Music Exam #2

Front 1

Do longer strings vibrate slower or faster than shorter strings?

Back 1

Yes, Longer and Thicker strings viberate more slowy than shorter and slower strings

Front 2

Baroque Instrumental music. Does each piece have a different affection?

Back 2

No

Front 3

Dissonance is used for what in Baroque music?

Back 3

Expression

Front 4

Improvisation used in Baroque? Yes or No?

Back 4

Yes

Front 5

Baroque music dynamics?

Back 5

subtle dynamic shading was very much a feature of the Baroque

Front 6

Prelude in keyboard music

Back 6

is a short piece based on the continous expansion of a melodic or rhymthic figure

Front 7

sharp - #

Back 7

riases the tone half a step

Front 8

flat - b

Back 8

lowers the tone half a step

Front 9

trio sonata

Back 9

three printed staves in the music

Front 10

The Four Seasons is? based on what?

Back 10

The four seasons summer, spring, winter and fall

Front 11

Doctrine of Affections

Back 11

was a theory in musical aesthetics popular in the Baroque era (1600–1750). It derived from ancient theories of rhetoric, and was widely accepted by late-Baroque theorists and composers.

Front 12

Tragedie lyrique

Back 12

french composers rejected the italian genre and set out to fashion a French National style, drawn from their strong tradition of court ballet and classical tradegy

Front 13

Solo concerto

Back 13

a solo player and an accompanying instrumental group, lent itself to experiments in sonority and virtuoso playing

Front 14

Dido and Aeneas is based on what?

Back 14

based on an episode in Virgil's Aeneid, the Naicient Roman epic that traces the adventures of the hero Aeneas after the fall of Troy

Front 15

concerto grosso

Back 15

The concerto grosso was based on the opposition between a small group of instruments, the concertino, and a larger group, the tutti, or ripieno

Front 16

masque

Back 16

english genre of aristocratic entertainment that combined vocal and instrumental music with poetry and dance, developed during the sixteenth and seveenteenth centuries

Front 17

A Mighty Fortress is our God

Back 17

is the best known of Martin Luther's hymns

Front 18

Castrato

Back 18

is a male singer who was casterated during boyhood to perserve the soprano or alto vocal register

Front 19

major-minor tonality

Back 19

principle of organization around a tonic, or home pitch, based on a major or minor scale

Front 20

equal temperament

Back 20

tuning system based on the division of the octave into twelve equal half steps: the system used today

Front 21

sonata da camera

Back 21

baroque chamber sonata, usually a suite of stylized dances

Front 22

Baroque suite

Back 22

a natural outgrowth of earlier traditions that paired dances of cantrasting tempos and characters

Front 23

Camerata

Back 23

a group of writers, artists, and musicians that simed to resurect the musical-dramatic art of ancient Greece

Front 24

Recitative

Back 24

solo vocal declamation that follows the inflections of the text, often resulting in a disjunct vocal style, found in opera, cantata, and oratorio

Front 25

Scarlatti, Domenico

Back 25

is rememberd for his some 550 sonatas for solo harpischord, characterized by brilliant passagework, hand crossing and other virtuoso techniques that helped lay the foundation for modern technique

Front 26

The Art of Fugue

Back 26

composed by bach, and one of his most famous fugues, left unfinished

Front 27

Tonic Chord

Back 27

Triad built on the first scale tone, the I chord

Front 28

Aria

Back 28

lyric song for solo voice with orcheatral accompaniment, generally expressing intense emotion: found in opera, cantata, and oratorio

Front 29

modulation

Back 29

the process of changing from one key to another

Front 30

monody

Back 30

vocal style established in the Baroque, with a solo singer and insturmental accompaniment

Front 31

Monteverdi operas

Back 31

Monteverdi's work, often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period.[1] He developed two individual styles of composition: the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque

Front 32

sacred cantata

Back 32

Cantatas were in great demand for the services of the Lutheran church. Sacred cantatas for the liturgy or other occasions were not only composed by Bach

Front 33

baroque opera

Back 33

In these early Baroque operas, broad comedy was blended with tragic elements in a mix that jarred some educated sensibilities

Front 34

the word baroque

Back 34

is an artistic style prevalent from the late 16th century to the early 18th century in Europe.[1] It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric

Front 35

figured bass

Back 35

baroque practice consisting of an independant bass line that often includes numerals indicating the harmony to be supplied by ther performer

Front 36

harpsichord

Back 36

early baroque keyboard instrument in which the strings are plucked by quills instead of being struck with hammers like the piano

Front 37

basso continuo

Back 37

Italian for "continous bass" also refers to performance group with a bass, chordal instrument (harpischord, organ), and one bass melody insturment (cello, basson)