Wrong Flashcards
0
Q
a passage within a fugue In which neither subject nor answer is present
A
episode
1
Q
provides structure for guided improvisation
A
figured bass
4
Q
solo concerto
A
- popular instrumental genre of the baroque era for soloist and orchestra
- generally in three movements: fast-slow-fast
- frequently employed ritornello form
- intended to showcase the virtuosity of the soloist
6
Q
baroque practice of changing dynamics abruptly
A
terraced dynamics
7
Q
monophonic texture
A
single line of unaccompanied melody
9
Q
emerged in the classic era
A
sonata cycle
10
Q
counterpoint
A
combination of to or more melodic lines
11
Q
a structure employed in the first and third movements of the baroque concerto
A
ritornello form
12
Q
allowed music to be performed “in tune” in all keys
A
equal temperament
13
Q
often performed in aristocratic social settings and at outdoor events
A
serenade
14
Q
the second statement of the main theme in a fugue
A
answer
15
Q
word painting
A
- musical pictorialization
- music mirrors the literal meaning of the words
- achieved through melody, rhythm, or harmony
16
Q
trio
A
contrasting middle section
17
Q
emphasis on symmetry, balance, and proportion
A
classicism
20
Q
polyphonic texture
A
combination of two or more melodic lines, also referred to as counterpoint
23
Q
recitativo accompagnato
A
- Italian for “accompanies recitative”
- a speech-like, declamatory style of singing
- supported by instrumental ensemble or orchestra
- allows for greater connection with the text
- employed in opera, oratorio, and cantata
24
Q
generally in two parts
A
French overture
25
Q
intended to showcase the virtuosity of the soloist
A
solo concerto
26
Q
performed or “realized” by the basso continuo
A
figured bass
27
Q
terraces dynamics
A
- baroque practice of changing dynamics abruptly
* results in stark contrast rather than gradual change
29
Q
multi-movement orchestral genre
A
serenade
31
Q
consists of recitatives, arias, ensembles, and choruses
A
oratorio
32
Q
a highly structured, imitative contrapuntal composition
A
fugue
35
Q
a single theme or subject prevails
A
fugue
36
music mirrors the literal meaning if the words
word painting
37
demonstrates vocal virtuosity and often serves to highlight key words
melisma
38
ternary form
* three-part form (ABA)
* section B generally creates contrast in key and/or material
* often used in baroque arias
39
first part-slow tempo, homophonic textures, features dotted figures
French overture
40
menuet
a stylized dance of French origin developed in the baroque period
43
overlapping subject entries in close succession
stretto
44
in performance the return of section A is generally ornamented
da capo aria
45
menuet and trio
* menuet: a stylized dance of French origin developed in the baroque period
* in triple meter
* graceful, elegant character
* trio: contrasting middle section
* ternary form (ABA)
46
a sustained bass note the provides a rudimentary harmonic foundation
drone
47
second part-fast tempo, imitative texture
French overture
48
graceful, elegant character
menuet and trio
49
music for small ensemble (two to ten players)
chamber music
50
rapidly ascending melody outlining arpeggio
rocket theme
51
a large-scale work for soloists, choruses, and orchestra
oratorio
52
music without extra-musical associations
absolute music
56
generally in three movements: fast-slow-fast
solo concerto
57
ABACA or ABACABA
rondo form
58
from the Portuguese barroco meaning irregularly shaped it misshapen pearl
baroque
60
achieved through melody, rhythm, or harmony
word painting
61
supported by instrumental ensemble or orchestra
recitativo accompagnato
62
homorhythmic texture
* all voices sing the same rhythm
* results in a blocked chordal texture (homophonic)
* delivers the text with clarity and emphasis
65
homophonic texture
single line of melody supported by a harmonic accompaniment
66
oratorio
* a large-scale work for soloists, chorus, and orchestra
* serious subject, generally based on biblical texts
* consists of recitatives, arias, ensembles, and choruses
* developed in the baroque era
68
section A recurs, with alternating sections creating contrast
rondo form
69
are in a contrasting key; generally in the dominant or relative major (exposition)
second theme
70
a stylized dance of French origin developed in the baroque period
menuet
71
a sustained note over which harmonies change
pedal point
73
development
* the second main section in sonata form
* themes from the exposition are manipulated through fragmentation, sequential treatment or changes to orchestra
* modulations and increases harmonic tension
* new themes may also be introduced
74
rocket theme
* rapidly ascending melody outlining arpeggio
| * often used as a dramatic opening motive in classical-era works
75
contrasting middle section
trio
78
demonstrated in the symphony, sonata, or concerto
sonata cycle
80
serious subject, generally based on biblical texts
oratorio
81
pertains to the highest level of excellence
classicism
82
themes from exposition are manipulated through fragmentation, sequential treatment or changes to orchestra
development
83
modulations and increased harmonic tension
development
84
the third main section in sonata form
recapitulation
85
sonata form
* formal structure often used in first movement of sonata cycle
* consists of exposition (statement of two or more contrasting themes), development (departure), and recapitulation (return)
* also know as sonata-allegro form
86
delivers the text with clarity and emphasis
homorhythmic texture
87
short melodic or rhythmic idea
motive
88
basso continuo
* baroque performance practice
* generally involves two performers-one playing the notated bass line, one realizing the harmonies as indicated by the figures bass
* harmonies usually played on harpsichord or organ
* provides harmonic framework
89
the most common song type in baroque opera and oratorio
da capo aria
90
consists of exposition (statement of two or more contrasting themes), development (departure), and recapitulation (return)
sonata form
91
first and second themes are both restated in the tonic
recaptulation
95
generic titles reflecting tempos, genres, of forms
absolute music
96
prelude
* a short keyboard work in improvisatory style
| * often paired with a fugue
97
usually written by someone other than the composer
libretto
98
the initial statement of the main theme of a fugue
subject
99
a recurring counter-melody
countersubject
100
one player per part
chamber music
102
pedal point
a sustained note over which harmonies change
103
recapitulation
* the third main section in sonata form
| * first and second themes are restated in the tonic
106
often used as a dramatic opening motive in classical-era works
rocket theme
107
performing forces; violin I, violin II, viola, and cello
strong quartet
109
the second main section in sonata form
development
110
Viennese school
* refers to the musical style forged by Haydn, Mozart, and Beethoven and their contemporaries
* in late 18th century Vienna, Austria flourished as a musical centre
112
the text of an opera, oratorio, or cantata
libretto
113
Italian for "jest" or "joke
scherzo and trio
114
also known as "pure music"
absolute music
115
scherzo and trio
* Italian for "jest" or "joke"
* Beethoven substituted the scherzo in place of the menuet as the third movement in the sonata cycle
* also in triple meter, but generally more dramatic than the elegant menuet
* could be humerus or ironic
* a contrasting middle section was used, and an ABA form resulted (scherzo-trio-scherzo)
117
refers to the cultures of Ancient Rome and Greece as well as the art, architecture and music of the late 18th century
classicism
118
from the Italian stringere, meaning "to tighten"
stretto
119
cyclical structure
* material heard in one movement recurs in later movements
| * creates structural unity in a multi-movement work
121
serenade
* multi-movement orchestral genre
* for small orchestra or chamber ensemble
* popular instrumental genre in the classical era
* often performed in aristocratic social setting and outdoor events
122
method of tuning keyboard instruments
equal temperament
124
in the tonic key (exposition)
first theme
126
exposition
* the first main section in sonata form
* two contrasting themes are stated
* the fist theme is in the tonic key
* the second theme(s) is in a contrasting key; generally in the dominant or relative major
128
most important chamber-music genre of the classical era
sonata form
131
second theme(s) of an exposition
in a contrasting key;generally in the dominant or relative minor
132
new themes may also be introduced
development
133
two-part musical form: A:||:B + A:||
rounded binary form
134
popular instrumental genre in the classical era
serenade
137
frequently used in baroque dances and keyboard pieces
binary form
139
usually in four movements: fast-slow-moderately fast-fast
string quartet
140
the first main section in sonata form
exposition
142
subject
* the initial statement of the main theme if a fugue
| * in the tonic key
144
results in a blocked chordal texture (homophonic)
homorhythmic texture
146
section A heard three times or more in the tonic key
rondo form
147
binary form
* two-part form (AB)
* section A generally ends with open cadence
* frequently used in baroque dances and keyboard pieces
148
first theme of an exposition
in the tonic key
150
for small orchestra or chamber ensemble
serenade
151
coda
* Latin for "tail" (cauda)
| * a concluding section reaffirming the tonic key
154
could be humorous or ironic
scherzo and trio
155
usually performed without a conductor
chamber music
158
baroque
* from the Portuguese barroco meaning irregularly shaped or misshapen pearl
* first used as a derogatory term in reference to the overly ornate are of the era
* now applied to art, architecture, and music of the 17th and early 18th century
159
coda
* Latin for "tail" (cauda)
| * a concluding section reaffirming the tonic key
160
a group of notes sung on a single syllable/vowel
melisma
163
libretto
•the text of an opera, oratorio, or cantata
164
string quartet
* most important chamber-music genre of the classical era
* performing forces; violin I, violin II, viola, and cello
* usually in four movements: fast-slow-moderately fast-fast
* first movement usually in sonata form
167
recitativo secco
* Italian for "dry recitative"
* a speech-like, declamatory style of singing
* supported only by continuo
* employed in opera, oratorio, and cantata
168
musical pictorialization
word painting
169
Italian die "full" or "complete"
ripieno
170
rounded binary form
* two-part musical form: A:||:B + A:||
| * material form section A returns within section B
171
Latin for "tail" (cauda)
coda
172
a baroque orchestral genre
French overture
174
answer
* the second statement of the main theme in a fugue
| * usual in the dominant key
177
material heard in one movement recurs in later movements
cyclical structure
179
a statement of the subject in which one or more intervals is adjusted to accommodate the harmony
tonal answer
181
countersubject
* a recurring counter-melody
| * accompanies entries of the subject and answer
183
Italian for "dry recitative"
recitativo secco
185
classical formal structure often used in sonata cycle
rondo form
187
three-part form (ABA)
* ternary form
* da capo aria
* menuet and trio
188
material from section A returns within section B
rounded binary form
189
a melody is stated and then undergoes a series of transformations
theme and variations
190
in late 18th century Vienna, Austria flourished as a musical centre
Viennese school
191
theme and variations
* a melody is stated and then undergoes a series of transformations
* changes can be made to melody, harmony, rhythm, or orchestration
* often used in slow movement of sonata cycle
193
melisma
* a group of notes sung on a single syllable/vowel
| * demonstrates vocal virtuosity and often serves to highlight key words
194
often used in baroque arias
ternary form
195
in triple meter
* menuet and trio
| * scherzo and trio
196
classicism
* pertains to the highest level of excellence
* possessing ensuring value or timeless quality
* refers to the cultures of Ancient Rome and Greece as well as the art, architecture, and music of the late 18th century
* emphasis in symmetry, balance, and proportion
*Baroque music had no clarity because of polyphony
197
also known as sonata-allegro form
sonata form
198
often changes can be made to melody, harmony, rhythm, or orchestration
theme and variations
199
creates structural unity in a multi-movement work
cyclical structure
200
smallest unit used to form a melody or theme
motive
201
Beethoven substituted it in place of the menuet in the sonata cycle
scherzo
202
often used in slow movement of sonata cycle
theme and variations
206
motive
* short melodic or rhythmic idea
| * smallest unit unit to form a melody or theme
207
formal structure often used in first movement of sonata cycle
sonata form
209
all voices sing the same rhythm
homorhythmic
211
tonal answer
a statement of the subject in which one or more intervals is adjusted to accommodate the harmony
212
refers to the musical style forged by Haydn, Mozart, and Beethoven and his contemporaries
Viennese school
215
was a reaction against the complex polyphony of renaissance music
the "affections"
217
multi-movement structure
sonata cycle
218
Italian for "accompanied recitative"
recitativo accompagnato
219
first movement usually in sonata form
string quartet
223
chamber music
* music for small ensemble (two to ten players)
* one player per part
* usually performed without a conductor
224
A shirt keyboard work in improvisatory style
prelude
225
a speech-like, declamatory style of singing
* recitativo accompagnato
| * recitativo secco
226
absolute music
* music without extra-musical associations
| * also known as "pure music"
227
two contrasting themes are stated
exposition
232
supported only by continuo
recitativo secco
237
accompanies entries of the subject and answer
countersubject
239
the "affections"
* a baroque philosophy inspired by Ancient Greek and Roman writers and orators
* refers to emotional states of the soul
* in baroque music, a single "affection" (one clear emotion) is usually projected through an entire composition or movement
* vocal music depicted he emotions of the text or dramatic situation
* was a reaction against the complex polyphony of Renaissance music
* also referred to as the "doctrine of affections"
240
a common mannerism in baroque music
tierce de picardie
243
employed in opera, oratorio, and cantata
* recitativo secco
| * recitativo accompagnato
245
fugue
* a highly structured, imitative contrapuntal composition
| * a single theme or subject prevails
246
often paired with a fugue
prelude
249
rondo form
* classical formal structure often used in sonata cycle
| * section A recurs, with alternating sections creating contrast
250
French overture
* a baroque orchestral genre
* first developed at court of Louis XIV by Jean-Baptiste Lully
* generally in two parts
* first part-slow temp, homorhythmic texture, features dotted figures
* second part-fast tempo, imitative texture
254
sonata cycle
* emerged in the classical era
* multi-movement structure
* demonstrated in the symphony, sonata, or concerto
255
figured bass
* 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
257
real answer
an exact transposition of the subject
258
ostinato
* Italian for "obstinate" or "persistent"
| * a rhythmic or melodic pattern repeated for an extended period
266
possessing enduring value or timeless quality
classicism
268
a work in a minor key ends in the tonic major (raised 3rd)
tierce de picardie
273
refers to emotional states of the soul
the "affections"
285
generally involves two performers-one playing the notated bass line, one realizing the harmonies as indicated by the figure bass
basso continuo
291
first developed at court of Louis XIV by Jean-Baptiste Lully
French overture
293
frequently employed ritornello form
solo concerto
294
da capo aria
* the most common song type in baroque opera and oratorio
* three-part structure (ternary form): ABA
* in performance the return of section A is generally ornamented
296
ritornello form
* a structure employed in the first and third movements of the baroque concerto
* the opening passage (ritornello) is re-stated throughout the movement
297
single line of unaccompanied melody
monophonic texture
299
a rhythmic it melodic pattern repeated take an extended letkkd
ostinato
301
an exact transposition of the subject
real answer
304
all semitones within the octave are divided equally; created enharmonic equivalents (C sharp/D flat)
equal temperament
305
tierce de picardie
* a work in a minor key ends in the tonic major (raised 3rd)
| * a common mannerism in baroque music
309
popular instrumental genre of the baroque era for soloist and orchestra
solo concerto
312
the opening passage is re-stated throughout the movement
ritornello form
313
section A generally ends with open cadence
binary form
315
Italian for "obstinate" or "persistent"
ostinato
320
numbers are placed below the bass line to show harmonic progression
figured bass
321
ripieno
* Italian for "full" or "complete"
| * a term used to denote the use of the full orchestra in the baroque concerto
328
harmonies usually played on harpsichord or organ
basso continuo
329
first used as a derogatory term in reference to the overly ornate art if the era
baroque
330
section B generally creates contrast in key and/or material
ternary form
332
stretto
* from the Italian stringere, meaning "to tighten"
| * overlapping subject entries in close succession
335
now applied to art, architecture, and music of the 17th and early 18th centuries
baroque
340
drone
* a sustained bass note that provides a rudimentary harmonic foundation
* common in folk music
341
a term used it denote the use if the full orchestra in the baroque era
ripieno
342
single line of melody supported by a harmonic accompaniment
homophonic texture
346
a baroque philosophy inspired by Ancient Greek and Roman writers and orators
the "affections"
347
equal temperament
* method of tuning keyboard instruments
* all semitones within the octave are divided equally; created enharmonic equivalents (C sharp/D flat)
* allowed music to be performed "in then" in all keys
349
two-part form (AB)
binary form
351
provides harmonic framework
basso continuo
352
vocal music depicted the emotions or the test or dramatic situation
the "affections"
353
also referred to as the "doctrine of affections"
the "affections"
355
common in folk music
•drone
361
combination of two or more melodic lines
* counterpoint
| * polyphonic texture
362
a type if musical shorthand developed I the baroque era
figured bass
364
baroque performance practice
basso continuo
