I Hum 101 Exam 3

Central service of the Roman Catholic church, and centers on the Eucharist- the sacrament commemorating Christ's sacrifice on the cross. Ordinary (unchanging texts) and Proper (texts that vary according to the religious emphasis of a particular day or feast)

Also know the characteristics of the following forms: Mass

Based on principle of contrast. Competing groups of instruments, as in the baroque where a small group, played against a larger group. Ends with the whole ensemble playing together.

Also know the characteristics of the following forms: concerto

This is a technical study, usually of great difficulty.

Also know the characteristics of the following forms: etude

Started out by having to improvise. Now they are popular. Ultimate program music, with works that are directly tied to the stories, characters, and themes of the films for which they are written.

Also know the characteristics of the following forms: film score

Polyphonic composition form in which a main melody or theme is played in an overlapping way on several different melodic lines, called voices. One by one other voices join in.

Also know the characteristics of the following forms: fugue

The favorite musical pastime in Italy during the Renaissance. Secular songs performed by four or five voices in imitative style (polyphony) but often interspersed with homophonic passages. Often based on love lyrics. Could by light and idyllic or sad and sentimental. Fa la la refrains.

Also know the characteristics of the following forms: madrigal

A piece of music which is supposed to suggest the atmosphere of night.

Also know the characteristics of the following forms: nocturne

Much longer form. Musical setting for solo voices, chorus, and orchestra of an extended story, usually religious, performed in a concert hall or church. Arias and recitatives (dialogue set to musical notes). Performed without scenery, costumes, or physical action. Handel's Messiah.

Also know the characteristics of the following forms: oratorio

A mass for the dead- omitting the more joyful and exuberant sections and adding other texts appropriate to the situation.

Also know the characteristics of the following forms: requiem Mass

Mostly for a solo instrument or a featured solo instrument with another instrument providing accompaniment.

Also know the characteristics of the following forms: sonata

First movement form. Exposition, development, and recapitulation. Followed by the coda.

Also know the characteristics of the following forms: sonata form

Originally a collection of dances, all binary and all in the same key. Today a collection of separate orchestral pieces which have been put together because of some unity of idea.

Also know the characteristics of the following forms: suite

Large musical composition for full orchestra, usually four movements of contrasting tempo, form, and key.

Also know the characteristics of the following forms: symphony

Modification of a given melody repeated over and over, each time embellished in a different manner so that it becomes essentially a demonstration of how many ways there are to say the same thing.

Also know the characteristics of the following forms: theme and variations

Originally (in ancient Greece), the antagonist was simply the second most important character. Now we identify the antagonist as the character opposed to the protagonist (and that probably does make her or him the second most important character).

Antagonist

Stephen Sondheim Children should listen. Intense then soft.

Be able to listen to and identify the composers and titles of the following works that you studied in your lesson about the musical: "Stay with Me" from Into the Woods

an imitation of an action that is serious, complete, and of a certain magnitude... through pity and fear effecting the proper purgation [catharsis] of these emotions.

Aristotle's definition of tragedy

Originally used in Greek comedies. The character comes to the edge of the stage, shields his or her words from the characters onstage, acknowledging the presence of an audience, and says something humorous that informs the audience of some aspect of a character or the plot.

Aside

1. sensuous- listening to sounds in a "background way ("That piece sounds nice; that one sounds awful") 2. expressive- reacting to the extramusical associations music evokes ("This music makes me think of a horror film") 3. sheerly musical- attending to music on its own terms ("I love the way that piece crescendos and changes key at the very end")

Be able to explain Copland's three levels of music listening: sensuous, expressive, and sheerly musical

Stephen Sondheim

Be able to listen to and identify the composers and titles of the following works that you studied in your lesson about the musical: "Agony" from Into the Woods

Lin-Manuel Miranda

Be able to listen to and identify the composers and titles of the following works that you studied in your lesson about the musical: "Alexander Hamilton" from Hamilton

Leonard Bernstein and Stephen Sondheim

Be able to listen to and identify the composers and titles of the following works that you studied in your lesson about the musical: "America" from West Side Story

Richard Rodgers and Oscar Hammerstein

Be able to listen to and identify the composers and titles of the following works that you studied in your lesson about the musical: "Oklahoma!" from Oklahoma!

Jerome Kern and Oscar Hammerstein sung by Joe. American bass-baritone.

Be able to listen to and identify the composers and titles of the following works that you studied in your lesson about the musical: "Ol' Man River" from Show Boat

Richard Rodgers and Oscar Hammerstein

Be able to listen to and identify the composers and titles of the following works that you studied in your lesson about the musical: "Poor Jud" from Oklahoma!

Andrew Lloyd Weber

Be able to listen to and identify the composers and titles of the following works that you studied in your lesson about the musical: "The Phantom of the Opera" from The Phantom of the Opera

Monteverdi, L'Orfeo (recitative)

Be able to listen to and identify the composers and titles of the following works that you studied in your opera lessons: "Ahi, caso acerbo" ("Ah, Bitter Event")

Menotti, Amahl and the Night Visitors

Be able to listen to and identify the composers and titles of the following works that you studied in your opera lessons: "All That Gold"

Berg, Wozzeck

Be able to listen to and identify the composers and titles of the following works that you studied in your opera lessons: "Du, der Platz ist verflucht" ("This Place Is Cursed")

John Adams, The Death of Klinghoffer

Be able to listen to and identify the composers and titles of the following works that you studied in your opera lessons: "Night Chorus"

Wagner, Die Walkure

Be able to listen to and identify the composers and titles of the following works that you studied in your opera lessons: "The Ride of the Valkyries"

Verdi, La Traviata

Be able to listen to and identify the composers and titles of the following works that you studied in your opera lessons: "Un dì, felice" ("One Day")

Monteverdi, L'Orfeo (aria)

Be able to listen to and identify the composers and titles of the following works that you studied in your opera lessons: "Vi ricorda, o boschi ombrosi" ("Shady Woods, Do You Remember?")

Mozart, The Marriage of Figaro

Be able to listen to and identify the composers and titles of the following works that you studied in your opera lessons: "Voi che sapete" ("You Who Know")

Sounds like simple gifts. Theme and variations.

Be able to listen to and identify the titles and composers of the following pieces which you studied in the music lessons. Aaron Copland: Variations on "Simple Gifts" from Appalachian Spring

Really fast, only piano Wanted to connect with homeland. Left hand has the most to do.

Be able to listen to and identify the titles and composers of the following pieces which you studied in the music lessons. Frederic Chopin: Revolutionary Etude

Organ music. Polyphony. Begin minor but swings back and forth.

Be able to listen to and identify the titles and composers of the following pieces which you studied in the music lessons. Johann Sebastian Bach: "Little" Fugue in G Minor

You should recognize this.

Be able to listen to and identify the titles and composers of the following pieces which you studied in the music lessons. Ludwig van Beethoven: Symphony no. 5, first movement

opera singing. Minor key. Mostly homophonic with complex harmony.

Be able to listen to and identify the titles and composers of the following pieces which you studied in the music lessons. Thomas Morley: "April Is in My Mistress' Face

Major key. Mix between polyphony and homophonic.

Be able to listen to and identify the titles and composers of the following pieces which you studied in the music lessons. Thomas Morley: "My Bonny Lass She Smileth

Minor key. Written on a deathbed about death. Duple meter. Classical era- homophonic.

Be able to listen to and identify the titles and composers of the following pieces which you studied in the music lessons. Wolfgang Amadeus Mozart: "Confutatis" from Requiem Mass

Florentine Camerata- a group of late-Renaissance intellectuals living in Florence in late 16th century. Invention of opera is often laid at their feet. One of their objectives was the revival of ancient Greek drama. monody- the nature of ancient Greek solo song. recitative- an accompanied vocal declamation halfway between speaking and singing. Dialogue of specific musical pitches or notes.

Be familiar with the basic history and development of opera through the following eras: Early opera (Florentine Camerata, Monody, recitative)

Opera blossomed into a fully formed art. Aria- the solo songs of opera. More musical coherence; memorable melody, a set meter, and repeated refrains. Castrato- male singer who has been castrated as a young boy to preserve their high vocal range in a mature, trained singer. Opera Seria- serious opera. Composers demanded better-crafted plots and characters and a return to an emphasis on acting as well as singing.

Be familiar with the basic history and development of opera through the following eras: Baroque opera (development of the aria, the castrato, opera seria)

Had to cater to everyone again. Intermezzi- short comic pieces. Opera buffa- comic opera. Serious themes may exist, but they are overshadowed by comic situations surrounding intrigue, mistaken identity, trickery, and downright buffoonery.

Be familiar with the basic history and development of opera through the following eras: Classical opera (intermezzi, opera buffa)

No art more emotionally expressive as opera. Bel canto style- beautiful song, a style of opera that focuses on the lyricism, expressiveness, and perfect technical control of the human voice. Power of a massive chorus to overwhelm audience with a wall of sound. Some operas featured exotic characters and locations. Opera verismo- more contemporary situations, more down-to-earth settings, and more believable characters.

Be familiar with the basic history and development of opera through the following eras: Nineteenth century (romantic or grand opera, bel canto style, opera verismo)

atonal- doesn't need a tonal, or strong melodic center. Breaking with tradition is the new tradition. More towards musicals. So different person to person.

Be familiar with the basic history and development of opera through the following eras: Twentieth and twenty-first century opera (atonal, crossover with musicals)

The great instructor. Medicating or cleansing. Like a vaccination. You get a small taste of the disease, but you know now how to not get the whole thing.

Catharsis

Introduces the audience to where and when the play is set, what the cultural climate is like, or what circumstances the characters find themselves in as the play begins.

Charting the Plot: Know the definitions of the terms and be able to recognize them in a plot: Exposition

Introduces the problem or dilemma facing the protagonist.

Complication

The moment of greatest intensity when you don't know who will live and who will die (the rise).

Crisis/Climax

The final unraveling of the plot or what is different for the characters now that the crisis is over (the fall).

Denouncement

His vocabulary is super huge. We only use about 2,000-3,000 words, he used about 900,000 words. Grammatical order is inverted. He uses modifiers, verb, noun. We do noun, verb, modifier. Yoda speak.

Describe what makes Shakespearean English different from our own English

"a god from a machine" used for the thrilling entrance or exit of a character. Similar to a backstage crane, which could swing over the set with the actor attached.

Deus ex machina

The hymn from which drama develops

Dithyramb

Sound intensity of music. pianissimo-very soft piano- soft forte- loud fortissimo- very loud crescendo- gradually louder decrescendo- gradually softer

Dynamic

The force that causes the reversal of fortune in tragedy. Inescapable and inexplicable.

Fate

Phobos. Good plays elicit fear. The fear is not for the protagonist. You are afraid that the same thing could happen to you.

Fear

A character who makes us realize something about the protagonist or another character. The foil character shines a light of understanding on one of the other characters, either by being just the opposite or by being very similar. The parallel may be the foil's characteristics, but it can also be the foil's actions.

Foil character

architectural blueprint for music, suggesting how a work will proceed.

Form

Pride. Makes you deaf to good advice and causes you to act unwisely. Often the hamartia.

Hubris

Didn't start formal lessons till he was a teenager. Instinctive use of jazz and folk music idioms in his compositions. Symphonies to film scores, sound distinctly American with their often sparse melodic lines, folksy harmonies, and moments of dissonance and syncopation. Found his own American voice.

Go over the material from your text and your lessons about the following composers and their works: Aaron Copland

Poster child of romanticism. Focused almost exclusively on the piano. Known for subtle dynamics and their demand for perfectly controlled technique. Very loyal to Poland.

Go over the material from your text and your lessons about the following composers and their works: Frederic Chopin

Basically her fate as a nun was determined very early on in her life. Her works sound different from our contemporary idea of church music. Intelligent and multifaceted women. Medical treatise, botany, wrote plays. Experienced vision. This composer wrote a series of pieces dedicated to the legendary St. Ursula, extolling the saint's steadfastness in the face of opposition and eventual martyrdom. She jumps around more than was normal. You don't need complex, layered meters and harmonies for music to be powerful, and powerfully beautiful.

Go over the material from your text and your lessons about the following composers and their works: Hildegard von Bingen

Master of polyphony. Family known as musicians for generations. Baroque era. Twenty children.

Go over the material from your text and your lessons about the following composers and their works: Johann Sebastian Bach

Lots of personal challenges. Straddles the line between the classical and romantic eras. Notoriously defiant about being held to the rigid compositional rules of the classical era. Mantic over sophic.

Go over the material from your text and your lessons about the following composers and their works: Ludwig van Beethoven

Very diverse musician. Compositional projects that were also social-change projects. Eastern influence. Repetitive structure of Indian music.

Go over the material from your text and your lessons about the following composers and their works: Philip Glass

Renaissance era. Son of a humble brewer, rose from choirboy to choir director and then organist. Known for his madrigals. Refined air, memorable melodies, and complex blending of homophonic and polyphonic textures.

Go over the material from your text and your lessons about the following composers and their works: Thomas Morley

Child prodigy. Wrote Requiem Mass on his death bed.

Go over the material from your text and your lessons about the following composers and their works: Wolfgang Amadeus Mozart

The catalyst of fate; something that the protagonist does, or some characteristic that he or she has that engages fate. Often described as "the tragic flaw", a character's hamartia puts fate into motion.

Hamartia

Created by playing two or more notes together. Vertical.(monophonic- music without harmony. polyphonic- a single melody was played at different times or two different melodies were played simultaneously. Fugues. homophonic-chordal structures are built over a clearly defined bass line and underneath a clear melodic line.

Harmony

Themes- is it better to exist or to not?/ There is no clear course of action. Vocabulary: contumely-insolent language or behavior, bodkin- small dagger with a thin, sharp blade, fardels- burdens, coil- troubles of daily life and the strife and suffering of the world.

Identify the themes, meaning, and vocabulary of the "To be or not to be" soliloquy from Hamlet

Comes from religious roots- a festival to the god of wine. Drama helped remind the citizens of the reason that they were there- religious rights to honor a god. A cure for the chaos.

Know how Greek drama developed.

Program- the composer suggests extramusical meaning, essentially giving us permission to listen on the expressive level, and guiding our expressive listening in a specific direction. (Flight of the Bumblebee) Absolute- we know that the work in a concerto for instance and has a cello, but no specific extramusical ideas that we are meant to picture as we listen to the work. (Cello Concerto no. 1 in C Major)

Know the difference between program music and absolute music.

Strings- produce sound when a bow is drawn over a string, or when a string is plucked or strummed. Articulate lyrical, gliding passages, or lightening quick notes with either a delicate or forceful touch. Full foundational sound. Make up at least half of the orchestra. Woodwinds- Forcing air through a tube, thus creating vibrations that generate sound. Blown directly or a reed. Mellow or gentle sound. When a composer wants them to stand out, the other sections need to quiet down. Brass- loudest instruments in the orchestra. Purse lips with a specific shape and tension and blow into a cup-shaped mouthpiece. Percussion- generates a rhythmic pulse and punctuates specific moments in the music. Struck or rattled.

Know the four main "families" of the orchestra (brasses, woodwinds, strings, percussion) and the characteristics of the instruments in each of the families.

Main character. Typically, the tragedies are neamed after him or her. Oedipus Rex, Medea, Antigone, King Lear, Hamlet, or Henry V.

Know these terms and understand the concepts associated with them: Protagonist

Goat song

Literal meaning of "tragedy"

The force that causes the reversal of fortune in a comedy. Protagonist happens to stumble upon a pot of gold and get rich.

Luck

Meter- measures rhythm by organizing its accent patterns into groupings called measures. duple- downbeat. ONE-two ONE-two-three-four. March-like triple- ONE-two-three. complex-five or seven beats per measure. Less common. syncopation- composer disrupts our normal expectations. Jazz. one-TWO. Melody-

Make sure you can explain each of the "Seven Elements for Sheerly Musical Listening," and be prepared to identify and explain some of those elements as they appear in music excerpts. The seven elements are meter (duple, triple, complex, syncopation), melody (major key, minor key, conjunct, disjunct), harmony (monophonic, polyphonic, homophonic), tempo (largo, adagio, andante, allegro, presto, accelerando, ritardando, rubato), dynamics (fortissimo, forte, piano, pianissimo, crescendo, decrescendo/diminuendo, timbre, and form.

Tune or melody can be seen as the "subject" of music. Horizontal. Major- convey a sense of calm, resolution, humor, or celebration. Minor- mysterious, sorrowful, melancholic, agitated, or even angry feel. Conjunct- the notes in the melody are within a relatively narrow range Disjunt- leap up or reach down over larger intervals.

Melody

Similar to a soliloquy, but the character is speaking at length to another character or a group of characters.

Monologue

Aelios. You feel pity for the protagonist, who is a good person.

Pity

Aristotle's treatise on drama. A recipe for good drama.

Poetics

the New York theater where a French ballet troupe were to perform burned down, so they combined their show with a melodrama called The Black Crook. The start of musical theater. Wildly popular. Thanks in part to The Black Crook, popular songs and dancing girls became the staple of early musical theater; story line was often an afterthought.

Review the development of the musical from The Black Crook through Hamilton.

Look at lesson 19.

Review the guided listening on "Hedwig's Theme" and the listening assignment on Vivaldi's "Spring" from lesson 19. You will be asked to complete similar listening exercises on the exam.

Composers of the Baroque wrote magnificently expressive works with virtuosic ornamentation and evocative melodies. Polyphonic music, which features multiple overlapping melodies, enjoyed its final heyday in the baroque. Audiences began to turn toward homophonic music with a clear melodic line. Cantata and oratorio infused new emotion into sacred music. Concerto and sonata developed with the prominence of instrumental music.

Review the historical overview in your text of the development of music as an art during the following eras: Baroque

Embrace of structural clarity in music and the acknowledgement of music as public entertainment. Ascendancy of the public concert. Renaissance instruments begin to fade, and replaced by flutes, clarinets, trumpets, and other instruments more conducive to the performance spaces and the demands of the composer. More range. Use of sonata form leads to development of the symphony as the major instrumental work in all art music.

Review the historical overview in your text of the development of music as an art during the following eras: Classical

Defined in philosophical and cultural terms, as any harmonious activity related to the Muses. Impact of music was therapeutic, educational, and political. Drama and storytelling, civic celebrations, and in religious ceremonies. We don't know what the music sounded like. Felt music was a mark of education, and that it could articulate either the higher and nobler impulses of humankind or give voice to baser, more sensual impulses.

Review the historical overview in your text of the development of music as an art during the following eras: Greek

Viewed music in a religious context, as a paean to their God for saving them from their enemies.

Review the historical overview in your text of the development of music as an art during the following eras: Hebrew

Refined the Greek definition of music. Dividing music into three levels. Served the church and the secular world. Gregorian chant. Instrumental music was secular. Church music was acapella.

Review the historical overview in your text of the development of music as an art during the following eras: Middle Ages

Sought to rediscover the ancient Greek and Roman approach to music as an art emphasizing harmonious order while also expressing human emotion. Not just the church anymore. Lots of the instruments fell out of common use.

Review the historical overview in your text of the development of music as an art during the following eras: Renaissance

Drama and storytelling, civic celebrations, and in religious ceremonies. We don't know what the music sounded like. Felt music was a mark of education, and that it could articulate either the higher and nobler impulses of humankind or give voice to baser, more sensual impulses.

Review the historical overview in your text of the development of music as an art during the following eras: Roman

Didn't call his works operas. Opted for vocal power. Singing and drama should be equally valued. Borrows from several medieval German and Scandinavian texts, tracing the story of a powerful but cursed ring, and those who fight to possess it. You don't hear musical dialogue punctuated by tuneful arias and duets; you hear powerful music suited to the drama on stage. Egotist. Not a nice guy.

Review the information from your text and your lessons about the following composers and their operas: Wagner's Die Walkure

This was the age of musical extremes designed to provoke emotional responses. Large orchestras, virtuosic performers, theatrical sound effects, and dramatic subject matter were standard tools of the trade. Originality and individuality were highly prized. Hard-and-fast rules of composition loosened up or were sometimes discarded all together. Personal experiences of the composer. Gave us the musical superstar. Emotional appeal. Easy to connect with music that wants so desperately to connect with its audience.

Review the historical overview in your text of the development of music as an art during the following eras: Romanticism

musical liberation as composers chose to compose exclusively dissonant and atonal works that discarded all traditional notions of key or harmony. Expanding the definition of music to include disorganized sound (noise) as legitimate province of musical sound. Ambient noise or even radio static as music. Electronic instruments or sound sampling. Western elements with musical traditions from other cultures.

Review the historical overview in your text of the development of music as an art during the following eras: Twentieth and Twenty-first centuries

Song preceded speech. Originally, music was probably indistinguishable from language. To our ancient ancestors, these early rhythms and sounds were perhaps religious and magical; for us they are often merely mathematical and physical.

Review the historical overview in your text of the development of music as an art during the following eras: primitive

Longest running show in Broadway history. Pop/rock musical score, melodramatic story, and eye-popping special effects. The relationship between the dangerous Phantom and his obsession with the young singer and dancer Christine.

Review the information from your text and your lesson about the following musical composers/lyricists and their works: Andrew Lloyd Weber's The Phantom of the Opera

substantially linked song with a strong story line- the story of a riverboat gambler and his troubled love life. Musical of innovations and firsts. Black and white actors performing together onstage, main storyline of the show. More book-based musical, where the story was not sacrificed for spectacle.

Review the information from your text and your lesson about the following musical composers/lyricists and their works: Jerome Kern and Oscar Hammerstein's Show Boat

Re-imagining of Romeo and Juliet. Two warring inner-city gangs, the Sharks and the Jets. The most recent immigrants (the Sharks, who are Puerto Rican_ are targeted and hounded by the second and third generation immigrants. Not interested in a happy ending. They were not engaged in "superficial musical comedy". More serious style and tone to their serious subject. Racial slurs, knife fights, beatings, a shooting, and even an tempted gang rape. Even the actors of different gangs couldn't talk to each other. Elevated the Broadway musical to "Art" with a capital A.

Review the information from your text and your lesson about the following musical composers/lyricists and their works: Leonard Bernstein and Stephen Sondheim's West Side Story

Proves that contemporary works even with old stories. Hip-hop.

Review the information from your text and your lesson about the following musical composers/lyricists and their works: Lin-Manuel Miranda's Hamilton

Wasn't meant to succeed. Super wholesome and clean. Unknown actors. Known as "Away We Go!" at first. A critic snuck in and cabled back "No legs, no jokes, no chance". Became the biggest box office sensation of its day. World war II helped its success as well. Reminded the soliders of home.

Review the information from your text and your lesson about the following musical composers/lyricists and their works: Richard Rodgers and Oscar Hammerstein's Oklahoma!

Understated and smart in its sarcastic mash-up of famous fairy tales. Characters go into the woods to find what they want. First half ends with characters getting what they want. Then the second half shows the consequences. We should be careful what we wish for and what we are willing to do to get what we think we want.

Review the information from your text and your lesson about the following musical composers/lyricists and their works: Stephen Sondheim's Into the Woods

Very controversial. Some think it's too sympathetic to the hijackers.

Review the information from your text and your lessons about the following composers and their operas: Adam's The Death of Klinghoffer

Interest in atonal music. Based on literary fragments by German writer Georg Buchner about a distraught and perhaps deranged army private. He was drafted during world war 1. Devastating. About PTSD sort of.

Review the information from your text and your lessons about the following composers and their operas: Berg's Wozzeck

Born in Italy. Wrote his first opera when he was 11. Chastised for writing music that was far too traditional and lyrical for the 20th century. Commissioned by BBC to write an opera that could be broadcast on live TV and would appeal to a broad audience, especially children. Saw Adoration of the Magi painting. Most widely performed opera in the world.

Review the information from your text and your lessons about the following composers and their operas: Menotti's Amahl and the Night Visitors

Likely the first true, full length opera. Based on the ancient Greek tale of Orpheus and Eurydice. An early opera landmark and much praised for its expressive music. EXPRESSIVENESS. Changes key and stuff to mimic emotion. Monteverdi's wife later a few months later.

Review the information from your text and your lessons about the following composers and their operas: Monteverdi's L'Orfeo

Right in between the American and French Revolutions. Initially banned in France because they were afraid it would make people even more hostile towards the aristocrats. Lots of encores and all night operas. The music still has the power to transcend time, space, and circumstance, from the breathless overture to the final hymn-like reconciliation between husband and wife. Shawshank Redemption. Hierarchy is reversed.

Review the information from your text and your lessons about the following composers and their operas: Mozart's The Marriage of Figaro

About the big name prostitute who died at 23 of tuberculosis. Combines bel canto lyricism with more hard-hitting, contemporary verismo storyline. Still echos with themes that are right at home in contemporary world.

Review the information from your text and your lessons about the following composers and their operas: Verdi's La Traviata

The big speeches of the play. Soliloquies are some of the greatest acting moments and also highlight the skill of the playwright. Traditionally there is a pause in the development of the plot as the stage clears and one character is alone there. Talks to himself revealing responses to the developing plot. Thinking outloud.

Soliloquy

Speed at which the music is played. largo- very slow, funeral march pace. adagio- slow, leisurely strolling. andante- moderate, a normal walking pace. allegro- moderately fast, a brisk and purposeful walk. presto- very fast, Olympic speed walking. accelerando- speeding up. ritardando- slowing down rubato- elastic, expressive notion of tempo. Speed up and slow down as dictated by the dramatic trajectory of the music itself.

Tempo

Sang, played instruments, and danced 1. Represent the townspeople 2. Fill in details of the plot and specifics about the characters. 3. Guide the audience in its response. 4. Provide music and dance

The Greek chorus and its responsibilities

The earliest recorded playwright in Athens, as well as the winner of its first contest. Thespians are named in his honor.

Thespis

describe the characteristic quality of sound produced by a voice or instrument. Influenced by material of instrument, size and shape of instrument, the way in which instrument is used.

Timbre

Second highest part of a contrapuntal musical texture.

Understand the basic vocal types and ranges in opera alto

clear, beautiful voice. Middle-range voice type for males. Lies between the base and the tenor. Most common male voice.

Understand the basic vocal types and ranges in opera baritone

Lowest singing voice.

Understand the basic vocal types and ranges in opera bass

Specializes in music that is distinguished by agile runs, leaps and trills.

Understand the basic vocal types and ranges in opera coloratura soprano

Lowest female voice. Often performed by mezzo-sopranos since they are rare.

Understand the basic vocal types and ranges in opera contralto

Powerful, rich, emotive voice that can sing over, or cut through, a full orchestra. Sometimes less agility than lighter voices. Sustained, fuller sound. Often used for heroic, often long-suffering, tragic women of opera.

Understand the basic vocal types and ranges in opera dramatic soprano

emotive, ringing and very powerful, clarion, heroic tenor sound.

Understand the basic vocal types and ranges in opera dramatic tenor

rich, dark, powerful and dramatic voice.

Understand the basic vocal types and ranges in opera heldentenor (heroic tenor)

Operatic soprano voice that has a warm quality with a bright, full timbre that can be heard over an orchestra. Most common female singing voice.

Understand the basic vocal types and ranges in opera lyric soprano

Middle range voice type for females. Female singer with a deeper soprano voice (took over castrato roles) slightly deeper tone, perfect for her darker message

Understand the basic vocal types and ranges in opera mezzo-soprano

Male singer with a higher falsetto range (replace castrato) the highest range for male opera singers

Understand the basic vocal types and ranges in opera counter tenor

warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra.

Understand the basic vocal types and ranges in opera lyric tenor

Chart in lesson 16 "Tragedy and Comedy"

Understand what Aristotle says about Greek drama, the characteristics of and differences between Greek tragedy and comedy, and their purpose.