Vocabulary U2 Flashcards
(39 cards)
program music
(characteristic piece; program symphony)
instrumental music that tells a story or depicts an extramusical idea, as illustrated in the program or title.
characteristic piece: a type of program music that generally depicts a mood/event/personality, usually illustrated by the title.
e.g. Chopin, Nocturne in Db Major, op. 27, no. 2
e.g. R. Schumann, Carneval, “Florestan”
program symphony: a multi-movement symphony that either explicitly follows a narrative (Berlioz) or describes a sequence of events/moods (Beethoven)
e.g. Berlioz, Symphonie fantastique
e.g. Beethoven, Symphony no. 6 (“Pastoral”)
Darkness to Light (per aspera ad astra)
the musical depiction of transition from a state of tribulation and difficulty to celebration and brightness.
e.g. Beethoven, Symphony No. 5: the S-S-S-L is gradually overcome/defeated; C minor symphony ends in C major
idée fixe
a motive or theme that recurs throughout a multimovement work, which serves to unify the piece. the idee fixe often undergoes change throughout
e.g. the “beloved theme” in Berlioz, Symphonie fantastique
e.g. the SSSL motive in Beethoven, Symphony no. 5
scherzo
a short and humorous piece, usually included as a movement within a symphony or sonata.
e.g. Beethoven, Symphony no. 5, mvt. 3
e.g. C. Schumann, Scherzo
anxiety of influence
the idea that composers (especially after Beethoven) had to make a conscious choice of how their compositions relate to those of a previous influential composer. in order to fight against the influence of Beethoven and gain recognition, composers could either:
a) outdo him in one of his own techniques
e.g. C. Schumann, Scherzo: the use of a unifying rhythmic motive
b) turn to genres or styles that he avoided writing in
e.g. Chopin, Nocturne in Db Major, op. 27, no. 2
c) engage in dialogue with his styles/techniques or push back against them
e.g. Berlioz, Symphonie fantastique: subversion of Darkness to Light
Lied
(strophic; modified strophic; through-composed; other)
German for “song”. In addition, Lied signifies a simple setting of a German poem on a topic such as love, the infinite/nature, or the supernatural.
Strophic: e.g. Brahms, “Sonntag”
Modified strophic: e.g. R. Schumann, “Und wuβtens die Blumen”
Through-composed: e.g. Schubert, “Erlkonig”
Other: e.g. Mendelssohn-Hensel, “Bergeslust”
song cycle
a set of Lieder often performed as a multimovement work, and usually unified through a common theme or poet.
e.g. R. Schumann, Dichterliebe
nocturne
a short characteristic piano piece designed to convey the specific mood(s) of nighttime. characterized by an ornamented melody on top of an ostinato accompaniment.
e.g. Chopin, Nocturne in Db Major, op. 27, no. 2
Unterhaltungsmusik
music for amateur musicians to play at home.
e.g. Brahms, “Sonntag”
etude
a pedagogical piece designed to emphasize a challenging musical technique.
e.g. Liszt, Trois Etudes de Concert, no. 3 (“Un sospiro”)
Horizon of Expectations
The collection of knowledge that an audience is expected to have by a composer. The Horizon of Expectations informs what compositional choices the composer makes, especially in how they adhere to or subvert the expectations of their intended audience.
e.g. Handel, Giulio Caesare (and other operas based on stories from classical antiquity) are composed with the Horizon of Expectations that the audience knows the story already
opera seria
Italian opera with a plot based on Greek or Roman mythology and ending happily though the topic is serious. These operas were intended to educate/improve the audience as well as to entertain.
e.g. Handel, Giulio Cesare
e.g. Scarlatti, La Griselda
e.g. Hasse, Cleofide
intermezzo
A short Italian comic opera that was generally performed between acts of an opera seria or play.
e.g. Pergolesi, La Serva Padrona
ground
A repeating pitch pattern or melody in the bass of an instrumental or vocal composition.
e.g. Purcell, Dido and Aeneas, “When I am Laid in Earth”
ritornello form
(Vordersatz; fortspinnung; Epilog)
A form used in the first movements of instrumental concertos and da Capo/dal Segno arias. The form consists of alternating ritornelli (instrumental or ensemble segments) and episodes (soloist segments). The beginning ritornello consists of three segments, which are used in varying combinations in the remaining ritornelli: the Vordersatz (opening cadential gesture), the fortspinnung (one or more sequences), and the Epilog (concluding cadence).
e.g. Vivaldi, Concerto for Violin and Orchestra in A minor, Mvt. 1
e.g. Handel, Messiah, “The Trumpet Shall Sound”
reflexive music
Music in a dramatic work that is heard by both the audience and the characters on stage.
e.g. Handel, Giulio Cesare, “V’Adoro pupille”
suite
In the Baroque era, a set of dance pieces linked together.
e.g. Jacquet de la Guerre, Suite no. 3 in A minor
trio sonata
(sonata da chiesa; sonata da camera)
A multi-movement work for two solo instruments and basso continuo (usually a chordal/nonsustained and sustained instrument).
Sonata da chiesa: A trio sonata suitable for the church, which uses organ for basso continuo and has movements named after tempo markings
Sonata da camera: A secular trio sonata which has movements named after dances and uses lute or harp for basso continuo
e.g. Corelli, Trio Sonata in D major (sonata da chiesa)
concerto
(solo concerto; concerto grosso)
A genre of (instrumental) music that contrasts a soloist (or multiple in the case of a concerto grosso) with the orchestral accompaniment. In the Baroque era, concertos were generally 3 movements with the first movement using ritornello form.
e.g. Vivaldi, Concerto in A minor for Violin and Orchestra (solo concerto)
e.g. Bach, Brandenburg Concerto no. 5
cantata (chorale cantata)
A type of Lutheran church music in the 18th century that uses text from the Bible as well as poetry. The music is set as recitatives, arias, chorales, and choruses. In a chorale cantata, chorales are used and could be the cantus firmus.
e.g. Bach, Cantata no. 62, Nun Komm der Heiden Heiland
Academy
A performance for the composer’s benefit.
e.g. Beethoven, Symphony no. 5 in C minor was premiered at an Academy in 1808
taste vs. genius
Compare to beautiful vs. sublime
Taste: a cultivated sense of what is valuable in music. Tasteful works adhered to forms that were balanced and “beautiful,” and this style of composition can be learned.
e.g. Haydn, Symphony no. 88 in G major
Genius: an inherent quality in a work that expresses some sublime concept through the music rather than prioritizing the forms and beauty of the music itself.
e.g. Beethoven, Symphony no. 5 in C minor
sonata form
(exposition; development; recapitulation)
A form used in the first movements of sonatas, chamber works, and symphonies. Can be considered an expanded binary form or tertiary form with an exposition, development, and recapitulation. The exposition and recapitulation utilize two contrasting themes, and there is a general harmonic structure.
e.g. Beethoven, Symphony no. 5 in C minor
e.g. Mozart, Symphony no. 41 in C major
e.g. Beethoven, Piano Sonata in C Minor
dramma giocoso
A type of opera incorporating comedic and serious elements.
e.g. Mozart, Don Giovanni
