test 2 mus 104

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  1. Fugue Subject
    the term for the principal theme in a fugue
  2. Fugue Exposition
    in a fugue, the opening section in which each voice has a turn or the opportunity to present the subject
  3. Fugue Episode
    a passage of free, nonimitative counterpoint found in a fugue
  4. pedal point
    a note, usually a bass, sustained or continually repeated for a period of time while the harmonies change around it
  5. cadenza
    a showy passage for the soloist appearing near the end of the movement in a concerto, ususally incorporates rapid runs, arpeggios, and snippets of previously heard themes into a fantasy-like improvosation
  6. Church cantata
    a term originaly meaning "something sung" , in its msature state, it consists of several movements, including one or more arias, ariosos, and recitives; religious subjects such as bachs for the lutheran church
  7. chorale
    the german word for the hynm of the lutheran church; hence a simple religious melody to be sung by the congregation
  8. Prelude
    an introductory, improvisory-like movement that gives the performer a chance to warm up and sets the stage for a more "seropis" or more "learned" classical music
  9. dance suite
    a collection of instrumental dances, each with its own distincitve rhythm and character
  10. opera seria
    a genre of opera that dominated the stage during the Baroque era, making use of serious or historical mythological subjects, da capo arias, and lenghty overtures
  11. Oratorio
    a large-scale genre of sacred music involving an overature. arias, recitatives and choruses, but sung, whether in a theatre or a church, without costumes or scenery
  12. Da capo aria
    n aria with two sections, with an obligatory return to and repeat of the first; hence an aria in ternary (ABA) form
  13. Enlightenment
    Also called the age of reason, it gave way to the age of revolution (voltaire and rousseau)
  14. comic opera/opera buffa
    a genre of opera that originted in the eighteenth century, portraying everyday characters and situations, and using spoken diologue and simple songs
  15. Pianoforte
    the original name for the piano
  16. alberti bass
    a pattern of accompaniment whereby, instead of having the pitches of a chord sound all together, the notes are played in succession to provide a continual stream of sound
  17. vienna: a city of music
    capital of the old holy empire: beethovan, mozart, and hayden
  18. esterhazy family
    most rich german speaking aristocrats in hungary owning propert in vienna. Employed hayden with a strict contract requiring him to wear servants cloths
  19. london symphonies
    the twelve symponies composed by Joseph Hayden for performance in London between 1791 and 1795;
  20. Leopold Mozart
    father of amadaeus mozart he was a violinist in the orchestra of the archbishop of salzburg
  21. Antonio Salieiri
    Mozarts principle rival in vienna, he was a composer for emporer joseph II. in the movie amadaeus he murders mozart, but that didnt really happen
  22. Free masons
    Mozart became a fremason even tho he was a practicing catholic beacuse he loved the brotherhood ideals. may say that his song the magic flute is a hymn in praise of masonic ideals
  23. Ternary Form
    a 3 part musical form in which the third section is a repeat of the first; hence ABA
  24. Minuet
    a moderate dance in 3/4 , though actually danced in patterns of 6 steps with no upbeat but with highly symmetrical phrasing
  25. Serenade
    an instrumental work for a small ensemble originally intended as a light entertainment in the evening
  26. Sonata-allegro form
    a dramatic musical form that orgininated in the classical period involving an exposition, development, and recapitulation, with optional intriduction and coda
  27. Development
    the center most portion of sonata-allegro form, in which the thematic material of the expositino is developed and extended, transformed, or reduced to its essence; often the most confrontational and unstable section of the movemtn
  28. Recapitulation
    in sonata-allegro form, the return to the first theme and the tonic key following the development
  29. Coda
    Italian for Tail; a final and concluding section of a musical composition
  30. Transition/Bridge
    in sonata-allegro form. the unstable section in which the tonality changes from tonic to dominant (or relative major) in preparation for the appearance of the second theme
  31. Theme and variations
    a musical form in which a theme continually returns but is varied by changing the notes of the melody, the harmony, the rhythm, or some other feature of the music
  32. Rondo
    an ancient musical form in which a refrain alternates with contrasting material
  33. Finale
    the final movement of a multimovement composition, one that usually works to a climax and conclusion
  34. Kochel number
    an identifying number assigned to each of the works of Mozart, in roughly chronological order, by Ludwig von Kochel
  35. Sinfonia
    Italian for symphony- a one movement (later 3 or 4 movement) orchestral that originated in itality in the 17th century
  36. Symphony
    a genre of music for orchestra consisting of several movements; also, the orchesra ensemble that plays this genre
  37. String Quartet
    a standard instrumental ensemble for the chamber music consisting of a single first and second violin, a viola, and a cello; also, the genre of music, usually in 3 or 4 movements, composed for this ensemble.
  38. Scherzo
    italiant for joke- a rapid, jovial work in triple meter often used in place of the minuet as the third movement in a string quartet or symphony
  39. Sonata
    originally, "something sounded" on an instrument as opposed to something sung (a cantata), eter, a multi-movement work for solo instrument, or instrument with keyboard accompaniment
  40. Solo concerto
    a concerto in which an orchestra and single performer in turn present and develop the musical material in the spirit of harmonious competition
  41. Double expositino form
    a form, originating int he concerto of the Classical period, in which first the orchestra and then the soloist present the primary thematic material
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test 2 mus 104
test 2 mus 104
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