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RCM History 9 > comprehensive > Flashcards

comprehensive Flashcards

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1
Q

Baroque

A
  • from the Portuguese barroco meaning “irregularly shaped or misshapen pearl”
  • first used as a derogatory term in reference to the overly ornate art of the era
  • now applied to art, architecture, and music of the 17th and early 18th centuries
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2
Q

basso continuo

A
  • baroque performance practice
  • generally involves two performers - one playing the notated baseline, one realizing the harmonies as indicated by the figured bass
  • harmonies usually play on harpsichord or organ
  • provides harmonic framework
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3
Q

figured bass

A
  • a musical shorthand developed in the Baroque era
  • numbers are placed below the baseline to show harmonic progression
  • performed or realized by the basso continuo
  • provides a structure for guided improvisation
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4
Q

the Affections

A
  • also refferd to as the “doctrine of affections” or the “affects”
  • a Baroque philosophy inspired by ancient Greek and Roman writers and orators
  • refers to emotional states of the soul
    in Baroque music, a single “affect” (one clear emotion) is usually projected through an entire composition or movement
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5
Q

ornamentation

A
  • music embellishment to decorate a melodic line
  • either represented with symbols or improvised
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6
Q

monophonic texture

A
  • a single line of unaccompanied melody
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7
Q

polyphonic texture

A
  • a combination of two or more melodic lines
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8
Q

homophonic texture

A
  • a single line of melody supported by a harmonic accompaniment
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9
Q

concerto

A
  • a popular instrumental genre of the Baroque era for soloists and orchestra
  • generally in three movements: fast-slow-fast
  • frequently employed ritornello form
  • intended to showcase the virtuosity of the soloists
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10
Q

ritornello form

A
  • a structure employed in the first and third movements of the Baroque concerto
  • the opening passage is restated throughout the movement serving as a refrain
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11
Q

ripieno

A
  • Italian for “full” or “complete”
  • a term used to denote the use of the full orchestra in the Baroque concerto
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12
Q

ostinato

A
  • Italian for “obstinate” or “persistent”
  • a rhythmic or melodic pattern repeated for an extended period
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13
Q

pedal point

A
  • a note, or series of notes, sustained through harmony changes in other parts
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14
Q

programmatic writing

A
  • music with a descriptive element, inspired by extramusical associations, like a story or painting
  • evolved into a significant feature of 19th-century instrumental writing (program music)
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15
Q

idiomatic writing

A
  • highlights the unique technical capabilities of an instrument in the style of writing
  • opposite of “generic”
  • developed in the Baroque era
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16
Q

binary form

A
  • two-part form: A||B||
  • both parts often repeat
  • section A generally ends with an open cadence in the dominant or relative major key
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17
Q

rounded binary form

A
  • two-part form: A||B + A₁||
  • opening material from Section A returns after B material
  • key structure similar to binary form
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18
Q

ternary form

A
  • three-part form: A||B||A||
  • section A generally ends with a closed cadence in the tonic key
  • section B generally creates contrast in key and/or material
  • often used in Baroque arias and Classical menuet and trio movements
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19
Q

equal temperament

A
  • a method of tuning keyboard instruments
  • the octave is divided into twelve equal semitones
  • facilitated the composition and performance of music in all keys
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20
Q

clavier

A
  • a German word for keyboard instruments other than the organ
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21
Q

prelude

A
  • a short keyboard work in improvisatory style
  • often paired with a fugue
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22
Q

fugue

A
  • highly structured, imitative contrapuntal composition
  • a single theme or subject prevails
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23
Q

counterpoint

A
  • combination of two or more independent melodic lines
  • also referred to as “polyphonic texture”
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24
Q

subject

A
  • the initial statement of the main theme of a fugue
  • in the tonic key
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25
answer
- the second statement of the main theme in a fugue - usually in the dominant key
26
real answer
- an exact transposition of the subject
27
tonal answer
- a statement of the subject in which one or more intervals is adjusted to accommodate the harmony
28
countersubject
- a recurring countermelody - accompanies entries of the subject and answer
29
episode
- a passage within a fugue in which neither subject nor answer is present - frequently sequential
30
oratorio
- a large-scale work for soloists, chorus, and orchestra - serious subject, generally based on biblical texts - consists of recitatives, arias, ensembles, and choruses - developed in the Baroque era
31
French overture
- a Baroque orchestral genre, often the orchestral introduction to an opera or oratorio - first developed at the court of Louis XIV by Jean-Baptiste Lully - generally in two parts - first part - slow tempo, homophonic texture, features dotted figures - second part - fast tempo, imitative texture
32
libretto
- the text of an opera, oratorio, or cantata - usually written by someone other than the composer
33
recitative
- a speech-like style of singing used in operas, oratorios, and cantatas - follows inflections of the text, resulting in rhythms flexibility - usually used to advance the plot or storyline; moves through text quickly
34
recitativo secco
- Italian for "dry recitative" - a speech-like, declamatory style of singing - supported only by continuo - employed in opera, oratorio, and cantata
35
aria
- Italian for "air" - a solo song with accompaniment, heard in an opera, oratorio, or cantata - highly emotional and often virtuosic - may have lyrical or dramatic qualities; often serves to reveal the characters' most intimate emotions
36
da capo aria
- an aria (solo song) employing a ternary (ABA) structure - in performance, the return of Section A is generally ornamented - the most common type of aria in Baroque opera and oratorio
37
word painting
- musical pictorialization - the music mirror the literal meaning of the words - achieved through melody, harmony, or rhythm
38
melisma
- a group of notes sung on a single syllable/vowel - demonstrates vocal virtuosity and often serves to highlight key words
39
Classicism
- refers to the art, architecture, and music of the late 18th century - adheres to principles of symmetry, balance, and proportion
40
Viennese
- refers to the musical style forged by Haydn, Mozart, and Beethoven and their contemporaries - in late 18th century Vienna, Austria flourished as a musical centre
41
absolute music
- instrumental music without pictorial associations - generic titles reflecting tempos, genres, or forms
42
sonata form
- formal structure often used in the first movement of a sonata cycle - consists of exposition, development, and recapitulation - also known as sonata-allegro form
43
exposition
- the first main section in sonata form - two contrasting themes are stated - the first theme is in the tonic key - the second theme (or themes) are in a contrasting key, generally in the dominant or relative major
44
development
- the second main section in sonata form - themes from the exposition are developed through use of sequences, fragmentation, inversion, or changes to orchestration - modulations and increased harmonic tension and dissonance - new themes may also be introduced - generally ends with dominant preparation
45
recapitulation
- the third main section in sonata form - a recapitulation of the exposition - second theme and codetta are usually restated in the tonic - bridge remains in the tonic (no need to modulate)
46
coda
- Latin for "tail" (cauda) - a concluding section reaffirming the tonic key - not always present
47
sonata cycle
- multi-movement structure that emerged in the Classical era - demonstrated in the symphony, sonata, or concerto
48
introduction
- not a standard component of the form - usually slow - establishes the tonic key - creates musical tension
49
first theme
- establishes the tonic key - present a distinctive melodic and rhythmic character - often sets the mood for the entire movement
50
bridge
- begins in the tonic key and transitions into the key of the second theme
51
second theme
- a contrasting theme that establishes the new key (usually the dominant or relative major)
52
codetta
- affirms the new key - generally concludes with a repeat sign
53
chamber music
- music for small ensemble (two to ten players) - one player per part - usually performed without a conductor
54
string quartet
- the most important chamber music genre of the Classical era - performing forces: first violin, second violin, viola, cello - usually in four movements: fast-slow-moderately fast-fast - first movement is usually in sonata form
55
theme and variations
- a work featuring a statement of a melody (theme) followed by a series of transformations (variations) - changes can be made to melody, harmony, rhythm, or orchestration - often used in the slow movement of a sonata cycle
56
serenade
- a multi-movement orchestral genre - for small orchestra or chamber ensemble - popular instrumental genre in the Classical era
57
rocket theme
- rapidly ascending melody outlining an arpeggio - often used as a dramatic opening motive in Classical-era works
58
menuet and trio
- menuet: a stylized dance of French origin developed in the Baroque era, in triple meter with a graceful, elegant character - trio: contrasting middle section - ternary (ABA) form (menuet, trio, menuet)
59
rondo form
- Classical formal structure often used in sonata cycle - Section A recurs, with alternating sections creating contrast - ABACA or ABACABA
60
sonata-rondo form
- combines elements of sonata form and rondo form - typical layout: ABACABA (ABA functions as the exposition; C functions as the development; second ABA functions as the recapitulation)
61
symphony
- a multi-movement orchestral work originating in the 18th century - usually in four movements: fast-slow-moderate-fast - at least one movement is in sonata form
62
cyclical structure
- material heard in one movement recurs in later movements - creates structural unity in a multi-movement work
63
motive
- a short melodic or rhythmic fragment used in building or developing a melody
64
scherzo and trio
- Italian for "jest" or "joke" - Beethoven substituted the scherzo in place of the menuet as the third movement in the sonata cycle - also in triple meter, but generally more dynamic than the elegant menuet - as with the menuet and trio, it contains a contrasting middle section (trio), resulting in ABA form (scherzo-trio-scherzo)
65
Romanticism
- origins can be traced to late 18th-century literature that served as inspiration for art and music - emphasis on creative imagination and expression of emotions
66
program music
- significant trend in 19th-century music - instrumental music with literary, poetic, or visual associations - descriptive titles are common - some works include a written text or "program" provided by the composer
67
chromatic harmony
- extensive use of notes outside the prevailing key range - from the Greek word for colour, khroma - increasingly used for heightened expression in 19th-century music
68
exoticism in music
- fascination with foreign lands and cultures - important element of 19th-century musical style - evoked through melody, rhythm, harmony, and orchestration
69
nationalism in music
- patriotism expressed in music - important element of 19th-century musical style - influence of folk song and dance, myths and legend, landscapes, historical events
70
art song
- the musical setting of a poem - for solo voice, generally with piano accompaniment
71
Lied
- the musical setting of a German poem - for solo voice, generally with piano accompaniment - flourished in the 19th century
72
through-composed
- a song structure that does not repeat entire sections of the music - as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text as the story unfolds
73
polonaise
- stately Polish dance in triple meter - often proud and majestic in character - often includes characteristic rhythmic figures
74
rubato
- Italian for "robbed time" - a characteristic of Romantic music - a flexible tempo for expressive purposes
75
program symphony
- a 19th-century multi-movement orchestral work - modelled after the 18th-century symphony with programmatic elements - includes a descriptive title - the accompanying text often outlines the program
76
idée fixé
- French for "fixed idea" - devised by Berlioz - a recurring theme that undergoes transformation - serves as a unifying thread in a multi-movement composition - in Symphonie Fantastique, it represents "the beloved"
77
col legno
- Italian for "with the wood" - novel effect used by Berlioz - players tap on the strings with the wooden parts of their bows
78
Dies irae
- Latin for "day of wrath" - a monophonic chant melody dating from late Middle Ages - drawn from the Romantic Catholic Requiem (Mass for the dead) - 19th-century audiences would have associated the tune with funeral services
79
opera
- drama that is sung - combines vocal and instrumental music with actin, costume, and scenery - components include recitative, arias, ensembles, and choruses - originated in Italy around 1600
80
habañera
- Cuban dance-song - 2/4 time - characteristic rhythmic motive, often used as an ostinato
81
modal scales
- the use of scales (modes) in which the pattern of whole steps and half scales is different from conventional major and minor scales; for example, Dorian, Lydian, and Mixolydian - common in music of the Middle AGes and Renaissance; rediscovered by 20th-century composers
82
whole-tone scale
- a non-traditional scale employed by composers of the late 19th and 20th centuries - consists of six different pitches, all spaces a whole tone apart
83
pentatonic
- a scale consisting of five different pitches - common to the folk music of many European and Asian cultures
84
expanded tonality
- the use of extremely chromatic harmony while still maintaining allegiance to a tonal centre
85
polytonality
- the simultaneous use of two or more tonal centres
86
atonality
- the total absence of any tonal centre - characterized by unresolved dissonances
87
changing meter
- shift of metrical groupings - manifested through changes of time signatures
88
polyrhythm
- the simultaneous use of two or more conflicting rhythms
89
symphonic poem
- one of the most important forms of orchestral program - a single-movement work, generally in free form, with literary or pictorial associations - invented by Franz Liszt
90
impressionism in music
- employs harmonic vocabulary: whole-tone, modal, pentatonic scales; parallel chords - suggests images rather than directly depicting them - features individual treatment of instruments and use of muted instruments - metric pulse is frequently obscured
91
Symbolism
- a French literary movement of the late 19th century - authors sought to suggest subject matter rather than depict it specifically
92
ballet
- a highly stylized type of dance that often interprets a story - first developed in the 17th century
93
choreography
- the art of designing the dance steps and movements in a ballet (or musical)
94
primitivism
- an effect created largely through rhythm - use of strong accents, heavy syncopation, polyrhythms, expanded percussion section - demonstrated best in Stravinsky's The Rite of Spring
95
musical
- a unique 20th-century genre developed in the United States - a play with spoken dialogue but featuring musical numbers: songs, dances, choruses
96
jazz
- a musical style developed in the early 20th century in the United States - combines elements of African, popular, and European music - based on improvisation
97
verse-chorus structure
- a common song structure in popular music - verses develop the character/storyline, while the "chorus" acts as a tuneful refrain
98
hemiola
- a temporary shift of the metric accents - notes grouped in threes are momentarily grouped in twos or vice versa
99
minimalism in music
- characterized by the. repetition of melodic, rhythmic, and harmonic patterns with little variation
100
fanfare
- a loud ceremonial tune - features brass instruments - used to herald the arrival of an important person, the launch of an event, or in commemoration of someone
101
Vivaldi life and death
1678-1741
102
Bach life and death
1685-1741
103
Handel life and death
1685-1759
104
Haydn life and death
1732-1809
105
Mozart life and death
1756-1791
106
Beethoven life and death
1770-1827
107
Schubert life and death
1797-1828
108
Chopin life and death
1810-1849
109
Berlioz life and death
1803-1869
110
Bizet life and death
1838-1875
111
Debussy life and death
1862-1918
112
Stravinsky life and death
1882-1971
113
Bernstein life and death
1918-1990
114
Louie year born
1949
115
Adams year born
1947
116
The Four Seasons, op. 8 "Spring" | composer
Vivaldi
117
The Well-Tempered Clavier, Book 1, Prelude and Fugue in B flat Major, BWV 866 | composer
Bach
118
Messiah, HWV 56 Part 1: Overture, "There were shepherds...", "Glory to God", "Rejoice Greatly", Part 2: "Hallelujah" | composer
Handel
119
String Quartet, op. 76, no. 3 ("Emperor") 2nd movement | composer
Haydn
120
Eine Kleine Nachtmusik, K525 | composer
Mozart
121
Symphony No. 5 in C Minor, op. 67 | composer
Beethoven
122
Erlkönig, op. 1, D328 | composer
Schubert
123
Polonaise in A flat Major, op. 53 | composer
Chopin
124
Symphonie fantastique, 5th movement: "Songe d'une nuit du sabbat" | composer
Berlioz
125
Carmen act 1: "Quand je vous aimerai?", "L'amour est un oiseau rebelle", act 2: "Votre toast, je peux vous le render" | compsoer
Bizet
126
Prélude à l'après-midi d'un faune | composer
Debussy
127
The Rite of Spring Part 1: Adoration of the Earth: Introduction, Dance of the Youths and Maidens, Game of Abduction | composer
Stravinsky
128
West Side Story act 1: "Maria", "America" | composer
Bernstein
129
Changes (from "Music for Piano") | composer
Louie
130
Short Ride in a Fast Machine | composer
Adams
131
# true or false Vivaldi contributed to the development of the three-movement concerto structure.
true
132
# true or false Vivaldi is known as the father of the symphony
false
133
# true or false Vivaldi composed exclusively for keyboard instruments
false
134
# true or false Vivaldi was a leader in establishing ritornello form
true
135
# true or false Vivaldi was a virtuoso violinist, conductor, and a prolific composer
true
136
# true or false Vivaldi was a virtuoso organist, as reflected in his organ and keyboard works
false
137
# true or false Vivaldi's works are written in a generic style, and can be easily be played on any instrument
false
138
# true or false Vivaldi developed idiomatic writing for strings and exploited string virtuosity
true
139
# true or false Vivaldi's works are identified by key and opus number only; the title "The Four Seasons" was added later by a publisher of his music
false
140
# true or false Vivaldi incorporated programmatic writing and descriptive titles
true
141
# true or false Vivaldi composed only instrumental music
false
142
# true or false along with a large number of instrumental works, Vivaldi also composed over 40 Italian operas that were very popular in his day
true
143
# true or false Bach composed orchestral, chamber, keyboard, organ, opera, and vocal music
false
144
# true or false Bach composed orchestral, chamber, keyboard, organ, and vocal music
true
145
# true or false German myths and legends were aprimary source of inspiration for Bach
false
146
# true or false Bach's personal faith was a source of inspiration as demonstrated by over 200 church cantatas
true
147
# true or false Bach's career focused entirely on composing, and he was not active or accomplished as a teacher, conductor, or performer
false
148
# true or false Bach was a virtuoso organist, as reflected in his organ and keyboard works
true
149
# true or false Bach was a bold innovator who rarely used existing forms or genres
false
150
# true or false Bach perfected existing forms rather than defining new ones
true
151
# true or false Bach was not influenced by musical styles outside of the German tradition
false
152
# true or false Bach absorbed influences of international styles (German, French, and Italian)
true
153
# true or false Bach's compositions were largely homophonic, with mostly chordal textures and very little contrapuntal writing
false
154
# true or false Bach was a master of the contrapuntal art, as demonstrated in the fugues of The Well-Tempered Clavier
true
155
# true or false Bach's music represents the beginning of a new musical practice, breaking away from Baroque traditions to forge a new style
false
156
# true or false Bach's music represents a high point in over one hundred years of Baroque musical practice, and his personal style synthesized the leading musical development of this era
true
157
# true or false despite having spent time in Italy, Handel maintained a typically German approach to composing, with no international influences in his style
false
158
# true or false Handel wrote in a cosmopolitan style combining the international currents of the day: German counterpoint, Italian opera, French overture, and English choral style
true
159
# true or false Handel avoided contrasting textures, preferring to maintain either strictly iimitative, or completely chordal texture throughout entire work or movements
false
160
# true or false Handel frequently contrasted homophonic and polyphonic passages for a dramatic effect, as is the case in the "Overture" and "Hallelujah" from Messiah
true
161
# true or false Handel's writing for the voice was always in a simple recitativo secco style
false
162
# true or false Handel's writing for the voice was often viruosic, marked by breathtaking runs and vivid word painting
true
163
# true or false Handel contributed to the development of English opera (composing over 40 operas), and created the Italian oratorio (nearly 30 oratorios)
false
164
# true or false Handel contributed to the development of opera seria (composing over 40 operas) and created the English oratorio (nearly 30 oratorios)
true
165
# true or false Handel was not interested in depicting the meaning of the text through the music
false
166
# true or false Handel made effective use of word painting
true
167
# true or false Handel's music has baffled audiences, and is rarely performed today due to its complex and obscure nature
false
168
# true or false Handel's use of very basic musical elements such as chordal passages and scale figures make his style accessible and appealing
true
169
# true or false Handel's music is uinderstated and introverted, and most works were written for private reflection rather than public performance
false
170
# true or false Handel wrote many works that were performed at public events, conveying a sense of pageantry and dramatic theatrical stle through gradiose gestures
true
171
# true or false Haydn's music remained faithful to all aspect of Baroque style
false
172
# true or false Haydn's music embraced aspects of the main currents of his time, including style galant Sturm and Empfindsamer Stil
true
173
# true or false Haydn is regarded as the "father" of the oratorio and fugue because of his significant contributions to establishing both genres
false
174
# true or false Haydn is regarded as the "father" of the symphony and string quartet because of his significant sontributions to establishing both genres
true
175
# true or false Haydn avoided using sonata fomr in his compositions, preferring to focus on work sthat preserved BAroque style and traditions
false
176
# true or false Haydn contributed to the development of sonata form, which he utilized in his symphonies, sonatas and string quartets
true
177
# true or false Haydn contributed to the development of sonata form, which he utilized in his symphonies, sonatas, and string quartets
true
178
# true or false Haydn had little interest in rustic folk music, and aimed to capture a refined aristocratic approach in all his composition
false
179
# true or false Haydn was influenced by folk songs and dances, and often used simple diatonic melodies
true
180
# true or false For Haydn, music was no laughing matter, and there are very few example of humour or comedy in his works
false
181
# true or false In Haydn's music, humour and playfulness is demonstrated by sudden dynamic changes or abrupt silences
true
182
# true or false Haydn avoided using dramatic gestures or descriptive writing in order to keep his compositions completely free of any extra-musical associations
false
183
# true or false In Haydn's music, dramatic elements include sudden accents and bold changes of chord or keys; for example, his use of a loud C major chord in The Creation to depict the word "light".
true
184
# true or false Haydn's short life included few public performances, and his music received little acclaim until after his death
false
185
# true or false Haydn had a long and distinguished career as a composer, and was admired and revered throughout Europe
true
186
# true or false Mozart exemplified Viennese Classical ideals in only a limited number of works
false
187
# true or false Mozart exemplified Viennese Classical ideals: elegance, balance, poise, refinement, sophistication in cirtually all Classical genres
true
188
# true or false Mozart rebelled against the Classical ideal of symmetry and balance and utilized irregular phrase lengths and structures wherever possible
false
189
# true or false Mozart utilized mainly symmetrical phrase structures (i.e. four measure phrases)
true
190
# true or false Mozart avoided sonata form, and instead preferred to use rounded binary form in his first movements
false
191
# true or false Mozart contributed to the development of sonata form
true
192
# true or false Johann Sebastian Bach influenced Mozart's development of the piano concerto
false
193
# true or false Johann Christian Bach influenced Mozart's development of the piano concerto
true
194
# true or false Influenced by Antonio Vivaldi, Mozart's orchestral writing expanded the use of figured bass and continuo
false
195
# true or false influenced by the famous Mannheim orchestra, Mozart's orchestral writing expanded the use of wind instruments
true
196
# true or false opera was cetral to Mozart's career, and as an Austrian composer, he wrote all of his operas in German, based on serious plots
false
197
# true or false opera was central to Mozart's carrer; he made important contributions to three styles: opera seria (Idomeneo), opera buffa (The Marriage of Figaro), and Singspiel (The Magic Flute)
true
198
# true or false Mozart cultivated two distinct styles of melodic writing; lyrical lines in vocal compositions, and angular "percussive" lines for instrumental works
false
199
# true or false Mozart absorbed vocal qualities and melodic lyricism into his instrumental writing; this is especially evident in slow movements
true
200
# true or false Mozart had a long and distinguished career as a composer, and was admired and revered throughout Europe
false
201
# true or false Mozart struggled with the constraints of the patronage system throughout his career, and experienced financial difficulties and challenges despite his remarkable talent
true
202
# true or false Beethoven was a conservative traditionalist, who embraced the musical style of the early 18th century with only minimal changes
false
203
# true or false Beethoven was a bold innovator and a highly original and influential figure
true
204
# true or false Beethoven used themes characterized by long, lyrical melodies that did not lend themselves to motivic development
false
205
# true or false Beethoven's thematic material often grows out of short, incisive motives
true
206
# true or false Beethoven adopted the four-movement sonata cycle model as seen in the works of Mozart and Haydn without any significant innovations
false
207
# true or false Beethoven's innovations include replacing the graceful menuet and trio with the more dramatic scherzo and the use of cyclical structure (Symphony No. 5)
true
208
# true or false Beethoven's innovations to the symphony include expanding the Baroque string orchestra to include woodwinds, brass, and percussion families for the first time
false
209
# true or false Beethoven's innovations to the symphony include incorporating programmatic elements (Symphony No. 6) and expanding performing forces to include chorus and soloists (Symphony No. 9)
true
210
# true or false Beethoven did not indicate dynamic contrasts in his scores, preferring to allow performers to decide individually how best to interpret the music
false
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# true or false Beethoven utilized explosive accents and extreme dynamic contrasts
true
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# true or false Beethoven expanded to role of the basso continuo to provide additional colour and texture in the orchestral sonority
false
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# true or false Beethoven incorporated addiontal orchestral wind instruments, including the piccolo, trombone, and contrabassoon
true
214
# true or false Beethoven rejected the piano of his day in favour of the harpsichord; and instrument that he felt best conveyed the range of emotion and feeling required in his works
false
215
# true or false Beethoven exploited new features and improvements in the pianos of his day to convey the range of emotion and feeling required in his works
true
216
# true or false Schubert was a true Romantic composer in that he abandoned Classical formal structures and rejected the symphony, sonata, and string quartet as viable genres for musical expression
false
217
# true or false Schubert is considered a transitional composer in that his music combines elements of both Classical and Romantic style
true
218
# true or false Schubert wrote his own original poetry for his many Lieder
false
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# true or false Schubert composed many Lieder inspired by poems of Johann Wolfgang von Goethe, a German Romantic poet
true
220
# true or false Schubert maintained traditional key organization and used primarily diatonic harmony
false
221
# true or false Schubert often juxtaposed major and minor tonality and used unexpected modulations
true
222
# true or false In Schubert's Lieder, the piano provides a pleasant, yet netural, musical backdrop over which poetry is sung
false
223
# true or false In Schubert's Lieder, the piano accompaniment often depicts specific elements of the poem
true
224
# true or false Schubert's melodies are often percussive and angular, making them difficult to sing
false
225
# true or false vocal lyricism pervades all of Schubert's works
true
226
# true or false Schubert introduced new psychological intensity into individual songs and song cycles
true
227
# true or false Schubert's music is characterized by a cool, intellectual objectivity
false
228
# true or false Chopin's work can be divided into two main categories: works for solo piano and symphonies
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229
# true or false Chopin wrote almost exclusively for piano (including piano with voice or instruments)
true
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# true or false Chopin's melodic lines are strictly pianistic, with only the bold display of virtuosity in mind
false
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# true or false Chopin's melodic lines have vocal qualities inspired by the bel canto style in Italian opera
true
232
# true or false Chopin preserved traditional harmonic vocabulary, favouring strictly diatonic chord progressions and modulations only to closely related keys
false
233
# true or false Chopin explored a new harmonic language: chromaticism, unexpected modulation, unusual juxtapositions of chord and keys, and model inflections
true
234
# true or false Chopin maintained a traditional and conservative approach to writing for the piano, most often using Alberti bass patterns to accompany melodic lines
false
235
# true or false Chopin used original and innovative pianistic figurations: unusual spacing of chords, sweeping arpeggiation, expanded range
true
236
# true or false Chopin composed most of his works away from the keyboard, and was unuware of changes to the piano during his lifetime
false
237
# true or false Chopin exploited new capabilities of the piano, employing greater virtuosity in response to technological advances
true
238
# true or false Chopin's works unfold in a very predictable and organized manner, and require metronomic accuracy and control for musically satisfying performances
false
239
# true or false improvisatory qualities are displayed in many of Chopin's works, such as his preludes
true
240
# true or false after leaving Poland to settle in Paris, Chopin turned away from his national roots and adopted a new purely French style of composing
false
241
# true or false Chopin's musical nationalism was expressed through the composition of Polish dances, including polonaises and mazurkas
true
242
# true or false Chopin was isolated from the music of other composers, and developed his unique style without the influence of any other models
false
243
# true or false Chopin was influenced by Bach's counterpoint, Mozart's lyricism, and the Italian bel canto style
true
244
# true or false Berlioz's compositional style is closely tied to the piano, and builds on the style established by Chopin, the poet of the piano
false
245
# true or false Berlioz did not play the piano, so his compositional style demonstrates a unique approach to writing that is unrestricted by the conventions of the piano
true
246
# true or false Berlioz avoided programmatic music throughout his career, preferring to create music free of extra-musical associations
false
247
# true or false Shakespeare's work influenced many of Berlioz's programmatic compositions, including his concert overture King Lear
true
248
# true or false Berlioz is the first composer to use a recurring theme throughout a large-sclae work to organize and unify the composition
false
249
# true or false cyclical elements strongly influenced by Beethoven pervade much of Berlioz's compositional output
true
250
# true or false Berlioz used instruments in unique ways to create new sounds that helpe shape his programmatic associations
true
251
# true or false Berlioz was the master of small forms such as the art song and miniature character pieces for piano
false
252
# true or false Berlioz is best remembered for his large-scale forms, including symphony and oratorio
true
252
# true or false Berlioz is considered a transitional composer in that his music ombines elemtns of both Classical and Romantic style
false
252
# true or false Bizet focused entirely on opera and vocal works, and was considered a weak orchestrator
false
253
# true or false Berlioz's musical style is highly unique and individual, embracing the true spirit of Romanticism
true
253
# true or false Bizet contributed to a broad range of genres, but focused mainly on opera
true
254
# true or false Bizet was acclaimed as the greatest 19th-century opera composer and enjoyed great popularity in his lifetime
false
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# true or false Bizet enjoyed limited success during his lifetime
true
256
# true or false all of Bizet's operas were set in his native France, and demonstrated his profound nationalism in the use of French Baroque dance rhythms
false
257
# true or false Bizet used a simple, primarily diatonic harmonic language
false
258
# true or false Bizet's harmonies were rich and frequently tinged with chromaticism
true
259
# true or false Bizet kept the chorus and the solo aria as distinctly separate components in his operas
false
260
# true or false Bizet integrated the chorus into the musical fabric of his operas and experimented with musical structures such as blending the chorus into the solo aria
true
261
# true or false like Bach, Handel, and Haydn, Bizet's career unfolded over a long and full life
false
262
# true or false like Mozart, Schubert, and Chopin, Bizet left a lasting legacy, despite a short life
true
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# true or false Debussy wrote music in a very predictable manner that relied upon styles and practices inherited from past traditions
false
264
# true or false Debussy wrote music in a very predictable manner that relied upon styles and practices inherited from past traditions
false
265
# true or false Debussy was a highly original and innovative composer
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266
# true or false initially attracted to Impressionist painters, Debussy later rejected that mindset in favour of a musical approach that was free of any extra-musical influences
false
267
# true or false influenced by Impressionist painters, Debussy's compositions reflect their ideals through his choice of subject matter, instrmental colour, subtle nuances, and obscured metric pulse
true
268
# true or false Debussy set the poetry of Symbolist poets, including Stéphane Mallarmé, to music
true
269
# true or false like the Realist poets, Debussy preferred a precise expression of his musical thoughts
false
270
# true or false like the Symbolist poets, Debussy experimented with unorthodox approaches to grammar and syntax through formal structure and phrasing; evoking rather than narrating, suggesting rather than depicting
true
271
# true or false Debussy based his music entirely on Western scale systems, following the models of the Viennese masters
false
272
# true or false Debussy explored non-Western scale systems including whole-tone, pentatonic, and modal scales
true
273
# true or false Debussy used harmony in very traditional ways. he continued mushc of the harmonic practice established in the Classical era
false
274
# true or false Debussy used innovative approaches to harmony including parllel chord streams, open fifths, and octaves
true
275
# true or false Debussy avoided the use of programmatic elements as much as possible as he felt this was in opposition with impressionist ideals
false
276
# true or false Debussy's music often incorporated programmatic elements such as mythological subjects, pastoral themes, water imagery, sunlight, and moonlight
true
277
# true or false Debussy's music, though popular in its time, has had limited appeal and little influence
false
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# true or false Debussy is the most influential French composer of the late 19th and early 20th century
true
279
# true or false Stravinsky's music exhibits a distinct character, which was established in his youth and remained in place throughout his lifetime
false
280
# true or false due to the broad spectrum of musical styles encompassed, Stravinsky's music may be divided in four periods
true
281
# true or false music composed in the early years of Stravinsky's life is characterized by a neo-Classical style with emphasis on formal design and emotional restraint
false
282
# true or false music composed in the early years of Stravinsky's life is characterized by Russian nationalism, with a primitive style featuring rich orchestration, the use of dissonant harmony, polytonality, ostinato, syncopation, and polymeter
true
283
# true or false representative works from Stravinsky's early years are Symphony of Psalms, Ebony Concerto, The Rake's Progress
false
284
# true or false representative works from Stravinsky's early years are The Firebird, Petrushka, The Rite of Spring
true
285
# true or false during the trasitional years, Stravinsky created more intimate works with reduced forces, such as The Wedding and The Soldier's Tale, in response to the devastation wrought by WWI
true
286
# true or false music composed in the middle years of Stravinsky's life is characterized by a neo-Classical style with emphasis on formal design and emotional restraint
true
287
# true or false representative works from Stravinsky's middle years are Symphony of Psalms, Ebony Concerto, and The Rake's Progress
true
288
# true or false during his final years, Stravinsky embraced Arnold Schoenberg's twelve-tone method, used sparse textures as inspired by Anton Webern, and explored miniatures
true
289
# true or false representative works from Stravinsky's final years are The Wedding and The Soldier's Tale
false
290
# true or false representative works from Stravinsky's final years are Agon, Vanticum Sacrum, and Eight Instrumental Miniatures
true
291
# true or false Bernstein's music is influenced by popular and jazz styles only, as he dismissed classical forms and idioms early in his career
false
292
# true or false Bernstein's music is influenced by classical forms and idioms
true
293
# true or false Bernstein wrote either classical or popular music, but never a combination of the two
false
294
# true or false Bernstein's melodic style fuses popular and classical elements
true
295
# true or false as an American nationalist, Bernstein rejected all other influences, and was paricularly opposed to using Latin rhythms
false
296
# true or false in his music, Bernstein integrated American, Hispanic, and Jewish elements
true
297
# true or false in his music, Bernstein absorbed elements of rock & roll, country & western, and rap music
false
298
# true or false in his music, Bernstein absorbed popular, jazz, and musical theatre elements
true
299
# true or false Bernstein's rhythms are based on classical models, most often organized as symmetrical phrases
false
300
# true or false Bernstein's rhythms are frequently drawn from popular dance styles, a notable example of this is his incorporation of the mambo and cha-cha
true
301
# true or false Louie's style is primarily traditional, with a conservative approach to harmonic language
false
302
# true or false Louie's style combines traditional elements with a contemporary language
true
303
# true or false Louie's work represents a pan-ethnic perspective, combining traditional Asian music with influences from Western musical styles
true
304
# true or false Louie'es work includes programmatic elements
true
305
# true or false Louie's work represents a purely minimalist approach
false
306
# true or false Louie's work contains influences of minimalism
true
307
# true or false Louie has chosen not to explore electronic technology in any of her works
false
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# true or false in some works, Louie incorporated electronic technology
true
309
# true or false Louie uses a varied harmonic language that embraces tonality, modality, extreme dissonance
true
310
# true or false Louie's piano music is mostly dissonant and percussive, treating the piano as a primarily rhythmic instrument and avoiding the instrument's expressive quality
false
311
# true or false Louie's piano music draws on the instrument's expressive quality through extensive use of epdal and delicate figurations
true
312
# true or false Adams came to embrace the emerging minimalist style developed in the 1960s and 1970s by composers such as Steve Reich and Philip Glass
true
313
# true or false Adam represents "the old generation" of minimalist composers; he is often termed the father of minimalism
false
314
# true or false Adams represents "the next generation" of minimalist composers; he is often termed a post-minimalist
true
315
# true or false Adams' works are usually atonal; he consciously rejected the tonal and/or modal models to which he was exposed as a student
false
316
# true or false Adams' works are usually tonal and/or modal; he consciously rejected the atonal models to which he was exposed a student
true
317
# true or false Adams' approach to rhythm and meter reflects minimalism's penchant for incessant, driving rhythm (moto perpetuo)
true
318
# true or false Adams avoided repetitive patterns like ostinatos in order to retain a sense of rhythmic flexibility and spontaneity in his music
false
319
# true or false Adams frequently uses ostinato patterns, syncopation, and complex polyrhythms that result in a "rhythmic dissonance"
true
320
# true or false Adams' orchestral works lean toward programmatic elemts, including evocative titles
false
321
# true or false drawn to the theatre, Adams has written many operas in collaboration with leading librettists (Alice Goodman) and groundbreaking stage designers/directors (Peter Sellars)
true
322
# true or false Adams is frequently drawn to controversial themes (politics, terrorism, war, natural disasters) in search of the human stories buried among the rubble of world conflict and crisis
true

RCM History 9 (3 decks)

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