single line melody
|call and response||
fixed rhythmic patterns
(1862-1918) French; Paris-basedStyle/Period: ImpressionistGenre Profile: 023---2120---0223---302---23---030Quantity of Work Produced: considerableBest Known For: piano (solo, chamber combs.)---orchestral pcs---songs & song cycles---chamber music---ballets---harp (chamber combs., w/orch.)---Pelléas et Mélisande (opera)---orchestrationNotable Works: . . . songs [solo v & pf] (c1879-1915) . . . 2 Arabesques [pf] (1888-91) . . . Clair de Lune (from 'Suite Bergamasque') [pf] (1890, r1905) . . . Prelude to the Afternoon of a Faun [sym. poem] (1892-4) . . . String Quartet in G minor Op.10 (1893Musical Influences: Albéniz; Borodin; Chabrier; Chausson; -Chopin; ---F Couperin; +Dukas; Fauré; Gounod; Lalo; Liszt; Massenet; Mussorgsky; --Rameau; +Ravel; +Satie; Wagner; gamelan & other East Asian music; French Renaissance musicHas Influenced: Alain; -Albéniz; Barber; Bartók; Bax; Beach; Berg; BLOCH; Boulanger; +Boulez; Carpenter; Casella; Castelnuovo-Tedesco; -Chausson; Copland; +Crumb; Dallapiccola; Delius; Dukas; Dutilleux; Enescu; Falla; GRIFFES; Hindemith; Honegger; Ibert; Ireland; Jolivet;
single-line texture w/o accompanimenttwo or more melodic line combinedtexture with principal melody and harmony
duple, slower (means peacock) Renaissance dance
Rossini, Gioachino (1792-1868) ItalianStyle/Period: Post-Classical (bel canto)Genre Profile: 032---0022---2202---200---03---220Quantity of Work Produced: extensiveBest Known For: operas & opera overs.---sacred vocal/choral music---chamber music---songs---solo pianoNotable Works: . . . 6 String Sonatas [2 vlns, vc & double-bass] (c1804) . . . Over. to (the opera) La Scala di Seta [orch.] (1812) . . . The Italian Woman in Algiers [opera] (1813) . . . Over. to (the opera) The Italian Woman in Algiers [orch.] (1813) . . . Otello [opera] (1816) . . . The Barber of Seville [opera] (1816) . . . Over. to (the opera) The BMusical Influences: --JS Bach; Cimarosa; J Haydn; Mayr; -MOZART; SpontiniHas Influenced: -Auber; BELLINI; Bizet; -Boieldieu; -Carulli; Chopin; Dargomïzhsky; DONIZETTI; Flotow; -Giuliani; Mercadante; -MEYERBEER; Offenbach; PACINI; Saint-Saëns; Schubert; -Spontini; Verdi; Wagner; Widor arber of Seville
short melodic or rhythmic idea
|medieval poet-musicians of southern france||
a collection written by Tielman Susato.
Very cheerful and fit to play on all musical instruments.
(1813-83) GermanStyle/Period: Middle German Romantic Quantity of Work Produced: considerableBest Known For: operas and opera overs. & preludes---'Siegfried Idyll' (orch.)---orchestrationNotable Works: . . . The Flying Dutchman [opera] (1841, r1846 & 1852) . . . Over. to (the opera) The Flying Dutchman [orch.] (1841, r1852 & 1860) . . . Tannhäuser [opera] (1843-5, r1861 & 1865) . . . Over. to (the opera) Tannhäuser [orch.] (1845) . . . Lohengrin [opera] (1845-8) . . . Götterdämmerung [opera] (1848-74) . . . Preludes to Acts I & III of (the opera) Lohengrin [orch.] (1850) . . . Das Rheingold [opera] (1851-4) . . . Die Walküre [opera] (1851-6), incl. 'Ride of the Valkyries' [orch.] . . . Siegfried [opera] (1851-71), incl. 'Forest Murmurs' [orch.] . . . Tristan und Isolde [opera] (1857-9) . . . Prelude & Death of Isolde from (the opera) Tristan und Isolde [orch.] (1857-9) . . . Die Meistersinger von Nürnberg [opera] (1861-7) . . . Prelude to (the opera) Die Meistersinger von Nürnberg [orch.] (1867) . . . Siegfried Idyll [small orch.] (1870) . . . Parsifal [opera] (1876-82)Musical Influences: BEETHOVEN; Bellini; Berlioz; Chopin; --Gluck; Halévy; Liszt; Meyerbeer; -Mozart; Rossini; Spohr; Spontini; WeberHas Influenced: Alfvén; Bartók; Bax; Beach; +Berg; Bloch; Boito; +Boulanger; BRUCKNER; CHABRIER; G Charpentier; CHAUSSON; Debussy; DELIUS; Dohnányi; DUKAS; Duparc; Dvorák; ELGAR; Enescu; Fauré; Fibich; Franck; Glière; GOLDMARK; ++Henze; Herbert; Holst; HUMPERDINCK; INDY; Janácek; Lalo; Leoncavallo; -Liszt; Lyadov; MacDowell; Mahler; Massenet; Miaskovsky; Offenbach; PARRY; ++Penderecki; PFITZNER; Pizzetti; Ponchielli; Puccini; Reger; Reinecke; Rimsky-Korsakov; Saint-Saëns; Schoenberg; Schreker; SCRIABIN; Sibelius; Sinding; Smetana; Stanford; Stenhammar; J Strauss Jr.; Jos Strauss; R Strauss; Szymanowski; Vierne; +Villa-Lobos; Webern; WOLF; Wolf-Ferrari; Zemlinsky
solo vocal declamation that follows inflections of text that results in disjunct vocal style
interweaving of melodic and harmonic elements
|most important genre during the Baroque period?||
|counterpoint is a compositional style that is associated with ------ texture.||
the earliest type of polyphony, with two, three, or four-voice parts sung in fixed rhythmic patterns.
|Where is the basilica of St. Mark's?||
|long melodic syllable sung on one passage.||
Operatic 'realism', a style pop in Italy in 1890's which tried to bring naturalism into the lyric theater.
intro mvt that presents melodies from arias to come. also an orch work for concert perf.
Unit of meaning within a larger structure
Afro-amcn form of secular folk music, related to jazz, that is based on a simple, repetitive poetic-musical structure.
|The Opening Melody of the star spangled banner is best described as:||
|artificially created male soprano or alto who dominated opera||
one note sung to each syllable of text
musical texture in which two or more melodic lines are played or sung simultaneously
bass part played by 2 instruments (chordal instrument--lute/keyboard and bass instrument--bassoon/low string*cello*)
small fluctuation of pitch used as an expressive device to intensify sound
vocal style estab. in Baroque w/ solo singer and instrument accomp
'fixed melody' usually of very long notes based off chant that served for polyphonic composition esp in Ren era
process of changing from one key to another
|in which group of instruments does a bass drum belong?||
|the instrumental form based on the contrast of two dissimilar masses of sound is called:||
|How many notes make up a pentatonic scale?||
|the french Baroque opera style that combined monumental choruses with colorful dances and stories of heroic adventure is:||
|La nuove musiche||
'The new music' (Origins of Opera)
called the expressive style.
Fostered by the Camerata memembers.
|Great Book of Organum||
Written by Leonin.
Magnus Liber Organi
was music for the entire church year, in the new polyphonic style.
Perotin expanded it and increased the number of voice parts(first to three, then four).
solo art song of 19th century, usually accompanied by piano.
Song structure in which the same music is repeated with every stanza of the poem
|third movement of a classical symphony is frequently in:||
minuet and trio
|Cite 3 outdoor instruments, cite 3 indoor instruments||
Outdoor: Shawms, sackbut(like trombone), and corretto
Indoor: Recorders, viola, pipe
|baroque artists etc. whose aim was to resurrect musical drama of ancient greece||
the florentine camerata
|Compare and contrast Renaissance and Baroque style||
Renaissance had modal harmony, baroque had major/minor tonality.
Renaissance had imitative polyphony, baroque had a new monodic or solo style: polyphony in late Baroque.
Renaissance had a'capella, in Baroque concerted music(voices and instruments) were more popular
|the most important patron of music in the middle ages?||
the roman catholic church
|The life of Hildegard||
was promised to the church as a tithe by her parents. She was the youngest of ten children.
Founded her own convent in 1150 in Rupertsberg, Germany.
completed three collections in manuscript entitled Scivias.
wrote religious poetry with music in a volume "Symphony of the Harmony of Celestial Revelations/Symphonia armonie celestium revelationum) Liturgic cycle.
|Cite 3 Italian courts, city &family name||
Cardinal Ascanio Sforza of Milan and Ercole d'Este, duke of Ferrara, in Rome.
Name: St. Mark's
City: Venice, Italy
Family Name: duke of Mantua