MUS 121 Final Exam 2023, (Answred)

MUS 121 Final Exam 2023, (Answred) Pitch is the relative highness or lowness that we hear in a sound. No doubt you've noticed that most men speak and sing in a lower range of pitches than women or children do. Interval distance in pitch between any two tones Octave interval between two tones in which the higher tone has twice the frequency of the lower tone Dynamics degrees of loudness or softness in music Crescendo gradually louder Diminuendo gradually softer Tone color succession of varying tone colors serving as a musical idea in a composition, used by Schoenberg and his followers Timbre quality of sound that distinguishes one instrument or voice from another voice ranges female; soprano female voice of high range voice ranges female; alto female voice of low range voice ranges male; tenor male voice of high range Instrument families: strings instrument whose sound is produced by the vibration of strings Instrument families: woodwinds instrument whose sound is produced by vibrations of air in a tube; holes along the length of tube are opened and closed by the fingers, or by pads, to control pitch. Instrument families: percussion (unpitched & pitched) instrument of definite or indefinite pitch whose sound is produced by striking by hand, or with a stick or hammer, or by shaking or rubbing. Instrument families: brass Instrument, made of brass or silver, whose sound is produced by the vibrations of the player's lips as he or she blows into a cup- or funnel-shaped mouthpiece. The vibrations are amplified and colored in a tube that is flared at the end voice ranges male; bass male voice of low range Instrument families: Keyboard instruments instrument, such as the piano, organ, or harpsichord-- played by pressing a series of keys with the fingers. Instrument families: Electronic Instruments instrument whose sound is produced, modified, or amplified by electronic means. Beat regular, recurrent pulsation that divides music into equal units of time Meter organization of beats into regular groups Tempo basic pace of the music Melody series of single tones that add up to recognizable whole Step interval between two adjacent tones in the scale Leap interval larger than that between two adjacent tones in the scale. Phrase part of a melody Consonance tone combination that is stable and restful Dissonance tone combination that is unstable and tense Harmony how chords are constructed and how they follow each other. Chord combination of three or more tones sounded at once. Major scale series of seven different tones within an octave, with an eighth tone repeating the fist tone an octave higher, consisting of a specific pattern of whole and half steps; the whole step between the second and third tones is characteristic. Chromatic scale scale including all twelve tones of the octave; each tone is a half step away from the next one. Monophonic textures single melodic line without accompaniment Homophonic textures term describing music in which one main melody is accompanied by chords Polyphonic textures performance of two or more melodic lines of relatively equal interest at the same time. Aspects of Form: Repitition reiteration of a motive, phrase, or section, often used to create a sense of unity. aspects of form; contrast striking differences of pitch, dynamics, rhythm, and tempo that provide variety and change of mood aspects of form; variation changing some features of a musical idea while retaining others Ternary Three-part (ternary) form: A B A′ Binary Two-part form, gives a sense of statement (A) and counterstatement (B). Usually, the compositon in two-part form repeat both parts: A A B B. Characteristicis of Baroque music: unity of mood A baroque piece usually expresses one basic mood: what begins joyully will remain joyful throughout.. (Read p. 122-123, 153) Characteristics of Baroque music: Continuity of rhythm within a singe piece Unity of mood in baroque music in conveyed, first of all, by continuity of rhythm. Rhythmic patterns heard at the beginning of a piece are repeated throughout it. This rhythmic continuity provides a compelling drive and energy-the forward motion is rarely interrupted. The beat, for example, is emphasized far more in baroque music than in most Renaissance music. Characteristics of Baroque music: Opening melody heard again and again Baroque melody also creates a feeling of continuity. An opening melody will be heard again and agian in the course of a baroque piece. and even when a melody is presented in varied form, its character tends to remain constsant. There is a continuous expanding, unfolding, and unwinding of melody. Characteristics of Baroque music:Terraced dynamics - why? This alternation between loud and soft is called terraced dynamics; Gradual changes through crescendo and decrescendo are not prominent features of baroque music. However, singers and instrumentalists no doubt made some subtle dynamic inflections for expressive purposes. Characteristics of Baroque music:Predominant texture: Early Baroque:Homophonic Early baroque composers favored homophonic texture over polyphnic texture typical of Renaissance music. They felt that words could be projected more clearly by using just one main melody with a chordal accompaniment. Characteristics of Baroque music: Predominant texture: Late Baroque: Polyphonic two or more melodic lines compete for listener's attention. Usually, the soprano and bass lines are the most important. Imitation between the various lines, or "voices," of the texture is very common. A melodic idea heard in one voice is likely to make an apperance in the other voices as well. When was the Baroque Era? Improvisation creation of music at the same time as it is performed Basso continuo Baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument Figured bass bass part of a baroque accompaniment with figures (numbers) above it indiciating the chords to be played. Equal temperament Equal temperament, in music, a tuning system in which the octave is divided into 12 semitones of equal size. Castrato male singer castrated before puberty to retain a high voice range; the most important category of vocal soloists in opera during the baroque period Opera drama that is sung to orchestral accompaniment, usualy a large-scale composition emplying vocal soloists, chorus, orchestra, costumes, and scenery Libretto text of an opera Aria song for a solo voice with orchestral accompaniment, usually expressing an emotional state through its outpouring of melody; found in operas, oratorios, and cantatas. Recitative Vocal line in an opera, oratorio, or cantata that imitates the rhythms and pitch fluctuations of speech, often serving to lead into an aria. Secular cantata Composition in several movements, usually written for chorus, one or more vocal soloists, and instrumental ensemble. Chamber canta styles Sacred cantata Composition in several movements, usually written for chorus, one or more vocal soloists, and instrumental ensemble. the church cantata for the LUtheran service in Germany during the baroque period often includes chorales. Chorale Hymn tune sung to a German religious text Oratorio Large scale composition for chorus, vocal soloists, an orchestra, usually set to a narrative text, but without acting, scenery, or costumes; often based on biblical stories Movement (of a composition) Piece that sounds fairly complete and independent but is part of a larger composition Concerto Grosso Composition for several instrumental soloists and small orchestra ; common in late baroque music Ritornello form Compositional form usually employed in baroque concerto grosso, in which the tutti plays a ritornello, or refrain, alternating with one or more soloists playing new material Fugue Polyphonic composition based on one main theme, or subject Solo concerto A piece for a single solists and an orchestra Suite In baroque music, a set of dance-inspired movements all written in the same key but differing in tempo, meter, and character Ground Bass aka basso ostinato: variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change; common in baroque music Prelude (1) short piece usually serving to introduce a fugue or another composition (2) see overture: short musical composition, purely orchestral, which opens an opera and sets the overall dramatic mood. Orchestral introductions to later acts of an opera are called preludes. Dates of Classical Period Dates of Romantic Period Sonata (or sonata-allegro) form Form of a single movement, consisting of three main sections: the exposition, where the themes are presented; the development, where themes are treated in new ways; and the recapitulation, where the themes return. A concluding section, the coda, often follows the recapitulation. Exposition First section of a sonata-form movement, which sets up a strong conflict between the tonic key and the new key; and between the first theme (or group of themes) and the second theme (or group of themes) Development Second section of a sonata-form movement, in which themes from the exposition are developed and the music moves through several different keys. Recapitulation Third section of a sonata-form movement, in which the first theme, bridge, second theme, and concluding section are presented more or less as they were in the exposition, which one crucial difference: all the principal material is now in the tonic key. Coda In a sonata-form movement, a concluding section following the recapitulation and rounding off the movement by repeating themes or develping them further. Theme Melody that serves as the starting point for an extended piece of music Theme and variations Form in which a basic musical idea (the theme) is repeated over and over and is changed each time in melody, rhythm, harmony, dynamics, or tone color. used either as an independent piece or as one movement of a larger work Minuet and trio Compositional form-derived from a dance--in three parts: minuet (A), trio (B), minuet (A). Often used as the third movement of classical symphonies, string quartets, and other works, it is in triple meter (3/4 time) and usually in a moderate tempo. Rondo Compositional form usually employed in the baroque concerto grosso, in which the tutti plays a ritornello, or rerain, alternating with one or more soloists playing new material. Art song Setting of a poem for solo voice and piano, ranslating the poem's mood and imagery into music, common in the romantic period. Lied or lieder Strophic or through-composed For singer and piano German Romantic poem (german art song) Song Cycle Group of art songs unified by a story line that runs through their poems, or by musical ideas linking the songs; often found in romantic music. Concerto Extended composition for several instrumental soloists and small orchestra; common in late baroque music Cadenza Unaccompanied section of virtuoso display for the solists in a concerto, usually appearing near the end of the first movement and sometimes in last movement Virtuosity is an individual who possesses outstanding technical ability in a particular art or field such as fine arts, music, singing, playing a musical instrument, or composition Motive fragment of a theme or short musical idea that is developed within a composition. Ostinato motive or phrase that is repeated persistently at the same pitch, used in music of the twentieth and early twenty-first centuries to stabilize a group of pitches. Absolute music instrumental music having no intended association with a story, poem, idea, or scene; nonprogram music. Program music instrumental music associated with a story, poem, idea, or scene, often found in the romantic period. Fortepiano eighteenth century or early nineteenth century piano, which differs from the modern piano in sound and in construction. String quartet composition for two violins, a viola, and a cello usually consisting of four movements. Chamber music music using a small group of musicians, with one player to a part Opera buffa a comic opera, typically in Italian, especially one with characters drawn from everyday life. Aria song for solo voice with orchestral accompaniment, usually expressing and emotional state through its outpouring of melody. found in operas, oratorios, and cantatas Nationalism in music inclusion of folk songs, dances, legends, and other national material in a composition to associate it with the composers homeland. Exoticism in music use of melodies, rhythms, or instruments that suggest foreign lands, common in romantic music. 20th Century to 1945 An Age of Musical Diversity Romanticism The emotional intensity associated with romanticism was already present in the work of Mozart and particularly in that of Beethoven, who greatly influenced composers after him. The romantic preference for expressive, songlike melody also grew out of the classical style. Romantic works tend to have greater ranges of tone color, dynamics, and pitch. Also, the romantic harmonic vocabulary is broader, with more emphasis on colorful, unstable chords. Romantic music is linked more closely to the other arts, particularly to literature. New forms developed, and in all forms there was greater tension and less emphasis on balance and resolution. But romantic music is so diverse that generalizations are apt to mislead. Some romantic composers, such as Mendelssohn and Brahms, created works that were deeply rooted in classical tradition; other composers, such as Berlioz, Liszt, and Wagner, were more revolutionary. Impressionism Musicial style which stresses tone color, atmosphere, and fluidity, typical of Debussy (flourished ) Expressionism Musicial style stressing intense, subjective emotion and harsh dissonance, typical of German and Austrian music of the early twentieth century. Primitivism Evocation of primitive power through insistent rhythms and percussive sounds Polychord Combination of two chords sounded at the same time, used in twentieth-century music Atonality Absence of tonality, or key, characteristic of much music of the twentieth and early twenty-first centuries. Neo-Classicism Musical style marked by emotional restraint, balance, and clarity,k inspired by the forms and stylistic features of eighteenth-century music, found in many works from Sprechstimme In German, speech-voice;a style of vocal performance halfway between speaking and singing, typical of Schoenberg and his followers. Leitmotiv short musical idea associated with a person, object, or thought, characteristic of the operas of Wagner. Verismo realism, or the quality of begin "true to life." A style of operatic composition, prevalent in Italy in the 1890s, with repercussions extending to other European countries and later decades. Pentatonic scale Scale made up of five different tones, used in folk music and music of the far east Whole tone scale Scale made up of six different tones, each a whole step away from the next, which conveys no definite sense of tonality; often found in the music of Debussy and his followers Chromatic scale