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104 Cards in this Set
- Front
- Back
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homophony
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one main melody
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periodicity
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melodies with regular and frequent cadence points
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galant style
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simple, frequent cadences, short-breathed melodies, repetition, supportive accompaniment
term used during period to describe "trendy" music |
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opera buffa
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wide range of characters, every day people/plots, entertainment purposes, "comic," full-length work, 6+ singing characters, often keyboard accompaniment
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arias
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typical type of singing in opera
in comic opera, gallant style. short, tuneful phrases, often repeated or varied, organized into phrases, accompanied by simple harmonies/configurations self-conscious song, comparable to soliloquies in plays lyrical melodies, ritornello |
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intermezzo
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in 2 or 3 segments between the Acts of a serious opera or play, originated in Naples/Venice when comic scenes were purged from opera seria, separate stories for comic characters
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Giovanni Batista Pergolessi's Intermezzo
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La Serva Padrona
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recicativo semplice
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little accompaniment (harpsichord/cello), sections of opera more like speech, simple and dictate, still pitches and rhythms though
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recicativo accompagnato
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whole orchestra
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reform of serious opera
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less coloratura, more use of chorus/dancers (fuller stage), new kind of serious opera combining a wide range of opera characteristics (from Italy, France, etc), supernatureal element, "noble" purpose and moral teachings, Christoph Willibald Gluck (big figure in opera reform, Orfeo ed. Euridice), Also Niccolo Jommelli and Tommaso Traetta big figures.
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castrato
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castrated male with high voice, typical male lead in opera
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recitative
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conventional type of opera singing, different than arias, imitates spoken language, typically through-composed
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ballad opera
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comic opera in England
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sonata form
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1. exposition: starts in tonic, modulates to dominant > presentation of main themes
2. development: in the dominant key (or relative major key that ended exposition), elaborates on themes presented in exposition 3. recapitulation: in tonic, varied repetition of exposition |
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Lied
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German Song, published over 750 collections of Lieder with keyboard accompaniment, very popular, Johann Friedrich Reichardt > expanded stylistic properties of Lied > "folk-like" song with direct expression of feelings
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simple binary form
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two sections A and B, completely different or very loosely related
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balanced binary form
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end part from the first section (which is usually in the dominant), returns in the end of the second section; however, this time in the tonic
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rounded binary form
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when the material presented at the beginning (or all) of the first section comes back in the tonic in the latter part of the second section
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binary form
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two complementary sections, each of which repeated. first section: ends on dominant typically. second section: returns to tonic
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rondo form
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form in which the first or main section recurs (usually in the tonic), between subsidiary sections or episodes
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ripieno
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italian for full orchestra > also called "tutti"
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ritornello form
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standard form for FAST MOVEMENTS in CONCERTOS > features a ritornello for full orchestra that alternates with episodes by virtuosic material played by one or more soloists
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scherzo
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italian for "joke" > joking or very fast section of a particularly fast movement in a minuet and trio form
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concerto
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solo instruments contrasting with a full orchestra
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Alberti bass
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broken chord accompaniment, Domenico Alberti used often
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art song
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for artistic statement rather than entertainment
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bel canto
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singing-style, lyrical, embellished melodies show off human voice
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cantabile
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song-like, or singable > Rossini, first section of aria. calm mood, slower, more lyrical section, express emotion
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cabaletta
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Rossini, last part of aria > lively and brilliant, expressing active feelings such as joy or despair, faster section, carry and reflect change in plot/emotion that is typically presented in the tempo di mezzo
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classical style
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homophonic > emphasis of melody of supportive accompaniment > simple, clearly articulated harmonic plans, periodicity, themes,
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coloratura
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vocal ornamentation
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da capo aria
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aria form with two sections > first section is repeated after second sections closed > ABA form
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concert étude
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an instrumental piece designed for developing a particular skill or performing technique played in concert because of its significant artistic content
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developing variation
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deriving new themes, accompaniments and other ideas throughout the piece through variations of initial ideas
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development
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reworking of initial themes presented
the second section of a sonata form |
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empfindsam style
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surprising turns of harmony, chromaticism, nervous rhythms, speechlike melodies
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exoticism
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romantic trend, writing music that evoked feelings about distant lands or foreign cultures
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episode
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section between main theme in rondo form
subsidiary passage between presentations of the main thematic material |
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exposition
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in sonata form, first movement, main themes stated, beginning in tonic, closing in dominant
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fortepiano
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type of piano, eighteenth/early nineteenth centuries
distinguished from later pianos by a variety of features: smaller number of keys, wooden frame instead of metal |
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grand opera
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type of serious opera > spectacularly staged, very lengthy, sung-throughout, popular in romantic era, ballets and choruses
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harpsichord
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old version of piano, kind of
strings plucked, not struck |
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idée fixè
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Hector Berlioz, melody that is used throughout a piece to represent a person, idea, or thing > transforming it to suit the mood and situation
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libretto
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text for an opera or musical stage work
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Lied
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song with German words, for voice + accompaniment,
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minuet and trio form
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joins two binary form minuets (dance moderate metre) to create an ABA pattern. A is usually the minuet and B the trio
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modified strophic form
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variant of strophic form
music for the first stanza varied for later stanzas or change of key, character, or rhythm in material |
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movement
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self-contained section of music, can be played on its own and sound complete, can also be joined with others in a larger work
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nationalism
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embracing and emphasizing a national music quality > related to nationalism in politics
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nocturne
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short piano piece popular during romantic period
marked by highly embellished melody sonorous accompaniments contemplative mood |
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operetta
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nineteenth-century light opera with spoken dialogue, originated in opera bouffe
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oratorio
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combining narrative, dialogue, and commentary through arias, recitatives, ensembles, choruses, instrumental music > unstaged opera typically about biblical or religious subjects
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orchestra
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mostly strings, typically more than one instrument on a part > woodwinds, brass, percussion
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orchestral concerto
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emphasize first violin part and bass > avoid contrapuntal
late 17th century (probably not on exam) |
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ornament
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trill or addition, written or improvised > adding expression and charm to a melodic line
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overture
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orchestral piece including opera or other long work
independent orchestral work in one movement, usually descriptive |
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periodicity
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frequent resting points, complete musical thought concluded by a cadence
articulations between phrases and periods |
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petit motet
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french version of small scaled concerto
for one, two, or three voices |
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piano (and pianoforte)
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different from harpsichord because struck, not plucked > allowed more volume dynamics
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program music
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instrumental music that tells a story or follows a narrative or other sequence of events
often spelled out in an accompanying text called a "program" |
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recapitulation
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third movement in sonata form
restates material form exposition, in tonic |
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recital
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term popularized by Franz Liszt
solo performer or small group performance |
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recitativo arioso
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between recitative and aria
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rubato
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romantic convention > player holds back or speeds up written rhythms > "stolen time"
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sinfonia
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early symphony
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Singspiel
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German, singing play, spoken dialogue and songs, choruses instrumental music
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slow-movement sonata form
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does not have development section
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sonata-rondo
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blends sonata and rondo form
ABACABA A and B correspond to first and second themes of sonata form and B appears first in the tonic and then returns in the dominant |
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song cycle
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group of songs performed in succession that tell or suggest a story
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strophic
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poem with two or more stanzas equivalent in form and can be sung to the same melody
strophe poem set to the same music for each stanza |
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strophic variation
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melody of the first stanza is varied, but the harmonic plan remains the same throughout, duration of harmonies may change to portray meaning of the text though
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symphonic poem
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term coined by Franz Liszt for one movement work of program music for orchestra
conveys a poetic idea, story, scene, succession of moods by representing themes that are repeated, varied or transformed |
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symphonie concertante
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a concerto-like genre late 18th/early 19th century > two or more solo instruments and orchestra, characterized by light heartedness and melodic variety
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symphony
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large work for orchestra, typically four movements
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tempo di mezzo
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operatic scene structure, Rossini, early 19th century, middle section of an aria or ensemble, usually an interruption or a transition that falls between the cantabile and the cabaletta
(Rossini Aria: Cantabile, (sometimes Tempo Di Mezzo), Cabaletta) |
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thematic transformation
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method by Franz Liszt to provide unity, variety and narrative-like logic to a composition by transforming the thematic material into new themes or other elements in order to reflect the diverse moods needed to portray a programmatic subject
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through-composed
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each stanza, or new unit in poetry, is composed to a completely separate piece of music rather than strophic (to a single melody)
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tutti
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full orchestra
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virtuoso
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performer who specializes in one instrument and dazzles audiences with his or her technical prowess
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Joseph Haydn
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worked under Esterhazy family, patronage system
well known for symphonies, popularized it, very popular himself Vienna> post-Esterhazy career rondo form in last movement of symphonies wrote operas for Esterhazy opera theatre trips to England * one of the first to write a string quartet, father of symphony (his way of doing it, and its popularity), also father of string quartet (possible inventor)) "The Joke" string quartet > humorous |
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Wolfgang Amadeus Mozart
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prodigy, tour with father and sister
Vienna > imperial court > composer of chamber music lived in London > influenced by Bach sonata form > piano sonatas operas > Don Giovanni: dark plot WROTE ITALIAN OPERA SERIA > important in the development of it composed many different styles (but Don Giovanni and Marriage of Figaro are opera buffas) german singspiel > ex. the magic flute characterizes his music: very rapid series of contrasting and changing topics music lending itself to being interpreted as a story, lots of narrative potential |
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Ludwig von Beethoven
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tradition of symphonies
Vienna 3 periods: early, middle, and late Piano Sonata> Pathetique > experimenting with form > named by publisher to attract people to piece > smaller development section > lack of motifs/themes studied with Haydn most admired didn't create trends, but trends were influenced by his music FREELANCE COMPOSER > publishing + middle class struggle to define himself "Eroica" symphony> not conventional longer than most symphonies development section significantly longer long, suspenseful build-up to recapitulation |
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Piano (1800-1850)
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becoming central
changes in construction >cast iron metal frame, greater range, 88 keys > music can be written with higher/lower notes, greater range for expression, greater string tension, more resonant and loud sound, doesn't decay as quickly, softer hammers (felt covered) > note consistency, ability for instrument to better emulate human voice pass time of women, more common furniture in the house, factory production of goods, piano popularity piano sonatas, accompaniment in arias, piano solos centre of music making |
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Fryderyk Chopin
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names for character pieces illicit certain moods
waltz, etc Nocturne in D Flat Major > inspired by bel canto opera, long melodic lines, melody ornamented, cadenza-like passages, melody harmonized with parallel 3rds and 6ths, arpeggiated chords in left hand, extensive use of sustaining pedal |
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Franz Liszt
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very virtuosic pieces > criticized for being "shallow"
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German Song
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Lieder > words taken from high quality poetry, piano part as important as vocal part, not necessarily accompaniment, used just as much to express emotion in text
Schubert and Chopin > varied forms, through-composed increasing market for domestic music (leading to popularity for Lieder), prevalence of piano in homes, body of high quality German poetry being written |
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Franz Schubert
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active in Vienna
wrote opera, symphonies> note as well recognized lieder (and piano duets)> very well recognized "Gretchen am Spinnrade" > rondo structure |
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Robert Schumann
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Im Wunderschoen Monat Mai
-static quality song cycle, information in addition to text for composition reasons |
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orchestral music
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changes in concert culture and orchestral makeup
new genre of program symphony (instrumental symphonic poem, derived from concert overture) 1st violins principle melody later non-traditional orchestral instruments size of orchestra is bigger > bigger sound, bigger concert areas program symphony has multiple movements classical symphony only has one symphonic poem > only one movement instrumental music to convey store/depiction, taken from narrative instrumental style |
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Hector Berlioz
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Symphonie Fantastique > hallucination, imaginary things
program symphony idee fixe > obsession, sticks in head, reccuring melody new German school of composers (Berlioz, Liszt, Wagner) |
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The Barber of Seville
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Rossini > opera buffa > bel canto opera: cantabile, tempo dimezzo (not in this specific one), and cabaletta
begins and ends in same key > typical Rossini |
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German Opera
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newer tradition
Carl Maria von Weber > Mozart's cousin Der Freischutz > The Free Shooter |
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Giuseppe Verdi
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nationalist for Italy
dramatic realism (not the best example for bel canto opera composer) La Traviata > duet structure, scena, tempo d'attacco, cantabile, tempo di mezzo, cabaletta > moving on past bel canto opera recitative change of advancement of plot > scena tempo d'attacco > lyrical but more declamatory, plot progression cantabile > lyrical tempo dimezzo > lyrical, but more declamatory, plot progression cabaletta > lyrical |
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Giacomo Meyerbeer
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Les Huguenotes> opera comique, spoken word over recitatif
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Carmen
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opera by George Bizet > very popular today
exoticism > romanticizing other groups and being conscious about them "Seguidilla and Duet" > use of modality revival in Vienna > successful and one of the most successful operas since this |
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Johannes Brahms
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Hamburg, later career in Vienna
close with Robert and Clara Schumann German Requiem > important work > had previously been touring as a pianist but this brought him fame > choral work > consolidation for the living, wrote after mother's death > nationalistic feelings, very studious analyzer, fond of Bach, Schubert, proud of being a "Hamburger" > influenced attitudes towards music mad about "new german school > Berloiz, Wagner, Liszt > mad because some of them were not even german and he was not included great contrapuntist sonata form and rondo form present in pieces > conscious of music history critic of program music > felt it was ok for french but not germans not an immitator of past styles > takes principles and uses them, late romantic sound "best" composer of chamber music developing variation |
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Edward Hanslick
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against program music
believed beauty of instrumental music was interpreting it on your own terms emotions are created by the listener, not the piece itself |
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passacaglia
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common baroque structure and use of sonata form
basso ostinato becoming more obscure with melody |
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basso ostinato
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explain baroque form > does not restrict ostinato to basso
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Schumann
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thought program music was "stupid"
you don't need to know the psychological angst of the composer should be left up to listener to interpret |
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Liszt
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believed Brahms "stuck in the past" and followed rules too strictly
good music should have poetic conception |
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character piece
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depicts or shows a mood, personality or scene
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lyric
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short, strophic poem on the subject of expressing a personal feeling or viewpoint
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Mighty Five
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Mily Balakirev, Aleksander Borodin, Cesar Cui, Modest Musgorsky, Nikolayrimsky-Korsakov
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