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Art of Listening Mid-Term Review Texture Terms: - Texture is the term used to refer to the blend of the various sounds and melodic lines occurring simultaneously in music. Monophonic: - a musical texture involving a single melodic line, as in Gregorian Chant. - Simplest texture - Monophonic texture is seen is “row row row your boat” Polyphonic: - Musical texture in which two or more lines are sung or played simultaneously. - In polyphony, the melodies are felt to be independent and of approximate equal interest. The whole is more than the sum of the parts, however; the way the melodies play off against one another makes for the possibility of greater rick=hness and interest than if they were played singly. - Polyphonic music automatically has harmony. - A word often used for polyphonic texture is contrapuntal, which comes from the word counterpoint, the technique of writing two or more melodies that fit together. Homophonic: - A musical texture that involves only one melody of real interest, combines with chords or other subsidiary sounds. - A harmonized melody is an example of a homophonic texture, for example, one person playing the guitar while another is singing “row row row your boat”. Homorhythmic declamation: Imitation: - a polyphonic musical texture in which the various melodic lines use approximately the same themes, - results when the various lines sounding together use the same or fairly similar melodies, with one coming in shortly after another. - Non-imitative polyphony occurs when the melodies are essentially different from one another. An example is a trumpet playing a main tune, and a trombone and a clarinet playing melodies of their own. Monody: Basso Continuo: - some early baroque music is homophonic and some is polyphonic, but both textures are enriched by a feature unique to the period, the basso continuo. - The basso continuo has the double effect of clarifying harmony and of making the texture bind or jell. Recitative: - a half singing, half reciting style of presenting words in opera, cantata, oratorio, etc., following speech accents and speech rhythms closely. Secco recitative is accompanied by orchestra. - A technique of declaiming words musically ina heightened, theatrical manner. There is always a musical accompaniment. The singing voice closely follows the free rhythm of emotional speech; it mirrors and indeed exaggerates the natural ups and downs that occur as an actor raises his or her voice at a question, lowers it in “asides” or cries out angrily. - Recitative was used for plot action, dialogue, and other places in the drama where it is particularly important for the words to be brought out. Aria: - a vocal number for solo singer and orchestra, generally in an opera, cantata, or oratorio. - A set piece for solo singer tht has much more musical elaboration and coherence than a passage of recitative. The vocal part is more melodic, and ordinarily the accompaniment includes orchestra, not just the continuo, as in secco recitative. Arioso: - a singing style between recitative and aria Genre: Antiphon: - a genre of plainchant usually showing a simple melodic style with very few melismas. Sequence: - i) in melody, a series of fragments identical except for their placement successively higher or lower pitch levels. - Ii) in the middle ages, a type of plainchant in which successive phrases of text receive nearly identical melodic treatment. Courtly canso: Organum: - The earliest genre of medieval polyphonic music. - Consists of traditional plainchant melody to which another melody has been added in counterpart. Motet: - Usually a sacred composition. Early motets were based on fragments of Gregorian chant. - Later, motets developed into love poems or political satires for their texts. Chanson: - French for song; a genre of French secular vocal music. - Simpler, gentler, and more supple form of polyphony. Hymn setting: - a simple, religious song in several stanzas, for congregational singing in church. - Homophonic setting Cyclical mass: Madrigal: - The main secular vocal genre of the renaissance. - Mainly an Italian genre. - The madrigal is a short composition set to a one-stanza poem—typically a love poem, with rapid turnover of ideas and images. - Sung one singer per part, in an intimate setting. Venetian Opera: - Opera music from Venice. - It was described as colourful. English “opera”/Masque: Opera Seria: - a term for the serious, heroic opera of the baroque period in Italy. - Plots of opera were derived from ancient history. - Conisted mainly of solo singing by sopranos and mezza-sopranos. Concerto: - a large composition for orchestra and solo instrument. - Concerto shows off the brilliance of soloists against the power of the orchestra. Fugue: - a composition written systematically in imitative polyphony, usually with a single main theme, the fugue subject. - Uses only one theme throughout. - Uses improvisation. Cantata: - a composition in several movements for solo voices, instruments, and perhaps also a chorus. Depending on the text, cantatas are categorized as secular or church cantatas. - Piece of moderate length. Form: Through-composed: - a song with new music for each stanza of the poem; as opposed to strophic song. Paired versicle: Strophic: - a song in several stanzas, with the ame music sung for each stanza; as opposed to through-composed. Alternatim: Ritornello form: - a Baroque musical form based on recurrences of a ritornello. - Ritornello is the name for the orchestral music that generally starts the movement off. - Focuses on contrast between two musical ideas, or groups of ideas—one belonging to the orchestra and the other to the soloist. Movement: - a self-contained section of a larger piece, such as symphony or concerto grosso. - Can be compared to chapters in a book - Show variety in temp, meter, key, mood, and musical form. Fugue: - a composition written systematically in imitative polyphony, usually with a single main theme, the fugue subject. - Uses only one theme throughout. - Uses improvisation. Da Capo: - Literally, “from the beginning”; a direction to the performer to repeat music from the beginning of the piece up to a later point. Techniques: Melody: - the aspect of music having to do with the succession of pitches; also applied to any particular succession of pitches. - In a melody, the notes seem to be holding together in a meaningful, interesting way. Harmony: - having to do with chords, or the ‘vertical’ aspect of musical texture. Rhythm: - the aspect of music having to do with the duration of the notes in time; also applied to any particular durational pattern. - Refers to an actual arrangement of durations, long and short notes, in a particular melody. Recitation: Hocket: - the alteration of very short melodic phrases, or single notes, between two or more voices. - Fast echos between the soprano and the alto. Isorhythm: - in 14th century music, the technique of repeating the identical rhythm for each section f a composition, while the pitches are altered. Canon: - strict imitative polyphony, with the same melody appearing in each voice, at staggered intervals. Text/word painting: Ground bass: - an ostinato in the bass. Ostinato: - a motive, phrase, or theme repeated over and over again. Descending tetrachord: - Ornamentation: - addition of fast notes and vocal effects to a melody, making it more florid and expressive. Ornamentation is typically improvised in the music of all cultures, and in Western music is often written out. Text Setting: Syllabic: Melismatic: - a passage of many notes sung to a single syllable. People, places, things, etc.: Liturgy: Mode: - in music since the renaissance, one of the two types of tonality: major mode or minor mode. - Word for the different tonic pitches. Solmisation: L’Amour courtise: Troubador: - aristocratic poet-musicians of the Middle Ages. - Ex. Hildegards “columba aspexit” Langue d’Oc: Ars nova: - contemporary terms for the “old technique” of 13th century organum and the new polyphonic music of the 14th century. Ars sublitior: Contenence angloise: - Doctrine of the affections: Vere Dignum, by Anonymous Period: the middle ages Genre: Gregorian chant Formal and stylistic features: in the Dorian mode (D) -pitch: low register, very small range of notes -rhythm: non-metrical with a slow tempo -melody and harmony: candences on “chorus angelorum” and “quondam paupere” Performing Forces: solo voice Dynamics: loud the entire way through, very full sound Meter: non-metrical Texture: monophonic In Paradisum, by Anonymous Period: the middle ages Genre: Gregorian antiphon plainchant Formal and Stylistic features: in the Mixolydian mode (G) -pitch: tenor range, larger range than other chant -rhythm: non-metrical with slow tempo -melody and harmony: first sentence has 4 phrases, other have 3 -each sentence divided into phrases, and last phrase has lower reciting tone -phrases slide up to reciting tone then sink down again Performing Forces: a cappella choir Dynamics: loud until the end of phrase where it dies down Meter: non-metrical Texture: monophonic Columba aspexit by Hildegard of Bingen Period: the middle ages Genre: plainchant sequence (more elaborate than antiphon) Formal and stylistic features: in the Mixolydian mode (G) -pitch: soprano range, high pitch, includes a drone -rhythm: non-metrical -melody and harmony: cadences in the mixolydian mode at the end of each part (ie. After a, then after a 1 etc) Performing forces: solo voice followed by choir parts with drone accompaniment Dynamics: phrases go from loud to soft, have slight crescendos towards the end Meter: non-metrical Texture: monophonic La Dousa Votz by Bernart de Ventadorn Period: the middle ages Genre: troubadour song Formal and stylistic features: -pitch: alto, large range -rhythm/: duple meter (4/4 time) – guitar plays accented bits -melody and harmony: strophic form, all stanzas to same melody Performing forces: solo voice accompanied by guitar Dynamics: soft at beginning, crescendos through the stanzas Meter: duple meter, metrical Texture: homophonic Alleluia. Diffusa est gratia by Perotin Period: the middle ages Genre: organum Formal and Stylistic features -rhythm: starts off non-metrical and then moves to triple meter (6/8) -melody and harmony: starts with Gregorian chant then goes to organum Performing voices: a capella choir Dynamics: ends of phrases of Gregorian chant are softer, in organum all about the same Meter: non-metrical at first, then metrical in 6/8 time Texture: monophonic and then polyphonic Ave maris stella, by Dufay Period: renaissance Genre: hamornized hymn (short tune followed by an amen) Formal and stylistic features: set in the Dorian (D) mode -rhythm: tripe meter -melody and harmony: first just one tune, then it is many different lines Performing voices: a cappella choir (at first just men for plainchant then add women for paraphrased part Dynamics: plainchant is softer in general compared to paraphrased part (also lighter) Meter: metrical, in 3/4 time Texture: monophonic then polyphonic then back to monophonic Pange lingua Mass, kyrie by Josquin Desperez Period: renaissance Genre: mass, kyrie (a simple prayer) Formal and stylistic features: -rhythm: in triple meter (3/2) -melody and harmony: point of imitation, parts enter at different times with the \ same melody—the motive enters many times -3 sections: Kyrie, Christe, Kyrie II (they have diff points of imitation) Performing voices: a capella choir Dynamics: loud at the beginning of the kyrie, softer the second time the motive comes in Meter: metrical (3/2) Texture: monophonic then polyphonic Pange lingua Mass, Gloria by Josquin Desperez Period: renaissance Genre: mass, Gloria -melody and harmony: countless new points of imitation -first part is just like 2 people talking to God, then it turns into a communal worship like as if they plea for mercy and relief Performing voices: a cappella choir Dynamics: soft at the beginning, and then when the whole choir joins in much louder and a much fuller sound Meter: Texture: homophonie (because one main tune, and chords to accompany)?? Pope Marcellus Mass from the Gloria, by Palestrina Period: renaissance Genre: mass, Gloria Performing forces: a cappella choir, 6 vocal parts and then a semi choir and then full Dynamics: soft at the beginning, gradual crescendo to the end Meter: metrical, 4/4 duple meter Texture: homophonic As Vesta Was from Latmos Hill Descending, by Thomas Weelkes Period: renaissance Genre: madrigal Performing forces: a cappella choir, 2 soprano, alto, 2 tenor and bass Dynamics: soft pretty much all the way through to the end Meter: duple meter, 2/2 time Texture: homophonic?? -clear harmonies and crisp melodic motives --- futuristic Coronation of Poppea, Recitative, by Claudio Monteverdi Period: early baroque Genre: opera, recitative Performing forces: solo soprano and then solo mezzo-soprano voice with lute as continuo Dynamics: soft at beginning, more forceful during exchange “tornerai” and then soft at their goodbyes. Meter: free rhythm Texture: homophonic Coronation of Poppea, Aria, by Claudio Monteverdi Period: Early baroque Genre: opera, aria (jubilant—like a victory dance) Performing forces: solo soprano voice and orchestral parts (strings and recorder) Dynamics: loud and energetic but gains sound as it becomes more lighthearted (when she says the gods are fighting on her behlf) -her character, manipulative, fearless is shown in this scene Meter: metrical, triple meter, 3/4 time Texture: homophonic Dido and Aenaes, Act III final scene, Henry Purcell Period: early baroque Genre: opera, recitative/aria Performing forces: solo soprano voice with strings accompaniment, ground bass Dynamics: each phrase contrains soft and loud, louder near the end of the “remember me”’s and then soft at the last. Meter: duple meter, metrical, 3/2 time Texture: homophonic Chorus, by Henry Purcell Period: early baroque Genre: opera, chorus Performing forces: choir with accompaniment (communal mourning) Dynamics: mainly soft, as in mourning, louder at “keep here” and soft at “never” Meter: metrical, 2/2 time Texture: imitative polyphony and homophonic Violin Concerto in G, La Stravaganza, by Vivaldi Period: late baroque Genre: violin concerto Performing forces: solo violin and basic Baroque orchestra -ritornello form Dynamics: full loud sound with orchestra ritornello, lighter softer with soloist, louder in solo 4 and in ritornello 4 Meter: metrical, in 3/8 time Texture: polyphonic (or homophonic??) Brandenburg concerto No.5, by Johann Sebastian Bach Period: late baroque Genre: concerto grosso, ritornello form Performing voices: solo group (flute, violin, harpsichord) and orchestra -harpsichord has a cadenza Dynamics: starts off forte and when it changes dynamics mainly stays that way Meter: metrical, duple meter, 2/2 time Texture: polyphonic The Art of Fugue, Contrapunctus 4, by Bach Period: late baroque Genre: fugue, with exposition, episodes etc Performing voices: string quartet (usually played by harpsichord) Dynamics: varied dynamics until the end, where the climax is louder Meter: metrical, 2/2 time Texture: imitative polyphony Orchestral suite, Air, by Bach Period: late baroque Genre: air, (or song) -bach puts in many sequences into the air, grows louder in sequences -binary form Performing voices: only strings and continuo who play a walking bass Dyanmics: phrases have a variety of dynamics, louder when it gains intensity Meter: metrical, duple meter, 4/4 time Texture: homophonic?? Orchestral suite, Gavotte, by Bach Period: late baroque Genre: gavotte and trio ABA form -(A (a a b b) B (c c d d) A (a b) ) -inverts the melody of a, to be the melody of b Performing voices: the wind and brass come back, festive baroque orchestra returns Dyanmics: when section A returns, it is louder each time Meter: metrical, 4/4 time, duple Texture: homophonic?? Messiah, Recitative and Chorus, by Handel (oratorio) Period: late baroque Genre: messiah recitative (secco and accompanied) and chorus -the recitative is in 4 parts -accompanied recitative reserved for dramatic moments Performing voices: solo voice with accompaniment and then full choir with orchestra Dynamics: recitative part mainly soft, louder near the end when the chorus is to come in, chorus part much fuller sound, and louder. Meter: 4/4 time, metrical during the chorus part Texture: homophonic in accom. recitative and then polyphonic during chorus Messiah, Hallelujah chorus, by Handel (oratorio) Period: late baroque Genre: messiah hallelujah chorus Performing voices: choir and orchestra Dynamics: loud the entire way through Meter: metrical, 4/4 time, duple meter Texture: monophonic (King of Kings) , homophonic (opening) Pitch: rate of sound vibration (high or low) -long vibrations are low pitches, short vibrations are high pitches