Musical Styes

Front 1

Less stepwise movement, larger leaps, wider range, and more chromaticism reflect influence of virtuosic solo singing

Back 1

Early Baroque

Front 2

Melodic patterns idiomatic to particular musical instruments emerge

Back 2

Early Baroque

Front 3

Introduction of melodic sequence

Back 3

Early Baroque

Front 4

Stable, diatonic chords played by basso continuo support melody

Back 4

Early Baroque

Front 5

Clearly defined chord progressions begin to develop

Back 5

Early Baroque

Front 6

Tonality reduced to major and minor keys

Back 6

Early Baroque

Front 7

Relaxed, flexible rhythms of the Renaissance transformed into regularly repeating, driving rhythms

Back 7

Early Baroque

Front 8

Musical timbre becomes enormously varied as traditional instruments are perfected (eg harpsichord, violin and oboe) and new combinations of voices and instruments are explored

Back 8

Early Baroque

Front 9

Symphony orchestra begins to take shape

Back 9

Early Baroque

Front 10

Sudden shifts in dynamics (terraced dynamics) reflect dramatic quality of Baroque music

Back 10

Early Baroque

Front 11

CHordal, homophonic texture predominates

Back 11

Early Baroque

Front 12

Top and bottom lines are the strongest as basso continuo creates a powerful bassto support the melody above

Back 12

Early Baroque

Front 13

Arias and instrumental works often make use of basso ostinato procedure

Back 13

Early Baroque

Front 14

Ritornello form emerges in the concerto grosso

Back 14

Early Baroque

Front 15

Binary form regulates most movements of hte sonata and orchestral suite

Back 15

Early Baroque

Front 16

Gabrieli, Monteverdi, Barbara Strozzi, Purcell, Corei, Vivaldi

Back 16

Early Baroque

Front 17

Polychoral motet, cantata, opera, sonata, concerto grosso, solo concerto, orchestral suite

Back 17

Early Baroque

Front 18

Melody grows longer, more expansive and more asymmetrical

Back 18

Late Baroque

Front 19

Idiomatic instrumental style influences vocal melodies

Back 19

Late Baroque

Front 20

Functional chord progressions govern harmonic movement - harmony moves purposefully from one chord to the next

Back 20

Late Baroque

Front 21

Basso continuo continues to provide strong bass

Back 21

Late Baroque

Front 22

Exciting, driving, energized rhythms propel music forward with vigor

Back 22

Late Baroque

Front 23

"Walking" bass creates feeling of rhythmic regularity

Back 23

Late Baroque

Front 24

Instruments reign supreme

Back 24

Late Baroque

Front 25

Instrumental sounds, especially of violin, harpsichord, and organ, set musical tones for the era

Back 25

Late Baroque

Front 26

One tone color used throughout a movement or large section of movement

Back 26

Late Baroque

Front 27

Homophonic texture remains important, but polyphonic texture reemerges because of growing importance of hte contrapunal fugue

Back 27

Late Baroque

Front 28

Binary form in sonatas and orchestral suites

Back 28

Late Baroque

Front 29

Da capo aria (ternary) form in arias

Back 29

Late Baroque

Front 30

Fugal procedure used in fugue

Back 30

Late Baroque

Front 31

Bach, Handel, Telemann, Vivaldi

Back 31

Late Baroque

Front 32

Cantata, opera, oratorio, sonata, orchestral suite, concerto grosso, prelude, and fugue

Back 32

Late Baroque

Front 33

Short, balance phrases create tuneful melodies

Back 33

Classical

Front 34

Melody more influenced by vocal than instrumental style

Back 34

Classical

Front 35

Frequent cadences produce light, airy feeling

Back 35

Classical

Front 36

The rate at which the chords change (harmonic rhythm)varies dramatically, creating a dynamic flux and flow

Back 36

Classical

Front 37

Simple chordal harmonies made more active by "Alberti" bass

Back 37

Classical

Front 38

Departs from regular, driving patterns of Baroque era to become more stop-and-go

Back 38

Classical

Front 39

Greater rhythmic variety within a single movement

Back 39

Classical

Front 40

Orchestra grows larger

Back 40

Classical

Front 41

Woodwind section of two flutes, oboes, clarinets and bassoons becomes typical

Back 41

Classical

Front 42

Piano replaces harpsichord as principal keyboard instrument

Back 42

Classical

Front 43

Mostly homophonic; thin bass and middle range, hence light and transparent

Back 43

Classical

Front 44

Passages in contrapuntal stye appear sparingly and mainly for contrast

Back 44

Classical

Front 45

A few standard forms regulate: sonata-allegro, theme and variations, rondo, ternary (for minuets and trios), and double exposition (for solo concerto)

Back 45

Classical

Front 46

Mozart, Haydn, Beethoven, Schubert

Back 46

Classical

Front 47

Symphony, sonata, string quartet, solo concerto, opera

Back 47

Classical

Front 48

Long, singable lines with powerful climaxes and chromatic inflections for expressiveness

Back 48

Romantic

Front 49

Greater use of chromaticism makes the harmony richer and more colorful

Back 49

Romantic

Front 50

Sudden shifts to remote chords for expressive purposes

Back 50

Romantic

Front 51

MOre dissonance to convey feeling of anxiety and longing

Back 51

Romantic

Front 52

Rhythms are flexible, often languid, and therefore meter is sometimes not clearly articulated

Back 52

Romantic

Front 53

Tempo can fluctuate greatly (tempo rubato)

Back 53

Romantic

Front 54

Tempo can slow to a crawl to allow for "the grand gesture"

Back 54

Romantic

Front 55

The orchestra becomes enormous, reaching upward of one hundred performers: trombone, tuba, contrabassoon, piccolo, and English horn added to the ensemble

Back 55

Romantic

Front 56

Experiments with new playing techniques for special effects

Back 56

Romantic

Front 57

Dynamics vary widely to create different levels of expression

Back 57

Romantic

Front 58

Piano becomes larger and more powerful

Back 58

Romantic

Front 59

Predominantly homophonic but dense and rich because of larger orchestra

Back 59

Romantic

Front 60

Sustaining pedal on the piano also adds to density

Back 60

Romantic

Front 61

No new forms created, rather traditional forms (strophic, sonata-allegro, and theme andvariations, for example) used and extended in length

Back 61

Romantic

Front 62

Traditional forms also applied to new genres such as Lied, symphonic poem and orchestral Lied

Back 62

Romantic

Front 63

Beethoven, Schubert, Berlioz, Mendelssohn, Robert Schumann, Chopin, Liszt, Verdi, Wagner, Bizet, Brahms, Dvorak, Tchaikovsky, Musorgsky, Mahler, Puccini

Back 63

Romantic

Front 64

Symphony, program symphony, symphonic poem, concert overture, opera, Lied, orchestral Lied, solo concerto, character piece for piano, ballet music

Back 64

Romantic

Front 65

Wide-ranging disjunct lines, often chromatic and dissonant, angularity accentuated by use of octave displacement

Back 65

Twentieth Century

Front 66

Highly dissonant; dissonance no longer must move to consonance but may move to another dissonance

Back 66

Twentieth Century

Front 67

Sometimes two conflicting, but equal, tonal centers sound simultaneously (polytonality); sometimes there is no audible tonal center(atonality)

Back 67

Twentieth Century

Front 68

Vigorous, energetic rhythms

Back 68

Twentieth Century

Front 69

Conflicting simultaneous meters (polymeters) and ryhthms (polyrhythms) make for temporal complexity

Back 69

Twentieth Century

Front 70

Color becomes an agent of form and beauty in and by itself

Back 70

Twentieth Century

Front 71

Composers seek new sounds from traditional, acoustical instruments, from electronic instruments and computers, and from noises in the environment

Back 71

Twentieth Century

Front 72

Texture is as varied and individual as the men and women composing music

Back 72

Twentieth Century

Front 73

A range of extremes: sonata-allegro, rondo, theme and variationsbenefit from a Neo-clasical revival

Back 73

Twentieth Century

Front 74

Twelve-tone procedure allows for an almost mathematical formal control; yet chance music permits random happenings and noises from the environment to shaped a musical work

Back 74

Twentieth Century

Front 75

The forms and processes of classical music, jazz and pop music begin to influence one another in exciting new ways

Back 75

Twentieth Century

Front 76

Stravinsky, Schoenberg, Berg, Webern, Bartok, Varese, Ives, Cage, Prokofiev, Shostakovich, Copland, Zwilich, Adams, Tavener, Bernstein, Gershwin

Back 76

Twentieth Century

Front 77

Symphony, solo concerto, string quartet, opera, ballet music, electronic music, chance music, Broadway musical, film music

Back 77

Twentieth Century