Music And Art Test 1

Front 1

Pitch

Back 1

the highness or lowness of a musical sound; determined by the rate of vibration

Front 2

Interval

Back 2

the distance between two pitches; start with the first one and go up to the highest one (an interval of an eighth is called an octive).

Front 3

Dynamics

Back 3

(or dynamic level) how loud or soft a pitch is.
pp-p-mp-mf-f-ff
pp-pianissimo (very soft)
p-piano (soft)
mp-mezzo piano (medium soft)
mf-mezzo forte (medium loud)
f-forte (loud)
ff-fortissimo (very loud)

Front 4

Crescendo

Back 4

<(to gradually get louder)

Front 5

Decresendo/Diminuendo

Back 5

>(to gradually get softer)

Front 6

Tone Color/timbre

Back 6

(tamber) distinctive quality of sound that distinguishes one instrument from another

Front 7

Voices

Back 7

Soprano
Alto
Tenor
Bass

Front 8

Strings

Back 8

Violin
Viola
Cello
Bass
“Violent Vampires Can Bite”

Front 9

Pizzicato

Back 9

plucking the strings instead of using a bow

Front 10

Vibrato

Back 10

subtly changing the pitch, giving a fuller and richer sound; slight rapid motion in the hand

Front 11

Woodwinds

Back 11

Flute
Oboe
Clarinet
Bassoon
“Flutes Often Clear Boredom”

Front 12

Reed

Back 12

a thin piece of cane that vibrates by the stream of air being blown in
Saxophone belongs in the woodwind category

Front 13

Brass

Back 13

very important to hold lips tight
Trumpet
Horn (French)
Trombone
Tuba
“Trumpets Have Top Tones”

Front 14

Percussion

Back 14

one that you strike or shake

Front 15

Definite Pitch

Back 15

a definite can be played (chimes, xylophone, and tympani)

Front 16

Tympani

Back 16

big large copper bowls with calfskin across it; if you tighten it you raise the pitch, if you loosen it you lower the pitch

Front 17

Indefinite Pitch

Back 17

snare drum, symbols, triangle, tambourine

Front 18

KeyBoard

Back 18

a little hammer hits the string

Front 19

Tape studio

Back 19

recorded sounds were reproduced to make new sounds

Front 20

Synthesizers

Back 20

generate, modify, and control sounds; the composer has complete control over everything

Front 21

Computers

Back 21

used to tell the synthesizer what to do; composer can generate music much easier

Front 22

Rhythm

Back 22

the flow of music through time(only existing in time); organization the music in time

Front 23

Beat

Back 23

an underlying, regular pulse divides music into equal units of time; we perceive them in groups called measures (like your heart beat is the pulse)

Front 24

meter

Back 24

the organization of the beats into regular groups; some beats are more regular than others; groupings of stressed and unstressed beats; find the underlying beat and figure out how it is organized

Front 25

duple

Back 25

two beats to a measure (Mary had a little lamb)

Front 26

Triple Meter

Back 26

three beats to a measure; generally the first one is stressed (My Country Tis’ of Thee)

Front 27

Quadruple

Back 27

four beats to a measure

Front 28

Syncopation

Back 28

related term for rhythm; this is a stressed beat or accented note where it is unexpected; (the rhythm is a little out of sync—it creates interest in music)

Front 29

tempo

Back 29

the speed of the beat

Front 30

adagio

Back 30

slow tempo

Front 31

Andante

Back 31

Moderate tempo

Front 32

Allegro

Back 32

lively, fast tempo

Front 33

Ritardando/retard

Back 33

to slow down the tempo

Front 34

Melody

Back 34

a cohesive series or line of pitches which add up to a recognizable whole

Front 35

Conjuct

Back 35

what we use to describe a melody; a melody that moves by small intervals or steps

Front 36

Disjunct

Back 36

the melody moves by larger intervals or leaps!

Front 37

Range

Back 37

the distance between the highest and lowest notes (a narrow range or a wide range)

Front 38

Phrase

Back 38

a dependent idea within a melody

Front 39

Sequence

Back 39

when a melodic pattern is repeated at a higher pitch level or a lower pitch level; a way that a composer can expand the melody

Front 40

Cadence

Back 40

punctuation in music; a resting place a the end of a phrase (a deceptive cadence is what we wouldn’t expect)

Front 41

Theme

Back 41

a main melody

Front 42

Harmony

Back 42

simultaneous sounding of pitches (at least two); it gives the depth; other notes beneath melody

Front 43

Chord

Back 43

three or more notes sounded together

Front 44

Consonance

Back 44

It sounds resolved; a feeling of rest; you’ve arrived

Front 45

Dissonance

Back 45

tension in the music and it sounds like it needs to be resolved

Front 46

Tonic (I)

Back 46

the central tone of a melody; the pitch that the main cord is built on; first tone in the scale that the melody is based on; all notes in the scale relate to the king tonic note; it is also the name of the key (“in the key of C”). The chord is built on the tonic. VERY IMPORTANT: greatest importance of the notes in a piece. In a longer piece, it serves as the home base that one might gravitate from for a while, but it will be the home base. A composer will create interest and tension by changing keys and tonics.

Front 47

Dominant (V)

Back 47

built on the fifth note of the scale

Front 48

Arpeggio

Back 48

broken chord

Front 49

Tonality

Back 49

tonality = key; system of harmony based on the idea that you have a tonic and dominant

Front 50

Scale

Back 50

series or pattern of whole steps and half steps; the distance between any adjacent keys is a half step and between every two keys is a whole step

Front 51

Major scale (I)

Back 51

whole step; whole step; half step; whole step; whole step; whole step; half step (the same pattern creates a major scale starting on any note on the piano)

Front 52

Minor Scale (i)

Back 52

whole step; half step; whole step; whole step—major difference is that it goes right to a half step right after the first whole step.

Front 53

Chromatic scale

Back 53

every single little interval is a half step

Front 54

Modulation

Back 54

to change from one key or one tonic to another (temporarily); always will begin and end in the main tonic key

Front 55

Musical texture

Back 55

how the vertical and horizontal relate; relationship b/n melody and harmony

Front 56

Monophonic Texture

Back 56

monophonic (or monophony): a single melodic line without a compliment; there is no harmony [Gregorian chant or folk music; ring tones]

Front 57

Homophonic Texture

Back 57

one main melody plus accompaniment (ask if you are hearing just one main melody)

Front 58

Polyphonic texture

Back 58

two or more melodic lines performed at the same time (two distinct melodies; your ears are being stretched to listen two melodies at the same time)

Front 59

Counterpoint

Back 59

synonymous with polyphony (not on test)

Front 60

imitation

Back 60

a melodic idea that is presented in one voice or line of music; a line of music is imitated by another musician in the same piece.

Front 61

Musical form

Back 61

“an element shared by art people”; an organization of the musical elements; the structural outline

Front 62

Repitition

Back 62

gives unity

Front 63

Contrast

Back 63

gives variety

Front 64

Theme and variations

Back 64

(a type of form) a main melody played in a series; some features of the main melody are retrained and some are changed.

Front 65

Ternary

Back 65

A-B-A (start with an idea; go to a different idea; go back to the beginning)

Front 66

Binary

Back 66

A-B (don’t have to be the same length; one that falls naturally into two halves)
--Sometimes A:I:B (AA-BB)

Front 67

Medium

Back 67

the artist physical materials

Front 68

Line

Back 68

expressive significance

Front 69

Horizontal Line

Back 69

repose and stability
Leonardo da Vinci (1452-1519): Last Supper (1495)

Front 70

Vertical Line

Back 70

strength
Grant Wood (1892-1942): American Gothic (1930)

Front 71

Diagonal Line

Back 71

tension and action
Marcel Duchamp (1887-1968), Nude Descending a Staircase, No. 2 (1912)
Theodore Gericault (1791-1824), The Raft of the Medusa (1818-1819)

Front 72

Space

Back 72

three dimensional volume that signifies depth and space
Duccio de Buoninsegna (active 1278-1318/9), Christ Entering Jerusalem (1309-1311)

Front 73

Linear Perspective

Back 73

objects farther away are smaller
Raphael (1483-1520), School of Athens (1511)—arches continue to get smaller; often they have a vanishing point

Front 74

Aerial Perspective

Back 74

a sense of depth is created by imitating the effects of the atmosphere whereby objects that are farther away appear pale, blue, or purple
Raphael, Madonna of the Meadows (1505)

Front 75

Color

Back 75

experience of reflected light

Front 76

Hue

Back 76

equivalent of color, focusing on the primary colors

Front 77

Intensity

Back 77

(means the same thing as saturation)—refers to the relative purity or vividness of a color. The redest red has the highest saturation.

Front 78

Value

Back 78

the amount of black or white in a color. The more white the higher the value; the more black, the lower the value.

Front 79

FOrm

Back 79

what is the basic outline; unity and variety (enough unity so it hangs together; enough variety so it isn’t boring).

Front 80

Focal Point

Back 80

the point of emphasis (very purposeful by the artist)
Raphael (1483-1520), School of Athens (1511)
Jacques-Louis David (1748-1825), Oath of the Horatii (1784)

Front 81

Raphael

Back 81

Sistine Madonna (1513)
Focal point __Madonna and child______
Balance ___Good balance: people, curtains
Medium: oil on canvas
Line: Vertical (strength and solidity)
Space: knee, hand, little bits of depth
Colors: blue, red, white, green, gold
Intensity: low intensity
Value: Low value
Balanced composition

Front 82

Romanesque Architecture

Back 82

came from ideas in Rome; the Roman Basilica
-horizontal orientation; modest height—not very tall
-arches: round arches –very distinct feature giving it away!
-walls: thick walls; very few windows
-interior: very little light; dark
Ideas of solidity and repose
Three doors to represent the triune God (Romanesque and Gothic feature)

Front 83

Gothic architecture

Back 83

dubbed Gothic in derogatory manner by those in the Renaissance
-vertical orientation; soaring height
-arches: pointed
-walls: thinner ; flying buttresses—helped support thinner walls--
-interior: many beautiful windows, letting in lots of light; also has pointed arches

A Gothic cathedral in the Middle Ages:
Became to them like a bible in stone because they didn’t have their own copy of God’s word; eyes drawn heavenward.
1. Focal point of the community life; A community –built very tall; the entire village was established at a site
2. Most took over a century to build
3. A place of worship and biblical teaching—the beautiful sunlight through the stained glass reminded them of heaven; the rocks reminded them of their strong foundation in Christ; ornateness talked of the wealth of God.

Front 84

Gregorian Chant

Back 84

Gregory—Pope Gregory I (organized it)
Rhythm—flexible (didn’t write rhythm specifically)
Ecclesiastical (church/sacred music)
Gentlemen (usually sung by men)
mOnophonic (only one voice)
Range—narrow (between highest and lowest pitches)
I—in Latin
A—A cappella (without accompaniment)
N—Not regular scales = modes (play up one whole major scale and play no black keys—no sharps or flats)

Front 85

-troubadours

Back 85

nobels, knights; altogether cultured person from France in 12th and 13th centuries (more distinct rhythm than Gregorian; sounds more cultured)

Front 86

estampie

Back 86

medieval dance; very different instruments (almost sounds like Lord of the Rings)

Front 87

development of polyphony (primitive

Back 87

parallel organum: Gregorian chant with another melodic line; almost like adding a layer to a cake; paralleling the Gregorian chant at an interval of a fourth or a fifth.

Front 88

School of Notre Dame

Back 88

First two composers that we know by name.
2 similar lines of music (Gregorian was sung on the bottom and the other lines became more independent).
Later, the second line became more independent.
Further development with addition of a third voice.

Front 89

Guillaume de Machaut

Back 89

very important man in history
-Ars Nova—new art; moving toward the Renaissance

-Notre Dame Mass (Mass ordinary): Machaut wrote the first surviving complete mass ordinary.

Front 90

Four voices become added in late middle ages. Polyphonic texture

Back 90

KYRIE—Lord have mercy, Christ have mercy, God have mercy
GLORIA—Glory to God in the highest
CREDO—Creed
SANCTUS—Sanctified
AGNUS DEI—Lamb of God have mercy