RCM History 9 (Terms)

A structure employed in the first and third movements of the Baroque concerto.

A work featuring a statement of a melody followed by a series of transformations.

Material heard in one movement recurs in later movements that creates structural unity in a multi-movement work.

The musical setting of a German poem for solo voice, generally with piano accompaniment.

Use of scales in which the pattern of whole steps and half steps is different from conventional major and minor scales.

A loud ceremonial tune or flourish that features brass instruments.

Fascination with foreign lands and cultures that is evoked through melody, rhythm, harmony, and orchestration.

A non-traditional scale consisting of six different pitches, all spaced a whole tone apart. Mostly in 19th/20th century.

In triple meter and more dramatic than the minuet. Contains a contrasting middle section and a humorous/ironic character

The most important chamber music genre of the Classical era. It is usually in four movements and uses four instruments.

Multi-movement structure that emerged in the Classical era; demonstrated in symphony, sonata, or concerto.

A method of tuning keyboard instruments where the octave is divided into twelve equal semitones.

Having characteristics of a sense of heightened emotion and deeply personal expression, being all about the individual.

A group of notes sung on a single syllable/vowel that demonstrates vocal virtuosity and serves to highlight key words.

A statement of the subject in which one or more intervals is adjusted to accommodate the harmony.

A song structure that does not repeat entire sections of the music.

Opening material from Section A returns after B material following a two-part form of A || B + A1 ||

The use of musical embellishment to decorate a melodic line that is represented with symbols or improvised.

Often the orchestral introduction to an opera or oratorio that is generally in two parts

Characterized by the repetition of melodic, rhythmic, and harmonic patterns with little variation.

The use of extremely chromatic harmony while still maintaining allegiance to a tonal center.

The text of an opera, oratorio, or cantata that is usually written by someone other than the composer.

Formal structure often used in first movement of sonata cycle; consists of exposition, development, and recapitulation.

A play with spoken dialogue, featuring musical numbers: songs dances, choruses staging such as sets, costumes, lighting.

Extensive use of notes outside of the prevailing key signature. Used for heightened expression in 19th-century music.

The total absence of any tonal center that is characterized by unresolved dissonances.

The simultaneous use of two or more conflicting rhythms.

A speech-like, declamatory style of singing that is supported only by continuo and employed in a cantata/opera/oratorio.

A derogatory term in reference to the overly ornate art of the era.

A Baroque practice of changing volume levels abruptly that results in stark contrast rather than gradual change.

The third main section in sonata form that is similar to the exposition.

A term used to denote the use of the full orchestra in the Baroque concerto, often juxtaposing against the concertino.

Patriotism expressed through music. Influenced by folk song/dance, myths/ legends, landscapes/historical events.

Involves two performers-one playing the notated bass line and one realizing the harmonies indicated by the figured bass

A concluding section reaffirming the tonic key.

A single-movement work, generally free in form, with literary or pictorial associations.

Instrumental music without extramusical associations

The simultaneous use of two or more tonal centres.

Polish dance in triple meter, transformed into a virtuosic piano composition, having a proud/majestic character.

A highly structured, imitative contrapuntal composition where a single theme or subject prevails.

Common song structure in popular music where verses develop characters/storyline, while chorus acts as tuneful refrains.

Multi-movement orchestral genre for small orchestra or chamber ensemble that is often performed in aristocratic circles.

An aria employing a ternary structure, having the return to Section A generally ornamented.

A recurring countermelody, accompanies entries of the subject and answer.

A novel string effect used when players tap on the strings with the wooden parts of their bows.

Music with a descriptive element that is inspired by extramusical associations, like a story or painting.

The first main section in sonata form where two contrasting themes are stated: First Tonic, Second Dominant or Relative.

An expressive device for interpreting music with rhythmic flexibility-speeding up slowing down.

A highly emotional and often virtuosic solo song with accompaniment, heard in an opera, oratorio, or cantata.

The section main section in sonata form where themes from the exposition are manipulated through fragmentation.

A musical shorthand performed or realized by the basso continuo that provides the structure for guided improvisation.

Consists of three composers who further developed sonata form: Haydn, Mozart, and Beethoven.

A note, or a series of notes, sustained through harmony changes in other parts.

Based on major (Ionian) and minor (Aeolian) scales that gradually replaced the modal language.

A Cuban dance-song that is a characteristic rhythmic motive, often used as an ostinato.

Highlights the unique technical capabilities of an instrument through the style of writing.

A highly stylized type of dance that often interprets a story that flourished in the 19th-century Russian court.

The initial statement of the main theme of a fugue.

A scale consisting of five different pitches that is common to the folk music of many European and Asian cultures.

Rapidly ascending melody outlining an arpeggio that is often used as a dramatic opening motive in Classical era works.

19th-century multi-movement orchestral work that includes a descriptive title and has an accompanying text.

Features innovative orchestral colours, including individual treatment of instruments and use of muted instruments.

A rhythmic or melodic pattern repeated for an extended period.

Literary movement of the 19th century, having authors sought suggest subject matter rather than specifically depict it.

A frequently sequential passage within a fugue in which neither subject nor answer is present.

A single line of melody supported by a harmonic accompaniment.

A speech-like, declamatory style of singing supported by instrumental ensemble or orchestra.

A shift of metrical groupings that is manifested through changes of the time signature.

Combines elements of sonata and rondo form that follows ABACABA. Exposition (ABA), Development (C), Recapitulation (ABA)

A recurring theme that undergoes transformation and serves as a unifying thread in a multi-movement composition.

A combination of two or more melodic lines also referred to as polyphonic texture.

Instrumental music with extramusical associations (literacy, poetic, visual).

A short melodic or rhythmic fragment used to build a melody.

A German word for any keyboard instrument but the organ.

The musical setting of a poem for solo voice, generally with piano accompaniment.

Classical formal structure often used in sonata cycle that follows ABACA or ABACABA.

Musical pictorialization that mirrors the literal meaning of the words and achieved through melody, harmony, and rhythm.

A 16th-18th century keyboard instrument generated by small quills that pluck the strings from the inside-producing sound

An exact transposition of the subject.

Music for a small ensemble (two to ten players) that is usually performed without a conductor and one player per part.

A monophonic chant melody dating from late Middle Ages and drawn from the Roman Catholic Requiem (Mass for the dead).

Inspired by ancient cultures of Greece/Rome, having different set of ideals emphasizing proportion/symmetry/balance

An effect created largely through (poly)rhythm, using strong accents, heavy syncopation, expanded percussion section.

A short keyboard work in improvisatory style; often paired with a fugue.

The art of designing the dance steps and movements in a ballet (or musical).

One clear emotion is usually projected through an entire composition or movement.

A temporary shift of the metric accents where notes grouped in threes are momentarily grouped in twos or vice versa.

The second statement of the main theme of a fugue.

Combines vocal and instrumental music with drama, visual arts, and often dance, having components such as arias/choruses

A multi-movement orchestral work originating in the 18th century, usually four movements, having one mvm in sonata form.

A large-scale work generally based on biblical texts, and consists of recitatives, arias, ensembles, and choruses.

A stylized dance in triple meter with a graceful/elegant character with a contrasting middle section in Ternary form.

Two or more line of melody combined.

generally in three movements, frequently employs ritornello form, and intended to showcase the virtuosity of the soloist

Section A generally ends with a closed cadence in tonic key and Section B generally creates contrast in key or material.

A musical style that combines elements of African, popular, and European Music through improvisation.

A speech-like style of singing used in opera, oratorio, and cantata that follows inflections of the text.