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31 Cards in this Set
- Front
- Back
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Classical Style |
-Variety of motives and constantly changing melody - Regular phrases (cadences) - Periodicity - Formal Clarity - Melody with accompaniment (homophonic) - Slow harmonic rhythm - Alberti bass - Balance, clarity and predictability |
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Empfindsam Style |
- Elements of surprise - Sudden changes in dynamics/accents, tempo, harmony - Suspenseful pauses - Variety of textures - Precursor to the romantic style |
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Rondo Form |
- Often used for finales (sometimes slow movements) - Sectional Construction (as opposed to sonata form) - Consists of altering sections - Refrain (A) = typically in tonic repeated multiple times - Episodes (B,C,etc) = sections that usher in new material, often in a constrasting key |
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Dramma Giocoso |
- “Jocular Drama” - A work that features comic, serious, and middle characters |
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Organicism |
- Connected with Goethe - Concept that all parts are unified by being derived from a common source - Emphasis on - Relationships between themes, sections, movements, etc - Development - Economy of means - Implications of truth, unity, wholeness, progress, purity |
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The “Sublime” |
- Concept in the late 18th and 19th centuries - Music/art that is so overwhelming that it is frightening and painful - Viewed in contradistinction to the beautiful and pleasurable - Connotations: inaccessible and elitist |
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The “Schubertiad” |
- Semi-formal gatherings (social event) - Started in 1821 (sometimes with weekly meetings) - Small scale works, especially Lieder, we’re featured - Schubert himself not always the focus |
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The “Salon” |
- Literally means “big room” in the home of the wealthy host/hostess - Came to be synonymous with the assembled company itself - Regular roster of invited guests on a designated day of the week - Private (small elite/intimate) and public (high prestige/influential) |
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The Lied |
- “Art song” for solo voice with piano accompaniment (specifically german) - Origins in 18th century, flourished in 19th century - Amateur performance - Many themes (nature, death, unrequited love) - Forms = Strophic, Ternary, Bar, Through composed |
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Innigkeit |
- Literally means “inwardness” or “introspection” - Linked to romantic notions of individuality and subjectivity - Emphasis on lyric poetry |
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Character piece |
- Charakterstück (German) or Pièce Characteristique (French) - Short piece for piano intended to capture a mood or suggest a scene/character - Straddles the border between absolute and program music - Simple in construction/often sectional - Usually publishes in sets |
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Nocturne |
- French term for night piece - Short mood piece for piano that flourished in the early 19th century - Musical features - Quiet and contemplative - Slow tempo - Lyrical, embellished melody - Often arpeggiated accompaniment
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The Davidsbund |
- Literally means “league of David” - Existed only in Schumann’s imagination - Fought against the “philistines” (materialistic individuals/mass producers of trivial music) - Sought to preserve integrity of art - Opposed empty virtuosity |
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The Virtuoso |
- Derives from Latin term “Virtus” - A solo performer with extraordinary technical skill - Purpose |
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Concert Etude |
- Established by Chopin and Liszt - Initially “studies” designed to help pianists develop technique - Became virtuosic display pieces |
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The “Idée fixe” |
- French for “fixed idea” - A recurring musical theme is used throughout a work to represent a person, object, idea - Functions as - Structural device - Programmatic element |
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Program Music |
- Term introduced by Franz Liszt - Music that attempts to represent an extra musical concept/idea - Made explicit in title and sometimes outlined in accompanying text - The program should dictate all musical procedures - Belief that music reaches its highest potential when combined with other arts |
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Absolute Music |
- Music that does not attempt to represent an extra musical concept/idea - Associated with various philosophers and critics - It refers to nothing but it’s own elements and procedures - “Music for music’s sake” - Belief that aesthetic superiority of purely instrumental music because of its ability to transcend everyday life |
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Originality |
- Composers strove to find their unique voices - Critics scorned imitation of music of the past |
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Historical Consciousness |
- “Standard repertoire” - Historicism in composition - Rise in scholarly activity in music - Rediscovery of forgotten works |
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Rossini Crescendo |
- Intensification - Dynamics - Register - Figuration - Harmonic Rhythm |
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Bel canto |
- Means “beautiful singing” in Italian - Vocal style - Musical features - Focuses on melody (accompaniment is secondary) - Lyrical vocal line and legato phrasing - Ornamentation - Highlights agility of singers voice - Associated with Rossini, Donizetti, and Bellini |
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Grand Opéra |
- Spectacle was emphasized - Long (5 acts) - Serious - Subjects were historical, political and religious |
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Opéra Comique |
- Smaller Scale - Spoken dialogue - Semi-serious or comic - Sentimental, unambiguous, moral plots, edifying characters, happy endings |
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Operetta or Opéra bouffe |
- A lighter and/or satirical genre of theatre that emerged during the mid-19th century - Combined spoken diagnosis and sung numbers |
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Singspiel |
- Literally translates as “singing play” - A type of German-Language dramatic work - Popular/folk-like - Contains musical numbers and spoken dialogue instead of recitative |
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Gesamtkunstwerk |
- A dramatic work in which all aspects of the arts (music, dramatic text, scenery, staging) are integrated to one artistic expression - Coined by Wagner - Translation “complete or united art work” - Inspired by ancient Greek tragedy |
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Leitmotiv |
- A motive or musical idea that is associated with a person, object, mood, or concept - Translation “leading motive” - Different from idée fixed - Quite short - Used in a vocal work |
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Unendliche Melodie |
- Continuity is the goal (reaction against Classical music syntax) - Characteristics of these melodies - Very long - Irregular phrasing/unpredictable - Vocal style between aria and recitative - Translation: “Unending melody” |
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Verismo |
Two Meanings 1. An opera that presents everyday people in familiar situations, rather than depicting historical figures or far away places 2. Any artwork that reacts against Romantic idealism and conventions |
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Exoticism |
- An attempt to evoke a foreign culture or land in a work of art (opera) - Done in several ways - Extra musical elements (Title, text, costume, set) - Musical features (stereotyped) |
