Music EC-12 CD=flashcards
(140 cards)
1
Q
Sforzando
A
Sforzando is a musical direction which strongly accents a note, to be played with sudden force. The abbreviation for sforzando used in a musical score is sfz.
2
Q
Marcato
A
Marcato is a musical term meaning “marked, stressed, or accented.” This can mean each note is emphasized or accented to some degree. The superlative form of the word is marcatissimo.
3
Q
Staccato
A
Staccato is a detached, separated articulation of playing or singing. It is indicated by a dot above or below the notehead. The effect will be a short note that begins and ends abruptly.
4
Q
Portamento
A
Portamento is a musical direction to carry the sound very smoothly (very legato) from note to note, and sounding piiches in between any two notated pitches. This is used most often in vocal and string music.
5
Q
Syncopation
A
Syncopation can be achieved in multiple, and typically is characterized by strong beats being de-emphasized, and weak or “off-beats” being emphasized. Though employed by composers, syncopation is commonly associated with jazz.
6
Q
Hemiola
A
Hemiola is a rhythmic compositional technique often employed by Renaissance and Baroque composers, providing rhythmic variety to compositions in a triple meter. The use of hemiolas can be also found in compositions of later eras. In modern metrical term, it can be described as the grouping of 2 measures of notes in a triple meter (e.g. 3/4) into three measures of duple meter (e.g. 2/4). In the sixth and seventh measure of the example by Vaughan Williams, the text “My God and” encompasses a hemiola.
7
Q
Polyrhythm
A
Polyrhythm is the simultaneous presentation of multiple rhythms. It is a compositional device used in some 14th century secular compositions as well as 20th century compositions and is found in jazz.
8
Q
Bitonality
A
Bitonality is the simultaneous presentation of two tonalities. The degree of instability created by the simultaneous use of multiple tonal foundations depends can be influenced by many factors, including how closely the keys are related.
9
Q
Contrapuntal
A
Contrapuntal is the adjective form of counterpoint. Strictly defined, a contrapuntal passage or work is one that is composed in accordance with the rules of counterpoint. Counterpoint is derived from the expression “note against note,” and the development of this compositional approach and related guidelines spans the 9th to 17th century.
10
Q
Fugal
A
Fugal is the adjective form of fugue. A fugue is an imitative contrapuntal compositional form or technique, similar to a canon. It differs from a canon in that following the first statement of the thematic material (labeled the” subject”), the second iteration (labeled the “answer) enters at a different pitch level, often at the fifth (rather than at the octave or unison).
11
Q
Canonic
A
Canonic is the adjective form of canon. Canon means “rule” and could be considered the most restrictive form of imitative counterpoint. Strict canonic writing would involve exact repetition(s) of the initial melodic material. As with fugue and counterpoint, however, composers over the centuries sometimes opt to embrace the general style rather than the rules.
12
Q
Polyphonic
A
Polyphonic is the adjective form of polyphony. Polyphony literally means “many sounds,” and indicates the simultaneous sounding of two or more relatively independent parts.
13
Q
Tritone
A
Tritone” is a term which labels the interval of an augmented 4th and a diminished 5th, which are actually the same pitch, but are notated differently as either a “raised” fourth rather or a “lowered” 5th. A tritone is a half- step more than a perfect 4th and a half-step less than a diminished 5th. It is formed by the lowest and highest note of a diminished triad. The tritone is sometimes referred to as the “devil’s interval.”
14
Q
Natural minor
A
A natural minor scale is characterized by a lowered third and sixth scale degrees when compared to a major scale. A natural minor scale is comprised of ascending (and descending) notes in the following whole (w) step and half (h) step sequence w-h-w-w-h-w-w. Unlike the harmonic and melodic minor scales, there are no alterations (raised or lowered scale degrees). Playing the white keys from a to a on the keyboard is often used to aurally and visually illustrate the natural minor scale.
15
Q
Harmonic minor
A
A harmonic minor scale is a natural minor scale with a raised seventh scale degree, both ascending and descending. The raised seventh scale degree facilitates the function of the 7 to 1 “leading tone” that appears without alteration in major scales and keys. A harmonic minor scale can be easily visualized and heard by playing a to a the white keys on the piano, but playing g# rather than g ascending and descending.
16
Q
Major
A
A major scale is comprised of ascending (and descending) notes in the following whole (w) step and half (h) step sequence w-w-h-w-w-w-h. Playing the white keys from c to c on the keyboard is often used to aurally and visually illustrate the major scale. The notes of a major scale are the same ascending and descending.
17
Q
Melodic minor
A
A melodic minor scale is a natural minor scale with raised ascending sixth and seventh scale degrees that are “naturalized” on the descending half of the scale. As suggested by the label, this scale is often employed in the composition of melodies in minor keys. A melodic minor scale can be easily visualized and heard by playing a to a on the white keys on the piano, but raising the f and g to f# and g# while ascending, but playing g natural and f natural while descending.
18
Q
Imperfect authentic cadence
A
An imperfect authentic cadence concludes with a V-I progression, which defines an authentic cadence. The final note in the top (soprano) line is not the tonic note, making the cadence “imperfect.” The tonic note in the top line on the final “I” chord in a plagal (IV-I) or authentic (V-I) cadence determines a “perfect” quality.
19
Q
Perfect plagal cadence
A
A perfect plagal cadence concludes with a IV-I progression, which defines a plagal cadence. The final note in the top (soprano) line is the tonic note, making the cadence “perfect.” The tonic note in the top line on the final “I” chord in a plagal (IV-I) or authentic (V-I) cadence determines a “perfect” quality.
20
Q
Perfect Authentic Cadence
A
The example concludes with a V-I progression, which defines an authentic cadence. The final note in the top (soprano) line is the tonic note, making the cadence “perfect.” The tonic note in the top line on the final “I” chord in a plagal (IV-I) or authentic (V-I) cadence determines a “perfect” quality.
21
Q
Imperfect plagal cadence
A
An imperfect plagal cadence is a IV-I progression with the final note in the top (soprano) line is not being the tonic note, which makes the cadence “imperfect.” The tonic note in the top line on the final “I” chord in a plagal (IV-I) or authentic (V-I) cadence determines a “perfect” quality.
22
Q
Half cadence
A
A half cadence is defined as a chord progression that concludes with I-V. While it provides some sense of rest or arrival, the feeling of finality is much stronger in plagal and authentic cadences.
23
Q
Deceptive cadence
A
A deceptive cadence is identified as a chord progression that concludes with V-vi (Dominant to sub-mediant). It is referred to as a deceptive cadence because it “deceives” the listener that is expecting an V-I (authentic) cadence. Like the half cadence, it provides some sense of rest or arrival, but the feeling of finality is much stronger in plagal and authentic cadences.
24
Q
Bitonal
A
Bitonal describes music that is a simultaneous combination of two keys. An early example of bitonal music is Psalm 67 (1898) by Charles Ives.
25
Tonal
Tonal music is characterized by certain chords (e. g. Tonic and dominant) and progressions providing structure to a composition.
26
Atonal
The Piano Suite Op. 25 (1923) by Schoenberg is an example of atonal music. There is no tonal center, and all 12 notes in the octave have equal weight.
27
Polytonal
Polytonal describes music that simultaneously employs more than one key, typically in a contrapuntal texture, as in the works of Holst, Milhaud, and Bartok.
28
Major-major seventh chord
A major-major seventh chord is a major triad with a major 7th above the root added.
29
Major-minor seventh chord
A major-minor seventh chord seventh chord is a major triad with a minor 7th above the root added. It is the construction of a dominant seventh chord.
30
Diminished seventh chord
A diminished seventh chord is a "fully" diminished chord which is a diminished triad with a diminished seventh above the root added.
31
Mariachi
Mariachi is an ensemble of instruments with origins from western Mexico in the middle 1800's. The modern mariachi ensemble has added trumpet(s) to the older traditional mariachi ensemble that is comprised of stringed instruments. Multiple orchestrations employing different string instruments mark the history of mariachi.
32
Tejano
Tejano is a popular music genre with origins in southern Texas, similar to the Mexican norteño, but with influences by American musical genres especially the polka. The accordion and bajo sexto (12-string bass guitar) characterize the Tejano sound and are joined by other instruments (drum kit, bass guitar etc.)
33
Salsa
The Cuban origin of salsa includes African rhythm and texture and Spanish/Iberian elements of melody and harmony. The dance genre emerged in New York and Puerto Rico in the 1960-s and 70's and was influenced by jazz and rock.
Salsa is a 20th-century dance form with ties to the Cuban mambo and cha cha. It was developed in the 1960's and '70's by Cuban and Puerto Rican immigrants in New York. An eclectic musical form, It typically reflects the two-part structure of the Cuban "son," which itself is a fusion of West African and Hispanic musical and rhythmic elements.
34
Tex-Mex
Tex-Mex is a popular music genre that originated in south Texas, similar to the Mexican norteño, but is influenced by polka and other American music genres. The characteristic accordion and bajo sexto (12-string bass guitar) duo can be joined by drum and bass guitar and other instruments. The rock/pop oriented music grew into "Tejano music."
35
MENC
| The National Association for Music Education
MENC: The National Association for Music Education, among the world's largest arts education organizations, addresses all aspects of music education. MENC serves millions of students nationwide through activities at all teaching levels, from preschool to graduate school. The mission of MENC: The National Association for Music Education is to advance music education by encouraging the study and making of music by all." To better reflect its mission, the association's name was changed from MENC (Music Educators National Conference) to MENC: The National Association for Music Education. The Texas Music Educators Conference (TMEC) is a federated state association.
36
University Interscholastic League
From the UIL website: http://www.uil.utexas.edu/ "The University Interscholastic League was created by The University of Texas at Austin to provide leadership and guidance to public school debate and athletic teachers. Since 1909 the UIL has grown into the largest inter-school organization of its kind in the world.
37
TMEC
| Texas Music Educators Conference
The Texas Music Educators Conference (TMEC) is the federated state organization associated with MENC: The National Association for Music Education; however, it is NOT the state organization that sponsors the "All-State" audition process.
38
TMEA
| Texas Music Educators Association
The Texas Music Educators Association oversees the Texas "All-State" music audition process that culminates in Texas music students attaining membership in "All-State" organizations. From the TMEA website: "Begun in 1920 as the Texas Band Teachers Association, the Texas Music Educators Association is an organization of over 10,000 school music educators dedicated to promoting excellence in music education. TMEA is comprised of five divisions: Band, Orchestra, Vocal, Elementary, and College. On behalf of its members and Texas schoolchildren, TMEA carefully monitors the actions of all state decision-making bodies on issues affecting fine arts instruction in Texas."
39
TBA
| Texas Bandmasters Association
The Texas Bandmasters Association. From the TBA website: http://www.texasbandmasters.org/ "Formed in 1920 by a small group of Texas bandmasters, the Texas Bandmasters Association has worked diligently to further the cause of instrumental music education in communities throughout the Lone Star State. As a professional service organization, TBA reaches out through its membership to constantly improve the quality of music education in Texas' elementary, middle and high schools, colleges and universities. During the past 60 years TBA has evolved into the largest state band organization in the world."
40
TCDA
| Texas Choral Directors Association
From the TCDA website: http://www.ensemble.org/tcda/index.php. "The mission of TCDA is to support and foster the success of Texas choral directors and music teachers and to instill a love of music in every Texas school, church, and community singer. TCDA is an affiliated state association of the American Choral Directors Association (ACDA) .
41
TODA (Texas Orchestra Directors Association)
TODA (Texas Orchestra Directors Association) is the prominent state organization for public school orchestra directors in Texas. From the TODA website: http://www.ensemble.org/toda/ "TODA was founded for the purposes of providing educational opportunities for its members and for all other purposes as recommended by its member board of directors" -- .
42
Appoggiatura
An appoggiatura (It. "leaning note) is an ornament that is performed as a note above or below a notated pitch. Unlike the trill and mordent, the an appoggiatura is an ornament consisting of one note. How appoggiaturas were realized varied by musical era. It is notated as a small note above or below the primary notated pitch.
43
Turn
A turn is a four-note ornament that surrounds the notated pitch. A turn is typically realized by playing four notes in the following order: note above, notated pitch, note below, notated pitch.
44
Acciaccatura
An acciaccatura (It. "crushed note) is a keyboard ornament of the late Baroque period. It is realized as playing the adjacent ornamental note simultaneously with (or just before) notated pitch, with the ornamental note typically being immediately released.
45
Trill
A trill is a musical ornament or embellishment that is found primarily in instrumental music, especially for keyboard, though it can also be found in vocal music. A trill is the rapid alternating of a notated pitch with an adjacent pitch above it. It became common practice during the Baroque period. There are details related to the trill related to the length and how the ornament is both approached and completed.
46
Minor sixth
A minor sixth is an interval comprised of 8 half steps. An example of a minor sixth is C up to Ab. The inversion of a minor sixth is a major third (Ab-C).
47
Major sixth
A major sixth is an interval comprised of 9 half steps. An example of a major sixth is C up to A. The inversion of a major sixth is a minor third (A-C).
48
Minor seventh
A minor seventh is an interval comprised of 10 half steps. An example of a minor seventh is C up to Bb. The inversion of a minor seventh is a major second (Bb-C).
49
Perfect sixth
A perfect sixth is a typical label for an interval. Sixths are typically labeled as a major sixth (9 half-steps) or a minor sixth (8 half steps).
50
Baroque
The generally accepted dates of the Baroque period in music history are 1685-1750. The musical characteristics in the example are not typical of music of the Baroque era.
51
Rococo
Rococo is a term used to describe the "decorative" style of music identified with F. Couperin, Rameau, and J. C. Bach composed during the late Baroque and early Classical periods. Also presented as a brief musical era by some historians, it points to a transitional style found in compositions that "are no longer baroque and not yet classical."
52
Classical
The generally accepted dates of the Classical period in music history are 1750-1820. The excerpt is from Haydn's Lord Nelson Mass, composed in 1798.
53
Romantic
The generally accepted dates of the Romantic period in music history are 1820-1900. While the musical characteristics in the example may foreshadow music of the Romantic period, they are not typical of music of the latter era.
54
Monteverdi
Claudio Monteverdi (1567-1643) lived in a period which overlapped the Renaissance and Baroque periods.
55
Palestrina
Giovanni Pierluigi da Palestrina (c1525-1594) lived in Italy during the late Renaissance period.
56
Tallis
Thomas Tallis (c1505-1585) lived in England during the latter part of the Renaissance period.
57
Des Prez
Josquin Des Prez (c1450-1521) lived in France and Italy during the Renaissance period.
58
Vivaldi
Antonio Vivaldi (1671-1748) in Italy during the latter part of the Baroque period.
59
Beethoven
Ludwig von Beethoven (1770-1827) lived in Germany and Austria during a period that overlapped the Classical and Romantic periods.
60
J.S. Bach
Johann Sebastian Bach (1685-1750) lived in Germany during the latter part of the Baroque period.
One of the greatest Baroque composers. His most famous works are probably the Brandenburg Concerti, the Well-tempered clavier, The art of fugue, his Mass in B-minor, and the St. Matthew Passion.
61
Haydn
Franz Joseph Haydn (1732-1809) lived in Austria during a period that overlapped the Baroque and Classical period, but his life nearly encompassed the entire Classical period.
Franz Joseph Haydn known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form.
62
Gospel
Gospel music, or the gospel hymn began to evolve late in the 19th century as "spiritual-like texts" were set in the "white hymn tradition" but with some African-American musical characteristics.
63
Blues
Blues, by its title, implies being "down" emotionally. It is secular folk music with African American roots traced to the latter 19th century. An improvisatory genre, there is a progression, the "12-bar blues," that provides a harmonic foundation for many blues songs.
64
Jazz
Jazz is a conglomeration of many musical elements from the African American traditions in the southern United States, and it shares roots and some characteristics with other genres and styles.
65
Spiritual
The term "spiritual" describes religious folks songs of 1) the non-metrical religious songs (not hymns) that arose in the United States in the mid-18th century (c. 1740), and 2) the African American adaptation of the earlier spiritual. Today, the term "spiritual" typically refers to the African American offshoot.
66
Homophony
Homophony is music in which multiple melodic parts move at approximately the same time. Four-part "traditional" hymns, with roots in the Baroque practice of chorale harmonization (e.g. Bach), provide a typical illustration of homophonic texture.
67
Heterophony
Heterophony is a term that describes variations of a melody that occur simultaneously. It can be used to describe both vocal and instrumental music and is common in the instrumental music of south-east Asia music and in the accompanied vocal music of East Asia and the Middle East.
68
Polyphony
Polyphony literally means "many sounds," and indicates the simultaneous sounding of two or more relatively independent parts.
69
Monophony
Monophony is music that is a single melody, such a plainchant or an unaccompanied solo song. A unison passage in a composition could be described as monophonic.
70
Inversion
The inversion of an interval moves it the same distance, but in the opposite direction. The inversion of a melody can be visualized as a vertical "mirror image" of the original melody, comprised of the same sequence of intervals, but with each "inverted" interval moving in the opposite direction of the corresponding "original" interval.
71
Augmentation
Augmentation is the compositional technique that involves increasing - usually proportionately - the duration of note values of a melodic line.
72
Diminution
Diminution is the compositional technique that involves decreasing - usually proportionately - the duration of note values of a melodic line.
73
Retrograde
Retrograde is the compositional technique that involves reversing the direction of a melodic line. The melodic line is horizontally "flipped" so the end of the original melody becomes the beginning, and the beginning of the melody becomes the end.
74
Pizzicato
Pizzicato is an indication that the strings are to be plucked rather than played with a bow. The effect will be a short note that begins and ends abruptly.
75
Nonmetric
Nonmetric, non-metric, and ametric are terms that can be literally defined as "without meter." These terms can be used to describe medieval plainsong, music of non-Western cultures, and some 20th century popular and western music compositions. Compositions or passages lacking a discernable meter - a pattern of contrasting pulses - may be described as non-metric.
76
Polymeter
Polymeter is two or more meters being incorporated simultaneously. Though examples of polymeter can be found in music of the Romantic era (without different time signatures), it is more typically associated with more contemporary works by composers such as Stravinsky, Elliot Carter, and Charles Ives.
77
Multi- meter
Multi-meter is used to describe music that frequently changes meter. "Changing time signatures," "mixed meter," and "variable meter" are term to describe changing meters. Multimeter examples include passages from Stravinsky's "Rite of Spring" and Bartók’s Mikrokosmos.
78
20th century
20th Century is associated more with the "western, Austro-German" music tradtition rather than popular music, and encompasses all or most (e.g. 1900-1970) of the century it names.
79
Contemporary
The musical example is from the contemporary period, which can be defined as the present or current period. The excerpt is from a 1997 release entitled "Bueno Vista Social Club." Since "modern" is associated with a trend in the later 20th century "art music" followed by "post-modernism, " it may not be an appropriate period designation.
80
Neo-classical
Neo-classic (Neo-Classicism) refers to a brief trend in the 1920's characterized by some composers whose composed works that illustrated more influence of works of the Classical (or Baroque) period than the indulgences in structure and orchestration found in many of the works of the Romantic era. Prokofiev, Strauss, Vaughan Williams, and Stravinsky, are composers who are credited with writing compositions that appeared to be a reaction to the "excesses" of some music of the late Romantic period.
81
Baritone
Baritone is the higher of the two bass voice types. The baritone range is higher than the bass range and lower than the tenor range, and is said to have the some of the qualities of both its higher and lower neighboring voice types.
82
Tenor
Tenor is the highest of the male voice types. There are numerous sub-types that are related to characteristics such as timbre. Among the half dozen tenor designations are the lyric tenor and heldentenor.
83
Contralto
Contralto is the lowest of the female voice types. The contralto voice is characterized by range and by its dark and rich tone quality.
84
Bass
Bass is the lowest of the male voice types . The bass voice is characterized by range and by its dark and rich tone quality. The bass-baritone voice combines the qualities of the higher baritone voice while retaining the depth and resonance of the bass.
85
C major
A Bb Clarinet part notated in C major would "sound" in the key of Bb major. Similarly, a Bb Clarinet pitch notated as C would "sound" as a Bb. This can also be expressed as the notated pitch of C is a "concert" Bb.
86
G major
A Bb instrument "sounds" a major second lower, and should therefore be notated a major second higher than the desired concert "sounding" pitch. A composition "sounding" in F major would require the Bb Clarinet part to be written a major second higher, which is the key of G major.
87
Eb major
A Bb Clarinet part notated in Eb major would "sound" in the key of Db major. Similarly, a Bb Clarinet pitch notated as Eb would "sound" as a Db. This can also be expressed as the notated pitch of Eb is a "concert" Db.
88
Ab major
A Bb Clarinet part notated in Ab major would "sound" in the key of Gb major. Similarly, a Bb Clarinet pitch notated as Ab would "sound" as a Gb. This can also be expressed as the notated pitch of Ab is a "concert" Gb.
89
Binary
The term binary is used to describe a musical work or section in two parts that is comprised of two approximately equivalent sections. Except for moving to a closely related key (e.g. dominant or relative minor), there is typically little contrast in a composition in simple binary form. J. S. Bach's keyboard suites are examples of simple binary form.
90
Ternary
The term ternary is used to describe a musical work or section in three parts: statement-contrast-return (to the original statement). This form can be symbolized as ABA. The middle "B" section often (but not always) has contrasting melodic material and is in a different, but closely related, key (e.g. dominant or relative minor).
91
Sonata-allegro
The term sonata form (or sonata-allegro form) is used to describe a musical work or section having three-parts that can be labeled as Exposition, Development, and Recapitulation. Some British sources use the term "compound binary," pointing out similarities to both binary and ternary forms. Being a significant development in the history of musical form, one should be aware of the characteristics that separate sonata-allegro from the other forms.
92
Rondo
The term rondo is used to describe a musical work or section in multiple parts that has a recurring refrain-like section between contrasting sections, which can be symbolized as ABACADA..., etc. Similar to other forms incorporating a return to the original material (A), repeated returns (not including reprises) are unique to the rondo form.
93
Anton Bruckner
Like J.S. Bach before him, Anton Bruckner was appreciated more during his life for his improvisatory skills at the organ than for his musical compositions. His popular improvisations at the organ in the latter half of the 1800's were likely to include creative and spontaneous harmonies.
94
Franz Liszt
A cadenza performed by Franz Liszt (or any other accomplished pianist of that era) would have likely included unique and spontaneous variations in performance, and could be categorized as harmonic improvisation.
95
A “prepared piano”
has its timbre changed inserting or attaching objects (e.g. screws, bolts, rubber erasers) to the piano strings.
96
John Cage
John Cage (1912-1992), a leading figure in the postwar avant garde movement, is credited with developing the “prepared” piano for his 1940 composition, “Bacchanale.”
97
Charles Ives
Charles Ives (1874-1954) is known for his compositional innovations in harmony, rhythm, and form, and is considered one of, if not THE leading American composer of the 20th century. Characterized as eccentric, unique Americana themes and perspectives are present in much of his music. Though he apparently composed primarily during evenings and weekends, his works and compositional techniques are complex and substantial, and should not be considered that of a musical amateur.
98
Arnold Schoenberg
Arnold Schoenberg (1874-1951) was an Austrian-born composer, conductor, and teacher, who moved to the United States in 1933 to escape persecution by the Nazi regime. Schoenberg’s early works are in the romantic post-Wagnerian style, but he continued to extend chromatic harmony and tonal structures beyond their limits. He is credited with composing “atonal” music in 1909 in his 3 Pieces for Pianoforte (Op. 11), and is considered to be one of music’s most influential composers. (Though Schoenberg’s influence may be noted in the musical excerpt, the more direct connection would be to John Cage’s prepared piano.)
99
Milton Babbitt
Milton Babbitt (b. 1916), an American mathematician, composer, and theorist, extended Schoenberg’s concept of twelve-tone system to new levels, including towards “totally serialized” music. While expanding the realm of 12-tone theory that he embarked on in the 1940’s, Babbitt was also a pioneer in electronic music, creating works for synthesizer and for electronic tape.
100
Synthesizer Music
In the mid-20th century, the course of music was altered with the introduction of synthesized music-music sounds generated by electronic instruments. Beginning in the late 1930’s machines were invented and refined that would generate a growing number of sounds with an increasing amount of control. Beginning in the 1950’s, increasingly sophisticated synthesizers were produced in the United States, Europe, and Japan, and the development from the early “composition machines” to the digital synthesis, sampling, and virtual analogue found in more recent performance instruments.
101
Absolute Music
Absolute music is a term that is used to describe instrumental music that “exists simply as such.” Rather than instrumental music that is “programme music” or illustrative in any way, it is sometime referred to as “music composed for music’s sake. The contrast between the two philosophical approaches is illustrated by the generically titled instrumental music of the Classical era and the expressive titles of the music and extra-musical meaning that was common to instrumental music of the Romantic era.
102
Electronic Music
Electronic music is a term used in differently to define music in the latter half of the 20th century and later with an inherent electronic component. The term has been defined in multiple ways, and is a term that may be best used for more general descriptions of music that involves a conversion of acoustic energy into electrical energy, or vice versa.
103
Music Concrète
Musique concrète is a term used by Pierre Schaeffer in 1948 used to describe his first electronic studies that utilizing electronic recordings of natural or man-made sounds, such as running water, a hammer striking metal, machinery, etc. The recordings of the sounds would be included in a composition, such as an accompaniment, or part of an accompaniment for a solo or ensemble. It is distinguished from synthesized music, which is sounds that are generated electronically.
104
Basso Continuo
A bass part written out in full and accompanied by numbers to indicate the chords to be played continuo, figured bass, thorough bass, bass part, bass - the lowest part in polyphonic music.
Basso continuo was used pervasively in vocal and instrumental music the Baroque period.
105
Fugue
The term “fugue” (Lat. “flight” and “flee”), referred to as a style, genre, and compositional technique, was introduced with equivalents in the vernacular, such as chace and caccia. The term “fugal” is used to generally describe music based on canonic imitation (e.g. one voice “chasing” another, or a voice “fleeing”). Fugues that could be described as more “formal” adhered to conventions and guidelines that evolved to their culmination at the end of the Baroque era that is seen in the works of Bach.
106
Robert Schumann
Schumann wrote a great deal of music, including a piano concerto (one of the strangest phenomena of music publishing today is the way in which his piano concerto is almost invariably coupled with Grieg’s), four symphonies, song cyles, and a variety of chamber music.
107
Ricercare
Ricercare (It. “to seek out”) was an intricate 16th to 18th century instrumental work composed in a fugal or canonic style, or can be used more generally to describe any type of prelude with contrapuntal qualities. The term “answer” is related to the more formal structure of the fugue.
108
Canzone
Canzone (It.) was a 16th and 17th century instrumental work derived from lute and keyboard arrangements of chansons which led to the 17th century sonata and keyboard fugue.
109
Fantasia
Fantasia (It.), was a 16th century work for instruments composed in strict imitation of a vocal motet. The fancy (Eng.), fantaisie (Fr.), and fantasie (Ger.) named later compositions that were usually contrapuntal but not as structured as the fugue. Bach and Sweelinck composed fantasias for organ that had an improvisational character.
110
Handel
George Frideric Handel was a German-born British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalized British subject in 1727. By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.
111
Mambo
Mambo is a popular big-band ballroom dance form that acquired popularity in the 1940's and '50's with roots in the Cuban rumba. It has influenced the popularity of other Latin America dances, such as the "cha cha."
112
Baiao
Baiao is a unique type of country music from the Northeast region of Brazil. It is characterized by syncopated rhythms, raised fourths, lowered sevenths, and a prominent use of the accordion. The genre has colorful history and traditions associated with it, including exotic attire.
113
Samba
Samba, a dance form with African roots, is the musical form most commonly associated with Brazil. Both the urban and rural versions of this dance share alternating stanzas and refrain with responsorial singing between solo and chorus.
114
Didjeridu
The didjeridu is closely associated with the indigenous music of the aboriginal culture in Australia. The sound of the overtones above the low guttural fundamental is unique. The didjeridu is traditionally played in sacred ceremonies to accompany singing and dancing.
115
Djembe
Djembe (also jembe, jenbe, djimbe, jimbe, jymbe, yembe, yimbe, or jimbay ) is one of many types of drums that originated in Africa, but the djembe may be the most well-known African drum outisde the continent. Djembe playing is an honored tradition in Africa, is essential to national ballet, and unique patterns and phrases define dance rhythms that are associated with rituals and cermonies.
116
Steelpan Drums
Steelpan drums were developed in Trinidad and Tobago from discarded American 55-gallon oil-drums left on the south American islands after World War II. Originally associated with rebellious teenage groups, the creating "pans" has become an increasingly specialized skill, and the government now sponsors competitions that have resulted in rigorous performance standards.
117
Darabukka
Darabukka is a goblet-shaped drum associated with music (after 1900) of Eygpt, which is referred to as "the epicenter for all Arab and Middle Eastern music." Another goblet drum with a similar spelling - darbukas - is listed among instruments associated with music of Hungary.
118
Aerophone
Aerophone is a general term for musical instruments that produce sound through vibrations in a body of air (e.g. flute, pipe organ).
119
Chordophone
Chordophone is a general term for musical instruments that produce sound through vibrations in a stretched string (e.g. guitar, piano).
120
Idiophone
Idiophone is a general term for musical instruments that produce sound through vibrations in the substance of the actual instrument (e.g. xylophone, marimba, bell). Subcategories of idiophones are instruments which are struck, scraped, plucked, blown, or made to sound by friction.
121
Membranophone
Membranophone is a general term for musical instruments that produce sound through vibrations in a stretched membrane. Subcategories of membranophone are instruments which are struck, sounded by friction, and instruments that resonate sympathetically with another sound ("singing membranes").
122
A-ak
A-ak is ritual temple music that can be heard at a temple at Munmyo Korea that honors Confusicius and his disciples.
123
Sog-ak
Sog-ak is a term designating music of the common people, one of the two general categories of Korea's traditional music. Chong-ak, the other category, designates music of the ruling class, and "sog-ak."
124
Hyang-ak
Hyang-ak is a generic term that refers to native Korean music, but does not imply characteristics of music associated with any particular class.
125
Chong-ak
Korea's traditional music is generally divided into two categories: chong-ak, which is music of the ruling class, and "sog-ak" which is music of the common people.
126
Cool Jazz
Overlapping and co-existing with bop, “cool” jazz appeared in the work of Miles Davis, who assembled a nine-piece band that recorded pieces in 1949-50 that were re-issued in 1957 as “Birth of the Cool.” The new laid-back style in those pieces, characterized by slower, softer, relaxed and understated expression, was in stark contrast to the more frenzied bop. Rather than virtuoso display, Davis’ added his lyric and melancholy style to the intertwining improvisational lines that served to define the “cool” style.
127
Bebop Jazz
Overlapping the end of the swing era of jazz, the bebop or bop style of jazz emerged in the 1940’s, re-labeled by some historians as “modern jazz.” Parker, Gillespie, and Monk were leading figures in the new style. Like swing, rhythm in bop was again a primary feature of the style, but faster tempi, a connection to scat-singing, new harmonic substitutions and melodic construction, and virtuoso playing were characteristic of the style.
128
Swing Jazz
The swing style of jazz emerged in the 1930’s and is characterized by performance by larger bands with an emphasis on precision and ensemble. Bands comprised of white musicians mirrored jazz’s popularity to a wider audience. Leading bands included those led by virtuosic instrumentalists, such as Ellington, Goodman, Basie, Dorsey, Shaw, and Miller. Difficult to precisely define, descriptions focus on rhythm and forward propulsion, which can be enhanced by use or manipulation of timbre, attack, vibrato, rubato, and intonation to further the degree or the effect of “swing.” Swing became a term that was synonymous with jazz before giving way in the 1940’s to bebop (bop), which was later referred to as “modern” jazz.
129
Free Jazz
In the 1960’s Coleman and Coltrane led the challenge to jazz traditions in a breakaway movement referred to as “free” jazz style (or “the new thing”). Consistent with the spirit of the decade in which it emerged, “free” jazz broke away from the harmonic, melodic, and formal conventions of the mainstream jazz “establishment.” The controversial underlying philosophy was uncompromising and true to its title of “free,” characterized by individualism, collective improvisation, and zealous energy and emotion. “Free” jazz’s lack of popularity and commercial appeal can be attributed to its “dissonant, strident, and often atonal style.”
130
Orff
Orff is a method that is more closely associated with percussion than the other music education methods. Named after German musician Carl Orff (1895-1982), in addition to being closely associated with percussion, the Orff approach also focuses on imitation, exploration, improvisation, composition, and literacy, and includes singing, playing recorder, movement, and speech.
131
Kodály
Kodály is a method that is more closely associated with singing than the other music education methods. Named after Hungarian musician Zoltán Kodály (1882-1967), in addition to being closely associated with singing, the approach also focuses on folk music, solfège, music and quality, the development of the complete musician, and sequence of instruction.
132
Dalcroze
Dalcroze is a method that is more closely associated with movement than the other music education methods. Named after Swiss musician Émile Jacques-Dalcroze (1865-1950), in addition to being closely associated with music and movement, the comprehensive approach focuses on the understanding and intertwining of three components: Eurhythmics (movement), solfège, and improvisation.
133
Suzuki
Suzuki is a method that is more closely associated with orchestral stringed instruments (e.g. violin) than the other music education methods. Named after Japanese musician Shinichi Suzuki (1898-1998), in addition to being closely associated with orchestral stringed instruments, the Suzuki approach also focuses on: starting young (age 3 to 4), the importance of listening to music, and learning to play before learning to read.
134
Opera
Opera is a multi-dimensional form that incorporates multiple disciplines of art: music, theater, visual art, and sometimes dance. Typically, opera is a staged drama with music performed by vocal musicians/actors in costume who sing and act, accompanied by an orchestra while on a stage with constructed sets that incorporate visual art.
135
Passion Music Settings
Convey the story of the crucifixion of Christ. Though the subject is dramatic, settings of the Passion are performed in church or concert setting without staging, and do not inherently connect to other aural or visual art forms.
136
Program Music
Strictly defined, program music (or programme music) is a composition that has a narrative – a “program” – that is essential to the music and to the understanding of it. Though the concept was employed earlier by Vivaldi (in his Four Seasons-1725) and others, Liszt is credited with introducing and defining the term. Berlioz provided one of best examples in his Symphonie fantastique (1830), and is quoted as saying the ‘distribution of the programme to the audience at concerts where the symphony is to be performed is indispensable for a complete understanding of the dramatic outline of the work’. Many other compositions having more general non-musical associations, such as Beethoven’s Pastoral Symphony (1824) and Debussy’s La Mer (1905) are included with a less restrictive (though less clear) definition of program music.
137
Détaché bowing
A fundamental bowing stroke, (also know as German détaché) used in a very large portion of violin literature. It is played in the middle of the bow, with one note per bow used. The notes must be joined together, without breaks or gaps in between. The more bow used, the larger the amplitude of vibrating string, and the louder the volume. In all cases détaché must be played on the string. The bow hairs must adhere to the string as much as possible. The end result will be a singing tone that is held throughout the duration of a single note, right up to the end, and a seamless or uninterrupted continuation of tone as the next note is played.
138
Martelé Bowing
Martelé is a French term meaning hammered. Each note is percussive, and commences with a sharp accent or "pinch" at the beginning of the note, followed by a quick release. Before the bow is set in motion, the index finger applies this "pinch" or "bite" for articulation. Martelé may be notated in more than one way: with dots, hammer heads or accents.
139
Spiral Curriculum Concept
Spiral curriculum in music is an instructional strategy used to sequentially introduce new concepts in action-oriented cycles. A typical spiral curriculum sequence of events includes the following:
Strategy - Teacher presents a framework for introducing a musical problem (often in the form of a question) that inspires creative thought.
Composing & Rehearsing - Students solve the musical problem in group composition projects by developing a musical hypothesis and testing it using aural logic.
Performance - After groups rehearse their compositions, a performance typically takes place to share ideas.
Critical Evaluation - Students may have an oral discussion after the performance to discuss and evaluate themselves.
Listening - Students listen to music for pleasure or as a resource to discover new ideas.
140
Bruner’s Spiral Curriculum Theory
A spiral curriculum for music is an instructional strategy that often focus on the gradual progression and building - over time - of specific skills related to one musical concept or component, such as melody, rhythm/meter, or harmony. It promotes a sequential approach to learning musical concepts and facilitates teachers making valid assessments of each student’s growth of knowledge and skills.
