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History 1: An Overview > Definitions > Flashcards

Flashcards in Definitions Deck (271)
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0
Q

provides structure for guided improvisation

A

figured bass

1
Q

Lied (pl. Lieder)

A
  • the musical setting of a German poem
  • for solo voice, generally with piano accompaniment
  • flourished in the 19th century
2
Q

a passage within a fugue In which neither subject nor answer is present

A

episode

3
Q

solo concerto

A
  • popular instrumental genre of the baroque era for soloist and orchestra
  • generally in three movements: fast-slow-fast
  • frequently employed ritornello form
  • intended to showcase the virtuosity of the soloist
4
Q

baroque practice of changing dynamics abruptly

A

terraced dynamics

5
Q

monophonic texture

A

single line of unaccompanied melody

6
Q

emerged in the classic era

A

sonata cycle

7
Q

counterpoint

A

combination of to or more melodic lines

8
Q

a structure employed in the first and third movements of the baroque concerto

A

ritornello form

9
Q

allowed music to be performed “in tune” in all keys

A

equal temperament

10
Q

often performed in aristocratic social settings and at outdoor events

A

serenade

11
Q

the second statement of the main theme in a fugue

A

answer

12
Q

word painting

A
  • musical pictorialization
  • music mirrors the literal meaning of the words
  • achieved through melody, rhythm, or harmony
13
Q

trio

A

contrasting middle section

14
Q

emphasis on symmetry, balance, and proportion

A

classicism

15
Q

polyphonic texture

A

combination of two or more melodic lines, also referred to as counterpoint

16
Q

recitativo accompagnato

A
  • Italian for “accompanies recitative”
  • a speech-like, declamatory style of singing
  • supported by instrumental ensemble or orchestra
  • allows for greater connection with the text
  • employed in opera, oratorio, and cantata
17
Q

generally in two parts

A

French overture

18
Q

intended to showcase the virtuosity of the soloist

A

solo concerto

19
Q

serves as a unifying thread in a multi-movement composition

A

idée fixe

20
Q

performed or “realized” by the basso continuo

A

figured bass

21
Q

terraces dynamics

A
  • baroque practice of changing dynamics abruptly

* results in stark contrast rather than gradual change

22
Q

multi-movement orchestral genre

A

serenade

23
Q

consists of recitatives, arias, ensembles, and choruses

A

oratorio

24
Q

a highly structured, imitative contrapuntal composition

A

fugue

25
Q

a single theme or subject prevails

A

fugue

26
Q

music mirrors the literal meaning if the words

A

word painting

27
Q

demonstrates vocal virtuosity and often serves to highlight key words

A

melisma

28
Q

emits a ringing sound when struck with a mallet or hammer

A

cloches

29
Q

ternary form

A
  • three-part form (ABA)
  • section B generally creates contrast in key and/or material
  • often used in baroque arias
30
Q

first part-slow tempo, homophonic textures, features dotted figures

A

French overture

31
Q

menuet

A

a stylized dance of French origin developed in the baroque period

32
Q

overlapping subject entries in close succession

A

stretto

33
Q

in performance the return of section A is generally ornamented

A

da capo aria

34
Q

menuet and trio

A
  • menuet: a stylized dance of French origin developed in the baroque period
  • in triple meter
  • graceful, elegant character
  • trio: contrasting middle section
  • ternary form (ABA)
35
Q

a sustained bass note the provides a rudimentary harmonic foundation

A

drone

36
Q

second part-fast tempo, imitative texture

A

French overture

37
Q

graceful, elegant character

A

menuet and trio

39
Q

music for small ensemble (two to ten players)

A

chamber music

40
Q

rapidly ascending melody outlining arpeggio

A

rocket theme

41
Q

a large-scale work for soloists, choruses, and orchestra

A

oratorio

42
Q

music without extra-musical associations

A

absolute music

43
Q

generally in three movements: fast-slow-fast

A

solo concerto

44
Q

ABACA or ABACABA

A

rondo form

45
Q

from the Portuguese barroco meaning irregularly shaped it misshapen pearl

A

baroque

46
Q

achieved through melody, rhythm, or harmony

A

word painting

47
Q

supported by instrumental ensemble or orchestra

A

recitativo accompagnato

48
Q

homorhythmic texture

A
  • all voices sing the same rhythm
  • results in a blocked chordal texture (homophonic)
  • delivers the text with clarity and emphasis
49
Q

homophonic texture

A

single line of melody supported by a harmonic accompaniment

50
Q

oratorio

A
  • 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
51
Q

section A recurs, with alternating sections creating contrast

A

rondo form

52
Q

are in a contrasting key; generally in the dominant or relative major (exposition)

A

second theme

53
Q

a stylized dance of French origin developed in the baroque period

A

menuet

54
Q

a sustained note over which harmonies change

A

pedal point

55
Q

development

A
  • the second main section in sonata form
  • themes from the exposition are manipulated through fragmentation, sequential treatment or changes to orchestra
  • modulations and increases harmonic tension
  • new themes may also be introduced
56
Q

rocket theme

A
  • rapidly ascending melody outlining arpeggio

* often used as a dramatic opening motive in classical-era works

57
Q

emphasis in creative imagination and expression

A

romanticism

58
Q

contrasting middle section

A

trio

59
Q

demonstrated in the symphony, sonata, or concerto

A

sonata cycle

60
Q

serious subject, generally based on biblical texts

A

oratorio

61
Q

pertains to the highest level of excellence

A

classicism

62
Q

sonata form

A
  • formal structure often used in first movement of sonata cycle
  • consists of exposition (statement of two or more contrasting themes), development (departure), and recapitulation (return)
  • also know as sonata-allegro form
63
Q

themes from exposition are manipulated through fragmentation, sequential treatment or changes to orchestra

A

development

64
Q

originally a vocal technique

A

portamento

65
Q

modulations and increased harmonic tension

A

development

66
Q

the third main section in sonata form

A

recapitulation

67
Q

delivers the text with clarity and emphasis

A

homorhythmic texture

68
Q

basso continuo

A
  • baroque performance practice
  • generally involves two performers-one playing the notated bass line, one realizing the harmonies as indicated by the figures bass
  • harmonies usually played on harpsichord or organ
  • provides harmonic framework
69
Q

short melodic or rhythmic idea

A

motive

70
Q

the most common song type in baroque opera and oratorio

A

da capo aria

71
Q

origins can be traced it late 18th-century that served as inspiration for aft and music

A

romanticism

72
Q

consists of exposition (statement of two or more contrasting themes), development (departure), and recapitulation (return)

A

sonata form

73
Q

first and second themes are both restated in the tonic

A

recaptulation

74
Q

generic titles reflecting tempos, genres, of forms

A

absolute music

75
Q

nationalism in music

A
  • important element of 19th-century musical style
  • patriotism expressed trough music
  • influence of folk song and dance, myths and legends, landscapes, historical events
76
Q

stately Polish dance in triple meter transformed by Chopin into a virtuosic piano composition

A

polonaise

77
Q

prelude

A
  • a short keyboard work in improvisatory style

* often paired with a fugue

78
Q

usually written by someone other than the composer

A

libretto

79
Q

a song structure that avoids repetition of entire sections of the music

A

durchkomponiert (through-composed)

80
Q

the initial statement of the main theme of a fugue

A

subject

81
Q

the musical setting of a poem

A
  • art song

* *German-Lied (pl.Lieder)

82
Q

a recurring counter-melody

A

countersubject

83
Q

one player per part

A

chamber music

84
Q

pedal point

A

a sustained note over which harmonies change

85
Q

recapitulation

A
  • the third main section in sonata form

* first and second themes are restated in the tonic

86
Q

chromaticism

A
  • from Greek “khroma” for colour
  • extensive use of notes outside the prevailing key signature
  • increasingly used for heightened expression in 19th-century music
87
Q

influence of folk sing and dance, nuts and legends, landscapes, historical events

A

nationalism in music

88
Q

Viennese school

A
  • 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
89
Q

the text of an opera, oratorio, or cantata

A

libretto

90
Q

from the Italian stringere, meaning “to tighten”

A

stretto

91
Q

devised by Berlioz

A

idée fixe

92
Q

often used as a dramatic opening motive in classical-era works

A

rocket theme

93
Q

performing forces; violin I, violin II, viola, and cello

A

strong quartet

94
Q

also known as “pure music”

A

absolute music

95
Q

the second main section in sonata form

A

development

96
Q

creates structural unity in a multi-movement work

A

cyclical structure

97
Q

refers to the cultures of Ancient Rome and Greece as well as the art, architecture and music of the late 18th century

A

classicism

99
Q

method of tuning keyboard instruments

A

equal temperament

100
Q

romanticism

A
  • origins can be traced to late 18th century literature that serves as inspiration for art and music
  • reaction against classicism
  • emphasis on creative imagination and expression of emotions
102
Q

Italian for “jest” or “joke

A

scherzo and trio

103
Q

durchkomponiert (through-composed)

A
  • a song structure that avoids repetition of entire sections of the music
  • as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text
104
Q

scherzo and trio

A
  • 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 dramatic than the elegant menuet
  • could be humerus or ironic
  • a contrasting middle section was used, and an ABA form resulted (scherzo-trio-scherzo)
105
Q

flourished in the 19th century

A

Lied (pl. Lieder)

106
Q

often used in slow movement of sonata cycle

A

theme and variations

107
Q

frequently used in baroque dances and keyboard pieces

A

binary form

108
Q

exoticism in music

A
  • important element if 19th-century musical style
  • fascination with foreign lands and cultures
  • evoked through melody, rhythm, harmony, and orchestration
109
Q

in “Symphpnie Fantastique”, represents “the beloved”

A

idée fixe

110
Q

cyclical structure

A
  • material heard in one movement recurs in later movements

* creates structural unity in a multi-movement work

111
Q

increasingly used for heightened expression in 19th-century music

A

chromaticism

112
Q

serenade

A
  • multi-movement orchestral genre
  • for small orchestra or chamber ensemble
  • popular instrumental genre in the classical era
  • often performed in aristocratic social setting and outdoor events
113
Q

in the tonic key (exposition)

A

first theme

115
Q

exposition

A
  • the first main section in sonata form
  • two contrasting themes are stated
  • the fist theme is in the tonic key
  • the second theme(s) is in a contrasting key; generally in the dominant or relative major
116
Q

subject

A
  • the initial statement of the main theme if a fugue

* in the tonic key

117
Q

most important chamber-music genre of the classical era

A

sonata form

118
Q

often includes characteristic rhythmic figures

A

polonaise

119
Q

French for “bells”

A

cloches

120
Q

results in a blocked chordal texture (homophonic)

A

homorhythmic texture

122
Q

cloches

A
  • French for “bells”
  • pitched percussion instrument
  • emits a ringing sound when struck with a mallet or hammer
123
Q

second theme(s) of an exposition

A

in a contrasting key;generally in the dominant or relative minor

124
Q

new themes may also be introduced

A

development

125
Q

binary form

A
  • two-part form (AB)
  • section A generally ends with open cadence
  • frequently used in baroque dances and keyboard pieces
126
Q

two-part musical form: A:||:B + A:||

A

rounded binary form

127
Q

popular instrumental genre in the classical era

A

serenade

128
Q

the first main section in sonata form

A

exposition

129
Q

modelled after 18th-century symphony with grammatical elements

A

program symphony

130
Q

an expressive device for interpreting music

A

rubato

131
Q

extensive us of notes outside the prevailing key

A

chromaticism

132
Q

section A heard three times or more in the tonic key

A

rondo form

133
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 are of the era
  • now applied to art, architecture, and music of the 17th and early 18th century
134
Q

usually in four movements: fast-slow-moderately fast-fast

A

string quartet

135
Q

some works include a written text or “program” provided by the composer

A

program music

136
Q

a group of notes sung on a single syllable/vowel

A

melisma

137
Q

rubato

A
  • Italian for “robbed time”
  • rhythmic flexibility-speeding up or slowing down
  • an expressive device for interpreting music
138
Q

rhythmic flexibility-speeding up or slowing down

A

rubato

139
Q

Italian for “with the wood”

A

col legno

140
Q

musical pictorialization

A

word painting

141
Q

libretto

A

•the text of an opera, oratorio, or cantata

142
Q

predecessor of the tuba

A

ophicléide

143
Q

first theme of an exposition

A

in the tonic key

144
Q

usually performed without a conductor

A

chamber music

145
Q

descriptive title identifies the connection

A

program music

146
Q

Italian die “full” or “complete”

A

ripieno

147
Q

for small orchestra or chamber ensemble

A

serenade

148
Q

coda

A
  • Latin for “tail” (cauda)

* a concluding section reaffirming the tonic key

149
Q

answer

A
  • the second statement of the main theme in a fugue

* usual in the dominant key

150
Q

program symphony

A
  • 19th-century multi-movement orchestral work
  • modelled after 18th-century symphony with programmatic elements
  • includes a descriptive title
  • accompanying text often outlines the program
153
Q

idée fixe

A
  • French for “fixed idea”
  • devised by Berlioz
  • a recurring theme which undergoes transformation
  • serves as a unifying thread in a multi-movement composition
  • in “Symphonie Fantastique”, represents “the beloved”
154
Q

a baroque orchestral genre

A

French overture

155
Q

Beethoven substituted it in place of the menuet in the sonata cycle

A

scherzo

156
Q

recitativo secco

A
  • Italian for “dry recitative”
  • a speech-like, declamatory style of singing
  • supported only by continuo
  • employed in opera, oratorio, and cantata
157
Q

coda

A
  • Latin for “tail” (cauda)

* a concluding section reaffirming the tonic key

158
Q

important element of the 19th-century musical style

A
  • exoticism in music

* nationalism in music

159
Q

countersubject

A
  • a recurring counter-melody

* accompanies entries of the subject and answer

160
Q

Italian for “robbed time”

A

rubato

161
Q

could be humorous or ironic

A

scherzo and trio

162
Q

from Greek “khroma” for colour

A

chromaticism

163
Q

reaction against classicism

A

romanticism

164
Q

string quartet

A
  • most important chamber-music genre of the classical era
  • performing forces; violin I, violin II, viola, and cello
  • usually in four movements: fast-slow-moderately fast-fast
  • first movement usually in sonata form
165
Q

ophicléide

A
  • brass instrument, now obsolete

* predecessor of the tuba

166
Q

a statement of the subject in which one or more intervals is adjusted to accommodate the harmony

A

tonal answer

168
Q

motive

A
  • short melodic or rhythmic idea

* smallest unit unit to form a melody or theme

169
Q

three-part form (ABA)

A
  • ternary form
  • da capo aria
  • menuet and trio
170
Q

Italian for “dry recitative”

A

recitativo secco

171
Q

often used in baroque arias

A

ternary form

172
Q

Latin for “tail” (cauda)

A

coda

173
Q

often proud and majestic in character

A

polonaise

174
Q

was a reaction against the complex polyphony of renaissance music

A

the “affections”

175
Q

19th-century multi-movement orchestral work

A

program symphony

176
Q

rounded binary form

A
  • two-part musical form: A:||:B + A:||

* material form section A returns within section B

177
Q

program music

A
  • significant trend in 19th-century music
  • instrumental music with extra-musical associations, (literary, poetic, visual)
  • descriptive title identifies the connection
  • some works include a written text or “program” provided by the composer
178
Q

art song

A
  • the musical setting of a poem

* for solo voice, generally with piano accompaniment

179
Q

classical formal structure often used in sonata cycle

A

rondo form

180
Q

melisma

A
  • a group of notes sung on a single syllable/vowel

* demonstrates vocal virtuosity and often serves to highlight key words

181
Q

Latin for “day of wrath”

A

Dies irae

182
Q

tonal answer

A

a statement of the subject in which one or more intervals is adjusted to accommodate the harmony

183
Q

material heard in one movement recurs in later movements

A

cyclical structure

184
Q

classicism

A
  • pertains to the highest level of excellence
  • possessing ensuring value or timeless quality
  • refers to the cultures of Ancient Rome and Greece as well as the art, architecture, and music of the late 18th century
  • emphasis in symmetry, balance, and proportion

*Baroque music had no clarity because of polyphony

185
Q

polonaise

A
  • stately polish dance in triple meter transformed by Chopin into a virtuosic piano composition
  • often proud and majestic in character
  • often includes characteristic rhythmic figures (ex. 4.3)
186
Q

instrumental music with extra-associations, (literary, poetic, visual)

A

program music

187
Q

in late 18th century Vienna, Austria flourished as a musical centre

A

Viennese school

188
Q

all voices sing the same rhythm

A

homorhythmic

189
Q

for solo voice, generally with piano accompaniment

A
  • art song

* Lied (pl. Lieder)

190
Q

as a result, melody, harmony, and piano accompaniment are able to reflect the meaning of the text

A

durchkomponiert (through-composed)

191
Q

evoked through melody, rhythm, harmony, and orchestration

A

exoticism in music

192
Q

significant trend in the 19th-century music

A

program music

193
Q

also known as sonata-allegro form

A

sonata form

194
Q

patriotism expressed through music

A

nationalism in music

195
Q

material from section A returns within section B

A

rounded binary form

196
Q

formal structure often used in first movement of sonata cycle

A

sonata form

197
Q

Italian for “accompanied recitative”

A

recitativo accompagnato

198
Q

theme and variations

A
  • a melody is stated and then undergoes a series of transformations
  • changes can be made to melody, harmony, rhythm, or orchestration
  • often used in slow movement of sonata cycle
199
Q

fascination with foreign lands and cultures

A

exoticism in music

200
Q

A shirt keyboard work in improvisatory style

A

prelude

201
Q

a melody is stated and then undergoes a series of transformations

A

theme and variations

202
Q

pitched percussion instrument

A

cloches

203
Q

the “affections”

A
  • a baroque philosophy inspired by Ancient Greek and Roman writers and orators
  • refers to emotional states of the soul
  • in baroque music, a single “affection” (one clear emotion) is usually projected through an entire composition or movement
  • vocal music depicted he emotions of the text or dramatic situation
  • was a reaction against the complex polyphony of Renaissance music
  • also referred to as the “doctrine of affections”
204
Q

smallest unit used to form a melody or theme

A

motive

205
Q

a speech-like, declamatory style of singing

A
  • recitativo accompagnato

* recitativo secco

206
Q

refers to the musical style forged by Haydn, Mozart, and Beethoven and his contemporaries

A

Viennese school

207
Q

multi-movement structure

A

sonata cycle

208
Q

often changes can be made to melody, harmony, rhythm, or orchestration

A

theme and variations

209
Q

accompanies entries of the subject and answer

A

countersubject

210
Q

figured bass

A
  • a type of musical shorthand developed in the baroque era
  • numbers are placed below the bass line to show harmonic progression
  • performed or “realized” by the basso continuo
  • provides the structure for guided improvisation
211
Q

first movement usually in sonata form

A

string quartet

212
Q

chamber music

A
  • music for small ensemble (two to ten players)
  • one player per part
  • usually performed without a conductor
213
Q

fugue

A
  • a highly structured, imitative contrapuntal composition

* a single theme or subject prevails

214
Q

a common mannerism in baroque music

A

tierce de picardie

215
Q

absolute music

A
  • music without extra-musical associations

* also known as “pure music”

216
Q

supported only by continuo

A

recitativo secco

217
Q

a technique of sliding smoothly from one note to the next

A

portamento

218
Q

often paired with a fugue

A

prelude

219
Q

employed in opera, oratorio, and cantata

A
  • recitativo secco

* recitativo accompagnato

220
Q

two contrasting themes are stated

A

exposition

221
Q

ostinato

A
  • Italian for “obstinate” or “persistent”

* a rhythmic or melodic pattern repeated for an extended period

222
Q

real answer

A

an exact transposition of the subject

223
Q

refers to emotional states of the soul

A

the “affections”

224
Q

col legno

A
  • Italian for “with the wood”
  • novel string effect invented by Berlioz
  • players tap on the strings with the wooden parts of their bows
225
Q

French overture

A
  • a baroque orchestral genre
  • first developed at court of Louis XIV by Jean-Baptiste Lully
  • generally in two parts
  • first part-slow temp, homorhythmic texture, features dotted figures
  • second part-fast tempo, imitative texture
226
Q

rondo form

A
  • classical formal structure often used in sonata cycle

* section A recurs, with alternating sections creating contrast

227
Q

a work in a minor key ends in the tonic major (raised 3rd)

A

tierce de picardie

228
Q

possessing enduring value or timeless quality

A

classicism

229
Q

generally involves two performers-one playing the notated bass line, one realizing the harmonies as indicated by the figure bass

A

basso continuo

230
Q

sonata cycle

A
  • emerged in the classical era
  • multi-movement structure
  • demonstrated in the symphony, sonata, or concerto
231
Q

ritornello form

A
  • a structure employed in the first and third movements of the baroque concerto
  • the opening passage (ritornello) is re-stated throughout the movement
232
Q

single line of unaccompanied melody

A

monophonic texture

233
Q

frequently employed ritornello form

A

solo concerto

234
Q

a rhythmic it melodic pattern repeated take an extended letkkd

A

ostinato

235
Q

da capo aria

A
  • the most common song type in baroque opera and oratorio
  • three-part structure (ternary form): ABA
  • in performance the return of section A is generally ornamented
236
Q

an exact transposition of the subject

A

real answer

237
Q

Dies irae

A
  • Latin for “day of wrath”
  • a monophonic chant melody dating from late Middle Ages
  • drawn from Roman Catholic requiem (Mass for the Dead)
  • 19th-century audiences would have associated the tune with funeral services
238
Q

popular instrumental genre of the baroque era for soloist and orchestra

A

solo concerto

239
Q

novel string effect invented by Berlioz

A

col legno

240
Q

first developed at court of Louis XIV by Jean-Baptiste Lully

A

French overture

241
Q

all semitones within the octave are divided equally; created enharmonic equivalents (C sharp/D flat)

A

equal temperament

242
Q

tierce de picardie

A
  • a work in a minor key ends in the tonic major (raised 3rd)

* a common mannerism in baroque music

243
Q

the opening passage is re-stated throughout the movement

A

ritornello form

244
Q

section A generally ends with open cadence

A

binary form

245
Q

Italian for “obstinate” or “persistent”

A

ostinato

246
Q

ripieno

A
  • Italian for “full” or “complete”

* a term used to denote the use of the full orchestra in the baroque concerto

247
Q

numbers are placed below the bass line to show harmonic progression

A

figured bass

248
Q

harmonies usually played on harpsichord or organ

A

basso continuo

249
Q

first used as a derogatory term in reference to the overly ornate art if the era

A

baroque

250
Q

section B generally creates contrast in key and/or material

A

ternary form

251
Q

now applied to art, architecture, and music of the 17th and early 18th centuries

A

baroque

252
Q

single line of melody supported by a harmonic accompaniment

A

homophonic texture

253
Q

19th-century audiences would have associated the tune with funeral service

A

Dies irae

254
Q

stretto

A
  • from the Italian stringere, meaning “to tighten”

* overlapping subject entries in close succession

255
Q

equal temperament

A
  • method of tuning keyboard instruments
  • all semitones within the octave are divided equally; created enharmonic equivalents (C sharp/D flat)
  • allowed music to be performed “in then” in all keys
256
Q

drone

A
  • a sustained bass note that provides a rudimentary harmonic foundation
  • common in folk music
257
Q

a baroque philosophy inspired by Ancient Greek and Roman writers and orators

A

the “affections”

258
Q

two-part form (AB)

A

binary form

259
Q

provides harmonic framework

A

basso continuo

260
Q

a monophonic chant melody dating from late Middle Ages

A

Dies irae

261
Q

also referred to as the “doctrine of affections”

A

the “affections”

262
Q

a term used it denote the use if the full orchestra in the baroque era

A

ripieno

263
Q

common in folk music

A

•drone

264
Q

French for “fixed idea”

A

idée fixe

265
Q

vocal music depicted the emotions or the test or dramatic situation

A

the “affections”

267
Q

a type if musical shorthand developed I the baroque era

A

figured bass

268
Q

baroque performance practice

A

basso continuo

269
Q

combination of two or more melodic lines

A
  • counterpoint

* polyphonic texture

275
Q

adapted by Berlioz as a novel instrumental technique

A

portamento

297
Q

players tap on the strings with the wooden parts of their bows

A

col legno

299
Q

Italian for “carrying”

A

portamento

302
Q

includes a descriptive title

A

program symphony

306
Q

a recurring theme which undergoes transformations

A

idée fixe

312
Q

Accompanying text often outlines the program

A

program symphony

315
Q

drawn from Roman Catholic requiem (Mass for the dead)

A

Dies irae

319
Q

portamento

A
  • Italian for “carrying”
  • a technique of sliding smoothly from on note to the next
  • originally a vocal technique
  • adapted by Berlioz as a novel instrumental technique
319
Q

brass instrument, now obsolete

A

ophicléide

332
Q

in triple metre

A
  • scherzo and trio
  • menuet and trio
  • polonaise