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DMA Sample Exam Term
| Term | Definition |
|---|---|
| dodecachordon | written by Henrich Glarean; one of the most famous and influential works on music theory written during the renaissance; published in 1547; Glarean's proposal that there are actually 12 modes, not 8, as had long been assumed |
| empfindsamkeit | aka empfindsamer stile; style of musical composition and poetry developed in 18th c germany, intended to express true and natural feelings, and featuring sudden contrasts of mood; CPE Bach, Giuseppe Tartini & Carl Heinrich Graun composed in this style |
| essays before a sonata | written by charles ives; originally published in 1920; was conceived as a preface of sorts to the sonata composition; musings explore the nature of music, discuss the source of a composer's impulses and inspiration & offer comments on celebrated masters |
| franconian notation | developed by franco of cologne, german music theorist; codified in about 1260; true precursor of modern notation in that the rhythm of a note could be read solely from its shape, rather than construed from the pattern of the other notes in the vicinity |
| in search of a concrete music | written & published in 1952; french language publication which forms a major part of the experimental composer and theoretician Pierre Schaeffer's collection of works written to record his own undertakings on the development of musique concrète |
| letter on french music | in 1753 Jean-Jacques Rousseau published a pamphlet, boosting La serva; part of the Querelle des Bouffons (Quarrel of the Comic Actors); name given to a battle of musical philosophies that took place in Paris between 1752-1754 |
| notes inégales | performance practice mainly from the Baroque and Classical music eras, in which some notes with equal written time values are performed with unequal durations, usually alternating long and short; the practice was especially prevalent in France (17/18 c.) |
| on the sensations of tone as a physiological basis for the theory of music | written by Hermann von Holmholtz; first published in 1863; a foundational work on music acoustics and the perception of sound |
| sketch of a new esthetic of music | first published in 1907 by Ferruccio Busoni; set out the principles underlying his performances and his mature compositions |
| sonata da chiesa | translates to 'church sonata'; is a 17th c genre of musical composition for one or more melody instruments; meant to replace the works that were regularly substituted for the proper during mass/vespers, which weren't written explicitly as liturgical music |
| banchetto musicale | translates to 'musical banquet'; collection of instrumental suites which he published in 1617; it contains 20 suites, all of which are 'variation suites'; this piece is regarded as Johann Hermann Schein's best known work |
| choralis constantinus | a collection of over 375 Gregorian chant-based polyphonic motets for the proper of the mass composed by Heinrich Isaac and his pupil Ludwig Senfl; the music was delivered to the Constance Cathedral in late 1508 and early 1509 |
| das buch der hängenden gärten | 'the book of the hanging gardens' 15-part song cycle composed by Arnold Schoenberg between 1908-09, poems by Stefan George; broke against conventional musical order through its usage of atonality; tracks the failed love affair of two youths in a garden |
| der fliegende holländer | 'the flying dutchman'; is a German-language opera, with libretto and music by Richard Wagner; central theme is redemption through love; premiere was in 1843 |
| farewell symphony | Haydn's Symphony No. 45 in F# minor; dated 1772; lasts around 25 minutes |
| ideomeno | Italian-language opera seria by WA Mozart; libretto by Giambattista Varesco, based on a 1705 play; commissioned in 1780, and premiered in 1781; libretto draws inspiration from Metastasio |
| il canto sospeso | 'the suspended song'; cantata for vocal soloists, choir, and orchestra by Luigi Nono, written in 1955-56; one of the most admired examples of serial composition from the 1950s |
| les goûts réunis | the title of a collection of 10 suites composed by François Couperin and published in 1724, an alternative title of which is Nouveaux concerts because they are a continuation of the four Royal Concerts composed to be performed at the court of Louis XIV |
| magnus liber organi | 'great book of organum';written in Latin, is a repertory of medieval music known as organum; survives today in three manuscripts; repertoire was in use by the Notre-Dame school composers working in Paris @ the end of the 12th and beginning of the 13th c. |
| the dream of gerontius | voices and orchestra in two parts composed by Edward Elgar in 1900, to text by John Henry Newman; relates the journey of a pious man's soul from his deathbed to his judgement before God and settling into Purgatory; regarded as Elgar's finest choral work |
| allemande | a stylized dance movement in moderate quadruple time, generally the first movement (after the overture) in a Baroque suite; Couperin, Bach, Handel, Purcell |
| array | a systematic arrangement of similar objects, usually in rows and columns; in twelve-tone and serial composition, the presentation of simultaneous twelve-tone sets such that the sums of their horizontal segments form a succession of twelve-tone aggregates |
| imitation mass/parody mass | a musical setting of the mass, from the 16th c, that uses multiple voices of a pre-existing piece of music, such as a fragment of a motet or a secular chanson, as part of its melodic material |
| modes of limited transposition | musical modes or scales that fulfill specific criteria relating to their symmetry and the repetition of their interval groups; scales may be transposed to all 12 notes of the scale, but at least 2 of the transpositions must result in the same pitch class |
| music drama | first advanced by Richard Wagner in his book Oper und Drama (1850-51); originally referred to as simply 'drama'; was intended as a return to the Greek drama as Wagner understood it |
| tragédie lyrique | 'musical tragedy'; genre of French opera introduced by Jean-Baptiste Lully; usually based on stories from classical mythology or the Italian romantic epics of Tasso and Ariosto |
| l'art de toucher le clavecin | 'the art of playing the harpsichord'; didactic treatise by François Couperin; first published in 1716; written to instruct keyboard players in performance practice |
| roman de fauvel | a 14th c French allegorical verse romance of satirical bent; original narrative of 3280 octosyllabics is divided into two books, dated to 1310 and 1314 |
| vom musikalisch-schönen | Eduard Hanslick's best known work, the 1854 treatise 'on the musically beautiful'; was a landmark in the aesthetics of music and outlines much of his artistic and philosophical beliefs on music |
| benjamin britten | 1913-1976; English composer, conductor & pianist; best-known works include Peter Grimes (1945) & the War Requiem (1962); his compositional style was distinctive, with a slow drift form the tonal to including atonal elements; avoided avant garde |
| claudio monteverdi | 1567-1643; Italian composer, choirmaster & string player; composed both secular & sacred music; L'orfeo (1607) & L'incoronazione di Poppea (1643); worked extensively in the tradition of earlier Renaissance polyphony & employed basso continuo technique |
| anton webern | 1883-1945; Austrian composer & conductor; music was radical in its concision & use of atonal and 12-tone techniques in a rigorous manner; concision, adventurous textures & timbres, and melodies of wide leaps & extreme ranges & registers; Im Sommerwind |
| guillaume tell | french opera in 4 acts by Gioachino Rossini, based on the play Wilhelm Tell, which drew from the William Tell legend (folk hero of Switzerland; Tell was considered the father of the Swiss Confederacy); was Rossini's last opera; was debuted in 1829 |
| sonatas and interludes | is a cycle of 20 pieces for prepared piano by avant-garde composer John Cage (1912-1992); composed in 1946-48; the aim of the pieces is to express the 8 permanent emotions of the rasa Indian tradition |
| string quartet no. 1 in c minor, op. 51 no. 1 | by Brahms; completed in Tutzing, Bavaria in summer of 1873; dedicated to his friend Theodor Billroth; no. 1 is terse and tragic, remarkable for its organic unity & for the harmonically sophisticated movements |
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