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Musc103-Chap 16+
16-19
| Question | Answer |
|---|---|
| Romanticism | A movement in the arts and ideas, roughly coinciding with the nineteenth century, that valued human independence, political freedom, a love of nature, and passionate expression, especially in poetry and music |
| Chromatic harmony | harmony utilizing chords built on the five chromatic notes of the scale in addition to the seven diatonic ones; produces rich harmonies |
| Rubato | (Italian for “robbed”) in musical notation, a tempo mark indicating that the performer may take, or steal, great liberties with the tempo |
| Virtuoso | an instrumentalist or singer with a highly developed technical facility |
| Art song | a genre of song for voice and piano accompaniment, with high artistic aspirations |
| Lied | (German for “song”) the genre of art song, for voice and piano accompaniment, that originated in Germany c. 1800 |
| Lieder | primitive subregion of the brain associated with emotions and survival |
| Schubertiads | a social gathering for music and poetry that featured the songs and piano music of Franz Schubert |
| Song cycle | a collection of several songs united by a common textual theme or literary idea |
| Ballad | a traditional song, or folksong, sung by a soloist, which tells a dramatic, usually tragic, tale and is organized by stanzas |
| Through-composed | a term used to describe music that exhibits no obvious repetitions or overt musical form from beginning to end |
| Modified strophic form | strophic form in which the music is modified slightly to accommodate a particularly expressive word or phrase in the text |
| Program music | a piece of instrumental music, usually for symphony orchestra, that seeks to re-create in sound the events and emotions portrayed in some extramusical source: a story, a play, a historical event, an encounter with nature, or even a painting |
| Absolute music | instrumental music that is free of a text or any preexisting program |
| Dramatic overture | a one-movement work, usually in sonata–allegro form, that encapsulates in music the essential dramatic events of the opera or play that follows |
| Tone poem | a one-movement work for orchestra of the Romantic era that gives musical expression to the emotions and events associated with a story, play, political occurrence, personal experience, or encounter with nature |
| Program symphony | a symphony with the usual three, four, or five movements in which the individual movements together tell a tale or depict a succession of specific events or scenes |
| Ophicleide | a low brass instrument originating in military bands about the time of the French Revolution; the precursor of the tuba |
| English horn | a low oboe, pitched at the interval a fifth below the oboe, much favored by composers of the Romantic era |
| Cornet | a brass instrument with valves that looks like a short trumpet; it has a more mellow tone than the trumpet and is most often used in military bands |
| Orchestration | the art of assigning to the various instruments of the orchestra, or of a chamber ensemble, the diverse melodies, accompaniments, and counterpoints of a musical composition |
| Idee fixe | literally, a “fixed idea”; more specifically, an obsessive musical theme as first used in Hector Berlioz’s Symphonie fantastique |
| Diminution | a reduction, usually by half, of all the rhythmic durations in a melody |
| Col legno | (Italian for “with the wood”) an instruction to string players to strike the strings of the instrument, not with the horsehair of the bow, but with the wood of it |
| Ballet | an art form that uses dance and music, along with costumes and scenery, to tell a story and display emotions through expressive gestures and movement |
| Ballet music | music composed to accompany a ballet, with short bursts of tuneful melody and captivating rhythm, all intended to capture the emotional essence of the scene |
| Musical nationalism | a movement in music in the nineteenth century in which composers sought to emphasize indigenous qualities in their music by incorporating folk songs, native scales, dance rhythms, and local instrumental sounds |
| Russian five | a group of young composers (Borodin, Cui, Balakirev, Rimsky-Korsakov, and Musorgsky) centered in St. Petersburg, whose aim was to write purely Russian music free of European influence |
| Pentatonic scale | a five-note scale found often in folk music and non-Western music |
| Sustaining pedal | the rightmost pedal on the piano; when it is depressed, all dampers are removed from the strings, allowing them to vibrate freely |
| Soft pedal | the left pedal of the piano, which, when depressed, shifts the keyboard in such a way that the hammers strike fewer strings, making the instrument sound softer |
| Cross-stringing | a practice popularized by the Steinway Company of New York whereby the lowest-sounding strings of the piano ride up and across those of the middle register, thereby giving the piano a richer, more homogenous sound |
| Character piece | a brief instrumental work seeking to capture a single mood, sentiment, or emotion; a genre much favored by composers of the Romantic era |
| Nocturne | a slow, introspective type of music, usually for piano, with rich harmonies and poignant dissonances intending to convey the mysteries of the night |
| Lisztomania | the sort of mass hysteria, today reserved for pop music stars, that surrounded touring Romantic-era pianist Franz Liszt |
| Recital | a concert of chamber music, usually for a solo performer |
| Etude | a short, one-movement composition designed to improve a particular aspect of a performer’s technique |
| Cross-hand playing | moving the left hand over the right hand to play a high melody line |
Created by:
Espanda
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