2nd Midterm Flashcards
(111 cards)
1
Q
Classical Era
A
c. 1750-1800
Age of Enlightenment (humanism, science, equity)
Industrial Revolution (steam, electricity)
Middle class rise, patronage decline
Revolutionary Wars (America/French)
2
Q
Classical Music
A
Lyrical, short, memorable
Mostly homophonic
Structure, regularity, cadence
Major/Minor Tonality (key scales)
3
Q
Vienna, Austria
A
Capital of classical music
4
Q
Esterházy family
A
Wealthiest, most powerful Hungarian royal families.
Close relatives of the imperial family in Vienna.
Musical patrons
5
Q
patronage system
A
Wealthy organizations and individuals support less fortunate people
6
Q
The Viennese Classicists
A
Haydn, Mozart & Beethoven
7
Q
Joseph Haydn
A
1732-1809
Kapellmeister, celebrated in London
financial security, free access to an ensemble of excellent players, inexhaustible opportunities to compose
8
Q
Mozart
A
1756-1791
most known as a great pianist and opera composer
subscription concerts
aware of public taste
most success in music theater
conducted while performing
9
Q
Beethoven
A
1770-1827
renowned improvisation
no patrons
subscription concerts
became deaf
transitional composer
10
Q
Why was Beethoven a romantic?
A
chromatic harmony
motivic development
wrote 9 symphonies
creative liberties (genres, forms)
individual expression
11
Q
When was the piano invented?
A
c. 1700
12
Q
pianoforte/fortepiano
A
early piano models
13
Q
Orchestral changes during 1800s
A
bowed strings core
no more basso continuo (except opera orchestras for recitatives)
piano replaced harpsichord
14
Q
Beethoven orchestra
A
bowed strings
1st/2nd violin, viola, cello, doubles bass
many of each
brass
2 horns, 2 trumpets
percussion
2 timpani
woodwinds
2 of each (flute, oboe, clarinet, bassoon)
15
Q
orchestral bowed strings
A
violin, viola, cello, double bass
16
Q
Late 18th Century orchestral woodwinds
A
flute & clarinet
17
Q
Common double-reed woodwind instruments
A
oboe & bassoon
18
Q
Romantic brass instruments
A
horn, trumpet, trombone, tuba
19
Q
Romantic percussion instrument
A
timpani
20
Q
Chamber/social/domestic music
A
intimate nature, suitability for smaller spaces (home)
21
Q
key/key area
A
collection of 7 pitches around a central pitch, the “tonic”
interval relationships (emphasis, stability)
22
Q
major key/scale
A
limited to 7 pitches
1 - 1 - .5 - 1 - 1 - 1 - .5
23
Q
minor key/scale
A
limited to 7 pitches
1 - .5 - 1 - 1 - .5 - 1 - 1
24
Q
chromatic scale
A
1 octave, 12 pitches, separated by 1/2 steps
25
tonic
most stable/consonant pitch
root of tonic/one chord (1st, 3rd, 5th)
often starts the scale
26
chord *
3 or more pitches played simultaneously
27
dominant/five chord *
dom. + 7th + 2nd
28
chromatic harmony
chords contain pitches outside the key
29
dominant
scale's fifth note, perfect fifth
sense of arrival, strongest cadence
30
modulation
change of key
31
Ternary forms
A - B - A
32
minuet
dance
2nd or 3rd movement of a symphony
33
scherzo
light, playful
symphony, sonata movement
34
theme & variation form
melody and how it fluctuates
35
sonata form
exposition (2x)
primary theme (tonic)
bridge (modulation)
secondary theme and coda (other key)
development
modulatory (no key)
recapitulation
same division as exposition...
36
sonata
solo sonata post-1750
chamber music
either of two formats
commonly first movement
Classical view
structural principle, balanced, symmetry
Romantic view
dramatic form (solves dissonance, conflict)
37
sequence
fragment of melody
repeated (pitch increase/decrease)
often modulatory
38
cadenza
section near the end of a concerto mvmt
often in the 1st, maybe 3rd
soloist plays alone
39
staccato
performed with each note sharply detached or separated
40
legato
smooth, connected style of play
notes are played without breaks
41
cantabile
syn. of lyrical
song-like, singable, "human voice-ish"
homophonic
42
motive
short, recognizable musical idea, fragment, or succession of notes
43
leitmotifs
motives related to story (people, idea, object)
carried by the orchestra
44
opus
translates to "work"
chronological order
45
virtuoso
highly skilled musician
46
Romantic Period
c. 1800-1900
47
Nationalism
recreate, celebrate own ethnic/national identity
48
Exoticism
depict exotic other
49
program music
NOT a genre, just broad category
tells a story or evokes an idea through music (no text, but as if)
descriptive title
(often exotic/nationalistic)
50
absolute music
NOT a genre
not intended to depict or represent anything
purely for its own musical qualities
generic title
51
cyclic music
themes, melodies reused to create a sense of unity
52
strophic (including modified versions)
each stanza has the same, repeating music
if modified, some differ
53
through-composed form
no two stanzas are alike
54
postlude
piano portion after the vocalist finished her text
55
Frédéric Chopin
1810-1849
famous composer of character pieces
Parisian musical scene
mostly piano music (alone or with company)
56
rubato
vary the time
speed up, slow down
57
Clara Schumann
1819-1896
virtuoso concert pianists
taste maker
shaped modern piano concerts (ex: memorize programs)
58
Robert Schumann
1810-1856
German composer, music critique, taste maker
mental illness
59
Hector Berlioz
1803-1869
progressive (program) music composer
colorful orchestration
taste maker
60
Fanny Hensel
née Mendelssohn, 1805-1847, German
exclusively played by her in her home or salons
authorship vs social expectations
professional hopes extinguished early
61
Treatise on Orchestration
1844, orchestration manual by Berlioz
62
Felix Mendelssohn
1809-1847, German
conducted J.S. Bach’s St. Matthew Passion (1829)
conductor, pianist, organist, composer, taste-maker
serious approach to concert programming (ex: historical concerts)
63
Importance of William Shakespeare
1564-1616
64
Giuseppe Verdi
1813-1901
libretti based on successful plays/novels
Rigoletto, Il trovatore, Il traviata
most famous/important Italian opera composer of 1800s (before Puccini)
65
Giacomo Puccini
1858-1924
realistic, contempory characters/stories
continuity of dramatic action
La boheme, Tosca, Madama Butterfly
66
prima donna
leading female singer in opera (fmc)
67
nature/subject of librettos in 1800s
themes of love, honor, and destiny
exotic subjects, themes drawn from folklore and regional culture.
68
Storyline of Madama Butterfly
Pinkerton goes to Japan to marry Butterfly
He goes back to America.
Butterfly sings "Un bel di vedremo" as she is picturing his eventual return
Pinkerton sends a letter. He wishes to leave her life for good.
Pinkerton arrives with his American wife to take his son. (Un bel di is played again)
Butterfly kills herself.
69
Richard Wagner
1813-1883
New German School, progressive innovations (program music)
chromatic harmony + new form structures
The Ring of the Nibelung (Norse Mythology)
70
Louise Farrenc
1804-1875
French
taught privately at Paris Conservatory where she also became a teacher
paid less than male counterparts
71
Peter Ilyich Tchaikovsky
1840-1893
ballet: Swan Lake, Nutcracker, Sleeping Beauty
72
Antonín Dvořák
1841-1904
Czech, national spirit
The New World Symphony (1893)
73
Amy Beach
1867-1944
American
essentialist conception of music
Gaelic Symphony (1894), Irish inspired
74
black-face minstrelsy
19th-century, American theatre
parodies of enslaved Black people (south) and free Black people (north)
75
art song
Lied
voice + piano (monody)
often used a well-known poem
piano more than accompany, more like interpretation
76
ballet (score)
only the music of a ballet
77
character piece
1 mvmt, solo piano, brief (2-7 min)
descriptive titles (mood, scene, song, dance)
homophonic
78
etude
"study"
designed for technical studies by Chopin for his students
79
nocturne
"night piece"
80
prelude
short, introductory piece
stands alone or precedes a larger musical work
81
(solo) concerto
large-ensemble
multi-mvmt
instrumental soloist + orchestra
82
Differences between classical concerto/sonata and string quartet/symphony
fast - slow - fast
tonic - contrasting - tonic
skip the dance movement
1st mvmt sonata: orchestra plays first, soloists plays a variation of the theme
2nd mvmt has 2 parts
83
concert overture
1 mvmt, descriptive title, sonata form
orchestra, program music
84
double concerto
two soloists + orchestra
85
grand opera
French form of serious opera
spectacle: ballets, sets, costumes, chorus
historic topics, large characters + events
86
music drama
form of opera with flow of orchestral music (themes) and singing that isn't divided into arias/recitatives.
87
opera buffa
Italian
recitatives & arias
comic, contempory situations
88
opéra comique
French form of comic opera
Only form of opera with spoken dialogue
89
opera seria
Italian
recitatives & arias
dark, serious, classic history or legends
90
orchestral art song
voice + orchestra (not just piano)
91
piano trio
piano, violin, cello
92
piano quintet
piano + string quartet
93
Singspiel
German
spoken dialogue
light, comic, fantastic, exotic, common characters
94
2 types of sonata
both multi-mvmt
1) for 1 piano
2) for any soloist with piano accompany
95
orchestral/song cycle
collection of art songs, published tgt
share a title and other unifying traits:
melodies
logical progression of keys
same poet
same subject
same perspective
96
string quartet
2 violins, viola, cello
stripped down symphony
97
1st movement of a classical symphony
allegro (fast)
tonic key
sonata form
often the longest
98
2nd movement of classical symphony
adagio, andante, largo (slow)
contrasting key (minor <-> major)
theme & variations form
sad lyrical melody (contrasts mvmt 1)
99
3rd movement of classical symphony
moderato (more upbeat)
tonic or contrasting key
dance form (minuet/scherzo)
brief, light
100
4th movement of classical symphony
allegro, presto (fast)
tonic key
rondo form (sonata)
light, lively, happy (if major)
101
True or False?
"The 2nd (slow) and 3rd (dance) movements of a symphony can be reversed"
True
102
(orchestral) suite
multi-mvmt collection of dances
103
symphonic/tone poem
single mvmt, orchestra, unique title, free form
104
woodwind quintet
flute, oboe, bassoon, clarinet, horn
105
symphony
multi-movement (4-ish) instrumental genre for orchestra alone
106
symphonie concertante
soloists (1,2 or 3) + orchestra
2 mvmt
107
ensemble terms (from 1 to 9)
solo, duet, trio, quartet, quintet, sextet, septet, octet, nonet
108
Where did Antonín Dvořák look for “authentic” sources of indigenous music on which to base his Czech nationalist works?
Bohemian music
evoked folk melodies, traditional patterns/formal structures
109
While in the United States, where did Dvořák suggest that Americans should look for sources of indigenous American music? What kind of “American” musical sources did he use in his Symphony No. 9?
engaged with indigenous American music (plantation melodies -> No.9, Native American tunes)
110
In what way is Amy Beach’s Symphony in E Minor, Op. 32, a response to Dvořák?
Dvořák not American = can't create American music even with inspiration
"a truly American national music must also reflect other diverse elements in the country's heritage, such as melodies from the Irish, Scottish, and Inuit"
111
In what ways were Dvořák and Beach in general agreement regarding what constituted appropriate musical source materials for the creation of a nationalistic music in any country?
folk music
no direct quotation, only evoke the style
diverge from "white" music
