Comp terms Flashcards
(268 cards)
1
Q
Absolute Music
A
instrumental music which exists simply as such, not illustrative
2
Q
aleatoric
A
mus. that cannot be predicted before perf. or mus. which was comp. through chance procedures (statistical or computerized). The adjective ‘aleatoric’ is a bastard word, to be avoided by those who care for language.
3
Q
alla breve
A
Indicates 2/2 time when, in a measure of 4 beats, the tempo is so fast that the measure may be considered to have 2 beats.
4
Q
allemande
A
Dance, usually in 4 4 , but sometimes in duple time, much used by 17th‐ and earlier 18th‐cent. composers as the first movement of the suite, or the first after a prelude. It is serious in character but not heavy, and of moderate speed: it is in simple BINARY form.
5
Q
answer
A
The 2nd entry of the main theme (subject) of a FUGUE a 5th higher (or 4th lower) than the 1st is called the Answer. If subject and answer are identical it is a Real Answer; if the intervals are changed it is a Tonal Answer.
6
Q
anthem
A
The Eng.‐speaking Protestant Churches’ equivalent of the Latin motet, from which it sprang.
7
Q
anticipation
A
The sounding of a note of a chord before the rest of the chord.
8
Q
antiphonal singing
A
The term ‘antiphonal’ is generally used of the mus. effects drawn from groups of singers or instrumentalists stationed apart.
9
Q
appoggiatura
A
A grace note or species of ornament
10
Q
arco
A
Used alone or as coll’arco (with the bow) after a passage marked pizzicato (plucked).
11
Q
aria
A
From the time of A. Scarlatti in the 18th cent. onwards this has had the definite implication of a more or less lengthy and well‐developed solo vocal piece in A‐B‐A form.
12
Q
arioso
A
A recitative of the more melodious type.
13
Q
ars antiqua
A
The medieval W. European mus. style, based on plainsong and organum, employed by composers (notably Leonin and Pérotin) of the Notre Dame or Parisian sch. in the 12th and 13th cents
14
Q
ars nova
A
The new style of mus. comp. in Fr. and It. in 14th cent. greater variety of rhythm, duple instead of triple time, and increased independence in part‐writing
15
Q
augmentation
A
If any perfect or major INTERVAL is increased by a semitone it becomes augmented
16
Q
auxiliary tone
A
This may be described as a variety of PASSING Note which, instead of passing on to another note, passes back to the note it has just left. Such a note may, like a Passing Note, be either diatonic or chromatic.
17
Q
bagatelle
A
a short unpretentious instr. comp., esp. for pianoforte
18
Q
ballade
A
forme fixe in 14th and 15th century. three strophes of 7/8 lines. ababccdD. refrain remains the same
19
Q
ballata
A
italian. AbbaA 14th and 15th century.
20
Q
ballad opera
A
England 18th century, with ballads mixed with dialogue.
21
Q
bar form
A
form associated with the repertory of the minnesinger AAB
22
Q
bariolage
A
Rapid alternation of open and stopped str. in vn.‐playing. The word means ‘odd mixture of colours’.
23
Q
bel canto
A
italian for beautiful singing, describes italian opera in early 19th century. emphasized lyrical melodic lines, legato phrasing, emphasis on voice, not music accompaniment.
24
Q
binary form
A
consists of two parts
25
bitonality
The use of 2 keys simultaneously, as in the works of Stravinsky , Vaughan Williams , Holst , and many other 20th‐cent. composers
26
blues
style from american south, 12 bar blues form with repeated harmonic patterns
27
bourree
lively dance in duple meter with a prominent upbeat at the beginning of each section
28
cabaletta
fast closing section of an aria
29
caccia
musical form 14th &15th century italy, for 3 voices with canonic upper voices. text deals with hunting
30
cadence
point of musical closure indicated by pitch, harmony, rhythm, or any combination of elements
31
cadenza
solo passage in a concert movement or aria. virtuosic with embellishments.
32
canon
polyphonic work written with imitating voices following the original exactly.
33
cantata
work to be sung, usually sacred. performance forces of varying size.
34
cantilena motet
type of 15th century motet that features a florid, lyrical top voice over slower moving lower voices.
35
cantus firmus
"fixed melody" that serves as the basis of a composition. derived from an existing composition
36
canzona
instrumental work of the late renaissance or baroque based on a vocal model, such as chanson, but later often composed independently of any vocal model
37
capriccio
used for a cadenza
38
cavatina
In 19th century italian opera the introductory aria sung by the main character. In germany aria characterized by an introspective quality free of virtuosic display.
39
chaccone
type of brass pattern used throughout the baroque period
40
chanson
Song set to Fr. words. A term with many applications, especially:
41
character piece
brief work for solo piano. seeks to portray the mood or character of a person, idea, situation, or emotion. first appeared in early 19th century.
42
chorale
a hymn either harmonized or melody alone. associated with congregational music
43
chorale prelude
based upon a treatment of the chorale melody, often taken line by line and surrounded by other melodic parts woven together into elaborate COUNTER‐POINT , and the other not reproducing the chorale intact but suggesting it to the minds of the hearers by taking its first few notes as the theme to be elaborated.
44
clarino
Term applied to the high, brilliant tpt. and hn. parts in baroque mus., probably because the CLARION was used for high‐register playing.
45
clasusula
passages of measured organum that could be substitutes at will into the appropriate textual section of a larger existing work of organum.
46
coloratura
The elaborate and agile ornamentation of a melody, either extemporized or written, with runs, cadenzas, trills, roulades, and the like
47
concertante
The concertante instr. in the old CONCERTO GROSSO were those which played the solos, as distinct from the ripieno instr., which played in the tuttis
48
concertato
Concerted. Another name for the concertino or concertante group in baroque mus. which contained the solo instrs. or vv. to contrast with the ripieno.
49
concertino
small group of soloists within a concerto gross, often consisting of two violins and basso continuo.
50
concerto grosso
baroque. features soloist and larger ensemble (ripeno)
51
conductus
12th/13th century. vocal monophony or polyphony. free composed not based on existing material.
52
consort
An old spelling of ‘concert’, meaning a concerted perf. by any body of performers. A Whole Consort was one in which all the instr. were of one family; a Broken Consort one in which there was a mixture.
53
basso continuo
Figured bass from which in concerted mus. of the 17th and 18th cents. the cembalist or organist played.
54
courante
(a) It. variety, in a rapid tempo and in simple triple time.
(b) Fr. variety, similar to the above, but with a mixture of simple triple and compound duple rhythms, the latter pertaining especially to the end of each of the 2 sections.
55
cross relation
simultaneous or nearly simultaneous sounding of two pitches a half step apart
56
cyclic mass
cycle of movements of the mass ordinary integrated by a common cantos firms or other musical device. Kyrie, Criste, credp, Angus Dei, Sanctus
57
Da capo aria
consisted of three sections: A,B and return to A. embellish last return of A
58
diapason
octave in greek
59
diatonic
mode. major and minor keys, and diatonic passages, intervals, chords, and harmonies are those made up of the notes of the key prevailing at the moment
60
Dies Irae
A section of the Requiem Mass.
61
diminution
Shortening of the time‐values of the notes of melodic parts
62
discant/organum
An early form of melodic harmonization which flourished from c. 900 to 1200 . In plainchant the melody was harmonized by addition of 1, 2, or 3 parts, usually parallel.
63
divertamento
An 18th‐cent. suite of movements of light, recreational mus., sometimes for open‐air perf., for a small no. of players
64
divisi
Divided, often abbreviated to ‘div.’. Term used, for instance, where orch. str. parts are written in double (or more) notes, and the players, instead of individually attempting to play all the notes of each chord, are to divide themselves into 2 (or more) groups to perform them.
65
dodecaphony
12. method of serial composition based on a series of row of 12 pitches drawn from the chromatic octave.
66
double fugue
a fugue with two subjects
67
double stop
Term used of str. instr., to indicate stopping and playing on 2 str. simultaneously to produce a 2‐part effect
68
drone
Pipe or pipes sounding continuous note of fixed pitch as a permanent bass
69
duplum/triplum
the added voice in organum and polyphony of 12/13th century
70
embouchure
In brass and some woodwind playing, the mode of application of the lips, or their relation to the mouthpiece.
71
envelope
Term in elec. mus. for those characteristics of amplitude which determine the growth and decay of a signal.
72
episode
1.nonimitative section within a fugue. 2.in a rondo an extended passage that appears between entrances of the main theme, aka couplet.
73
estampie
Type of troubadour tune for dancing, sometimes with words, A B A C A D A
74
etude
Study. Comp. intended as a basis for the improvement of the performer's technique
75
exposition
opening section of sonata form which presents the theme moving from tonic to dominant
76
expressionism
artistic movement of early 20th c. sought to give voice to the unconscious, to make manifest humanities deepest and darkest emotions.
77
fancy
Fantasy or Fancy. Generally a comp. in which form is of secondary importance, although the 16th‐cent. It. fantasia was an instr. comp. in strict imitation of a vocal motet.
78
fantasia
type of work that follows no structure of large scale convention but follows instead free flight of fantasy
79
fauxbouron
three voice writing in 15th c. 2 voices notated, 1 not notated. 3rd voice runs parallel to the top voice a fourth below.
80
formes fixes
fixed forms. music and structural patterns in french music 14/15th c. ballade, virelai, and rondeau
81
fret
Strips of wood or metal (orig. cords) on the fingerboard of certain str. instrs.
82
fugato
passage within a work or movement that begins like a fugue but does not sustain itself after a series of initial entries
83
fugue
type of compoition that incorporates a series of imitative entries, usually on a single theme but capable of accommodating multiple themes as well
84
fuguing tune
An 18th‐cent. type of hymn‐tune in which one or more vv. fell silent and then came in with an imitation of some preceding v. Popular in USA
85
galant
describes the musical style of mid-18th c. emphasizes the musical lightness and grace.
86
galliard
dance, vigorous with large leaps by dancers
87
gamelan
Type of orch. found in S.‐E. Asia, particularly Indonesia (e.g. Java). Incl. str. and woodwind instrs., but is notable for range of perc. such as gongs, drums, chimes, marimbas, etc
88
gebrauchsmusik
Term applied in 1920s to works which were directed to some social or educational purpose instead of being ‘art for art's sake’.
89
gesamtkunstwerk
integrated art work synthesizing music, drama, and gesture.
90
gavotte
Old Fr. dance in common time beginning on 3rd beat of the bar. Baroque optional suite movement.
91
gigue
A lively rustic Eng., Scot., and Irish dance type, usually in compound duple or triple time
92
Gradual
second element of the mass proper. the liturgical book containing the texts of the mass ordinary
93
ground bass
short bass pattern that, repeated many times over the course of a movement or work, provides the structural basis for the voice above.
94
hemiolla
brief passage of duple meter rhythms within an otherwise triple meter context
95
heterophony
Vague term, coined by Plato , used to describe simultaneous variation of one melody
96
hexachord
any grouping of 6 pitches.
97
hocket
passage featuring rapid fire voice exchange, favorite in 14/15th c. compsitions
98
homophony
type of texture in which a principal melodic line is accompanies by a clearly subordinate voice
99
impressionism
1890-1920. blurring of distinct harmonies. rhythms, timbres and forms.
100
impromptu
Literally ‘improvised’ or ‘on the spur of the moment’, but in 19th cent., name given to short piece of instr. mus., often in song‐like form,
101
incidental music
Mus. written for atmospheric effect or to accompany the action in a play. since 19th century
102
intabulation
arrangement for keyboard of work originally written for voice
103
intermezzo
sing dramatic work stages between the acts of a larger opera, usually opera seria
104
introit
Part of the Proper of the Mass. Initial chant, usually comprising antiphon with one verse and the Gloria patri.
105
inversion
mirror image of a melodic line.
106
isomelic
music of the renaissance in which one or more voices in the various sections of a polyphonic work present a series of variations of the works opening idea
107
isorhythmic
14/15th c. rhythmic pattern (talea) and melodic patter (color) each of which is represented once. polyphonic in the tenor voice.
108
klangfarbenmelodie
describe the contrasts in timbre. Melody of tone colours.
109
landini cadence
Cadence named after Francesco LANDINI , in which the 6th degree is inserted between leading‐note and the octave. Found in works of MACHAUT , Desprès , Palestrina , Victoria , and Monteverdi .
110
landler
Type of slow waltz
111
lauda
One of the SEQUENCES allowed to remain in the liturgy of the R.C. Church when the Council of Trent ( 1545 – 63 ) abolished the rest. It has its traditional plainsong, but has also been set by composers.
112
leitmotiv
a brief musial idea connected two some person, event, or idea in music drama. first seen in wagner
113
lied
genre of song, german
114
ligature
notational signs used in plainchant and polyphony throughout the renaissance to represent two or more pitches within a single unit.
115
madrigal
14th c.: 2 or 3 strophes, with 3 lines plus a 2 line ritornello at the end. 16th c. poem of a single strophe using free rhythm scheme and meter
116
magnificat
Canticle of the Virgin Mary sung to plainchant
117
mannheim school
Name given by modern musicologists to group of 18th‐cent. Ger. composers
118
masque
theatrical genre 17th c. england feautreing a mixture of declaimed poetry, songs, scenery, dance, and instrumental music
119
mass
a ritualistic celebration of Christ's last supper. Contains ordinary (fixed texts said or sung at every mass) and the propers (texts that vary according to the date in liturgical year)
120
mazurka
A traditional Polish country dance, It is in triple time with a certain accentuation of the 2nd beat of each measure and an ending of the phrases on that beat; dotted notes are a feature.
121
meistersinger
Middle‐class Ger. literary and mus. movement of 15th and 16th cents. cultivated by craftsmen's guilds and representing continuation of aristocratic MINNESINGER of preceding 2 centuries.
122
melisma
passages featuring many notes per syllable
123
mensural notation
system of musical notation that first emerged in 13th c. rhythmic durations were indicated by distinct note shapes as opposed to ligatures.
124
mess di voce
Placing of the voice. Practice in bel canto of singing a crescendo then a diminuendo on a held note.
125
microtone
All intervals which lie between the semi‐tones of the 12‐note, equal‐tempered tuning system
126
minimalism
1960's. multiple repetitions of small units that differ only slightly or are varied only gradually over long stretches of music.
127
minnesinger
medieval german poet-composer-performer who sang songs of love
128
minuet
dance form that became common feature in instrumental cycles of baroque and classical eras. 2 binary forms, minuet proper and trio. minuter proper repeats after trio.
129
modes
church modes: dorian, phrygian, lydian, mixolydian, major minor
130
monody
any work of the 17th century consisting of a solo voice supported by basso continuo
131
monophony
musical texture of a single voice or line without accompaniment
132
mordent
Mus. ORNAMENT shown by a sign over the note.
133
motet
polyphonic vocal work, usually sacred
134
motif (motive)
The shortest intelligible and self‐existent melodic or rhythmic figure
135
musica ficta
In early mus., the sharpening or flattening of certain notes, conventionally prescribed or permitted in modal mus. late medieval and renaissance.
136
Musica reservata
term uned in 16/17 c. to describe certain kinds of music reserved for connoisseurs and not intended for wide scaled distribution.
137
musique concrète
french term for concerts music used to denote music in which the sonic material to be manipulated is a recorded sound taken from every day life.
138
nationalism
A mus. movement which began during the 19th cent. and was marked by emphasis on nat. elements in mus. such as folksongs, folk dances, folk rhythms or on subjects for operas and symphonic poems which reflected nat. life or history
139
neapolitan school
term applied, with little real justification, to 18th‐cent. school of comp. said to have originated in Naples or been cultivated by composers who studied there.
140
neapolitan sixth
A chromatic chord. It is a major common chord on the flattened supertonic in its 1st inversion e.g.
141
neoclassicism
style in the 1910's and 20's characterized by a return to the tonal idiom, conventional genres, and forms.
142
neumes,
sign used in early chant notation to indicate pitch
143
nocturne
a short pf. piece of romantic character. Related to the night
144
nonharmonic tones
Term in harmonic analysis meaning a note not part of the chord with which it sounds and therefore requiring explanation
145
notes inegales
Rhythmic convention whereby certain divisions of the beat move in alternately long and short values even when written as equal. Inequality was normal feature of musical teaching in 17th and 18th cent.
146
octatonic scale
alternated between half and whole steps and contains within itself all possible intervals, from minor second to major 7th.
147
Offertory
The Offertory of the Mass consists of an ANTIPHON , a part of the Proper of the Mass, sung just after the Credo, while the priest is preparing the bread and wine and offering them upon the altar. The plainsong setting is generally insufficient to occupy the time, so a motet or org. voluntary may be interpolated.
148
Divine Office
series of 8 services held daily in monastic communities from dawn through the middle of the night. Matins, Laude, prime, terce, sext, none, vespers, compline.
149
opera buffa
comic opera. italian. based on humorous subjects and featuring everyday characters rather than heroes, rulers, or gods.
150
opera comique
19th c. opera in france that incorporated spoken dialogue as well as music. not always comic topic.
151
opera seria
serious opera. 1680-1810 italy. strict division between recitative and aria, emphasis on virtuoso singing in da capo arias, and castrati. libretto from ancient history or mythology.
152
oratorio
genre of vocal music similar to opera in elements (recitatives, arias, choruses) but performed without staging or costumes and based on religious subjects.
153
ostinato
figure presented repeatedly in succession
154
overture (french, italian)
Piece of instr. mus. which precedes opera, oratorio, or play. French Overture in a 3‐movement style of slow‐fast (fugal)‐slow (concluding section). The Italian Overture,also had 3 movements, quick‐slower‐quick
155
pandiatonicism
the free use in chord‐formation of the 7 degrees of the DIATONIC scale
156
paraphrase
free variation of an existing melodic line or polyphonic network
157
parlando
Speaking.
(1) In vocal mus., a directive for the tone of the v. to approximate to speech.
(2) In instr. mus., it calls for an expressive freedom greater than is implied by cantabile.
158
parody mass
Misleading term for a 15th‐ and 16th‐cent. Mass which incorporated material derived from a motet, chanson, or madrigal. There was nothing of ‘parody’ about this practice, merely the use of already existing material.
159
partita
variation
160
passacaglia
type of bass pattern used throughout the baroque
161
pasticcio
work whose individual units are written by several different composers
162
pavane
slow, courtly dance in duple meter
163
pedal point
a note sustained below changing harmonies and called a pedal‐point or pedal‐bass. If sustained but not in the bass, it is an inverted pedal.
164
pentatonic scale
any scale based on 5 notes
165
phase music
sub genre of minimalism in which the listen can clearly hear the process by which the elements of a work gradually transform themselves into something different
166
pizzacato
Direction that notes on str. instr. are to be prod. by plucking, not bowing, the str
167
plainsong/plainchant
monophonic music of the medieval christian church
168
polonaise
A nat. Polish dance, in simple triple time and of moderate speed;
169
polyphony
musical texture of two or more voices essentially equal in importance
170
sul ponticello
on the bridge
171
portamento
a slide from one note to another
172
prelude
A piece of mus. which precedes something else, e.g. preceding a fugue; forming first movement of a suite; orch. introduction to opera. Also a self‐contained short piece for pf
173
program music
any instrumental work that through a title or accompanying poetry or prose is connected with a story or idea that lies outside of the work itself
174
psalm tone
plainchant formula used to recite the psalms
175
quodlibet
Light‐hearted comp. comprising several popular tunes or fragments of tunes ingeniously put together
176
ragtime
end of 19th c. duple meter based on units of 8 or 16. syncopation with steady bass line
177
recitative
style of singing characterized by syllabic declamation with greater emphasis on the projection of the text rather than the melody. approximating of the inflections of speech even while adhering to the basic elements of pitch and rhythm
178
responsorial chant
any of the plainchants, such as the gradual, alleluia, in which the chorus and the soloist alternate
179
retrograde
melodic line presented backward, from end to beginning
180
ricercar
early 16. c. freely composed work that is improvisatory and preludial in character or lute or keyboard. late 16th c. polyphonic works for keyboard or for instrumental ensembles.
181
ripieno
full. designation used in the baroque era for the large ensemble within a concerto grosso
182
ritornello
brief return. musical idea which returns at several points over the course of a work usually after contorting material.
183
rondeau
formes fixes. 14/15c. each strophe consist of 8 lines of text set to music following ABaAabAB uppercase is refrain
184
rondo
dance form in 18/19c. as a finale. ABACA A is refrain BC are episodes or couplets
185
rubato
A feature of perf. in which strict time is for a while disregarded
186
sarabande
Dance form in 17th and 18th cents
187
scat singing
technique of singing in which the voice mimics an instrument, singing syncopated nonsense syllables against the steady beat of the bass
188
schenker system
system of analysis based on theory that one type of mus. structure was basis of all masterpieces from Bach to Brahms.
189
scherzo
joke. a movement type that emerge in the early 19c. form is ABA, fast with humorous grotesque gestures. supplemented the minuet
190
scordatura
to tune the strong instrument down to another pitch
191
sequence
any musical ed on successively different pitches
192
sequencer
Elec. device enabling a succession of several sounds (together with modifications in each) to be pre‐set.
193
serial composition
based on repeated manipulation of an established row of pitches or rhythms or dynamics. use of 12 tone.
194
siciliano
Type of dance, song, or instr. piece, presumably of Sicilian origin, in compound duple or quadruple time and with a swaying rhythm, often in minor key. Usually pastoral in character and popular in 18th cent.
195
sinfonia
Name given in Baroque period to orch. piece which served as 3‐movement introduction to opera, suite, or cantata,
196
singspiel
songplay. German spoken drama with interpolated musical numbers (arias, duets, trios). Singspeil of 18thc. was important forerunner of the later operetta and musical
197
sonata da camera
sonata of the chamber. featuring a series of dance-related movements, popular in baroque
198
sonata de chiesa
sonata of the church. featuring a slow first movement and at least one additional imitative movement, popular in baroque
199
sonata form
popular second half of 18.c and 19c. exposition, development, recapitulation. sometimes intro and coda
200
song cycle
collection of songs ordered in such a way as to convey at least the outline of a story or idea.
201
sprechstimme
speech voice. a style of vocal declamation that lies midway between speech and song, early 19c. schoenberg and berg.
202
sprechgesang
Sprechgesang is the term for the vocal technique
203
stabat mater
‘A grief‐stricken mother was standing’. Devotional poem about Virgin Mary's vigil by Christ's Cross, used as sequence in R.C. liturgy since 1727 to plainchant melody
204
steel pan
ype of instr. ens. in the Caribbean, ‘instruments’ being old oil drums whose heads are indented, etc., so that each head will produce several notes. Used extensively in calypso mus.
205
stretto
Drawn together.
(1) Quicker tempo.
(2) In fugue: when entry of the answer occurs before subject is completed, overlapping with it. This is a way of increasing excitement, as in a 4‐part fugue when all 4 vv. enter in stretto.
206
strophic
any setting of strophic text in which each strophe is sung to the same music
207
Sturm und drang
storm and stress. late 18thc. predilection for the minor mode and such extreme gestures as large melodic leaps jagged syncopations and sudden dynamic contrasts.
208
suite
a piece of instr. mus. in several movements, usually in dance‐style. During 17th and 18th cents. was one of most important forms of instr. mus. During Baroque period, typical Suite would have framework of Allemande, Courante, Sarabande, and Gigue, with frequent interpolations of Minuet, Gavotte, Passepied, Bourrée, Musette, and Rigaudon.
209
suspension
a note in a chord is held over (sounded slightly late) as a momentary discordant part of the combination which follows; it is then resolved by falling a degree to a note which forms a real part of the 2nd chord
210
syllabic
musical setting of one note per syllable of text
211
symphonic poem
term coin by Liszt in 1854 to replace concert overture. one movement work for orchestra with some kind of programmatic association.
212
syncopation
Syncopation is achieved by accenting a weak instead of a strong beat, by putting rests on strong beats, by holding on over strong beats, and by introducing a sudden change of time‐signature.
213
tablature
System of writing down mus. to be perf. other than by use of notes. Instead figures, letters, and similar signs were used
214
temperment
manner of adjusting the intervals of a scale
215
tenor
in medieval and renaissance music the vocal part that holds the chant melody
216
ternary form
ABA (minuet and trio)
217
tessitura
erm which indicates prevailing or average position of a comp.'s notes in relation to compass of v. or instr. for which it was written, high, low, or medium.
218
tetrachord
any grouping of four pitches
219
theme
Succession of notes which play important part in construction of a comp. Same as subject, but also refers to part of a subject.
220
theremin
played by movements of the hands, which do not touch the instr
221
figured bass/through bass
notational convention of the basso continuo in the 17/18thc. using numbers to indicate the desired intervals.
222
through-composed
song setting that are note strophic - setting that provide new music for each section of the text
223
toccatta
work for keyboard that is freely constructed based on no preexistent material and typically features rapid passagework
224
tonal and real
tonal answer is when answer does not exactly reproduce. real answer is when the answer exactly reproduces the subject.
225
tone cluster
group of notes on pf. played by placing the forearm flat on the keys.
226
tone color, timbre
that which distinguishes the quality of tone or v. of one instr. or singer from another,
227
tone poem
one movement orch. works which, while on a symphonic scale, were not ‘pure’ syms. because they dealt with descriptive subjects taken from classical mythology, Romantic literature, recent history, or imaginative fantasy
228
trio sonata
for 2 instruments of a high range and a basso continuo. popular in 18th c.
229
trope
musical or textual addition to an existing plainchant. could be added to beginning or end of a chant or interpolated into the chant itself
230
troubadour
southern france in 12.13.c. composer, poet performer
231
trouveres
norther france 12/13thc. composer poet, performer
232
verismo
Term applied to ‘realistic’ sch. of It. opera in which subjects treated were usually contemporary and often sordid or down‐to‐earth
233
viol(a) da gamba
held between the knees like the modern vc.
234
virelai
forme fixes. 14/15th c. each strophe consist of a variable number of lines but always begins and ends with the refrain. AbbaA
235
whole tone scale
scale of six notes each a whole tone apart
236
word painting
use of musical elements to imitate the meaning of a specific passage of the text being sung agh the moment.
237
ad libitum
at liberty
238
a due
that on a staff that normally carries parts for two players, both players are to play the single part in unison.[
239
doctrine of affections
A theory that arose during the Baroque period that prescribed certain musical methods and figures for summoning or portraying individual emotions. For example, happiness would be aroused through the use of faster notes.
240
agrements
The French term for ornament or embellishment. Originally, embellishment introduced in French music of the 17th century typically in keyboard music.
241
air de cour
A short song, melody, or tune, with or without words
242
alberti bass
A stereotyped accompaniment played on a keyboard instrument with the left hand. The chords of the Alberti bass are played as arpeggios, or broken chords
243
altissimo
erm used for the tones of the first octave above the treble staff (g2 to f3), which are said to be "in alt"; the tones of the second higher octave are said to be "in altissimo"
244
am steg
at the bridge.
245
burgundian school
This refers to the style of music written by a group of composers active in the late 14th and 15th centuries around the Burgundian court.
246
capriccio
A fanciful and irregular species of composition somewhat like a fantasia. Often capriccios are composed for the piano.
247
cembalo
harpsichord.
248
chorale variations
Baroque organ composition in which a chorale is the basis for a set of variations.
249
church mode
A term used for the categories of modes used in Gregorian chant.
250
col legno
The Italian term for with the wood.
251
concert pitch
the pitch that non-transposing instruments sound.
252
contrapuntal
Using counterpoint. Any music that contains two or more voices heard simultaneously.
253
echappee
"Escaped note"; an ornamentation between notes proceeding in a step-wise fashion in which the ornamental note will go the opposite way of the progression, followed by the proper note in the progression.
254
electro-acoustic music
This is a class of acoustical instruments that use electronics to amplify and or modify their sound.
255
homorhythm
A type of homophony that employs the same rhythms across all the voices or parts. When used with text, the words are the same in all voices and move together in the same rhythm and often called chordal declamation.
256
imitation
The repetition in a second voice or part of a theme, motif, or phrase presented by a first voice or part. The first presentation of the theme is called the antecedent, the answer is called the consequent
257
incipit
The beginning words or notes of a musical composition
258
jete
A bowing technique in which the performer allows the bow to skip or bounce across the strings of the instrument to produce fast, staccato arpeggios.
259
melodic diminution
Renaissance and Baroque ornamentation which consists of the restatement of a melody in which the note values are shortened, usually by half.
260
m.i.d.i.
An acronym for "Musical Instrument Digital Interface." This is a set of standards for using computers to create music
261
ordinary
Chants and prayers from the Mass and other services that remain the same from day to day throughout the Church year
262
picardy 3rd
A practice from the 16th century and the Baroque era of ending a composition with a major chord, when the rest of the composition is in a minor key, thus giving the composition a sense of finality
263
polychordal style
A performance style developed in the late 16th century involving the use of two or more choirs that answer each other as well as sing as a single ensemble. Also called antiphonal.
264
proper
Chants and prayers from the Mass and other services that vary from day to day throughout the Church year according to the particular liturgical occasion.
265
requiem mass
The Mass for the Dead; it takes its name from the opening words of the Introit, Requiem aeternam dona eis, Domine, meaning, "Rest eternal grant to them, Lord."
266
rhythm section
The performers of the percussion instruments of an ensemble. Generally this term is applied specifically to a jazz band, the rhythm section of which would include: piano, double bass (or electric bass), guitar, and drum kit.
267
te deum
A hymn of praise to God in the Roman Church sung at the end of Matins.
268
una corda
In piano music, this directive indicates that the soft pedal is to be used.
