Medieval era
Dominated by vocal music. Sacred music used Gregorian chant and masses. Secular Music used for dance and entertainment. By the middle ages secular music had become a driving force of musical development. Evolved with the organum.
Mass
The Mass was a driving force of musical development in the medieval and renaissance periods. By the renaissance era polyphony was common. 5 main sections: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. COMPOSERS: Dufay, Josquin, Haydn, Palestrina, Mozart, B
Medieval motet v. Renaissance motet
Medieval: featured tenor line derived from plainchant with one or more upper voices in French or Latin.
Renaissance: Referred more to the genre of music than to certain form structure. Mainly polyphonic with use of imitation and four-part harmony.
Baroque v. Classical
Baroque: Ornate and ornamented. Tonality was established, counterpoint was invented, and size, range and complexity of orchestration was expanded.
Going into classical, Homophony replaced polyphony. Simplicity replaced complexity and gentle replace strong
Nationalism
Music that evokes national or regional character of a place
Russia: Mussorgsky, Glinka and Rimsky-Korsakov
Czech: Smetana, Dvorak, and Janacek
Norway/Finland: Grieg and Sibelius
England: Elgar, Vaughn Williams, and Holst
Spain: Albeniz, Granados and de Fe
Program music v. Absolute music
Program: Music that represented non-musical images or ideas, flourished in the romantic era (program symphonies, tone poems, character pieces) Strauss, Berlioz, and Dukas.
Absolute: Instrumental Music that existed apart tom extra-musical references, able
Trumpets
In the beginning trumpets were limited to hand-stopping techniques and the overtone series. With the invention of valved horns and keys, players are able to play chromatically and throughout their entire range.
Impressionists Movement
Influenced by painters like Monet, Cezanne and Renoir. These painters used subtle brushstrokes and obscured and sharp lines to give a "General" impression" of a scene without precise details. Melodies tend to center around a single pitch without climax (D
Schoenberg
Created the 12-tone serious in the 1920's. All 12 pitches are treated equal and they are ordered into a serious that becomes the basic structure for a composition. His work continued in: Webern, Berg, Nono and Stockhausen.
Neoclassical Movement
A trend of the 20th century that emerged as a reaction to the emotionalism of the late romantic era and the abandonment of tonality in the early-20th century. Usually featured restraint, lighter texture, a transparent melody and a call to music of the pas
Minimalist Movement
Began in the 1960s as an extension of experimental music. minimalists features the process of music rather than motion towards a goal. Music uses a minimal amount of notes, instruments, and focal points. More a wall of sound than a story line. Composers:
Latin Jazz
Originated in the 1940's. Merged afro-Latin with American Jazz music. Incorporated Cuban rhythms (mambo and samba) and syncopated rhythms in the bass. Musicians: Bauza, Grillo, W.C. Handy, Dizzy Gillespie, and Pozo.
New Orleans Jazz
Earliest form of Jazz. Swinging, stomping, syncopated beat that makes you want to dance
Ragtime
Music characterized by a syncopated melodic line and regularly accented accompaniment, evolved by black American musicians in the 1890s and played especially on the piano (Scott Joplin)
Swing
The style of the 30s, when the big band was the dominant form of Jazz. The style implies certain types of harmony (use of added 6ths rather than 7ths in major and minor chords, of un-embellished diminished chords, frequent use of the augmented 5th and lit
Free Jazz
Style of jazz known for its long solos, irregular form, and changes of style.
Jazz Fusion
Jazz music style developed by Miles Davis, Wayne Shorter, and Herbie Hancock that combined jazz with Rock n' Roll. Incorporated elements of rock into Jazz and made greater use of repetition and non-improvised passages. Harmonic language was simplified; ke
Dixieland
Freer than Ragtime, some of the music was written out, some of it was improvised. Riverboat jazz, hot jazz, Lindy hop. Standard "when the saints go marching in" The definitive sound is created when one instrument (usually the trumpet) plays the melody or
Bebop
The style of Jazz developed by young players in the early 40s, particularly Parker, Gillespie, Kenny Clarke, Charlie Christian and Bud Powell. Small groups were favored, and simple standard tunes or just their chord progressions were used as springboards
Boogie-Woogie
A style of piano playing very popular in the 30's. Blues, with continuous repeated eighth note patterns in the left hand and exciting but often stereotyped blues riffs and figures in the right hand. Heavily percussive style of blues piano in which the rig
Cool Jazz
The style of the late 40's and early 50s, taken up by many white musicians and popular on college campuses. The basis was bebop, but the fastest tempos were not used and the sound was quiet and understated. It is characterized by relaxed tempos and lighte
Hard Bop
The style of the late 50s, engineered by Horace Silver, Art Blakey, etc. Still essentially Bebop, the style used hard-driving rhythmic feel and vehement, biting lines and harmony drenched with urban blues, rhythm 'n blues and gospel.
Neo Bop
The conservative Bebop style of several successful players in the 90s, like Roy Hargrove.
Zydeco
Blend of Louisiana French accordion music and Afro-Caribbean beats. Instrumentation almost always includes an accordion and a frottoir, a washboard worn like a vest. Guitar and drums typically add even more rhythm and syncopation to create a highly dancea
Bluegrass
Mixed roots in Irish, Scottish and English traditional music, and was also later influenced by the music of African-Americans through incorporation of jazz elements. Traditionally played on acoustic stringed instruments. The fiddle, five-string banjo, gui
Bossa Nova
Originated in Rio De Janeiro, Brazil (1950's). Laid back singing style, complex harmonies and bossa nova clave rhythm pattern. Acoustic guitar as principal instrument. Musicians: Jobim, Gilberto, Moraes, Mendes and Menescal
Blues
Originated through African Work songs of the emancipated slaves in the early 19th and 20th centuries. Call and response, unaccompanied voice, and accompaniment styles have roots in African music. 12-bar harmonic progression:
I-I-I-I-IV-IV-I-I-V-IV-I-I. Mu
Evolution of Harmonic Language
By mid 19th C. composers started to explore chromaticism and common tone relationships. Wagner's Tristan und Isolde bought change. Leitmotifs and tritons. Wagner's use of harmonic suspension, full chromaticism, polyphony and a range of colors paved a way
Organum
Considered to be one of the earliest forms pf polyphony. Medieval Period. Based on the Cantus Firmus ad began as improvised voices that duplicated the original melody. By the 13th C. the motet had replaced is as a major polyphonic genre.
Opera Seria v. Opera Buffa
Seria: Focused on tragic and serious subjects that were historical rather than mythical (3 acts)
Buffa: Focused on humorous and light-hearted elements. Form was less structures and featured prominent orchestral/instrumental parts.
Music Modes
Ionian: major scale
Dorian: natural minor with raised 6
Phrygian: natural minor with lowered 2nd
Lydian: major scale with raised 4th
Mixolydian: major scale with lowered 7th
Aeolian: natural minor
Locrian: natural minor with lowered 2nd and 5th
Classical Sonata Form
Exposition: First subject in tonic and second in dominant/relative minor
Development: material from exposition is altered, modified and transformed through mood, key and modulations.
Recapitulation: tonal balance is reinstated with shortened version of or
Opera v. Oratorio
Both: Large scale works that feature dramatic, musical and narrative elements.
Opera: theatrically staged, centered on historical, mythological or secular plots.
Oratorio: not theatrically staged with a focus on religious or ethical subjects.
Waltz
Popular since the 18th C. Features lively dance music in triple meter. emphasis on the downbeat while the other two beats create a sense of floating. Composers: Strauss, Schubert, Chopin, Liszt, Brahms and Tchaikovsky.
Mambo
Song and dance genre of the 1940s; stems from afro-Cuban movement. Performed by and ensemble that includes a double bass, bongo, tumbadora, trumpets, guitar and voices. Moderate to fast with distinctive riffs. Cowbells for syncopation. Conga drums used of
Appalachian Music
Heavily influence by the Irish, Scottish and English Immigrants. African American music traditions contributed too. Features heavy ornamentation, improvisation, rhythmic and melodic focus and upbeat tempo. Instruments: banjo, mandolin, guitar, fiddle, dob
Waltz v. Mazurka
Both: important European dances of the romantic era. Popular in the 1800s. Triple meter time with two or four repeated 8 measure sections.
Waltz: Originated in southern Germany/Austria. emphasize on downbeat. evolved to be longer complex works. Faster tem
Kabuki
Traditional Japanese theater form stemming from the edo period of the 1600s. formed by females but now includes males. Makeup: white Oshiro base with boldly colored komodo and exaggerated masks. Three types: jidai-mono (historical plays), sewa-mono (domes
Chinese Musical Instruments
Pipa: pear-shaped plucked lute
Erhu: traditional Chinese lute
Yangqin: trapezoidal, hammered dulcimer
Dizi: transverse flute
Australian Instruments
Didgeridoo: Simple wooden tube that flares at the end (buzz lips)
Bull-roarer: simple wooden slat connected to the end of a length of cord.
Gum Leaf: leaf of the eucalyptus tree
Polynesian nose flute
Played through a single nostril while the other is held shut. Popular during courtship and lovemaking.
Tonal v. Real Fugal Answer
Real: the theme is transposed exactly note to note in the dominant key
Tonal: theme is transposed loosely in the dominant key, modified to maintain harmonic congruity or to facilitate modulations.
Tone Cluster
Group of closely spaced notes played simultaneously usually in groupings of adjacent seconds and groupings. Refers to stacks of more than two neighboring notes (3 being the minimum). Termed by Henry Cowell in the 1920's.
Simple Binary v. Rounded Binary
Simple Binary: two main sections both repeated. the first section labeled A (tonic) and the second section labeled B or A' (modification of A) A or A' cant exist independently
Rounded Binary: form ABA or AA'A. There is a return to the first section.
Ternary Form
Form: ABA. A in tonic home key. B is a Modification of the tonic key and is distinctly different from the first section. A is the repeated of the first section. All sections CAN work independently.
The Motions
Parallel Motion: motion of two lines that move in the same direction (up or down) while maintaining the same intervals between lines.
Contrary Motion: motion of two lines that move in opposite directions.
Similar Motion: motion of two lines that move in s
Dissonances
Anticipation: dissonant but unaccented
Appoggiatura: leap of dissonance followed by step
Suspension: dissonance tone sounds on downbeat and it resolved downward by step.
Passing Tone: stepwise motion through tones
Neighbor tone: move stepwise but goes dow
Dynamic Changes
Strings: pressure and speed of bow
Brass and Woodwinds: Air velocity
Percussion: Playing techniques
Choral Balance v. Blend
Balance: there should be an equal level of sound coming from all ranges of voices
Blend: uniformity of vowel formation and tone based on individual singers diligence to listen to the vowels/tone of the rest of the choir.
Durational rhythm v. tonal rhythm
Durational: closely tied with meter
Tonal: does not arise from patterns of stress and duration and is essential independent of meter
Bowing techniques
Detache: detach notes by playing one note per bow stroke
Ondule: bow plays two adjacent strings
Sautille: bouncing of the notes by the middle of the bow (fast)
Sul Ponticello: bow close to the bridge which creates harsh grating sound
Sul tasto: bow over t
Brass embouchure
Mouth cavity wide open while the corners of the lips should remain firm, not to tight or loose. Chin even and pointed and mouthpiece held evenly between lips.
Woodwind embouchure
Flute: placed against the chin so that bottom lip is in line and close to the hole. Corners of mouth should be relaxed while upper lip should by firmly against upper teeth.
Reed woodwind: bottom lip should be slightly over bottom teeth and against the ree
Intrinsic Motivation
Motivation that exists or an individual in the activity itself. When students are intrinsically motivated there will be satisfaction in the task at hand, partly from natural curiosity and gratification of doing task.
Extrinsic Motivation
Motivation that exists for an individual apart from the activity or task such as outside pressure or reward. Satisfaction lies in extrinsic reward, pressure or external prompt.
Socratic Method
Advocated the use of questions in developing the students' critical thinking and intellect. Asking questions that compel the student to use critical thinking for a solution or answer. Open-ended questions.
Musical Variations
melodic, thematic, rhythmic, stylistic, and harmonic.
Simple v. Compound Musical Form
Simple: a tonal work that can be seen as a complete and self-contained work that is not divisible into another, smaller self-contained works. Binary and ternary forms.
Compound: a tonal work that can be seen as a composite form that is made up of other, s
Rote v. Intervallic Note Reading
Rote: refers to teaching a student to read notes from memory. Relies on memory.
Intervallic Note Reading: refers to the method of reading by intervallic relationships. Relies on spatial visualization.
Pyramid Model of blend
The higher-pitched singers and instruments should play softer and the lowest pitched singers and instruments should play louder so the ideal balance exists between the treble and bass.
Correcting intonation on instruments
Proper air flowing through the diaphragm to the end of the instrument. Good posture and breathe support. Mental practice is important (clear idea of what tone/note/etc. you are to produce). Long tones to help extend and stretch range. Tuning to the rest o
How reeds influence intonation
Reed response: maintaining a high quality of sound without splattering or spreading
Reeds' resistance: amount of embouchure tension needed to keep the reed sounding in good tone
Reeds' tone quality: resonance and timbre of the reed itself
Reeds' stability
Mute Types
Straight Mute: tiny, metallic sound
Cup Mute: muffled, darker tone (Popular: 1930's-1940's)
Bucket Mute: softer tone and reduces piercing quality of loud notes
Wah-wah Mute: buzzed tone (Miles Davis)
Plunger/Hat Mute: playing with one hand while holding m
Fair Use" - 1976 Copyright Act
Only allowed to make up copies of up to 10 percent of an entire work for the class. exempt from compulsory license if only making a single recording. If the educator wants to make more than 500 copies they must talk to the publisher. educator can perform
Suzuki Method
Musical development is best structured through a mother tongue approach, where children learn to play music from an early age and with speech. Substantial parent involvement. Learning sequence follows the language learning sequence.
Antiquity
500 BC to 500 AC.
Composers: Enheduanna, Aristophanes, Agathon, Euripides, Limenios
Medieval
500-1400. Monophonic, Plainchant. A Capella hooks and neumes.
Composers: Guillaume de Machaut Richard I of England, Hildegard von Bingen and Palestrina.
Renaissance
1400-1600. Secular, monophonic, polyphonic, no instruments, motet/madrigal. Secular music amateur and available to public.
Composers: Josquin Desprez, Dufay, Dunstable, Thomas Morley, Arcadelt
Baroque
1600-1750. Bizarre, extravagant and rational. Small orchestras, basso continuo/thorough bass. Decorative with little/no dynamic marks. Opera most popular genre.
Composers: Vivaldi, Handel, Bach, Pachelbel, Scarlatti, Telemann, Purcell, Rameau, Corelli, an
Classical
1750-1825. Reserved and simple in nature. Intellectual/rational sounds. Controlled compositions and refined and simple strings. Alberti bass. 30-50 person orchestra. Church less powerful.
Composers: Haydn, Mozart, Beethoven, Schubert and Mendelssohn.
Romantic
1825-1900. Conveyed feeling, programmatic. Nature themes and naturalistic. Folk tunes and symphonic poems.
Composers: Chopin, Brahms, Dvorak, Grieg, Tchaikovsky, Liszt, Wagner, Berlioz, Verdi, Strauss, Mussorgsky, Mahler.
Modern
1900-Present. unconventional, atonal, nontraditional harmony. 12 tone series. electronic.
composers: Schoenberg Debussy, Ravel, Stravinsky, Prokofiev, Copland, Gershwin, Cage, Reich, Glass, Webern, Bernstein.
Perotin
Medieval: Sacred French Composer (polyphonic music). Piece: Magnus Liber Organum
Guillame de Machant
Medieval: created Ars Nova
Guillame DuFay
Renaissance: developed international style, stole from French, German and English. wrote in 3 voices. combines popular and sacred music. Composed Motets. Piece: Nuper rosarum Flores
Josquin Des Prez
Renaissance: Moat famous composer of his time. Word painting in madrigals. 4 voices. 13 masses, 100 motets, 70 secular vocal pieces and he used jazz syncopation. Piece: Ave Maria...Virgo Serena
Giovanni Palestrina
Renaissance: Homophony and imitation. Freely composed material with no preexisting material. Piece: Missa Papae Marcelli
Claudio Monteverdi
Baroque: Mastered transition from renaissance to baroque. Used dissonance and strong tremolo (plucking) only composed vocal works. Piece: L'Orfeo
Antonio Vivialdi
Baroque. Virtuoso violinist. Taught orphan girls. wrote 500 concertos, 49 operas, 90 sonatas, cantatas, motets. Piece: The Four Seasons
J.S. Bach
Baroque: from Germany, Mainly played organ. Master of fugues and preludes. Wrote all genres EXCEPT opera. Religious pieces. Influences Haydn and Mozart. Piece: The art of fugue (unfinished piece), St. Matthews and St. Johns Passion, The well tempered Clav
Francis Couperin
Baroque: French and the master of harpsichord
Jean Philip Rameau
Baroque: Theorist/composer. Treaty on harmonic circle of 5ths (tonic, subdominant, dominant, etc. Inversions and equal temperament) Piece: Frere Jacques and Les Indes Galantes
Domenico Scarlatti
Baroque: Master of harpsichord and composing. Organist at Naples Royal chapter. Contributed wildness and impulsive melodic changes/key shifts. Spanish flavor to music. Piece: Sonatas!!, Cat Fugue
G.F. Handel
Baroque: Huge slob, left law school to play violin at opera house. Composed all genres. mainly known for Italian operas and English Oratorios. Piece: Messiah
Franz Joseph Haydn
Classical: Father of symphony/string quartet. 3 movement symphonies (fast-slow-fast). Wrote opera buffas and 100 symphonies in 30 years. Played for the Esterhazy household when in the opera house. Piece: Creation
Wolfgang Amadeus Mozart
Classical: Austrian composer and child prodigy. Was influenced by Haydn, Schubert and Bach. Composed many piano concertos, chamber music, string quartets, symphonies and operas. Pieces: The Marriage of Figaro, The Magic flute, Don Giovanni, Ave Verum Corp
Ludwig Van Beethoven
Classical: child prodigy from Vienna. Influenced by Haydn and Mozart. Piano teacher. Music changed when Napoleon was crowned. went deaf and became published after death. Included variations, imitative counterpoint, program symphonies and symphonies. Influ
Franz Schubert
Romantic: German, wrote romantic lied and 600+ songs for piano and voice. Catchy, well-crafted melodies. Accompaniment matched the poetry. Pieces: Gretchen at the Spinning Wheel. Wiegenlied, Seligkeit and Winterreise.
Robert Schumann
Romantic: German music critic and composer. Pieces: Dichterliebe and Kinderszenen.
Felix Mendelssohn
Romantic: German and both Jewish and Christian. Classical techniques from Bach but with romantic expressionism. Pieces: Elijah and Songs Without Words
Chopin
Romantic: Polished, wrote piano compositions and etudes. Wrote etudes to help other musicians in technical areas. Pieces: Nocturnes and Minute Waltz
Franz Liszt
Romantic: Hungarian composer. Virtuoso pianist. Developed symphonic poems. Piece: Hungarian Rhapsody, Preludes, concertos, Symphonies, Orpheus
Hector Berlioz
Romantic: French. Played guitar/flute and no piano. Wrote many program symphonies. Piece: Symphonie fantastique
Carl Weber
Romantic: German. Dialogue in place of recitatives and instruments prominent in operas. Influence Wagner. Piece: Der Freichutz
Richard Wagner
Romantic: focused on German history, anti-sematic. No Italian influences, Created the leitmotif. Piece: Tristan Und Isolde
Giuseppe Verdi
Romantic: Wrote 26 operas, wrote requiem mass, wrote forms and melodies audiences would remember. Piece: La Traviata
Giacomo Puccini
Romantic: Emphasized orchestra in his work. French lyric (comic) opera composer. Added romantic fantasies. Pieces: Nessun Dorma, O Mio Babbino Caro, and Non Piangere, Liu.
Johannes Brahms
Romantic: wrote all genres except opera. Classic tradition and elements of romance. Focus on orchestra. Wrote works out of simple ideas. Pieces: Brahms Lullaby, Hungarian dances, German requiem, and Violin concerto. Absolute Music!
Gustav Mahler
Romantic: wrote 10 symphonies (very similar to Beethoven's composition style). Was deemed unimportant up to 50 years after his death but then was given attention. Progressive tonality and consistent chromaticism used in pieces. Breakaway from harmony in p
Richard Strauss
Late Romantic/Early Modern: Born in Munich. Child prodigy. by 18 he had composed 140 works. Music director at Munich court opera. Wrote many tone/symphonic poems. Pieces: Don Juan, Macbeth, Death and Transfiguration, Salome and Elektra.
Arnold Schoenberg
Modern: German classical tradition. Self-taught musician. Jewish and rejected prettiness in music. Wanted intense emotions. composed, tonal and atonal music. Created the 12 tone series. Pieces: Pierrot Lunaire, orchestrations and piano/violin concertos.
Alban Berg
Modern: Studied with Schoenberg and followed din his footsteps with atonal and 12 tone series compositions. Pieces: Wozzeck and seven early songs
Anton Webern
Modern: Austrian composer and conductor influenced by Schoenberg. Pieces: Six Bagatelles for string quartet, variations for piano, songs on poems
Igor Stravinsky
Modern: Studied with Rimsky-Korsakov (flight of the Bubble Bee). Russian composer that took risks with his compositions and created dissonant music. Piece: Rite of Spring
Charles Ives
Neo Classical: American modernist and amateur composer. Wrote pieces for his own enjoyment and was influence by American vernacular music, protestant church music, experimental music and European Classical music. Pieces: The Unanswered question, Universe
Oud
Short-neck lute-type, pear-shaped stringed instrument with 11 or 13 strings grouped in 5 or 6 courses, commonly used in Egyptian, Syrian, Palestinian, Lebanese, Iraqi, Arabian
Ray Charles Music
Soul
Monteverdi Composition
Congregation of Poppea
Sub-African Drumming
Cross-Rhythm. Syncopation and cross-beats which may be understood as sustained and systematic polyrhythms, an ostinato of two or more distinct rhythmic figures, patterns or phrases at once. The simultaneous use of contrasting rhythmic patterns within the
Bach's Fugue Book
The Well Tempered Cleaver
What is West Side Story Based on?
Romeo and Juliet
How did/Why did Opera Start in the Baroque Period?
Small groups gathered to revive and transform Greek Drama
How did/why did parlor songs form?
For a long time, American music was based on music of immigrants. But as more and more people came to the States music began to change. Popular form of American music in the nineteenth century. Had simple piano accompaniment and were meant to be performed
What is the purpose of Baroque compositions?
To evoke emotions and to communicate feelings
con sordino
with mute (strings)
Elliot, Glass, etc. Teacher
Nadia Boulanger
Absolute Composer
Brahms, NOT Strauss, Berlioz or Debussy.
F Horn Transposition
P5 Down
India Instruments
Tambura, Tabla, Tanpura, Tar Shehnai, Veena, Thavil, violins, sitar
Where to play a Timpani Drum
2-3 Inches from the edge if you want the best sound.
How to hold your drum sticks
Matched Grip: Both hands the same when holding the sticks.
- Germanian Grip: between thumb and index with others wrapped around the bottom of the stick; held at a 90 degree angle.
- American Grip: between thumb and index with others wrapped around the bot
Woodwind Quintet
Flute, Oboe, Bassoon, Clarinet, Horn
Low notes on a Saxophone
#NAME?
Country Western v. Bluegrass
Country Western: more laid back and hick like
Bluegrass: string based and usually faster tempo
Trio Sonata
Common instrumental genre of the baroque period. A sonata of two treble instruments (usually violins) on top of a basso continuo. A performance featured 4 or more players if more than one was used for the continuo part.
Concerto Grosso
Instrumental work that exploits the contrast in sonority between a small ensemble of solo instruments, usually the same forces used in a trio sonata, and a large ensemble.