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77 Cards in this Set
- Front
- Back
Less stepwise movement, larger leaps, wider range, and more chromaticism reflect influence of virtuosic solo singing
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Early Baroque
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Melodic patterns idiomatic to particular musical instruments emerge
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Early Baroque
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Introduction of melodic sequence
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Early Baroque
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Stable, diatonic chords played by basso continuo support melody
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Early Baroque
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Clearly defined chord progressions begin to develop
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Early Baroque
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Tonality reduced to major and minor keys
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Early Baroque
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Relaxed, flexible rhythms of the Renaissance transformed into regularly repeating, driving rhythms
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Early Baroque
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Musical timbre becomes enormously varied as traditional instruments are perfected (eg harpsichord, violin and oboe) and new combinations of voices and instruments are explored
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Early Baroque
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Symphony orchestra begins to take shape
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Early Baroque
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Sudden shifts in dynamics (terraced dynamics) reflect dramatic quality of Baroque music
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Early Baroque
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CHordal, homophonic texture predominates
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Early Baroque
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Top and bottom lines are the strongest as basso continuo creates a powerful bassto support the melody above
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Early Baroque
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Arias and instrumental works often make use of basso ostinato procedure
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Early Baroque
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Ritornello form emerges in the concerto grosso
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Early Baroque
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Binary form regulates most movements of hte sonata and orchestral suite
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Early Baroque
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Gabrieli, Monteverdi, Barbara Strozzi, Purcell, Corei, Vivaldi
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Early Baroque
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Polychoral motet, cantata, opera, sonata, concerto grosso, solo concerto, orchestral suite
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Early Baroque
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Melody grows longer, more expansive and more asymmetrical
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Late Baroque
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Idiomatic instrumental style influences vocal melodies
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Late Baroque
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Functional chord progressions govern harmonic movement - harmony moves purposefully from one chord to the next
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Late Baroque
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Basso continuo continues to provide strong bass
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Late Baroque
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Exciting, driving, energized rhythms propel music forward with vigor
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Late Baroque
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"Walking" bass creates feeling of rhythmic regularity
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Late Baroque
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Instruments reign supreme
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Late Baroque
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Instrumental sounds, especially of violin, harpsichord, and organ, set musical tones for the era
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Late Baroque
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One tone color used throughout a movement or large section of movement
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Late Baroque
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Homophonic texture remains important, but polyphonic texture reemerges because of growing importance of hte contrapunal fugue
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Late Baroque
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Binary form in sonatas and orchestral suites
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Late Baroque
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Da capo aria (ternary) form in arias
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Late Baroque
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Fugal procedure used in fugue
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Late Baroque
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Bach, Handel, Telemann, Vivaldi
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Late Baroque
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Cantata, opera, oratorio, sonata, orchestral suite, concerto grosso, prelude, and fugue
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Late Baroque
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Short, balance phrases create tuneful melodies
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Classical
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Melody more influenced by vocal than instrumental style
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Classical
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Frequent cadences produce light, airy feeling
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Classical
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The rate at which the chords change (harmonic rhythm)varies dramatically, creating a dynamic flux and flow
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Classical
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Simple chordal harmonies made more active by "Alberti" bass
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Classical
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Departs from regular, driving patterns of Baroque era to become more stop-and-go
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Classical
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Greater rhythmic variety within a single movement
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Classical
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Orchestra grows larger
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Classical
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Woodwind section of two flutes, oboes, clarinets and bassoons becomes typical
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Classical
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Piano replaces harpsichord as principal keyboard instrument
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Classical
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Mostly homophonic; thin bass and middle range, hence light and transparent
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Classical
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Passages in contrapuntal stye appear sparingly and mainly for contrast
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Classical
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A few standard forms regulate: sonata-allegro, theme and variations, rondo, ternary (for minuets and trios), and double exposition (for solo concerto)
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Classical
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Mozart, Haydn, Beethoven, Schubert
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Classical
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Symphony, sonata, string quartet, solo concerto, opera
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Classical
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Long, singable lines with powerful climaxes and chromatic inflections for expressiveness
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Romantic
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Greater use of chromaticism makes the harmony richer and more colorful
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Romantic
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Sudden shifts to remote chords for expressive purposes
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Romantic
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MOre dissonance to convey feeling of anxiety and longing
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Romantic
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Rhythms are flexible, often languid, and therefore meter is sometimes not clearly articulated
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Romantic
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Tempo can fluctuate greatly (tempo rubato)
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Romantic
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Tempo can slow to a crawl to allow for "the grand gesture"
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Romantic
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The orchestra becomes enormous, reaching upward of one hundred performers: trombone, tuba, contrabassoon, piccolo, and English horn added to the ensemble
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Romantic
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Experiments with new playing techniques for special effects
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Romantic
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Dynamics vary widely to create different levels of expression
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Romantic
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Piano becomes larger and more powerful
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Romantic
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Predominantly homophonic but dense and rich because of larger orchestra
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Romantic
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Sustaining pedal on the piano also adds to density
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Romantic
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No new forms created, rather traditional forms (strophic, sonata-allegro, and theme andvariations, for example) used and extended in length
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Romantic
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Traditional forms also applied to new genres such as Lied, symphonic poem and orchestral Lied
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Romantic
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Beethoven, Schubert, Berlioz, Mendelssohn, Robert Schumann, Chopin, Liszt, Verdi, Wagner, Bizet, Brahms, Dvorak, Tchaikovsky, Musorgsky, Mahler, Puccini
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Romantic
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Symphony, program symphony, symphonic poem, concert overture, opera, Lied, orchestral Lied, solo concerto, character piece for piano, ballet music
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Romantic
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Wide-ranging disjunct lines, often chromatic and dissonant, angularity accentuated by use of octave displacement
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Twentieth Century
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Highly dissonant; dissonance no longer must move to consonance but may move to another dissonance
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Twentieth Century
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Sometimes two conflicting, but equal, tonal centers sound simultaneously (polytonality); sometimes there is no audible tonal center(atonality)
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Twentieth Century
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Vigorous, energetic rhythms
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Twentieth Century
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Conflicting simultaneous meters (polymeters) and ryhthms (polyrhythms) make for temporal complexity
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Twentieth Century
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Color becomes an agent of form and beauty in and by itself
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Twentieth Century
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Composers seek new sounds from traditional, acoustical instruments, from electronic instruments and computers, and from noises in the environment
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Twentieth Century
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Texture is as varied and individual as the men and women composing music
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Twentieth Century
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A range of extremes: sonata-allegro, rondo, theme and variationsbenefit from a Neo-clasical revival
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Twentieth Century
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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
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Twentieth Century
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The forms and processes of classical music, jazz and pop music begin to influence one another in exciting new ways
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Twentieth Century
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Stravinsky, Schoenberg, Berg, Webern, Bartok, Varese, Ives, Cage, Prokofiev, Shostakovich, Copland, Zwilich, Adams, Tavener, Bernstein, Gershwin
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Twentieth Century
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Symphony, solo concerto, string quartet, opera, ballet music, electronic music, chance music, Broadway musical, film music
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Twentieth Century
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