Uf_Mul2010_Spring08_Exam1_Unit1-2-3_Terms

Front 1

pitch

Back 1

the relative highness or lowness of a sound
- frequency of vibrations

Front 2

tone

Back 2

a sound which has a definite pitch, and a specific frequency

Front 3

octave

Back 3

interval between two tones; the frequency of the higher tone is double that of the lower tone

Front 4

pitch range; range

Back 4

distance between lowest and highest notes of a given instrument/voice

Front 5

dynamics

Back 5

the degrees of loudness or softness of a sound
- gradual or sudden, changed by playing more loudly/softly - adding voices/instruments

Front 6

decrescendo

Back 6

(decre >) -gradually softer
- also known as diminuendo

Front 7

diminuendo

Back 7

same as decrescendo
- (decre. >) -gradually softer

Front 8

crescendo

Back 8

(crec. <) -gradually louder

Front 9

tone color, timbre

Back 9

quality of sound which distinguishes it from another

Front 10

strings

Back 10

(guitar, violin)

Front 11

woodwind

Back 11

(flute, clarinet)

Front 12

brass

Back 12

(trumpet, trombone)

Front 13

percussion

Back 13

(drums, cymbals, xylophone)

Front 14

keyboard

Back 14

(organ, piano)

Front 15

conductor

Back 15

leads large ensembles

Front 16

bow

Back 16

a slightly curved stick strung tightly with horsehair

Front 17

pizzicato

Back 17

plucked string
-string playing technique

Front 18

double stop

Back 18

two notes at once
-string playing technique

Front 19

vibrato

Back 19

throbbing, expressive tone by rocking the left hand while pressing the string down. causes small pitch fluctuations that make the tone warmer
-string playing technique

Front 20

mute

Back 20

veil or muffle the tone by fitting a clamp onto the bridge
-string playing technique

Front 21

tremolo

Back 21

rapidly repeats tones by quick up-and-down strokes on the bow. tension when loud, or shimmering when soft
-string playing technique

Front 22

reed

Back 22

fastened over a whole in the mouthpiece and vibrates when the player blows into the instrument
- for woodwinds
-flute,recorder,clarinet,saxiphone

Front 23

rhythm

Back 23

the flow of music through time

Front 24

beat

Back 24

regular, recurrent pulsations; divides music into equal lengths of time

Front 25

meter

Back 25

the organization of beats into regular groups; strong and weak beats

Front 26

measure

Back 26

a group containing a fixed number of beats

Front 27

downbeat

Back 27

the first, or stressed beat of a measure

Front 28

duple meter

Back 28

two beats in a meausre

Front 29

triple meter

Back 29

3 beats in a measure "my country tis of the"

Front 30

quadruple meter

Back 30

four beats in a measure

Front 31

sextuple meter

Back 31

six beats; felt either duple or triple

Front 32

accent

Back 32

emphasis of a note

Front 33

synopation

Back 33

an accent falling in an unexpected place

Front 34

tempo

Back 34

speed of beat

Front 35

tempo indication

Back 35

is usually given at the beginning of a piece

Front 36

notation

Back 36

system of writing music so that specific pitches and rhythms can be communicated

Front 37

note

Back 37

black/white ovals, with stems/flags added

Front 38

staff

Back 38

a group of five lines on which notes are played

Front 39

ledger lines

Back 39

additional lines above/below

Front 40

clef

Back 40

a symbol to designate where pitches fall on the staff

Front 41

treble clef

Back 41

higher ranges: piano right-hand

Front 42

bass clef

Back 42

lower ranges: piano left-hand

Front 43

grand staff

Back 43

treble clef and bass clef combine to form this

Front 44

rest

Back 44

notating silence

Front 45

time signature

Back 45

indicated the meter of the piece; top number indicated how many beats per measure, bottom number tells what ind of note gets the beat

Front 46

melody

Back 46

most recognizable feature of music; a series of single notes which adds up to a recognizable whole; similar to a thought

Front 47

step

Back 47

motion (by conjunction)

Front 48

leap

Back 48

motion (by disjunction)

Front 49

climax

Back 49

emotional focal point

Front 50

legato

Back 50

smooth, connected playing style

Front 51

staccato

Back 51

short detached playing style

Front 52

phrase

Back 52

smaller part of a larger melody; notating uses lowercase letters

Front 53

sequence

Back 53

melodic pattern repeated at a higher or lower pitch

Front 54

theme

Back 54

a melody used at a point of departure for a piece

Front 55

harmony

Back 55

adds dimension to melody; organization of chords

Front 56

chord

Back 56

combination of three or more tones sounded

Front 57

progression

Back 57

series of chords, usually with a sense of motion

Front 58

consonance

Back 58

stable; a point of rest/arrival

Front 59

dissonance

Back 59

unstable; requires motion to consonance

Front 60

resolution

Back 60

movement from dissonance to consonance

Front 61

triad

Back 61

chord consisting of three tones

Front 62

tonic chord

Back 62

first note on the scale; (root of this type of chord)

Front 63

dominant chord

Back 63

the triad built on the fifth note of the scale, strongly pulled toward the tonic chord

Front 64

cadence

Back 64

a point of rest at the end of a phrase; like a punctuation

Front 65

arpeggio; broken chord

Back 65

notes sounded in succession

Front 66

tonic; keynote

Back 66

key of piece, relates to resolution

Front 67

key

Back 67

relates to resolution and tonic

Front 68

scale

Back 68

basic pitches of a piece arranged from low to high

Front 69

tonality

Back 69

presence of a tonic/chord/scale

Front 70

major scale

Back 70

do-re-mi-fa-sol-la-ti-do
-has a specific pattern of intervals between its successive tones

Front 71

minor scale

Back 71

like major scale, but a half step between the second and third tones, where a major has a whole step

Front 72

half step

Back 72

the smallest interval traditionally used in western music

Front 73

whole step

Back 73

twice as large as the half-step,

Front 74

major key

Back 74

when a piece of music is based on a major scale, say it is in a ______

Front 75

minor key

Back 75

when a piece of music is based on a minor scale, say it is in a ______

Front 76

chromatic scale

Back 76

consists of all 12 tones of the octave; all tones half step apart; from the Greek chroma: "color"

Front 77

modulation

Back 77

change of key; provides variety in longer pieces

Front 78

tonic; home key

Back 78

often returned to by the end of a work

Front 79

monophonic

Back 79

single, unaccompanied melodic line; a texture

Front 80

unison

Back 80

group of instruments/singers performing the same melodic line

Front 81

polyphonic

Back 81

two or more melodic lines of relatively equal interest

Front 82

counterpoint

Back 82

combination of several melodic lines

Front 83

imitation

Back 83

(row, row, row your boat); type of texture

Front 84

homophonic

Back 84

one main melody harmonized by chords

Front 85

form

Back 85

the organization of musical elements in time; has three techniques

Front 86

repetition

Back 86

musical form technique
creates a sense of unity

Front 87

contrast

Back 87

musical form technique
provides variety

Front 88

variation

Back 88

musical form technique
gives a work unity and variety at the same time

Front 89

ternary form

Back 89

3 parts : A B A
statement A, counter-statement B, return to A

Front 90

binary form

Back 90

2 parts : A B
two contrasting sections, no return to A

Front 91

style

Back 91

a characteristic way of treating the elements

Front 92

the middle ages

Back 92

450-1550 CE

Front 93

major events of the middle ages

Back 93

-division of social classes
-nobility, castles, knights, feasting, peasants lived in huts, serfs, clergy rules everyone, only monks literate

Front 94

Gregorian chant

Back 94

-for centuries the official music of the Roman Catholic church
-melody set to sacred latin texts, sung without accompaniment
-different chants were used for various portions of religious sources

Front 95

the church modes

Back 95

-chants based on unfamiliar scales
-seven tones with a repeated tone at the top-different paterns of whole and half-steps

Front 96

drone

Back 96

consists of one or more long, sustained tones accompanying a melody
-performers add this in recordings

Front 97

troubadours/trouveres

Back 97

french nobles who developed first body of secular songs

Front 98

jongleurs

Back 98

wandering minstrels - during the middle ages - performed music and acrobatics in castles, taverns, and town squares

Front 99

organum

Back 99

900-1200; the development of polyphony, contrary motion, individual melodic curve
-medieval music that consists of Gregorian chant and one or more melodic lilnes

Front 100

cantus firmus

Back 100

chant/melody used as the basis for polyphonic work, literally fixed

Front 101

measured rhythm

Back 101

the school of notre dame
definite time valves and meter
the first in history to show precise notation of pitches and rhythmic patterns
-limited rhythmic patterns
-beats grouped into threes
-unique sound of early polyphony
-lack of triads (thirds considered dissonant)

Front 102

mass ordinary

Back 102

texts that remain consistent throughout most of the year, Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Front 103

Hildegard of Bingen

Back 103

mystic, poetess, writer
first woman composer with a significant number of extant works
- O Successores

Front 104

estampie

Back 104

a medieval dance
- 13th century
- on of the earliest surviving form of instrumental music
-single melodic line

Front 105

ars nova

Back 105

generally and refers to all European polyphonic
-The term ars nova means "new art" or "new technique", and was first used in a publication by Philippe de Vitry

Front 106

Leonin & Perotin

Back 106

music used measured rhythm
- definite time values and clearly defined meter
- first time in music history, notation indicated precise rhythms as well as ptiches

Front 107

Francesco Landini

Back 107

most celebrated italian composer of the 14th century
- organist, a poet, a scholar, and inventor of a string instrument
-italian songs

Front 108

Guillaume de Machant

Back 108

1300-1377
musician and poet
offered decorated copies of his music to nobile patrons
music: usually for one to four musicians, both secular ans sacred works
-the notre dame mass

Front 109

word/text painting

Back 109

musical representation of specific poetic images

Front 110

humanism

Back 110

the dominant intellectual movement
- during the renaissance
- focused on human life and its accomplishments

Front 111

the Renaissance

Back 111

1450-1600
historical setting
jobs in churches, courts, or towns
church choirs increased, royalty become prominent patrons town musicians
womans role - virtuosos -> singing.. slightly increase role

Front 112

a cappella

Back 112

unaccompanied choral music
- renaissance choral music did not need instrumental accompaniment
- period known as "golden age" of choral music

Front 113

motet

Back 113

a polyphonic choral work set to a sacred Latin text other than the ordinary of the mass
- The Renaissance ________

Front 114

mass

Back 114

a polyphonic choral composition made up of five sections:
Kyrie, Gloria, Credo, Sanctus, and Agnus Dei
- The Renaissance _______

Front 115

madrigal

Back 115

an important kind of secular vocal music during the Renaissance was the ________
- a piece for several solo voices set to a short poem, usually about love
- combines homophonic and polyphonic textures

Front 116

ballett

Back 116

-also known as fa-la
a dancelike song for several solo voics
- simpler type of vocal music than the madrigals
- mostly homophonic in texture, with the melody in the highest voice

Front 117

Venetian school

Back 117

influenced by St. Mark's architecture
- double choir lofts
- music included parts specifically for insuments
- foreshadow ->

Front 118

polychoral motet

Back 118

motets for two or more choirs, often including groups of instruments

Front 119

Oriana

Back 119

from the Triumphs of Oriana
long life fair Oriana
Vesta: Roman goddess of the hearth
"Diana's darlings" her attendants

Front 120

Josquin Desprez

Back 120

flemish composer of international renown
-composed in both sacred and secular generes
-highly regarded
-addressed by first name.. this was uncommon

Front 121

Giovanni Pierluigi da Palestrina

Back 121

legendary "savior" of polyphony
- music "fit the bill"
Pope Marcellus Mass-----
"growing texture"

Front 122

Thomas Weelkes

Back 122

english madrigalist
-organist and church composer
"as vesta was descending"

Front 123

Thomas Morley

Back 123

Now is the Month of Maying
-two repeated parts AA BB
ends with "fa la"

Front 124

Pierre Francisque Caroubel

Back 124

"Passamezzo and Galliard"
violinist
duple meter dance

Front 125

Michael Praetorius

Back 125

composed "Terpsichore"
- was the greek muse, or goddess of the dance

Front 126

Giovanni Gabrieli

Back 126

1555-1612
-polychoral motet: motet for 2
-contrasts of register, sonority, and tone color
-specific dynamics and scoring

Front 127

Council of Trent

Back 127

-convened 1545-1563
-Desiderius Erasmus
-basis of complaints against music
-secular connections
-instruments
-polphony

Front 128

register

Back 128

tone color may vary with this, (part of the total range) in which it is played

Front 129

definite pitch

Back 129

timpani, glockenspiel, xylophon, celesta, chimes

Front 130

indefinite pich

Back 130

snare drum, bass drum, tambourine, triangle, cymbals, gong (tan-tan)