Music History 2 - Terms

Question 0

The “Affections”

Answer 0

A Boroque 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. Also referred to as the “Doctrine of Affections”. Vocal music depicted the motions of the text or dramatic situation. Was a reaction against the complex polyphony of Renaissance music.

Question 1

A cappella

Answer 1

Latin for “in the chapel”; vocal music without instrumental accompaniment; characteristic feature of music in Middle Ages and Renaissance.

Question 2

Basso continuo

Answer 2

Important element of Baroque performance practice. Generally involves two performers-one playing the notated bass line, one realizing. Harmonies usually player on harpsichord or organ. Provides harmonic framework.

Question 3

Binary form

Answer 3

Two-part form (AB). Section A generally ends with an open cadence. Frequently used in Baroque dances and keyboard pieces.

Question 4

Baroque

Answer 4

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.

Question 5

Bas

Answer 5

French for “low” indicating a low level of volume (soft). Medieval designation for indoor instruments. Includes dulcimer, lute, psaltery, rebec, recorder, vielle.

Question 6

Cadenza

Answer 6

Solo passage found in concertos and arias. In the 18th century, it was generally improvised by the soloist. Displays virtuosity of soloist(s).

Question 7

Chorale

Answer 7

A hymn tune, associated with German Protestantism. Intended for congregational singing, therefore moved mostly by step or narrow leap. Used as the basis for many genres including the cantata. Sometimes adapted from Gregorian chants as well as from other popular sources. Harmonized for four voices (SATB) by composers including J.S. Bach.

Question 8

Canon

Answer 8

From the Greek work for “law”. Strict type of polyphonic composition in which each voice enters in succession with the same melody. Canons in which each voice enters in the same pitch (for example, at the unison) are referred to as rounds.

Question 9

Cantata

Answer 9

A multi-movement choral work. Sacred or secular. For soloists, chorus, and orchestra. Consists of recitatives, arias, ensembles, and choruses.

Question 10

Cantus firmus

Answer 10

Latin for “fixed song”. Borrowed material, often from a Gregorian chant. Serves as structural skeleton for a new polyphonic composition. Originally found in the lowest voice.

Question 11

Castrato

Answer 11

Male soprano or alto voice. Subjected to a surgical procedure before reaching puberty which prevented the voice from changing. Prominent in 17th and 18th century. Generally used in heroic roles.

Question 12

Clavichord

Answer 12

A small rectangular keyboard instrument. Sound is generated by small metal tangents that strike the strings inside the instrument. The application of vibrato to the key produced an expressive sound.

Question 13

Clavier

Answer 13

German word for any keyboard instrument other than the organ.

Question 13

Chamber music

Answer 13

Music for small ensemble (two to ten players). One player per part. Usually performed without conductor.

Question 14

Chromaticism

Answer 14

From the Greek chroma (“color”). Melodies/harmonies that include all the notes available within the octave.

Question 15

Coda

Answer 15

Latin for “tail” (cauda). A concluding section reaffirming the tonic key.

Question 16

Concertino

Answer 16

The small group of solo instruments featured in a concerto grosso of the Baroque era.

Question 17

Concerto grosso

Answer 17

Baroque orchestral work. Usually in three movements (fast-slow-fast). A group of solo instruments is showcased.

Question 18

Cornetto

Answer 18

Ancestor of trumpet. Developed from cow horn, later made of wood. Outdoor instrument.

Question 19

Consort of instruments

Answer 19

Renaissance term for instrumental ensemble. “Whole consort” - all instruments from one family, such as consort of viols. “Broken consort” - mixed combination of instruments.

Question 20

Continuous imitation

Answer 20

A type of polyphony associated with Renaissance style. A motive or theme is passed from one voice to another. The series of entries can be referred to as “points of imitation”. Many motives may receive this treatment within a single work.

Question 21

Countertenor

Answer 21

High male voice with a strong, pure tone. Often heard in performances of early music. Falsetto singing (out of normal male range).

Question 22

Crumhorn

Answer 22

Double-reed wind instrument. Sound produce by blowing into enclosed double reed. Usually J-shaped. Outdoor instrument.

Question 24

Drone

Answer 24

Sustained pitch or long held notes. Provides harmonic support. Common feature in folk music.

Question 24

Development

Answer 24

The second main section in sonata form. Themes from the exposition are manipulated through fragmentation, sequential treatment or changes to orchestration. Modulation and increased harmonic tension. New themes may also be introduced.

Question 25

Double exposition

Answer 25

Used in the first movement of a Classical concerto. Orchestral exposition introduces the principal themes and establishes the tonic key. Solo exposition follows, during which the soloists, supported by the orchestra, restates the first theme and initiates the modulation away from the tonic key.

Question 26

Dulcimer

Answer 26

A popular Medieval strong instrument consisting of a wooden soundbox and gut strings. Strings are stuck with small hammer/mallets. Generally played indoors.

Question 27

Estampie

Answer 27

One of the earliest Medieval dances. Stately character. Involves elaborate body movements. Dance by couples.

Question 28

Figured bass

Answer 28

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.

Question 29

Exposition

Answer 29

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 minor.

Question 30

Fugal texture

Answer 30

A contrapuntal composition based on principle of imitation. A theme (referred to as the subject) pervades the entire work, entering in one voice and then another.

Question 31

Gradual

Answer 31

the fourth section of the Mass Proper (variable texts); texts of the gradual derive primarily from the Psalms (poetic texts from Old Testament); chants sung during this portion of the Mass were generally melismatic and performed in a responsorial style.

Question 32

Guitarra moresca

Answer 32

Guitar of Moorish (North African) origins. Strummed.

Question 33

Gravicembalo

Answer 33

Italian term for harpsichord.

Question 34

Ground bass

Answer 34

Baroque compositional device. Consists of the continuous repetition of a short melody over which free variations occur. Often it provided the basic structure of a Baroque aria.

Question 35

Gregorian chant

Answer 35

a form of plainchant, modal, monophonic melodies with unmeasured rhythm; named after Pope Gregory the Great (ca 590-604) who is associated with organizing the chant repertory and standardizing liturgy; sacred, liturgical music of Roman Catholic Church; Latin texts.

Question 36

Haut

Answer 36

French for "high" indicating a high level of volume (loud). Medieval designation for outdoor instruments. Includes cornetto, crumhorn, sackbut, shawm.

Question 37

Harpsichord

Answer 37

A keyboard instrument. Sound is generated by small quills inside of the instrument that pluck the stings. Often had two manuals (set of keys).

Question 38

Heterophonic texture

Answer 38

Simultaneous variation; the same melody is played in more than one way at the same time. Involves two or more voices, one playing the original melody while another plays an ornamented or embellished version. Added voices are often improvised.

Question 39

Homorhythmic texture

Answer 39

In a multi-voiced composition, all voices sing in the same rhythm. A chordal texture (homophonic) results. Coupled with syllabic text setting, this technique delivers the text clearly. The listener's attention is drawn to the top voice.

Question 40

Hornpipe

Answer 40

Lively dance in triple meter. English origin. Originally associated with sailors.

Question 41

Lute

Answer 41

Ancestor of guitar. Middle-Easter origin. Plucked, fretted, string instrument. Frequently used to accompany singers.

Question 42

Mass

Answer 42

The most important service in the liturgy of the Roman Catholic Church. Includes prayers, readings from the Bible, and re-enactment of the Last Supper, referred to D the Eucharist, or Holy Communion.

Question 43

Mass Ordinary

Answer 43

Unchanging prayers of the Mass. The components are: Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei.

Question 44

Mass Proper

Answer 44

Changing, variable prayers of the Mass. Linked to Church calendar. Sections include: Gradual, Introit, Communion, Alleluia.

Question 45

Medieval pipe

Answer 45

Ancestor of flute. Wind instrument with three holes. Blown through mouthpiece.

Question 46

Melismatic text setting

Answer 46

many notes for each syllable of text; the most elaborate and florid form of text setting.

Question 47

Modal counterpoint

Answer 47

Polyphonic texture based on modes. Counterpoint - from Latin punctus contra punctum ("note against note").

Question 48

Modes

Answer 48

scale patterns distinguished by their own unique order of tones and semitones; used in the music of Ancient Greek; served as the source for melodies in the Middle Ages and Renaissance; generally referred to by their original Greek names (Dorian, Phrygian, ect.)

Question 49

Monody

Answer 49

Literally "one song". A new store which developed in the late 16th century. A new single vocal melody with simple instrumental accompaniment. Allows for great day expression of emotion and clarity of text.

Question 49

Modified sonata form

Answer 49

An abbreviated sonata form. Contains an Exposition and Recapitulation, but no Development. Developed by composers in the 18th century.

Question 51

Monophonic chanson

Answer 51

French for song. Grew from troubadour/trouvière tradition. Flourished in the 12th and 13th centuries. Sometimes performed with improvised accompaniment.

Question 52

Monophonic texture

Answer 52

"mono" means one; music consisting of a single line of melody (referred to as a "voice"); no harmony or accompaniment.

Question 52

Monothematic exposition

Answer 52

In sonata form: Theme 2 is a transposed version of Theme 1. Frequently employed by Haydn.

Question 53

Motet

Answer 53

Vocal composition with or without instrumental accompaniment. Can be sacred or secular. Usually anonymous and often polytextual in the 13th century.

Question 55

Nakers

Answer 55

Medieval percussion instruments. Middle-Eastern origin. Played in pairs. Resemble small kettledrums.

Question 56

Neumes

Answer 56

the earliest form of notation in Western art music; small notational symbols-originally indicating the direction of the melodic line; later in the shape of squares or diamonds positioned on a staff and representing specific pitches.

Question 56

Neumatic text setting

Answer 56

several notes (two to four) for each syllable of text.

Question 57

Opera

Answer 57

Italian for "work". Drama that is sung. Combines vocal and instrumental music with drama (staging and acting), visual arts (costumes and scenery), and often dance. Created in Italy around 1600 and remains one of the key popular forms of musical entertainment. Components include recitative, arias, ensembles, and choruses.

Question 59

Opera buffa

Answer 59

Italian comic opera. Sing throughout with no spoken dialogue. Featured down-to-earth characters, fast-paced plots, farce, and sexual innuendo.

Question 60

Opera seria

Answer 60

Italian for "serious opera". Sing throughout. Generally based on historical or mythological subjects.

Question 61

Organum

Answer 61

A general term for polyphony based on plainchant. Vocal music in which new medicines are added to an existing Gregorian chant. Earlier maintained primary intervals between voices. Later featured more independent melodic parts, and a greater variety of intervals.

Question 62

Ostinato

Answer 62

Italian for "obstinate" or "persistent". A rhythmic or melodic pattern repeated for an extended period.

Question 62

Oratorio

Answer 62

Large scale choral work. Generally based on sacred subjects. Performing forces include vocal soloists, chorus, and orchestra. Performed in a concert setting without scenery, costumes, or acting.

Question 63

Piano quintet

Answer 63

Chamber ensemble consisting of piano and four other instruments. Most common grouping is piano with string quartet, though other combinations are possible. Also refers to a composition written for five instruments.

Question 64

Polyphonic texture

Answer 64

"poly" means many; two or more independent melodic lines (or voices) heard simultaneously; referred to as contrapuntal texture.

Question 65

Plainchant

Answer 65

sometimes called "plainsong"; roots in Judaic tradition; monophonic texture; modal melodies; relatively melodic range; unmeasured prose rhythm.

Question 66

Polytextual Motet

Answer 66

Two or more texts heard simultaneously. As a result, the words can sometimes be hard to distinguish. Characteristic feature of 13th-century motet.

Question 67

Portative organ

Answer 67

Medieval portable keyboard instrument. Small keyboard activates high-pitched pipes. Sound generated through pumping bellows. Sometimes called organetto.

Question 68

Psaltery

Answer 68

Popular Medieval string instrument. Consisted of a trapezoidal wooden soundbox with gut strings. Strings are plucked with fingers or with a plectrum. Generally played indoors.

Question 69

Positive organ

Answer 69

Originated in 14th century, but remained popular through the Renaissance. Slightly larger than pory stove organ, but still portable, like a piece of furniture. Had one keyboard, no pedals, and small pipes.

Question 70

Rebec

Answer 70

Medieval indoor instrument. Pear shaped, bowed, string instrument. Has three strings. Played on the arm or under the chin.

Question 71

Recitativo accompagnato

Answer 71

Italian for "accompanied recitative". A speech-like, declamatory style of singing. Supported by instrumental ensemble or orchestra. Allows for greater connection with the text. Employed in operas, oratorios and cantatas.

Question 72

Recitativo secco

Answer 72

Italian for "dry recitative". A speech-like, declamatory style of singing. Supported only by continuo. Employed in opera, oratorio and cantata.

Question 73

Recorder

Answer 73

Medieval indoor instrument. End-blown wind instrument; came in different lengths. Had finger holes. Remained popular into Baroque period.

Question 74

Regal

Answer 74

14th century portable organ. Ancestor of modern harmonium. Had small keyboard and reeds instead of pipes. Like the ports give organ, it could be carried by means of strap around the neck allowing the player to pump the bellows with the left hand while playing on the keyboard with the right hand.

Question 75

Responsorial singing

Answer 75

a method do performance; solo voice alternates with chorus; solo passages referred to as "verse"; choral passages referred to as "respond".

Question 76

Ripieno

Answer 76

Italian for "full" or "complete". Also called tutti. A term used to denote the full orchestra in a Baroque concerto.

Question 76

Recapitulation

Answer 76

The third main section in sonata form. First and second themes are both restated in the tonic.

Question 78

Ritornello

Answer 78

A recurring theme that functions as a refrain in Baroque compositions. Can serve as introduction and postlude in arias or choruses or as a unifying thread in concertos.

Question 79

Rounded binary form

Answer 79

Two-part musical form: A :||: B + A :|| Material from Section A returns within Section B.

Question 80

Ritornello form

Answer 80

A structure often employed in the fire and third movements of the Baroque concerto. The opening passage (ritornello) is restated throughout the movement.

Question 81

Rondo form

Answer 81

ABACA or ABACABA (or variants thereof). Section A must be heard at least three times in the tonic key. Sections B and C offer contrasts in key and thematic material.

Question 82

Sackbut

Answer 82

Ancestor of the trombone. From the Old French, "pull-push". Outdoor instrument.

Question 83

Shawm

Answer 83

Ancestor of oboe. Middle-Eastern origin. Double reed instrument. Produces shrill nasal tone.

Question 85

Stile concitato

Answer 85

Italian for "agitated style". Term used by Monteverdi. Expresses the "hidden tremors of the soul". Achieved through use of tremolo and pizzicato (instrumental) and ornamentation and rapid repeated notes (vocal).

Question 87

Sonata cycle

Answer 87

A multi-movement structure. Emerged in the Classical era. Occurs in symphony, sonata, and simplicity.

Question 88

Sonata form

Answer 88

A formal structure often used in first movement of a sonata cycle. Consists of Exposition, Development, and Recapitulation.

Question 89

Stile rappresentativo

Answer 89

Italian for "representational style". The term used by the Florentine Camerata musicians to describe the monodic style. A recitative-like melody moving freely over a foundation of simple chords. The music was meant to heighten the emotional when owner of the text.

Question 89

String quartet

Answer 89

The most popular chamber ensemble of the Classical era. Two violins, viola, and cello. As a genre, also refers to a composition written for this ensemble, generally in four movements: fast-slow-medium-fast.

Question 90

Syllabic text setting

Answer 90

one note for each syllable of text; text can be heard very clearly.

Question 90

Strophic

Answer 90

A song structure where the same music is performed for each verse of the poem. As a result, little connection can be achieved between the words and music.

Question 91

Tabor

Answer 91

Medieval percussion instrument. Large, cylindrical drum.

Question 92

Tambourine

Answer 92

Percussion instrument. Wooden frame with small metal disks inserted. May or may not have a drum skin. Played by striking o shaking.

Question 93

Tenor

Answer 93

From Latin tenere, "to hold". In a polyphonic composition from the Middle Ages, it refers to the voice that contains the cantus firmus (borrowed material).

Question 94

Ternary form

Answer 94

Three-part form (ABA). Section B generally creates contrast in key and/or material. Often used in Baroque arias.

Question 95

Terraced dynamics

Answer 95

Baroque practice of changing dynamics abruptly. Results in stark contrast rather than gradual change.

Question 96

Terzetto

Answer 96

Italian term for "trio". A musical number for three voices (characters).

Question 97

Theme and variations

Answer 97

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 sonata cycle.

Question 98

Troubadour

Answer 98

Aristocratic port-musicians. Composed and performed original poems and songs. Lived worked in southern France.

Question 99

Trouser role

Answer 99

A male character performed by a soprano, mezzo soprano, or contralto. Roles originally created for male castrati are frequently turned into trouser roles in modern performances.

Question 100

Trouvière

Answer 100

Reach for finder or inventor. Aristocratic poet-musicians. Composed and performed original poems and songs. Sang of courtly love. Lived and worked in northern France.

Question 101

Tremolo

Answer 101

A rapid alternation between two notes or between notes of chord.

Question 102

Vielle

Answer 102

Medieval ancestor of the violin. The body of the instrument had a figure-eight shape. Played with a bow. Generally played indoors.

Question 104

Viols

Answer 104

Renaissance family of bowed string instruments. Varied in size from small to large.

Question 104

Viola da gamba

Answer 104

An instrument in the viol family. Had six strings. Held between the legs when played, like a modern cello. Fretted like a guitar.

Question 106

Virginal

Answer 106

In England, a generic term used for all plucked keyboard instruments. Smaller and lighter than the harpsichord, simpler in construction, less expensive. Italian and Flemish virginals came in many shapes; English versions were always rectangular. Could be placed on a tabletop or held in the player's lap.

Question 108

Word painting

Answer 108

Musical pictorialization. In vocal works, the music reflects the meaning do the text. Employed in madrigals, operas, oratorios.

Question 109

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Answer 109

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