Music 152 Midterm

Chamber Music

- more intimate sized ensemble (2-8 people, one person to a part - mostly instrumental but voice can also be included String quartet - 2 violins, viola, cello / string quartet - string quartet plus bass - piano trio - piano, violin, cello / piano quintet - string quartet plus piano

Dissonance

- notes that clash - harmonically or melodically do not seem to belong together

Consonance

- sound of notes that sound naturally right - perception can change over time

Diatonic scale

-A scale (8 notes) consisting of whole and half steps -Major: type of scale, bright and happy -Minor: type of scale, dark and sad

Tonality

-A system of organizing pitches (both melodies and harmonies) around a central note -Tonic - first note of the scale / home key -Dominant - 5th note of the scale / most popular key for modulation

Oratorio

-A work musically similar to an opera by not staged, and is usually on a sacred topic - Oratorio replaced Opera during selected seasons in church calendar (e.g. Lent)

Timbre

-Character or quality of a sound -Same melody sounds very different when performed by a violin, a clarinet, or a singer, what makes the difference is the timbre of the sound

Cadences

-Closed cadence: a point of arrival signaling the end of a musical unit -open cadence: a brief stopping point at which the music pauses

Symphony

-Derived from Baroque Sinfonia - An extended orchestral (instrumental) work in multi-movements - 1st movement is often in Sonata form

Imitative Counterpoint

-Imitative entrances of different voices at different times, used in polyphonic genre only - one voice introduces a new theme and is answered y other voices that enter in succession shortly afterward

Minuet and Trio

-In Waltz-style of Three beats per measures (emphasis goes on the first beat) -Ofen used in the 3rd movement of instrumental works, both Minuet and trio consists of two parts with repeats, Minuet returns after Trio

Aria

-Italian for "air or "melody" lyrical song for solo voice and instrumental accompaniment - Recitatives leads to Aria in Opera and Oratorio

Motet

A polyphonic sacred choral music, typically unaccompanied, uses imitative counterpoint technique

Antiphonal/Responsorial

A responsive style of music performance of psalms or sacred text, performed by alternating groups (polychoral - multiple choirs)

Ground bass

A short pattern of bass line repeated throughout the piece, like ostinato (ex. Henry Purcell's Dido and Aeneas)

Mass Proper

A special liturgy, which varies according to the date/season, in reference to a significant observation or even i Catholic Church Calendar

Non-metric

Absense of clear rhythmic grouping, not based on the meter as a standard of measurement

Short Answer Question 4: Comparison of the music education during the childhood years of Mozart and Beethoven. Use references to the scenes from the videos you have watched.

-Mozart was born into a musical family, his father being a composer himself. He had a small family, and was his father's favorite. His father was doubtful of his abilities, until Mozart began to play. Leopold took it upon himself to make sure that the world would know Mozart's ability. Because his father was a compose, Mozart had full access to musical training, and had a father who was willing to share his ability with others. Leopold risked everything on leaving Salisbury for his son, in order to help his son become famous. This encouragement at a young age helped him be more confident and outgoing with his music, as both he and his music developed socially. -Beethoven also grew up around musicians, yet he was forced to grow up quickly, and soon became distant and withdrawn from the world. His mother neglected him, even though they were well off. His grandfather had been a director at the Court, and Beethoven received the talents that his father had not. His father disliked that his he was able to play, even though he boasted to the world. His father was usually in a different mood, causing Beethoven to turn to music to escape from the world. He was deaf by a young age, yet still continued to produce miraculous pieces of music. He always struggling with himself, despite the everlasting impact it's had upon the world. Because of his lack of encouragement from his family, Beethoven withdrew into himself again as he got older.

Ornamentation

-Musical embellishments, heavily used in Baroque music but streamlined in classical period -Trill, Mordent, turn

Chromatic Scale

-Musical scale including all 12 bitches (white and black keys) -Used in combination with diatonic scales

Theme and variation

-Often used for the slow 2nd movement of instrumental work -Theme is introduced at the beginning, followed by several variations of it

Syllabic

-One note per syllable - ensure that the words will be heard with special clarity

Rhythm

-Ordering of music through time -Can operate at many levels, from a repetitive, underlying pulse or beat to rapidly changing patters of longer and shorter sounds

Meter/Pulse

-Pattern of music that contains itself consistently throughout a work or section -The grouping of beats

Madrigal/Secular

-Secular vocal.choral music performed outside of sacred setting - With or without instrumental accompaniment - Love, pastoral theme, non-sacred theme

Figured bass

-musical shorthand for keyboard improv in baroque era -numbers underneath the music used to indicate intervals, chords, and non-chord tones in relation to a bass note (ex. Bach's fugue in G minor)

Melismatic

-one syllable of text sung to many notes - provides variety and emphasizes key notes in a text

Songs to the Virgin Mary, No. 249

1. Composer: Alfonso el Sabio 2. Period: Medieval 3. Genre: Instrumental Music 4: Drug opening, metric (duple), two Shawms play together in monophony (one melody), homophony (melody+drone harmony), and heterophony (melody+ornamentated melody) repetition

Plainchant Alleluia "caro mea"

1. Composer: Anonymous 2. Period: Medieval 3. Genre: Plainchant/Gregorian chant used for Mass 4: Monophonic texture, use of melisma, non-metric, sung in Latin, responsorial chant between cantor and male choir, use of mode, a cappella, sacred text

"Winter" ("L'inverno") from The Four Seasons, movement 1

1. Composer: Antonio Vivaldi 2. Period: Baroque 3. Genre: Solo Concerto 4: Ritornello form (solo-tutti alternation for contrast), features one virtuoso solo violin with orchestral (and basso continuo) accompaniment, metric (duple meter), minor tonality, terraced dynamics, musical ornamentation, word0music relationship - program music (poem associated to each season was provided by the composer - this section of the concerto describes "cold in the icy snow")

"Hallelujah Chorus" from Messiah

1. Composer: George Fredrick Handel 2. Period: Baroque 3. Genre: Oratorio 4: Oratorio was performed to replace opera performances during Lent and Advent, Messiah is based on the life of Christ from prophecy to birth, then crucifixion and resurrection, Hallelujah Chorus uses biblical text in repetition, mixed textures (mono,homo,and poly) instrumentation (full SATB) chorus, strings, oboes, trumpets, and timpani)

Overture from "Dido and Aeneas"

1. Composer: Henry Purcell 2. Period: Baroque 3. Genre: Baroque Opera 4: First opera written in English, opens with instrument opening called "Overture" - slow and uneven "dotted" rhythm (LONG-short pattern) following French Overture style, opera seria, (characters are more symbolic), string-based orchestration with harpsichord, minor tonality to depict the dark and sad storyline, use of Basso Continuo (light and continuous bass line to accompany voices)

Brandenburg Concerto No. 5 in D major, movement 1

1. Composer: Johann Sebastian Bach 2. Period: Baroque 3. Genre: Concerto Grosso 4: Ritornello form (Soli-tutti alternation for contrast), features three virtuosi soloist (violin, flute, harpsichord) with orchestral accompaniment, harpsichord cadenza, metric (duple meter), major tonality

Toccata and Fuge in D Minor

1. Composer: Johann Sebastian Bach 2. Period: Baroque 3. Genre: Solo Concerto 4: Written for solo organ ("King of instruments") Toccata is in improvisatory style with tempo rubato (flexible tempo) and ample clashing musical intervals resolving to consonant chords, Fugue features imitative counterpoint, metric, minor tonality, virtuoso playing (high technical - Bach was known as the "father of Counterpoint")

Symphony No. 102, in Bb Major, movements 3 & 4

1. Composer: Joseph Haydn 2. Period: Classic 3. Genre: Symphony 4: 3rd movement: Minuet and Trio form/in triple meter with accented emphasis on beat one/in courtly dance style, Minuet is loud and Trio is soft (rounded binary) // 4th movement:rondo Form ("Round Dance" - recognizably simple "A" theme continues to alternate with short varying musical ideas), lighter and faster movement in duple meter. (Hadyn was known as the "Father of symphony and string quartet")

String Quartet in C Major, Op 76, No. 3, movement 2

1. Composer: Jospeh Haydn 2. Period: Classic 3. Genre: String Quartet - Chamber music 4: Theme and Variation form, Violin 1 introduces melody in the Theme when the melody is varied and shared with other instruments, 5-phrase structure of "A-A-B-C-C" (A and B sections - questions/antecedent.open cadence, C sections - answer/consequent/closed cadences), opens with major tonality, slow tempo, metric (duple meter)

El Grillo (The Cricket)

1. Composer: Josquin des Perez 2. Period: Renaissance 3. Genre: Madrigal 4: 4-part polyphony, word-painting (mimicking crickets singing/chirping) humorous images, brighter and happier tonality, sung in vernacular (Italian), a cappella, secular theme

Sing Joyfully

1. Composer: William Byrd 2. Period: Renaissance 3. Genre: Anthem (English Motet) 4: Sung in 6-part polyphony (imitative counterpoint with entrances of "sing joyfully") sacred subject (Psalms 81) sung in English, word painting (e.g. lively and upward moving motive of "Sing Joyfully", fanfare-like figure for "Blow the Trumpet"), both male and female voices isn the recording but no female singers were allowed at the time this was composed

The Marriage fo Figaro (Le Nozze di Figaro) Act 1, "Cosa sento"

1. Composer: Wolfang Amadeus Mozart 2. Period: Classic 3. Genre: Comic Opera (Opera Buffa) 4: More real and relatable characters in comic opera, interactive role of the orchestra (more important role than merely providing harmonic accompaniment) enhances the moving of the plot, emotional contrast of the three characters are depicted in music, utilizes rondo-form (recurring opening melody) with different dramatic situations in the scene

Symphony No. 40 in G minor, K. 550, movement 1

1. Composer: Wolfgang Amadeus Mozart 2. Period: Classic 3. Genre: Symphony 4: 1st movement is in Sonata Form (Exposition-Developement-Recapitulation) mainly in Minor tonality (modulates to more optimistic-sounding Major tonality then return to Minor) "short-short-LONG" rhythmic motif continues throughout the movement, full orchestration (strings, woodwinds, brass, and percussion)

Piano Concerto No. 23 in A major, K 488, movement 1

1. Composer: Wolgang Amadeus Mozart 2. Period: Classic 3. Genre: Colo Concerto 4: Modified Sonata-Form ("Double Exposition" - A full exposition is played by the orchestra only, then the solo piano introduces a varied exposition material), mainly in Major tonality alternating with short modulated minor sections, features Piano Cadenza (solo improvisation) sounds effortless and simple but very difficult to play, controlled use of ornamentations (Mozart conduced the performance from piano at the first performance - "conductor-soloist")

Recitative

"to recite" "to tell" style of singing in speech-like manner with lighter accompaniment

Cantus Firmus

- "fixed melody" often drawn from anonymous chants - a preexisting melody used as the basis of a polyphonic composition (ex: a mighty fortress is our god)

Overture

- A purely instrumental opening movement that introduces a longer vocal/choral work, like Oratorio and Opera - Signals the beginning and sets the theme for the performance

Gregorian Chant

- A religious, monophonic liturgical music that was passed on orally throughout the Middle Ages - Pope Gregory I unified the order (Liturgy) of Catholic Mass - Also known as "Plainchant" a name that was given due to the simplicity of the music's texture

Organum

- Early form of harmony - Additional voiceline singing the same melody in 5th

Cadenza

- Improvisational section in concerto usually towards the end of 1st and 3rd movement - Performer shows off his/her technical and musical ability through this section

Sonata (genre)

- Multi-movement instrumental genre for one or two instruments - A work that is played ("sonore") as opposed to sung ("cantare") - (Dont confuse this with "Santa Form")

Concerto Grusso

- Multi-movement work for a group of solo instruments accompanied by orchestra in Baroque era - Solo lines are accompanied by basso conintuo -Ritornello Form: Alternation between solo(s) and orchestra (tutti)

Mass

- Music written for Catholic church liturgy, a cappella - Text is sung (originally) in Latin, no change of text was allowed by composers

Short Answer Question #2: Basic Differences/characteristics between the music of each era (Medieval/Renaissance/Baroque/Classic) as listed in the class handout/lecture slides

- Renaissance: "rebirth" humanism (growth of learning and experimenting, science, philosophy, literature, painting, etc). Musical style: polyphony, full rich sounds, vocal/choral music (mass, motet, madrigal) - Medieval: mostly vocal, migration, upheavals, and wars. Clear division in social classes and influences of the Roman Catholic church (nobility, peasantry, clergy). Musical Style: Plainchant/Gregorian Chant, A cappella, non metric, monophonic texture. - Baroque: Sing emotional expression, music outlines the period's art, architecture and philosophy. National pride was illustrated. Churches used elaborate music to signify their importance and musical performances became more accessible to the public. Music Style: Word painting, Diatonic Tonality, heavy use of instruments, polyphonic - Classical: "Age of Enlightenment" Time of clarity, simplicity, balance, symmetry, unity, and variety. Importance of homophony (= importance of melody) Music Style: Gradual change in dynamics, more specific range of tempo, predictable rhythm, melody is the most important element. More use of modulation (change of keys) and obvious use of cadences. Organs and harpsichords as well as orchestral instruments

Rondo Form

- Usually used for the last movement of instrumental work -Main theme (A) returns several times throughout the piece (ABACA/ABACADA)

Metric

Based on the meter as a standard of measurement (ex. Thomas Welke's since robin hood)

Mass Ordinary

Catholic Mass during ordinary times of Church Calendar

Mode

Earlier type of scales used in Medieval and Renaissance period

Bass Continuo

Harpsichord with one or two bass instruments (Cello, bass, bassoon) providing light harmonic bass line to accompany solo line

Modulation

Moving to a different key area (ex. J.S. Bach's Brandenburg Concerto no.2 in F Major)

Solo Concerto

Multi-movement work for a one soloist accompanied by orchestra, more common since Classic era

Accidentals

Notes whose pitches are not members of a scale or mode (Sharp, flat, natural)

Texture

Number and general relationship of musical lines or voices to one another -Monophony: single melodic line without accompaniment. Ex: group singing together without and instrument (a-capella) -homonphony:: melody performed with support or accompaniment Ex: someone singing a melody with the guitar in the background -polyphony: multiple lines of equal importance Ex: singing in rounds like we did in class

Word painting

Putting emphasis on specific parts of a song with how the notes are played (ex. slow, dark music make relate to death)

Phrasing

Shaping of the musical sentences

Terraced Dynamics

Sudden dynamic changes from loud to soft, favored in Baroque period for providing contrast

Dynamics

The loudness or softness of music, can be from very soft to very loud

Tempo

The speed of which a piece of music is meant to be played

Sonata Forum

Usually used in 1st movements of instrumental music, Exposition-development-recapitulation

Opera

a musical stage production sung from beginning to end

Opera Seria (Serious opera)

early Baroque operas. Nobility, Greek, Mythology, more serious theme

Cantor

lead tenor singer in choir, lines out the main melody

Opera Buffa (comic opera)

more popular in classic era (Mozart), love stories, relatable to middle-class