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| music that is formal, sophisticated, urban, and appreciated by an educated elite |
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| shape or structure of a piece of music |
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| two-part musical form as in a b form |
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| three-part musical form as in a b a form |
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| an ascending or descending series of tones organized according to a specific pattern of intervals |
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| the difference in pitch between two musical tones |
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| the eight tones if a standard major or minor scale |
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| proceeding by ½ steps, using sharps or flats |
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| the speed at which music is performed |
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| music that is not ramble ans is cohesive, with an exact or a modified repetition of themes and patterns |
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| music that departs from previously stated themes and creates points of contrast |
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| in the Baroque pd, a multi-movement work written for a solo instrument and continuo |
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| a multi-movement work for symphony orchestra. The typical order of movements is fast-slow-dance-fast |
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| a three-movement work for solo instrument and orchestra that emerged during the Baroque pd |
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| works for solo instruments performing together in small ensembles |
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| an unaccompanied passage in free rhythm in which the soloist displays his or her virtuosity |
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| a multi-movement work written for 2 solo instrument and continuo |
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| an instrumental form in which a stated theme is followed by a series of variations on that theme |
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| a stately dance movement in triple meter in a b a form. |
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| a musical form consisting of two or more contrasting theme areas, each followed by a return to the opening theme |
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| presented the primary theme in the tonic key, followed by a secondary theme in a contrasting key, sometimes in contrasting mood |
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| based on prior material, such as a melodic fragment of the first theme or perhaps the second theme or even both themes. |
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provided the return to stability: a return to the tonic key, the primary theme of the exposition
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| concluding section, in effect serving as an extension of the tonic ending but building up to and creating anticipation of the final cadence |
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| – a common source of income for composers |
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| concert art music that reflects national or regional rather than universal characteristics |
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| music that depicts images, moods, stories, characters, and other nonmusical associations |
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| proceeding by ½ steps using sharps/flats |
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an active, unstable sound
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| a perception of instability in traditional Western music that suggests the need for release of tension or resolution |
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| a point of repose at the ending of a musical phrase |
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| a programmatic, one-movement work for symphony orchestra with contrasting moods |
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| a dramatic stage production that involves soloists who sing arias and recitatives, solo ensembles, choruses, dancing, dramatic action, costumes, staging, and orchestral accompaniment |
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| the words to an opera or other musical stage production |
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stage production featuring formal, stylized dance performances with a story or a unified theme
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| a small-scale composition |
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| a musical structure in which the same music is used for each stanza of a ballad, song or hymn |
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| a technique common in the Baroque period of conveying in the music the moods, emotions, images and meanings suggested by a text |
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an imitative polyphonic composition that originated as a keyboard genre during the Baroque pd
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| three or more adjacent tones sounding simultaneously |
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| moving in wide intervals or skips rather than in the smooth |
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relating to successive tones of the scale, moving step by step |
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| a style of music, exemplified in the works of Debussy, that avoids explicit statement and literal description but instead emphasizes suggestion and atmosphere, evokes moods and conveys impressions of images and feelings |
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experimental composers who are in the forefront of musical developments and are leaders in the development of new and unconventional musical styles. They experiment with untried techniques, forms, timbres, and concepts in devising new approaches to composition, new aesthetic notions, or a new language for expressing music
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| a style of modern composition that is based on established forms and structures of the past and particularly on the aesthetics and musical values of the classic era |
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| the avoidance of tonal centers and tonal relationships in music. It results in high chromatic, dissonant music without traditional, functional chord progressions, modulations and tuneful melodies |
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Serial composition (12 tone technique) – |
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| a set of non-repeated pitches – a tone row – used as the basis for organizing the vertical and horizontal arrangement of pitches throughout a composition |
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Totally controlled music – |
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| when several factors are serialized |
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MIDI (Musical Instrument Digital Interface) – . |
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| a means for providing electronic communication between synthesizers and computers or other synthesizers. It enables sounds to be stored in memory until needed |
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Chance music (indeterminate music) – |
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| a compositional technique whereby a composer does not control all the details of a composition, allowing the performer to make creative choices through improvisation or other means of selecting sounds within the structure of the composition |
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| concert art music written in a style immediately recognizable as American |
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a scholar of music in culture – of world music; one who researches the music of a culture, writes about it, and teaches others about it
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| a style of composition whose creator attempts to achieve the greatest effect from the least amount of material. It is typically based on many repetitions of simple patterns , creating slow, subtle changes in rhythm, chord movement, or other musical elements |
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