| A | B |
|---|
| Pitch | sound made by frequency |
| Frequency | Frequency is the number of occurrences of a repeating event per unit time. |
| interval | space between 2 pitches |
| unison | 2 or more pitches that sound the same note ( 2 instruments) |
| tempo | rate of speed |
| allergo | fast |
| adago | slow |
| rest | sign indicates when sound stops |
| measure | division on the staff indicating meter |
| meter | organization of strong and weak beats |
| strong | is the # 1 on either the duple or triple |
| syncopation | accent weak or unexpected beats |
| meoldy | meaningful succestion of pitches |
| phrase | melodic segment |
| cadence | ending of a musical ohrase |
| scale | pattern of half and whole steps ( major- happy and Minor- sad) |
| tonic | root # 1 (in the C major scalee the tonic is C) |
| conjunct | notes touch each other stepwise |
| disjunct | skips and leaps (notes move skipping) |
| Harmony | when you hear 2 or more notes together |
| chord | triads- major and Minor |
| tonic | most important C major |
| dominant | 5 to 1- most powerful |
| tonality | use of major and minor |
| texture | quality of melodic lines heard |
| monophony | one sound, one melodic line singing same note- no harmony |
| homophony | more than one notes at the same time- harmony with chord |
| polyphony | more than one distinct melody at the same time |
| monody | sing and play with chords |
| middle ages | 400-1400ce |
| renaissance | 1400-1600 |
| baroque | 1600-1750 |
| classical | 1750-1800 |
| romantic | 1800-1900 |
| modern | 1900-now |
| Female Vocal | Soprano, mezzo soprano and contralto |
| Male Vocal | Tenor, Baritone, and Bass |
| Strings | Violin, viola, cello, double bass |
| Woodwinds | Flute, oboe, clarinet, bassoon |
| Brass | Trumpet, french horn, trombone, tuba |
| percussion | any instrument you strike |
| voiced percussion- produces a pitch | timpani, xylophone, chimes |
| non voiced- does not produce a pitch | bass drum, cymbals, tom tom (gong) |
| fugue | complex melody- multiple instruments @ the same time; fast |
| timbre | color, what do you hear? vocal or instrumental |
| Gothic | c 900-1000- viewed Christ as a shepard not warrior |
| organum | added another line of music |
| cantus firmus | firm or fixed song |
| Counsil of Nicea | c-426, when the bishops and Constaine decided what the Christians would believe. |
| Pope Gregory I " The Great" | c- 540-604, decided how the Chrisitans would worship |
| Roman Catholic Church | last piece of the Roman Empire |
| plainchant | music- text most important part of music |
| syllabic | one note per syllable |
| neumatic | few notes on important syllable |
| melismatic | a lot of notes on one syallable |
| mode | medieval scale |
| medieval | adjective describing middle ages (dark ages) |
| liturgical | follows a liturgy- set ways of worship |
| mass | central ritual of the death and resurrection of Christ |
| proper | mass is divided into proper and Ordinary. Proper changes depending on the season (bible verses, songs, etc) |
| ordinary | service is set, it never changes. Kyrie- beginning of service, Gloria- celebration part of service, credo- I believe, Samctus- holy, Agnus Dei- lamb of God- communion (lords supper) |
| Leonin and Periton | first people to introduce meter |
| Martin Luthur | catholic priest that came up with 95 rules. He started the protestant reformation and he translated the bible to German |
| Leonardo da Vinci | Renasissance man- master of many talents |
| Hildegard Vom Bingen | women-adviso- same rank as a duke- she was a botonist, composer, mystic( one who God speaks closer to) |
| Gothic | things settle down, construction of countries we know today |
| Josquin Deprez | 1440-1521 Flanders Pange Lingua Mass (Plain Chant- Kyrie) |
| vernacular | language of the people |
| points if imitation | melody that imitates |
| paired imitation | extension 2,3 voices imitated |
| medieval harmony | is disonant |
| high middle ages | winning the love of a lady |
| Guillaume de Machaut | greatest composer of the Middle ges- composed sacrad and seccular music- Notre Dame Mass- Agnus Dei |
| Perotin | Middle ages( Gothic)- Viderunt Omnes |
| motet | sacrad vocal composition using text other than ordinary mass |
| counterpoint | how you put palifiny together |
| interdict | taking away sacraments from the people |
| Baroque 1600-1750 | make art in music- bumps and dimples ( Not perfect) |
| Gianboreneo Bernin | Baroque periods greatest sculpturist, all his sculptures showed movement |
| genre | artistic style |
| virtuosity | master |
| Pope Innison III | most powerful person in Europe during the Baroque period. he made kings do what he wanted them to do. |
| San Marco Basilica | Most pwerful church in Venice |
| antiphonal | answer each other, 2 choir lifts, piece of music that has call and answer effect |
| Giovanni Pierluigi da Palestrina | gives correct inflection on words, greatest composer of the Renaissance , he makes the bass foundational- Super Flumina Babylonis |
| Giovanni Gabrieli | chior master at church, 1st composer to create dynamics, Canzona Duodecimi Tuoni (song on the 12th tone) |
| Johann Sebastian Bach | Toccata and Fugue in D minor- greates of the Bsroque period- composed music that worked like a clock, brings tonality officially |
| basso continuo | center, continued bass- 2 ppl involved, i plats bass, 1 plays cords |
| monody | vocal line used with cords |
| harpsichord | instrument makes tinkling sound |
| passion | genre- suffering, death and burial of Christ |
| oratorio | religious stories |
| overture | instrumental introduction based on the story |
| recitative | vocal line based upon patterns of speech(gets the plot going) |
| aria | song- important melody |
| chorus | choir- large group of people singing |
| chorale | hymn tune sung by the congreation- specific to a passion- homophonic |
| St Matthew Passion | Johann Sebastian Bach |
| Leizig "Germany" | art center in Germany |
| Messiah | George Frierick Handel- follows the story of Christ |
| Handel was buried | in Westminister Abbey |
| Chamber music | geared toward anything but worshipping God |
| shilvry | idea of a knight that goes on a quest for the love of his lady |
| Eleanor of Aquitaine | Powerful women/wasa crusader. elevated wormen |
| Troubadours | poet musicians |
| Beatriz de Dia | A Chantar (I must sing)- belonged to the seccular world |
| Guillaume de Machaut | Doulz Viare Gracieu (Sweet Gracious Constenance) |
| unrequitted love | can love but not touch |
| chamber music has | an intimate feel. one person ower line - seccular |
| madrigals | secular vocal compositions, set to a poem about love |
| ballet | contain nonsense syllables (fa -la) |
| strophic | same music , different texts(church hymns) |
| humanism | greek thought- puts humanity before God. |
| Thomas Weelkes | As Vesta was from Latmos Hill |
| Thomas Morley | Now is the month of Maying |
