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Music History > Test I > Flashcards

Test I Flashcards

1
Q

Figured Bass

A

Notation of the bass line with numbers written in

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2
Q

Unfigured Bass

A

A bass line without written numbers

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3
Q

Realization of the figured/unfigured bass

A

Decoding the short-hand numbers in the bass line to create a part fitting with the notated music (focusing on improvisation

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4
Q

Figured bass methods

A

An instructive tool of the harmonic elements of the figured bass

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5
Q

Basso Continuo and organo obligato

A

Required organ participation

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6
Q

Basso continuo and organo ad libitum

A

Optional organ participation

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7
Q

Basso continuo and organo con cembalo

A

organ and harpsichord

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8
Q

Col basso

A

Performing passage using bass

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9
Q

Colla Parte

A

Organ and harpsichord reading off of the same part (doubling)

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10
Q

Basso Seguente

A

The lowest notated part in momentary absence of the bass part

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11
Q

Walking bass

A

Bass line moving in stepwise progression

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12
Q

Organo pleno

A

A single-manual organ (as opposed to a two-manual organ)

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13
Q

Recitativo Secco

A

Voice and bass

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14
Q

Recitativo Accompagnato

A

Voice and string orchestra (other additional instruments may be included)

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15
Q

Recitativo Semplice

A

Short, simple chords below the vocal line

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16
Q

Basso Ostinato

A

A repeating bass line

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17
Q

Basso Fundementale

A

Succession of root position chords in the bass line

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18
Q

Measured preludes

A

Preludes with bar lines (DUH)

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19
Q

Chordal Continuo Playing

A

…

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20
Q

Prima Practica

A

First practice; Traditional style of church music found in some madrigals.

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21
Q

Stile Gravis

A

A traditional style found in sacred polyphony

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22
Q

Aria

A

Italian for “song” or “Ayre”; More florid, expansive, and melodious than recitatives and arioso; Repeated words or MELISMAS for emphasis of text

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23
Q

Arioso

A

A cross between an aria and a recitative; Fewer repeated pitches and more rhythmically elastic

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24
Q

Lament

A

repetition scheme as means of sorrowfulness; lament based on basso ostinato

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25
Q

Basso Continuo

A

Embraces the notion of a chord-producing instrument and a non-chord producing instrument; Figured bass notation, a characteristic manner of notation, as a means of clarifying the continuo practice above the bass

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26
Q

Madrigal

A

In these pieces, text is brought out through the music; Claudio Monteverdi, Cruda Amarilli

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27
Q

7-6 Figuration

A

A suspension-resolution indicated in the figured

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28
Q

Gruppo

A

The counterpart to the modern neighboring tone trill

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29
Q

Monody

A

“To Sing Alone”; Italian origin; solo voice and accompaniment. Ex: Funeste Piagge from Euridice, 1600 by Jacopo Peri (1561-1633)

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30
Q

Opera Seria

A

Serious opera; Describes the heroic, full Italian operas (18th century); Ex. Giulio Cesare by Handel

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31
Q

Ritornello

A

A reoccurring passage (baroque music)

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32
Q

Toccata

A

instrumental; Showcases; different kinds of instruments; never tutti; played 3x

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33
Q

Tragédie lyrique

A

The term used to designate French Opera in the late seventeenth and eighteenth centuries, which was a fusion of French tragedy with traditional French ballet (ballet de cour)

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34
Q

Trillo

A

For now let’s just say it’s a trill…

35
Q

Notes inégales

A

A succession of equal notes moving rapidly up or down the scale are played somewhat unequally, such as “long-short, long-short)

36
Q

Stile Antico

A

the conservative music emanating from the papal chapel in the seventeenth century; Old style

37
Q

Seconda Practica

A

Claudio Monteverdi’s term for the new text-driven approach to musical composition that he practiced; it allowed for “deviations” from conventional counterpoint if these moments were inspired by an especially expressive text

38
Q

Stile Moderno

A

Modern style

39
Q

Stile Luxurians

A

…

40
Q

Académie royale de musique

A

In effect, a French national opera company directly licensed and indirectly funded by the king; it performed in the center of Paris at the Palais Royal

41
Q

Florentine Camerata

A

A club created by one of Count Giovanni Bardi’s protégés, used to discuss literature, science, and art

42
Q

Stile rappresentativo

A

Dramatic or theatre style; A type of vocal expression somewhere between song and declaimed speech. Ex: Funeste Piagge from Euridice, 1600 by Jacopo Peri (1561-1633)

43
Q

Vingt-quatre violons du roi

A

Twenty-four instruments of the violin family that formed the string core of the French court orchestra under Louis XIV; six violins, twelve violas, and six basse de violons

44
Q

Masque

A

An elaborate courtly entertainment using music, dance, and drama to portray an allegorical story that shed light on the royal family

45
Q

Libretto

A

The text of an opera or oratorio written in poetic verse

46
Q

Controversy Between Claudio Monteverdi and Giovanni Maria Artusi?

A

Conflict bertween Claudio Monteverdi and Giovanni Maria Artusid over Monteverdi’s piece ‘Cruda Amarilli’; Artusi believed there were errors in this composition (unprepared consonances and dissonances). This was discussed in Artusi, “Delle imperfettioni della moderna musica”, 1605; Monteverdi believed these unprepared dissonances contributed to the emotion of the piece, justified in Monteverdi’s “Fifth book of Madrigals”, 1600.

47
Q

Claudio Monteverdi Dates?

A

1567-1643

48
Q

Baroque time period?

A

1600-1750

49
Q

The Doctrine of Affections

A

States that different musical moods could and should be used to influence the emotions, or affections, of the listener.

50
Q

Theorbo

A

A large, lute-like instrument with a full octave of bass string descending in a diatonic pattern such as F-E-D-C-B’-A’

51
Q

Viola da gamba

A

The Italian name for the bass viol; called this because it was held between the legs (gamba is Italian for leg(s))

52
Q

Opera

A

A dramatic work, or play, set to music; in opera, the lines of the actors or actresses must be sung, not spoken, and music, poetry, drama, scenic design, and dance combine to produce a powerful art form

53
Q

Recitative

A

A musically heightened speech used in an opera, oratorio, or cantata to report dramatic action and advance the plot

54
Q

Esclamazione (Exclamations)

A

Inflection of longer notes by crescendo and decrescendo

55
Q

Strophonic Variation Aria

A

An aria in which the same harmonic and melodic plane appears, with slight variation, in each successive strophe

56
Q

Claudio Monteverdi dates?

A

1567-1643

57
Q

Baroque period dates?

A

1600-1750

58
Q

Theorbo

A

A large, lute-like instrument with a full octave of additional bass strings descending in a diatonic pattern such as: F-E-D-C-B’-A’

59
Q

The Doctrine of Affections

A

Held that different musical moods could and should be used to influence the emotions, or the affections, of the listener; Greatly influenced by Monteverdi and his progressive collegues

60
Q

Jacopo Peri Dates and relevant (to this unit) compositions?

A

1561-1633; Funeste Piagge from Euridice (1600)

61
Q

Giulio Caccini dates and relevant (to you) compositions?

A

1551-1618; Filli, mirando il cielo from Le Nuove Musiche (1602)

62
Q

Tell me about Jacopo Peri’s composition Euridice.

A

Peri’s setting of the story Orpheus and Euridice (this story would be set by many other composers over the next three centuries); About a demi-god, Orpheus, falling in love with a human, Euridice. They get married, she dies, he vows to bring her back, yadda, yadda, yadda…

63
Q

Tell me about Giulio Caccini’s composition Le nuove musiche.

A

An anthology of solo madrigals and strophonic solo songs

64
Q

Tell me about Claudio Monteverdi’s Orfeo.

A

The same story as Jacopo Peri’s Euridice, but with a new libretto

65
Q

ballet de cour

A

Means court ballet; Came to be in Paris, France; was a type of ballet danced at the French royal Court from the late sixteenth to late seventeenth century in which members of the court appeared alongside professional dancers

66
Q

Air de cour

A

Part of the ballet de cour; a simple, strophinic, syllabic song for single voice or a group of soloists

67
Q

Divertissement

A

Part of French operas; a lavishly choreographed diversionary interlude with occasional singing

68
Q

French Overture

A

Created by Giovanni Battista Lully; Begins with a slow section in duple meter, marked by stately dotted rhythms, followed by a fast triple meter section in imitative counterpoint, then finally returning to the slow duple-meter section

69
Q

Récitatif Ordinaire

A

Developed by Giovanni Battista Lully; Very elastic with many rapid passages as well as slower passages similar to an aria

70
Q

Semi-opera

A

A spoken opera where more important parts were sung instead of the entire thing being sung

71
Q

Tell me about Henry Purcell’s Dido and Aeneas.

A

Published in 1689; LIbretto drawn from Virgil’s Aeneid

72
Q

Ground Bass

A

Another term for basso ostinato; Called this because the repetitive bass line provided a solid foundation for the rest of the piece to be built on

73
Q

Tell me about Handel’s Giulio Cesare.

A

An Opera Seria; Composed on 1724; Libretto recounts on an episode of Caesar’s life in which he pursues and then defeats his rival Pompey, in Egypt

74
Q

Da Capo

A

ABA structure in a piece

75
Q

Giovanni Maria Artusi dates?

A

1540-1613

76
Q

Giovanni Battista Lully dates?

A

1632-1687

77
Q

Henry Purcell dates?

A

1659-1695

78
Q

George Frederick Handel dates?

A

1685-1759

79
Q

Basso Continuo

A

A bass line that provides a never-ending foundation for the melody above; In early baroque could be played by the lute or the theorbo

80
Q

Dialogo della musica antica, et della moderna by Vincenzo Galilei

A

“Diologue on Ancient and Modern Music” 1581; Vincenzo Galilei argues in favour of the new solo style of singing (popular in baroque music).

81
Q

Vincenzo Galilei

A

1528-1592; A musician-scientist

82
Q

Intermedio

A

A sung play within a play (Isolated from the play itself).

83
Q

Dafne

A

1598; Jacopo Peri; The first true opera, though only segments of it were preserved.

84
Q

Euridice

A

1600, Jacopo Peri. The first completely preserved opera. Based on the Orpheus legend (Demi-god Orpheus, and human Euridice, fall in love, human dies, Orpheus tries to rescue her from the underworld). The story of this opera would be set to music by many composers over the next three centuries. Ex: Guilio Caccini (1551-1618) Euridice.

Music History (3 decks)

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