Music Midterm

Front 1

METER

Back 1

ORGANISATION F RHYTHM IN TIME; THE GROUPING OF BEATS INTO LARGER, REGULAR PATTERNS, KNOWN AS MEASURES

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MONOPHONIC

Back 2

SINGLE LINE TEXTURE OR MELODY WITHOUT ACCOMPIANMENT

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MADRIGAL

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RENNAISCANCE SECULAR WORK ORIGINATING IN ITALY. WRITTEN FOR VOICES WITH OR WITHOUT INSTRUMENTS. SET TO A SHORY, LYRIC LOVE POEM. ALSO POPULAR IN ENGLAND

Front 4

HARMONY

Back 4

THE SIMULTANEOUS COMBINATION OF NOTES AND THE ENSUING RELATIONSHIPS OF INTERVALS AND CHORDS

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FORM

Back 5

THE STRUCTURE AND DESIGN IN MUSIC. BASED ON REPETITION CONTRAST AND VARIATION. THE ORGANISING PRINCIPAL OF MUSIC

Front 6

HOMOPHONIC

Back 6

TEXTURE WITH PRINCIPLE MELODY AND ACCOMPANYING HARMONY

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DYNAMICS

Back 7

THE DEGREE OF LOUDNESS OR SOFTNESS, OR VOLUME OF A SOUND.

Front 8

CADENZA

Back 8

VIRTUISTIC SOLO PERFORMANCE IN THE MANNER OF IMPROVISATION. USUALLY PERFORMED NEAR END OF AN ARIA OR MOVEMENT OF A CONCERTO

Front 9

CHANSON

Back 9

FRENCH MONOPHONIC OR POLYPHONIC SONG ESPECIALLY OF THE MIDDLE AND RENN. SET TO COURTLY OR POPULAR POETRY.

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CONCERTO GROSSO

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BAROQUE CONCERTO TYPE BASED ON THE OPPOSITION BTW A SMALL GROUP OF INSTRUMENTS (CONCERTINO) AGAINST THE ORCHESTRA (RIPIENO)

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CONCERTO

Back 11

INSTRUMENTAL GENRE IN SEVERAL MOVEMENTS FOR SOLO INSTRUMENT (OR INSTRUMENTAL GROUP) AND ORCHESTRA

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ARPEGGIO

Back 12

BROKEN CHORD IN WHICH THE INDIVIDUAL TONES ARE PLAYED ONE AFTER ANOTHER INSTEAD OF SIMULTANEOUSLY

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RIPIENO

Back 13

ITALIAN FOR "FULL" LARGER GROUP IN CONCERTO GROSSO

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MOTET

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POLYPHONIC VOCAL GENRE, SECULAR IN THE MIDDLE AGES BUT SACRED OR DEVOTIONAL THEREAFTER

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INSTRUMENTS THEN/NOW

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VIOLA--> VIOLIN
RECORDER-->FLUTE
HARP-->PIANO DE FORTE

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SONATA FORM

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ALLEGRO (FAST, LIVELY)
ANDANTE (SLOW, WALKING PACE)
SCHERZO (MINUETTO, WALTZ)

Hint 16

FRAN JOSEPH HYDEN, CLASSICAL

Front 17

ALLEGRO FORM

Back 17

INTRO
EXPOSITION "A" "B" THEME
DEVELOPMENT
RECAPITATION
CODA

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MODERN

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-1900S TO PRESENT

Hint 18

ART CAN BE ANYTHING, FORM OF EXPRESSION

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PROGRAMATIC

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MUSIC THAT DESCRIBES SOMETHING

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MUSIC ABSOLUTE

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WRITTEN FOR MUSICS SAKE

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IMPRESSIONIST

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1890-1920

Hint 21

SYMBOLISM

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ROMANTIC

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1820-1920

Hint 22

FREEDOM OF MAN

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RENAISSANCE

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1440-1600

Hint 23

-FALL OF BYANTINE EMPIRE 1440
-INTELLECTUALS MOVED TO WESTERN EURPOE AND BROUGHT IDEAS

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BAROQUE

Back 24

1600-1750

Hint 24

-ORNATE, FANCIFUL, ORVERDONE ARCHITECTURE, LIT, ART
-NAMED AFTER BAROCCO PEARL. VERY ORNATE

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CLASSICAL

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1700S- 1820

Hint 25

-ART, LIT, BALANCED, ORDERLY, SYMMETRICAL
-FORM, STRUCTURE, ORGANISATION OVER CONTENT

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SOLO SONATA

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MUSICAL COMPOSITION WRITTEN FOR A SOLO INSTRUMENT WITH PIANO/KEYBOARD ACCOMPIANMENT

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SONATA

Back 27

INSTRUMENTAL GENRE IN SEVERAL MOVEMENTS FO SOLOIST OR SMALL ENSEMBLE

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SECULAR

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NONRELIGIOUS MUSIC. WHEN TEXTED, USUALLY IN THE VERNACULAR.

Front 29

TEXTURE

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THE INTERWEAVING OF MELODIC (HORIONTAL) LINES AND HARMONIC (VERTICAL) ELEMENTS IN THE MUSIC FABRIC

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TIMBRE

Back 30

THE QUALITY OF A SOUND THAT DISTINGUISHES ONE VOICE OR INSTRUMENT FROM ANOTHER

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TEMPO

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RATE OF SPEED OR PACE OF MUSIC

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RHYTHM

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THE CONTROLLED MOVEMENT OF MUSIC IN TIME

Front 33

RANGE

Back 33

THE DISTANCE BETWEEN THE LOWEST AND HIGHEST TONES OF A MELODY, INSTRUMENT OR VOICE

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POLYPHONIC

Back 34

TWO OR MORE MELODIC LINES COMBINED INTO A MULTIVOICED TEXTURE AS DISTINCT FROM MONOPHONIC

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OPERA

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MUSICAL GENRE THAT IS GENERALLY SUNG. COMBINING VOCAL AND INSTRUMENTAL MUSIC. WITH POETRY AND DRAMA, ACTING AND PANTOMIME, SCENERY AND COSTUMES.

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ORATORIO

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LARGE SCALE DRAMATIC GENRE. ORIG IN BAROQUE, BASED ON A TEXT OF RELIGIOUS OR SERIOUS CHARACTER, PERFORMED BY SOLO VOICES, CHORUS, AND ORCHESTRA. NO SCENERY, COST. OR ACTION.

Front 37

MELODY

Back 37

THE SUCCESSION OF SINGLE TONES OR PITCHES PERCIEVED BY THE MIND AS UNITY

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MASS

Back 38

A MUSICAL COMPOSITION FOR VOCALISTS AND INSTRUMENTALISTS. USED THE ORDINARY OF THE MASS FOR ITS TEXT. CENTRAL SERVICE OF THE ROMAN CATHOLIC CHURCH

Front 39

METER

Back 39

ORGANSATION OF RYTHM IN TIME. THE GROUPING OF BEATS INTO LARGER REGULAR PATTERNS CALLED MEASURES.

Front 40

MONOPHONIC

Back 40

SINGLE LINE TEXTURE OR MELODY WITHOUT ACCOMPANIMENT

Front 41

MADRIGAL

Back 41

RENNAISSANCE SECULAR WORK ORIG. IN ITALY FOR VOICES WITH OR WITHOUT ACCOMPAINMENT. SET TO SHORY, LYRIC LOVE POEM. ALSO POPULAR IN ENGLAND.

Front 42

HARMONY

Back 42

THE SIMULTANEOUS COMBINATION OF NOTES AND THE ENSUING RELATIONSHIPS OF INTERVALS AND CHORDS.

Front 43

FORM

Back 43

THE STRUCTURE AND DESIGN OF MUSIC.
BASED ON REPITION, CONTRAST AND VARIATION. THE ORGANIING PRINCIPAL OF MUSIC.

Front 44

HOMOPHONIC

Back 44

TEXTURE WITH PRINCIPLE MELODY AND ACCOMPANYING HARMONY.

Front 45

DYNAMICS

Back 45

VARYING DEGREES OF LOUD AND SOFT, OR COLUME OF A SOUND.

Front 46

CADENZA

Back 46

VIRTUISTIC SOLO PASSAGE IN THE MANNER OF AN IMPROVISATION. USALLY SUNG NEAR THE END OF AN ARIA OR MOVEMENT OF A CONCERTO.

Front 47

CHANSON

Back 47

FRENCH MONOPHONIC OR OR POLYPHONIC SONG, ESPECIALLY IN THE MIDDLE AGES, RENN. SET TO COURTLY OR POPULAR POETRY.