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50 Cards in this Set

  • Front
  • Back
-a musical sentence
-a single melodic idea
conjunct motion
-smooth, stepwise motion
-Schubert's "An die Musik" because it is a lyric song
disjunct motion
-leaps, especially large leaps
-range of pitches in a melody; vocal or instrumental
-the underlying pattern of beats that maintains itself consistently throughout a work
triple meter
-accented beat followed by two unaccented beats
duple meter
-accented beat followed by an unaccented beat
-a rhythmic unit
-notes run against the regular pulse of a musical meter
-accents on beats other than 1 and 3
major mode
-melodies sound brighter and happier
minor mode
-melodies sound darker and more somber
-both (all) voices sing exactly the same note
-usually at the end of a cadence
-beethoven's s-s-s-L motif
-central tonality/key area; "home" key
-change of key
-single melodic voice/line, with no accompaniment
-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"
-melody performed against another line of equal importance
-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
-determine the volume of a given work or passage in a work of music
-Beethoven's "symphony no.5"
ternary form
-form of minuet (ABA)
-minuet proper, trio, minuet proper
sonata form
-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
-the first reprise, which exposes all the movement's ideas
-first part of sonata form
-second part of sonata form
-first half of second reprise; harmonically unstable and unpredictable
-ideas intensively developed
-second half of second reprise
-repeats all ideas of first reprise in original key of tonic
theme and variations
-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
alternating (double) theme and variations
-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
strophic form
-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"
modified strophic form
-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"
-one note per syllable
-multiple notes over a single syllable
-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
-public genre to be performed in a large space by a large ensemble before a large audience
-no one instrument stands out
comic opera
-"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
-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"
lyric song
-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
-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"
-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"
-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
-brief stopping point at which the music pauses
-specific words are presented graphically
-one voice presents musical idea and another repeats it, but enters later than the first
-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
program music
-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
accompanied recitative
-recitative accompanied by the orchestra, as opposed to the more standard accompaniment of basso continuo alone
-Mozart's "The Marriage of Figaro"
-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
s-s-s-L motif
-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
drone bass
-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
-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
-subtle and brief moments of speeding up and slowing down
ternary structure
-Brahms' "symphony no. 4": middle variations are slower and three variations in e major instead of e minor