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Music Appreciation
| Term | Definition |
|---|---|
| melody, harmony, rhythm | three elements of music |
| melody and rhythm | move horizontally |
| harmony | move vertically |
| phrase | musical sentence |
| cadence | a resting place in music |
| pianoforte | the name of the keyboard in the classroom |
| soft loud | pianoforte means |
| Italian | musical terms are in the ________ language |
| grave, andente | two words which mean slow |
| allegro, presto | two words for fast |
| woodwind, brass, string, percussion | four categories of instruments |
| clarinet, bassoon, flute, piccolo | woodwind instruments |
| trumpet, french horn, tuba, trombone | brass instruments |
| violin, viola, cello, bass | string instruments |
| cymbal, bass drum, triangle, snare drum, kettledrum | percussion instruments |
| middle ages, renaissance, baroque, classical, romantic, 20th century | periods of western civilization in order |
| quintet | ensemble with 5 people |
| trio | ensemble with 3 people |
| quartet | ensemble with 4 people |
| monophonic | music for one voice or parts |
| polyphonic | music for two or more voices or parts |
| homophonic | a melody supported by instrumental accompaniment |
| melody | succession of single pitches that we hear as a recognizable whole |
| range | the distance between the lowest and highest notes |
| contour | melody's overall shape as it turns upward or downward or remains static |
| climax | the high point in a melodic line |
| rhythm | the movement of music in time |
| duple meter | alternates a strong downbeat with a weak beat |
| triple meter | basic pattern with three beats to a measure - one strong beat and two weak ones |
| quadruple meter | contains four beats to the measure with a primary accent on the first beat and a secondary accent on the third |
| harmony | the simultaneous combination of sounds |
| chromatic scale | twelve half steps that make up the octave |
| major scale | the most familiar sequence of pitches |
| minor scale | sounds quite unusual, has a lowered, or flattened third note |
| texture | melodic lines may be thought of as the various threads that make up this musical fabric |
| monophony | simple texture using a single voice |
| polyphony | describes a texture in which two or more different melodic lines are combined |
| homophony | a single voice takes over the melodic interest, while the accompanying lines are subordinate |
| binary form | based on a statement and a departure, without a return to the opening section (two-part) |
| ternary form | extends the idea of statement and departure by bringing back the first section (three-part) |
| tempo | rate of speed of the music |
| dynamics | denote the volume at which music is played |
| crescendo | growing louder |
| decrescendo | growing softer |
| voice | the oldest instrument |
| aerophones | produce sound by using air |
| chordophones | produce sound from a vibrating string stretched between two points |
| idiopohones | produce sound from the substance itself |
| membranophones | drum-type instruments that are sounded from tightly stretched membranes |
| in the chapel | meaning of a cappella |
| harpsichord, pipe organ | earliest keyboard instruments |
| sacred music | music for religious purposes |
| secular music | music for entertainment |
| genre | a more general term that suggests something of the overall character of the work as well as its function |
| opus number | cataloguing system to identify a musical work/piece |
| oral transmission | the preservation of music without the aid of written notation |
| humanism | the nude human form, denied or covered for centuries, was revealed as a thing of beauty and used for anatomical study |
| 1818 | Florence established |
| 1830 | UNA established |
| monasteries | members of these religious communities who preserved the learning of the ancient world and transmitted it, through their manuscripts, to later European scholars |
| melismatic | up to five or six notes sung to a syllable |
| responsorial | practice of group repetition of a leader's text-music phrase has its roots in ancient Jewish practice |
| pavane, saltarello, ronde | dance types |
| madrigal | an aristocratic form of poetry and music that flourished at the Italian courts as a favorite diversion of cultivated amateurs |
| virtuosity | remarkable technical skill |
| figured bass | numeral put above or below the bass note by the composer to indicate the chord required |
| basso continuo | provided a foundation over which a vocal or instrumental melody could unfold |
| major-minor tonality | one of the most significant changes in all music history |
| castrato | a male singer who was castrated during boyhood in order to preserve the soprano or alto register of his voice for the rest of his life |
| improvisation | played a significant role in Baroque music |
| opera | a large-scale drama that is sung |
| chorales | weekly hymns created by Luther and his followers |
| Lutheran cantata | the resulting elaboration-of-chorale, a sort of musical sermon on the original hymn |
| mass | service in the Catholic church |
| 1750-1825 | Baroque period |
| oratorio | one of the great Baroque sacred vocal forms, descended from the religious play-with-music of the Counter-Reformation |
| Handel | wrote Messiah |
| da capo aria | the composer usually did not write out the third verse since it duplicated the first, allowing the star singer the opportunity to ornament or elaborate the third part on the fly |
| suite | a group of short dances performed by a diverse array of instruments |
| Vivaldi | wrote The Four Seasons |
| Handel | wrote the Water Music |
| subject | main theme of a song |
| fugue | a contrapuntal composition in which a single theme pervades the entire fabric, entering in one voice and then in another |
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