Back 38

-a song to be sung at night; a serenade from a lover to his beloved (often beneath a balcony)
-Chopin's "Nocturne in E flat major" is for solo piano and begins seductively and grows increasingly passionate

Front 39

cadence

Back 39

-brief stopping point at which the music pauses

Front 40

word-painting

Back 40

-specific words are presented graphically

Front 41

imitation

Back 41

-one voice presents musical idea and another repeats it, but enters later than the first

Front 42

recitative

Back 42

-text not sung with established melody or rhythm; food for dialogue but not musically-satisfying like arias
-thin, light texture underneath
-mostly syllabic
-speech like

Front 43

program music

Back 43

-an instrumental work that is in some way associated with a story, event, or idea
-maybe Beethoven's "symphony no. 5" according to Schindler
-all about the fate of the music/motif

Front 44

accompanied recitative

Back 44

-recitative accompanied by the orchestra, as opposed to the more standard accompaniment of basso continuo alone
-Mozart's "The Marriage of Figaro"

Front 45

trio

Back 45

-Mozart's "The Marriage of Figaro, Act 1 Trio, Cosa sento"
-Mozart develops each of the three characters while progressing the plot through music
-they all change over the course of the piece

Front 46

s-s-s-L motif

Back 46

-the very short motif in beethoven's "symphony no. 5"
-four notes and only 2 different pitches in the opening
-begins to manipulate this musical idea at once and does so in all four movements

Front 47

drone bass

Back 47

-a single pair of notes repeated over and over
-chopin's "mazurka in b flat major": 2/3 of the way through, this creates a strong sense of contrast between this section and those before and after

Front 48

cadenza

Back 48

-a moment toward the end of an aria or concerto when a soloist improvises
-in chopin's "nocturne in e flat major", the music is written out but gives the impression of being improvised
-solo oboe part in Beethoven's "symphony no.5, mvt. 1"
-chopin's "nocturne in Eflat major" when singer/piano alone w/o accompaniment

Front 49

rubato

Back 49

-subtle and brief moments of speeding up and slowing down
-chopin

Front 50

ternary structure

Back 50

-ABA
-Brahms' "symphony no. 4": middle variations are slower and three variations in e major instead of e minor