Terms/Names Flashcards
(110 cards)
1
Q
Guido of Arezzo
A
music theorist of the Medieval era. He is regarded as the inventor of modern musical notation (staff notation) that replaced neumatic notation and the use of the “ut–re–mi–fa–so–la” (do–re–mi–fa–so–la) mnemonic (solmization). (Middle Ages) (1000AD)
2
Q
Church modes
A
A Gregorian mode (or church mode) is one of the systems of pitch organization used to describe Gregorian chant. (Middle Ages)
3
Q
Solmization
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System of designating musical notes by syllable names. Thought to be invented by Guido of Arezzo (Middle Ages)
4
Q
hexachord
A
The hexachord as a mnemonic device was first described by Guido of Arezzo. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ut, re, mi, fa, sol, and la, with the semitone between mi and fa. (Middle Ages) Later redefined for 20th century use by Allen Forte.
5
Q
Mass, Proper
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part of the Christian liturgy that varies according to the date, either representing an observance within the Liturgical Year, or of a particular saint or significant event. (Middle Ages-present)
6
Q
Mass, Ordinary
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Part of the Christian liturgy that remains fairly constant throughout the year. (Middle Ages-Present)
7
Q
Neume
A
A neume is the basic element of Western and Eastern systems of musical notation prior to the invention of five-line staff notation. It was placed above a syllable to indicate pitch hight (Middle Ages)
8
Q
Sequence
A
the immediate restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch (Baroque-Present)
9
Q
Hymn
A
type of song, usually religious, specifically written for the purpose of praise, adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification. The word hymn derives from Greek ὕμνος (hymnos), which means “a song of praise.” (Middle Ages)
10
Q
Requiem Mass
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Mass celebrated for the repose of the soul or souls of one or more deceased persons. Also used as a basis for many non-religious works. (Middle Ages-present)
11
Q
Dies irae
A
(Day of Wrath) is a thirteenth century Latin hymn attributed to either Thomas of Celano of the Franciscan Order (1200 – c. 1265)[1] or to Latino Malabranca Orsini (+1294), lector at the Dominican studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas, Angelicum in Rome. Later Became became a sequence in the liturgy of the Requiem Mass. (Middle Ages-Present)
12
Q
Troubadour & trouvères
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Performers/composers of the Middle Ages performing for the aristocratic part of society.
13
Q
Organum
A
a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages.
14
Q
Rhythmic Mode
A
set patterns of long and short durations (or rhythms). The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a “ligature”, and by the position of the ligature relative to other ligatures. (Middle Ages)
15
Q
Magnus Liber organi
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Magnus Liber Organi (Latin for “Great Book of Organum”) is a compilation of the medieval music known as organum.
16
Q
Motet
A
Word that is applied to a number of highly varied secular choral musical compositions. (Common during middle ages and renaissance and baroque with Bach…but used even today.
17
Q
Ars nova
A
musical style which flourished in France and the Burgundian Low Countries in the Late Middle Ages: more particularly, in the period between the preparation of the Roman de Fauvel (1310 – 1314) and the death of the composer Guillaume de Machaut in 1377. Generally thought of as polyphonic music of the 14th Century.
18
Q
Isorhythm
A
a musical technique that arranges a fixed pattern of pitches with a repeating rhythmic pattern. in works by modern composers such as Alban Berg, Olivier Messiaen, John Cage, and George Crumb (Middle Ages)
19
Q
Formes fixes: Ballade, Virelai, Rondeau
A
the three fourteenth- and fifteenth-centuries French poetic forms: the ballade, rondeau and virelai. Each was also a musical form, generally a chanson, and all consisted of a complex pattern of repetition of verses and a refrain with musical content in two main sections. Machaut wrote a number of them. (Middle Ages)
20
Q
Caccia
A
one of the principal Italian musical forms of the 14th century. It consisted of two voices in strict canon at the unison (i.e., in strict melodic imitation at the same pitch), and often of a non-canonic third part, composed of long notes that underlay the canonic voices, followed by a ritornello. (Middle Age)
21
Q
Musica Ficta
A
Renaissance - term referring to altering a pitch by a half step in order to enhance color. This differed from the musica recta described by guido de Arezzo’s hexachord system.
22
Q
Cantus firmus
A
a cantus firmus (“fixed song”) is a pre-existing melody (plainchant normally) forming the basis of a polyphonic composition. (Middle Ages)
23
Q
L’homme armé
A
a French secular song from the time of the Renaissance. It was the most popular tune used for musical settings of the Ordinary of the Mass: over 40 separate compositions entitled Missa L’homme armé survive from the period.
24
Q
Parody mass
A
Mass in which movements are based on a single secular polyphonic model such as a motet or madrigal. all voices may be used and reworked. Josquin des Prez (Renaissance)
25
Humanism
A cultural and intellectual movement of the Renaissance that emphasized secular concerns and sought to revive the culture of ancient Greece and Rome.
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Petrucci
an Italian printer. A total of 61 music publications by Petrucci are known. By far the most fruitful period of his life for publishing music was the period between 1501 and 1509, during which he published the three volumes of chansons (the Odhecaton being the first), 16 books of masses, five books of motets, 11 anthologies of frottole and six books of music for lute. The last publication is dated 1520. (Renaissance)
27
Chanson
In its typical specialized usage, the word chanson refers to a secular polyphonic French song of the late Middle Ages and Renaissance. (of popular origin or newly composed) Early chansons tended to be in one of the formes fixes—ballade, rondeau or virelai (Middle Ages/Renaissance)
28
K. (Köchel)
The Köchel-Verzeichnis is a complete, chronological catalogue of compositions by Wolfgang Amadeus Mozart (1756–91) which was originally created by Ludwig von Köchel. It is abbreviated K. or KV. For example, Mozart's Requiem in D minor was, according to Köchel's counting, the 626th piece Mozart composed. (Later Romantic/Post-Romantic)
29
Musical texture
Texture describes the complexity of a musical composition. The word texture is used because adding different layers or elements to music creates a musical “tapestry.” Texture can be simple or elaborate, and is described with the following terms:
Monophonic: A single line of melody.
Biphonic: Two different, simultaneous melodies.
Heterophonic: A slightly elaborated melody with one or two voices; some intervals.
Homophonic: A single line of melody with chords or accompaniment (see concerto).
Polyphonic: A composition with many voices and harmonies.
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critical edition of music
an edition that most closely represents the composer's original score
31
divertimento
from the Italian divertire — to amuse) is a musical genre, with most of its examples from the 18th century. The mood of the divertimento is most often lighthearted (as a result of being played at social functions) and it is generally composed for a small ensemble. (high baroque/classical)
32
cantabile-cabaletta
the two-part musical form particularly favored for arias in 19th century Italian opera. Cantabile - songlike section and cabaletta is the animated section
33
“The Mighty Five”
The Five, also known as The Mighty Handful, The Mighty Five, or The Mighty Coterie (Russian: Могучая кучка, Moguchaya kuchka), refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856–1870: Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. The group had the aim of producing a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. (Later Romantic, Post-Romantic)
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“Les six”
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Les Six is a name, inspired by Mily Balakirev's The Five, given in 1920 by critic Henri Collet in an article titled "Les cinq Russes, les six Français et M. Satie" (Comoedia, 16 January 1920) to a group of six French composers working in Montparnasse. Their music is often seen as a reaction against the musical style of Richard Wagner and the impressionist music of Claude Debussy and Maurice Ravel. Georges Auric (1899–1983)
Louis Durey (1888–1979)
Arthur Honegger (1892–1955)
Darius Milhaud (1892–1974)
Francis Poulenc (1899–1963)
Germaine Tailleferre (1892–1983)
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35
Madrigal
secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six.
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Madrigalism
Renaissance practice of using "word painting" (altering mood or tone) in madrigals, a musical form where the accompaniment is designed to highlight the poetic verses. (Renaissance/Early Baroque)
37
Tablature
a form of musical notation indicating instrument fingering rather than musical pitches. (Originated in Middle Age, but is still used today.
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Pavane and galliard
Two dance forms that were generally paired together. Pavane (slow, stately, in duple meter) then Galliard which was a lively triple meter dance (Renaissance into the Baroque)
39
Ricercare
(type of prelude) a type of late Renaissance and mostly early Baroque instrumental composition. Has been used many ways, but it is typically thought of as an early fugue using long note lengths.
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Fitzwilliam Virginal Book
a primary source of keyboard music from the late Renaissance and very early Baroque. It takes its name from Viscount Fitzwilliam who bequeathed this manuscript collection to Cambridge University in 1816.
41
Prima pratica
refers to early Baroque music which looks more to the style of Palestrina, or the style codified by Gioseffo Zarlino, than to more "modern" styles. (Early Baroque)
42
Seconda pratica
literally "second practice", is the counterpart to prima pratica and is more commonly referred to as Stile moderno. The term "Seconda prattica" was coined by Claudio Monteverdi to distance his music from that of e.g. Giovanni Pierluigi da Palestrina and Gioseffo Zarlino and describes early music of the Baroque period which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the prima prattica. (Early Baroque)
43
Basso continuo
Figured bass, or thoroughbass, musical notation used to indicate intervals, chords, and non-chord tones, in relation to a bass note. The performer improvised a part based on this notation.
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Basso ostinato
Ground bass or basso ostinato (obstinate bass) is a type of variation form in which a bassline, or harmonic pattern (see Chaconne; also common in Elizabethan England as Grounde) is repeated as the basis of a piece underneath variations. (Early and Middle Baroque)
45
Chaconne
Had a repeated short harmonic progression, often involving a fairly short repetitive bass-line (ground bass). Triple meter dance.
46
Passacaglia
a musical form that originated in early seventeenth-century Spain and is still used by contemporary composers. It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple metre. (Originated Early Baroque)
47
Concertato
a term in early Baroque music referring to either a genre or a style of music in which groups of instruments or voices share a melody, usually in alternation, and almost always over a basso continuo. The term derives from Italian concerto which means "playing together" —hence concertato means "in the style of a concerto." (Renaissance/Early Baroque)
48
Cantata
Work for one or more voices with instrumental accompaniment. The meaning of the term changed from a secular form to later include church cantatas. (Throughout barque)
49
Oratorio
a large musical composition including an orchestra, a choir, and soloists. Like an opera, but usually sacred in subject matter. (Throughout entire Baroque Period)
50
Canzona
A 16th century instrumental chanson. Eventually become a piece consisting of multiple sections/tempos. Evolved to become the sonata da Chiesa/camera. (Renaissance into early baroque)
51
Toccata
a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (Renaissance and Baroque)
52
Sonata da chiesa
‘Church sonata’: an instrumental work of the Baroque period, usually in four movements, and scored for one or more melody instruments and continuo. Originally thought to be appropriate as church music.(Early and Middle Baroque)
53
Sonata da camera
Chamber sonata. Baroque type of sonata, the term originally indicating place (i.e. court, chamber), rather than type, of perf. Had several dance‐like movts. for 2 or 3 str. players with kbd. acc. Corelli standardized the form as a suite consisting of introduction, followed by 3 or 4 dances. (Early and Middle Baroque)
54
Trio sonata
a sonata of the Baroque period having two upper parts for like instruments (as violins or trumpets) and a figured bass part played by a bass instrument (as bass viol or cello) with the indicated harmony realized by a keyboard instrument (Throughout Baroque)
55
Libretto
text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. (Renaissance - present)
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Recitativo secco
(“dry recitative”) is sung with a free rhythm dictated by the accents of the words. Accompaniment, usually by continuo (cello and harpsichord), is simple and chordal. The melody approximates speech by using only a few pitches. (Renaissance into the Romanic)
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Rectativo accompagnato
Accompanied recitative, known as accompagnato or stromentato, employs the orchestra as an accompanying body. As a result, it is less improvisational and declamatory than recitativo secco, and more song-like. (High Baroque, Classical)
58
Da capo aria
a musical form that was prevalent in the Baroque era. It is sung by a soloist with the accompaniment of instruments, often a small orchestra. The da capo aria is very common in the musical genres of opera and oratorio. In ternary form. (High Baroque)
59
Tragédie lyrique
Tragédie en musique (Musical tragedy), also known as tragédie lyrique (French lyric tragedy), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century. Operas in this genre are usually based on stories from Classical mythology or the Italian romantic epics of Tasso and Ariosto. The stories may not have a tragic ending - in fact, they generally don't - but the atmosphere must be noble and elevated. (Early and Middle Baroque through high baroque)
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Singspiel
spoken play interspersed with songs, choruses, and instrumental music. (Early Baroque through Classical)
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Lutheran chorale
Chorales and hymn used by the Lutheran Church after the reformation. (Renaissance) Composers such as Bach used the chorales in their own music.
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Chorale prelude
In music, a chorale prelude is a short liturgical composition for organ using a chorale (a simple tune, often derived from Gregorian chant) as its basis. It was a predominant style of the German Baroque era and reached its culmination in the works of J.S. Bach, who wrote 46 (with a 47th unfinished) examples of the form in his Orgelbüchlein. (Throughout Baroque)
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Chorale cantata
In music, a chorale cantata is a sacred composition for voices and instruments, principally from the German Baroque era, in which the organizing principle is the words and music to a chorale. Usually a chorale cantata is in multiple movements or parts. Most chorale cantatas were written between approximately 1650 and 1750. By far the most famous are by J. S. Bach, especially the cantatas composed in his second annual cycle of cantatas, started in Leipzig in 1724. (Middle Baroque to Later Baroque)
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Scordatura
(literally Italian for "mistuning"), also called cross-tuning, is an alternative tuning used for the open strings of a string instrument. When used in standard music notation the notes indicated in the score would represent the finger position as if played in regular tuning, while the actual pitch is altered. (Used in Baroque and Classical but has been used some through the Romantic and even into contemporary music.)
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Temperament
a system of tuning which slightly compromises the pure intervals of just intonation in order to meet other requirements of the system. Most instruments in modern Western music are tuned in the equal temperament system. Well became more common in the baroque w/keyboard instruments. Equal has been prefer by plucked instruments since Renaissance)
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Suite/partita
Partita was originally the name for a single-instrumental piece of music (16th and 17th centuries), but Johann Kuhnau (Thomaskantor - 1722, followed by Bach) and later German composers (notably Johann Sebastian Bach) used it for collections of musical pieces, as a synonym for suite. (High Baroque)
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Concerto grosso
a form of baroque music in which the musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno or concerto grosso). (High Baroque)
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Ripieno
1. the larger of the two ensembles in the concerto grosso. 2. the notes added when realizing the figured bass of a basso continuo. (High Baroque)
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Ritornello
(Italian; "little return") is a recurring passage in Baroque music for orchestra or chorus. (High Baroque)
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French overture
The French overture is a musical form widely used in the Baroque period. Its basic formal division is into two parts, which are usually enclosed by double bars and repeat signs. They are complementary in styles (slow in dotted rhythms and fast in fugal style) (High Baroque)
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Style galant
Galant was a term referring to a style, principally occurring in the third quarter of the 18th century, which featured a return to classical simplicity after the complexity of the late Baroque era. This meant (in some implementations) simpler music, with less ornamentation, decreased use of polyphony (Classical)
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Empfindsamer Stil
(literally sensitive style) is a style of musical composition developed in 18th century Germany, intended to express "true and natural" feelings, and featuring sudden contrasts of mood. It was developed as a contrast to the Baroque Affektenlehre (lit. The Doctrine of Affections), in which a composition (or movement) would have the same affect, or emotion, throughout. (Classical)
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Opera seria
an Italian musical term which refers to the noble and "serious" style of Italian opera that predominated in Europe from the 1710s to c. 1770. (High Baroque in Classical)
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Opera buffa
a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as "commedia in musica", "commedia per musica", "dramma bernesco", "dramma comico", "divertimento giocoso" (High Baroque into Classical)
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Ballad opera
18th century english comic play with songs in which new texts are set to familiar tunes.. (High Baroque into the Romantic)
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Sturm und Drang
A style of composition that communicates emotions of stress, fear, horror, anxiety, etc. proto-Romantic movement in German literature and music taking place from the late 1760s to the early 1780s (Classical)
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Mannheim (school?)
refers to both the orchestral techniques pioneered by the court orchestra of Mannheim in the latter half of the 18th century as well as the group of composers who wrote such music for the orchestra of Mannheim and others.
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Lorenzo da Ponte
a Venetian opera librettist and poet. He wrote the librettos for 28 operas by 11 composers, including three of Mozart's greatest operas, Don Giovanni, The Marriage of Figaro and Così fan tutte. (Classical)
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Program music
a type of art music that attempts to musically render an extra-musical narrative.
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Idée fixe
( French: “fixed idea”) in music and literature, a recurring theme or character trait that serves as the structural foundation of a work. Traceable to Berlioz's Symphony Fantastic (Early Romantic)
81
Symphonic poem
or tone poem is a piece of orchestral music in a single continuous section (a movement) in which the content of a poem, a story or novel, a painting, a landscape or another (non-musical) source is illustrated or evoked. The term was first applied by Hungarian composer Franz Liszt to his 13 works in this vein. (Began in Early Romantic but have been used by well known composers into the 20th century)
82
Concert overture
an orchestral composition that resembles an operatic overture in form or character and is intended for concert performance (Early Baroque onward)
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Absolute music
(sometimes abstract music) is music that is not explicitly "about" anything; in contrast to program music, it is non-representational.[1] The idea of absolute music developed in the Classical Period.
84
Mazurka
a Polish folk dance in triple meter, usually at a lively tempo, and with accent on the second or third beat. (Throughout the Romantic period)
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Song cycle
a group of songs designed to be performed in a sequence as a single entity. As a rule, all of the songs are by the same composer and often use words from the same poet or lyricist. (Early Romantic onward)
86
Verismo
(meaning realism) a post-Romantic operatic tradition associated with Italian composers such as Pietro Mascagni, Ruggero Leoncavallo, Umberto Giordano and Giacomo Puccini. They sought to bring the naturalism of influential late 19th-century writers such as Emile Zola and Henrik Ibsen into opera. (Later romantic, post-romantic)
87
Cavatina, Cabaletta
The cavatina is a generally slow, contemplative aria, designed to show off the singer’s breath control, soft singing (piano) and long vocal line (legato) then followed by the the cabaletta which is fast and energetic, designed to show off a singer’s virtuosity and decorative singing (Throughout Romantic)
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Bel Canto
(Italian, "beautiful singing") Smooth, fluent, vocal line that shows off the singer's voice.
89
Melodrama
Beginning in the 18th century, melodrama was a technique of combining spoken recitation with short pieces of accompanying music. In such works, music and spoken dialog typically alternated, although the music was sometimes also used to accompany pantomime. (Early romantic)
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Leitmotif
a musical term referring to a 'short, constantly recurring musical phrase',[1] associated with a particular person, place, or idea. It is closely related to the musical concepts of idée fixe (Early Romantic throught the 20th Century)
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Gesamtkunstwerk
(translated as total work of art,[1] ideal work of art,[2] universal artwork, synthesis of the arts, comprehensive artwork, all-embracing art form or total artwork) is a work of art that makes use of all or many art forms or strives to do so.[3] The term is a German word which has come to be accepted in English as a term in aesthetics. Wagner wanted to unite all art in the theatre (later romantic)
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Impressionism
a movement in European romantic music, mainly in France, which appeared in the late nineteenth century and continued into the beginning of the twentieth century from 1875 to 1925. Evoked moods and sensuous impressions through harmony and tone color. Led by Debussey (Post-Romantic)
93
Expressionism
Arnold Schoenberg, Anton Webern and Alban Berg, the members of the Second Viennese School, wrote pieces described as Expressionist (Schoenberg also made Expressionist paintings). Later composers, such as Ernst Krenek, are often considered as a part of the Expressionist style of music. What distinguished these composers from their contemporaries (such as Maurice Ravel, George Gershwin and Igor Stravinsky) is that Expressionist composers used atonality self-consciously to free their work from traditional tonality. (Early Modern)
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Neoclassicism
a twentieth-century trend, particularly current in the period between the two World Wars, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint.(Early Modern)
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Polytonality
the musical use of more than one key simultaneously. (Early Modern)
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Gebrauchsmusik
essentially meaning “utility music,” for music that exists not only for its own sake, but which was composed for some specific, identifiable purpose. For example music for students or amateurs to perform. Hindemith was known for using the term. (Early Modern)
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Whole-tone scale
a scale lacking half-steps or leading tones. (Post-Romantic onward)
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Octatonic scale
any eight-note musical scale. (Early Modern onward)
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Atonality
music that lacks a tonal center, or key. (Early Modern onward)
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Pitch-sets
collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example. (Early Modern Onward)
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Sprechstimme
approximate speech like intonation of written pitches according to the notated rhythm. (Early Modern)
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Sprechgesang
approximate speech like intonation of written pitches according to the notated rhythm. (Early Modern) are musical terms used to refer to an expressionist vocal technique between singing and speaking. (Early Modern)
103
Dodecaphonic music
Twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874–1951). The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note (Early Modern Onward)
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Serialism
Twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874–1951). The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note (Early Modern Onward)
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Musique concrète
(French pronunciation: [myzik kɔ̃.kʁɛt], meaning "concrete music") is a form of electroacoustic music that is made in part from acousmatic sound. In addition to sounds derived from musical instruments or voices, it may use other sources of sound such as electronic synthesizers or sounds recorded from nature. (Early Modern Onward)
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Indeterminacy
Any part of a musical work is indeterminate if it is chosen by chance, or if its performance is not precisely specified. The former case is called "indeterminacy of composition"; the latter is called "indeterminacy of performance" (Early Modern Onward)
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Open form
A form that consists of modules of music. The order those modules appear in a performance is up to the conductor or performer. This form was developed by Earle Brown. Later 20th century.
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Metric modulation
A precise and controlled method for changing metronomic speeds or the pulse rate. (Later 20th Century)
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Minimalism
a reductive style or school of modern music utilizing only simple sonorities, rhythms, and patterns, with minimal embellishment or orchestrational complexity, and characterized by protracted repetition of figurations, obsessive structural rigor, and often a pulsing, hypnotic effect. (Later 20th Century)
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Post-modernism
As the name suggests, the postmodernist movement formed partly in reaction to modernism. Even so, postmodern music still does not primarily define itself in opposition to modernist music; it often meant combining earlier styles with modern styles. (Post-Modern)
