Music Final

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tracy2010
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53039
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Music Final
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2010-12-03 00:36:55
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Music Final
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music final
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  1. Musical representation of specific poetic images.
    Word Painting
  2. Choral music without instrumental accompaniment.
    a cappella
  3. Polyphonic choral work set to a sacred Latin text other than that of the mass
    Motet
  4. Sacred choral composition made up of five sections: Kyrie, Gloria, Credo, Sanctus and Agnus Dei.
    mass
  5. Dancelike song for several voices, mostly homophonice in texture, with the melody in the highest voice and the syllables fa-la occuring as a refrain after each stanza.
    Ballett
  6. Composition for several voices set to a short secular poem, usually about love, combining homophonic and polyphonic textures and often using word painting.
    Madrigal
  7. Plucked string instrument shaped like half a pear.
    Lute
  8. Composers of the 16th and early 17th century Venice who- inspired by the two widely separated choir lofts of St. Mark's Cathedral- often wrote music for several chourses and groups of instruments.
    Venetian School
  9. Motet for two or more choirs, often including groups of instruments.
    Polychoral Motet
  10. Abrupt alernation between loud and soft dynamics levels.
    Terraced Dynamics
  11. Baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument.
    Basso Contuinuo
  12. Baroque keyboard instrument in which sound is produced by means of brass blades striking string, capable of making gradual dynamic changes, but within a narrow volume range.
    Clavichord
  13. Piece that sounds fairly complete and independent but is part if a larger composition.
    Movement
  14. Bass part of a Baroque accompaniment with figures about it indicating the chords to be played.
    Figured Bass
  15. Compostion for several instrumental soloists and small orchestra.
    Concerto Grosso
  16. In Italian, all; the full orchestra, or a large group of musicians contrasted with a smaller group.
    Tutti
  17. Compositional form usually used in the Baroque concerto grosso, in which the tutti plays a ritornello, or refrain, alternating with one or more soloists playing new material.
    Ritornello Form
  18. In Italian, refrain; a repeated section of music usually played by the full orchestra.
    Ritornello
  19. Polyphonic composition based on one main theme.
    Fugue
  20. Theme of a fugue
    Subject
  21. Second presentation of the subject in a fugue, usually in the dominate scale.
    Answer
  22. In a fugue, a melodic idea that accompanies the subject fairly consistantly.
    Countersubject
  23. transitional section in a fugue between presentations of the subject, which offers either new material or fragments of the subject or countersubject.
    Episode
  24. Compositional procedure used in fugues, in which a subject is imitated before it is completed; one voice tries to catch the other.
    Stretto
  25. Single tone, usually in the bass, which is held while the other voices produce a series of changing harmonies against it.
    Pedal Point (Organ Point)
  26. Variation of a fugue subject in which each interval of the subject is reversed in direction.
    Inversion
  27. Variation of a fugue subject in which the subject is presented by beginning with its last note and proceeding backward to the first.
    Retrograde
  28. Variation of a fugue subject in which the original time values of the subject are lengthened.
    Augmentation
  29. Variation of a fugue subject in which the original time values of the subject are shortened.
    Diminution
  30. Short piece usually serving to introduce a fugue or another composition.
    Prelude
  31. Text of an opera
    Libretto
  32. Vocal line in an opera, oratorio, or contana that imitates the rhythms and pitch fluctuations of speech, often leading into a aria.
    Recitative
  33. In opera, a piece performed by three or more solo singers.
    Ensemble
  34. Song for solo voice with orchestral accompaniment; usually expressing an emotional state through its outpouring of melody.
    Aria
  35. Person who gives cues and reminds singers of their words or pitches during an opera perfomance.
    Prompter
  36. A group of singers performing together, generally more than one to a part.
    Chorus
  37. Short musical composition, purely orchestrial, which opens an opera and sets the overall dramatic mood.
    Overture
  38. Male singer castrated before puberty to retain a high voice range.
    Castrato
  39. Speechlike melody that is sung by a solo voice accompanied only by a basso continuo.
    Secco Recitative
  40. Speechlike melody that is sung by a solo voice accompanied by the orchestra.
    Accompanied Recitative
  41. In italian, fellowship or society; a group of nobles, poets, and composers who began to meet regularly in Florence around 1575 and whose musical discussions prepared the way for the beggining of opera.
    Camerata
  42. From the beginning; an idication usually meaning that the opening section of a piece is to be repeated after the middle section.
    Da capo
  43. Variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change.
    Ground Bass
  44. Baroque composition that has three melodic lines: two high ones, each played by one instrument ; and a basso continuo, played by two instuments.
    Trio Sonata
  45. 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 returns, A conclusion section, the coda, often follows the recapitulation.
    Sonata Form
  46. Musical ornament consisting of the rapid alterate tones of the scale.
    Trill
  47. Common opening piece in Baroque suites, oratorios, and operas; usually in two parts: the first slow, with characteristic dotted ryhthms, full of dignity and grandeur; the second quick and lighter in mood, often staring like a fugue.
    French Overture
  48. In Baroque music, a set of dance-inspired movements all writen in the same key but differing in tempo.
    Suite
  49. Hymn tune sung to a German religious text.
    Chorale
  50. Short composition for organ, based on a hymn tune and often used to rtemind the congregation of the melody before the hymn is sung.
    Chorale prelude
  51. Large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, but without acting, scenery, or costimes; often based on biblical stories.
    Ortorio
  52. In Baroque music, an instrumental composition in several movements for one to eight players.
    Sonata
  53. Vocal solo more lyrical than a recitative and less elaborate than an aria.
    Arioso

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