Music History Graduate School Exam Prep
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328 terms
Terms | Definitions |
|---|---|
 Pope Gregory I A.K.A. Gregory The Great (Roman Church) | Reign: 590 - 604 (5th Century) Supposed creator of Gregorian Chant |
| Guido d' Arezzo (Italian Monk) | Dates: 991 - 1033 (11th Century) Responsible for systematic and consistent application of the eight-mode system (Dorian, Phrygian, etc.) |
| Bernart da Ventadorn (France) | Dates: 1140 - 1190 (12th Century) One of the most famous and prolific of all troubadours. |
| Adam de la Halle (France) | Dates: 1237?-1288 (13th Century) |
| jongleur | 12th and 13th Centuries Performers of Troubadours Music, Expected to embellish and improvise. |
| troubadours | 12th and 13th Centuries Southern France. Wrote Songs in Occitan (Related to French and Spanish) |
| Plainsong (Plainchant) | Early Medieval Monophonic Sacred Music of the Medieval Christian Church |
| Gregorian Chant | Plainchant named after the supposed creator Pope Gregory I |
| Antiphonal Psalmody | Medieval Roman Church Type of recitation in which order is Antiphon (Plainchant) - Psalm Recitation - Antiphon Music of the Divine Office |
| trouvères | 12th and 13th Centuries Northern France. Wrote Songs in medieval French |
| Minnesingers | 12th - 14th Centuries German version of Troubadours |
| Meistersingers | 14th - 16th Centuries Continued traditions of Minnesingers |
| neume | Medieval Sign used in early chant notation to indicate pitch |
| Syllabic Setting | Early Medieval One note per syllable of text |
| neumatic setting | Early Medieval Two or more notes per syllable (plainchant) |
| Melismatic Setting | Early Medieval Five or more Notes per Syllable on long sustained vowels as in the Alleluia |
| Medieval Modes | Early Medieval Modes Used for plainchant which include: Dorian, Phrygian, Lydian, Mixolydian, and their Hypo's (8 total) |
| hexachord | Early Medieval Group of six notes separated by whole step except 3rd and 4th note (by half-step). |
| solmization | Early Medieval Attributing distinct syllable to each note in a scale |
| Roman Mass and Office | Office is fixed schedule of prayer and psalms featuring antiphons and plainchant. Mass took place every day and was open to public |
| Sequence (Early Medieval) | Early Medieval repeated phrases are framed by individual phrase |
| jubilus | Early Medieval Long melisma on final syllable in Alleluia |
| Psalm Tone | Early Medieval Plainchant formula used to recite the psalm |
| Liber Usualis (compiled in France by Abbey of Solesmes) | Features Early Medieval Chants book of commonly used Gregorian chants in the Catholic tradition |
| Trope | Early Medieval Musical or textual addition to existing plainchant Many times at beginning or end. Sometimes within |
| liturgical drama | Early Medieval Liturgical passage in chant theatrically portrayed |
| chanson de geste | Early Medieval Longest form of of troubadour music |
| Aquitanian Polyphony | 8th and 9th Century One of most important centers of polyphony |
| Notre Dame School | 12th Century Most elaborate forms of organum from here |
| Leonin | 12th Century Wrote large quantities of Organa for liturgical year |
| Melismatic Organum | 12th century Multiple notes in added voices run against individual notes in the original chant |
| Organum | 9th - 12th Centuries Plainchant in one voice with at least one additional voice above or below it |
| Parallel organum | 9th Century Organum where added voice runs parallel to original plainchant voice |
| Perotin | 12th Century Contemporary of Leonin, Added 3rd (triplum) & 4th (quardruplum) voices to organum |
| Rhythmic Modes | 12th Century Allowed composers to distinguish between long and short notes by setting rhythmic mode |
| Discant-Style Clausula | 12th Century Brief polyphonic sections that can be substituted at will into appropriate section of larger existing organum work |
| Motet (Medieval) | Late 12th, Early 13th Century Polyphonic vocal work |
| Polyphonic conductus | 12th, 13th Centuries Consist of 1, 2, 3, or 4 voices. Freely Composed poetry written in metered verse. Voices roughly same rhythm. |
| Franco of Cologne | Mid 13th Century Introduced Franconian notation, precise system of mensural notation. (Assigned meaning to note shapes). |
| Mensural Notation | mid- 13th Century System where notes are given shapes to distinguish rhythmic meaning. |
| Petrus de Cruce | Late 13th Century Introduced Petronian notation. Refined Franco's system (enabled greater subdivision) |
| isorhythm | 14th, 15th Centuries An isorhythmic tenor is based on a fixed rhythmic and melodic pattern that is repeated at least once, usually more. |
| Hocket | 14th, Early 15th Centuries Rapid-fire voice outbursts in song |
| Philippe de Vitry (France) | 1291 - 1361 (13th and 14th Centuries) Composer and believed to have written Ars Nova |
| Ars Nova | 14th Century "New Art" style of music label of 14th Century French Music |
| Francesco Landini | 1325 - 1397 Italian blind composer of the 14th Century |
| Trescento | 14th Century 1300s or 14th Century Italian Music |
| Musica enchiriadis | 9th Century Treatise. first surviving attempt to establish a system of rules for polyphony in classical music. |
| Vox Principalis | 9th Century Plainchant melody (Principal Voice in Organum) |
| Vox organalis | 9th Century Organal (Additional) Voice in organum |
| Cantus Firmus | Fixed Melody that serves as basis of composition |
| Winchester Trooper | 9th Century ? Contains perhaps the oldest large collections of two-part music in Europe |
| Roman de Fauvel | 14th Century Prominent Ars Nova Work written by Gervias de Bus |
| Music Ficta | Late Medieval, Renaissance Notes were sharpened/flattened according to various convention, such as raised leading tone or avoiding cross-relations between voices |
| Landini Cadence | 14th Century Instead of cadencing from major 6th to perfect octave, L.C. goes from maj 6th - Perfect 5th - Perfect Octave. Exp: Cadence in C = DG (M6) - DA (P5) - CC(P8) |
| isorhythmic motet | Late Medieval Motet featuring isorhymic (tenor) |
| Messe de Notre Dame | 1360s Mass of Our Lady - Only 14th Century polyphonic Setting of the Complete Mass Ordinary |
| Formes Fixes | Middle of 14th Century Most important varieties of secular song in France: Ballade, Virelai, Rondeau |
| Ballade | Middle of 14th Century Structure: A, A, B, D (Refrain) |
| Rondeau | Middle of 14th Century Structure: ABaAabAB |
| Virelai (France) | Middle of 14th Century Structure: AbbaA |
| Madrigal (Italy) | 14th Century Strophic with Ritornello at the end. Ritornello often in contrasting meter. |
| Caccia | Late Medieval Usually Deals with hunting, or lively scenes. Usually for 3 voices with canonic upper voices and independent tenor. |
| Ritornello | "Brief Return" or Reprise.. ABACADA... |
| Ballata (Italy) | Late Medieval Structure: AbbaA |
| Leonel Power | Early Renaissance Prominent English composer. one of the first first composers to set separate movements of the Ordinary of the Mass |
| John Dunstable | Early Renaissance Most famous English Composer Implemented full triadic harmony and use of the "third" in music. Member of B.S. |
| Burgundian School (B.S.) | 15th Century Active composers in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy. |
| Gilles Binchois | Early Renaissance Famous Composer of 15th Century. Early Member of B.S. Wrote songs for court and of love and chivalry. Were easy to sing and were memorable |
| Johannes Ockeghem | Early Renaissance Famous composer. Influenced Dufay and Josquin des Prez. Member of Franco-Flemish School. |
| Antoine Busnois | Early Renaissance French member of Burgundian School. Leading Figure after death of Dufay. |
| Jacob Obrecht | Early Renaissance most famous composer of masses in Europe in the late 15th century. Member of Franco Flemish School. |
| Heinrich Isaac | Early Renaissance Contemporary of Josquin. Member of Franco Flemish School. First significant master of the Franco-Flemish polyphonic style who both lived in German-speaking areas. |
| Old Hall Manuscript | Early Renaissance Largest complete source of 14th and 15th century sacred music. |
| Carol | Early Renaissance |
| fauxbourdon | Early Renaissance is a technique of musical harmonization used in the late Middle Ages & early Renaissance, particularly by composers of the Burgundian School. In its simplest form, it consists of the cantus firmus and two other parts a sixth and a perfect fourth below. |
| chanson (French) | Early Renaissance epic poems performed to simple monophonic melodies by a professional class of jongleurs or ménestrels. Usually recounted deeds of heroes, legends, etc. |
| Imitation Mass | Early Renaissance Uses pre-existing music-parts as basis such as motet parts for new mass |
| Motet (Renaissance) | Early Renaissance Composers abandoned isorhythmic things such as cantus firmus. Were in essence sacred madrigals. |
| Frottola | 15th, 16th Centuries Popular Italian secular Song. Eventually replaced by the madrigal. |
| Ottaviano Petrucci (Italian) | Late Renaissance Famous Printer. Printed the first book of polyphony using movable type published numerous works by the most highly regarded composers Such as Josquin. |
| Adrian Willaert | Late Renaissance Founder of Venetian School (V.S.) |
| Jacob Arcadelt (F.F.) | Late Renaissance Composer of Secular Vocal Music. Famous for early madrigals Wrote a book of madrigals that was widely printed. |
| Cipriano de Rore (F.F.) | Late Renaissance one of the most prominent composers of madrigals in the middle of the 16th century Style was experimental, chromatic, and highly expressive |
| Luca Marenzio | Late Renaissance Italian Composer that wrote many madrigals. |
| Carlo Gesualdo | Late Renassiace Italian Composer who wrote madrigals and used chromaticism not seen again until the 19th century. |
| Claudio Monteverdi | Late Renaissance Style marked the transition from Renaissance style to the Baroque Period. Developed Renaissance polyphony and basso continuo |
| Orlando di Lasso (F.F.) and Counter-Reformation | Late Renaissance chief representative of the mature polyphonic style of F.F. one of the three most famous and influential musicians in Europe at the end of the 16th century |
| Giovanni Pierluigi da Palestrina (Italian) | Late Renaissance (Counter-Reformation) Best known composer of Roman School culmination of Renaissance polyphony Dissonances landed on "weak beats" |
| Claudin de Sermisy | Late Renaissance French composer renowned for chansons in the 16th Century |
| Michael Praetorius | Late Renaissance German composer significant in development of musical forms based on Protestant Hymns |
| Tomas Luis de Victoria | Late Renaissance Famous 16th Century Spanish Composer and one of the most important composers of the Counter Reformation |
| John Dowland | Late Renaissance English composer famous for his melancholy songs |
| Thomas Morley | Late Renaissance English composer. Foremost member of the English Madrigal School. |
| William Byrd | Late Renaissance English Composer of the Renaissance. Styles included sacred and secular polyphony, keyboard, and consort music. |
| John Bull | Late Renaissance English composer |
| musica reservata | Late Renaissance Style or performance practice in a capella vocal music later half of 16th century |
| Harmonice Musices Odhecaton | Late Renaissance anthology of secular songs published by Pretucci. |
| Italian Madrigal | Late Renaissance |
| English Madrigal | Late Renaissance |
| Musica Transalpina | Late Renaissance a collection of Italian madrigals fitted with English translations |
| Parisian (French) Chanson | Late Renaissance abandoned the formes fixes and were in a simpler, more homophonic style |
| Lied | German Song |
| Reformation | Late Renaissance 16th-century split within Western Christianity initiated by Martin Luther, et al In revolt of Roman Catholic Practices and led to Protestant Churches |
| Psalter | volume containing the Book of Psalms |
| contrafactum | Late Renaissance the substitution of one text for another without substantial change to the music |
| Counter-Reformation | Late Renaissance period of catholic revival beg. with the Council of Trent |
| Variations | formal technique where material is altered during repetition |
| Ricercar | Late Renaissance type of late Renaissance and mostly early Baroque instrumental composition It may explore the permutations of a given motif |
| Canzona | Late Renaissance 6th-century multipart vocal setting of a literary canzone and a 16th- and 17th-century instrumental composition |
| Toccata | Late Renaissance virtuoso piece of music typically for a keyboard or plucked string instrument |
| fantasia | Late Renaissance a free musical composition structured according to the composer's fancy |
| Thomas Tallis | Late Renaissance English Renaissance composer |
| Giovanni Gabrielli | Late Renaissance Represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms. Italian Composer. |
| Cori Spezzati | Late Renaissance Separated Choirs in the Venetian polychoral style where spatially separate choirs singing in alternation |
| Sonata pian'e forte | Late Renaissance |
| Florentine Camerata (Florence, Spain) | Late Renaissance/Baroque 1577-1582 Group of most famous men in Florence that gathered to discuss and guide trends in the arts (music, drama, etc.) |
| Giulio Caccini (Italy) | 1551 - 1618 Baroque Italian composer, teacher, singer, instrumentalist. A Founder of Opera |
| Jacopo Peri (Italy) | 1561-1683 Baroque Composer and Singer. Often called the inventor of opera. Works include Dafne (1597) and Euridice (1600) |
| Vincenzo Galilei (Italy) | 1520-1591 lutenist, composer, and music theorist Influential in establishment of end of Renaissance/Beginning of Baroque |
| Claudio Monteverdi (Italy) | Baroque Born 16th Century/Died 1643 marked the transition from the Renaissance style of music to that of the Baroque period. Wrote one of the earliest operas, L'Orfeo |
| Francesco Cavalli (Italy) | 1602 - 1676 Baroque Influential in rise of mid-17th century opera. Used small orchestra of strings and basso continuo. |
| Giacomo Carissimi (Italy) | Baroque Roman School of Music. Furthered development of recitative. |
| Heinrich Schutz (German) | 1585 - 1672 Baroque Most famous German composer before J.S. Bach. |
| Dietrich Buxtehude (German-Danish) | Baroque Organist and Composer. Represent a central part of Baroque Organ repertoire. Influenced J.S. Bach and Others. |
| Jean-Baptiste Lully (Italian Born-French) | 1632-1687 (Baroque) French composer. chief master of the French Baroque style. |
| Alessandro Scarlatti (Italy) | 1660 - 1725 Baroque Famous for operas and cantatas. Founder of Neapolitan school of opera. |
| Henry Purcell (English) | Baroque Organist and composer of Baroque secular music. Unique English Composer. |
| Johann Sebastian Bach Vocal (German) | 1685-1750 Baroque Sacred and Secular Works for Choir. Composed Cantatas for every Sunday and holiday of church year. Also secular cantatas. Large scale choral-orchestral works: St. Matthew Passion, St. John Passion, etc. |
| Jean-Phillipe Rameau (France) | 1683 - 1764 Baroque Composer and Music Theorist. Dominant composer of French opera. Wrote Treatise on Harmony (1722) |
| George Freidrich Handel (German) | 1685-1759 Baroque Famous for operas, oratorios, anthems, and organ concertos. Key works: Messiah (1742), Water Music, Music for the Royal Fireworks |
| Basso Continuo | 1600-1750 Baroque At least one instrument capable of playing chords must be included. The chord instrument plays indicated bass notes and fills in notes on top of it. (Improvised accompaniment) |
| Doctrine of the Affections | Baroque Era One Unified affect(tion) should be aimed at by a single piece/movement of music. |
| intermedio | Italian Renaissance theatrical performance with music performed between acts of plays to celebrate special occasions. |
| madrigal comedy | Late 16th Century Italy Baroque A cappella madrigals sung consecutively, generally telling a story, important in origins of opera. |
| prima prattica | Baroque style from Gioseffo Zarlino that looks like style of Palestrina. (approaching and leaving dissonances properly) |
| Seconda Prattica | Baroque Distinguished from prima prattica and encourages more freedom from limitations on dissonance practices |
| Le Nuove Musiche | Baroque Collection of monodies and songs for solo voice and basso continuo by Giulio Caccini Written in seconda prattica style. |
| Monody | Baroque Solo vocal style distinguished by having a single melodic line and instrumental accompaniment. |
| L'Orfeo | Baroque Baroque opera by Claudio Monteverdi with a libretto of Orpheus descending to Hades trying to bring back Eurydice, his dead bride. |
| Secular/Sacred Cantata | baroque vocal composition with instrumental accompaniment, typically in several movements. Often involving a choir in sacred cantatas. |
| Oratorio | Baroque Large Musical composition including an orchestra, choir, and soloists. Typically deals with sacred topics and tells a story |
| Passion | Baroque Sung musical settings, normally choral, covering the Passion of Jesus... Singing of the Gospels of the events leading up to the Crucifixion of Jesus. |
| Motet (Baroque) | Baroque Either petits motet or Grand Motets. Jean-Baptiste Lully was the most important composer of G.M.'s |
| Bel Canto (Italian) | 17th Century Baroque Sophisticated model of "beautiful Singing" that evolved from operatic and sacred music. |
| Recitativo secco | Baroque Form of Recitative Accompanied by only continuo |
| Recitativo Accompagnato | Baroque Form of recitative using orchestra |
| arioso | style of solo opera singing between recitative and aria. literally means airy. |
| da capo aria | Baroque Musical form sung by a soloist with instruments. ABA-Ternary Form |
| Ground Bass | Baroque Bassline/harmonic pattern is repeated as the basis of piece underneath variation |
| tragedie lyrique | baroque French Opera genre based on stories from classical mythology. Introduced by JB Lully |
| opera-ballet | baroque French opera genre containing more dance music and various plots open for comedy |
| Concertato Style | Baroque genre of music where groups of instruments or voices share a melody usually in alternation, almost always over basso continuo. |
| Traite de l'harmonie | Baroque "Treatise on Harmony" Written by Jean-Philippe Rameau. Describes music and how to write it based on modern |
| Girolamo Frescobaldi | 1583-1643 Baroque One of most important composers of keyboard music in the late Renaissance and Baroque periods. |
| Johann Jakob Froberger (German) | Baroque Developed keyboard suite genre. wrote some earliest examples of program music |
| Francois Couperin (French) | 1668 - 1733 Baroque Famous composer, organist and harpsichordist. |
| Archangelo Corelli (Italian) | 1653 - 1713 Baroque Violinist and Composer of Baroque Music. |
| Giuseppe Torelli | 1658 - 1709 Baroque Contributed to development of the instrumental concerto. |
| Antonio Vivaldi (Italy) | 1678-1741 Baroque One of greatest Baroque composers. Known especially for his instrumental concertos, especially violin, & sacred choral |
| Dietrich Buxtehude (German-Danish) | Baroque Organist and Composer. His organ repetoire represent a central part of the standard organ repetoire. |
| Johann Sebastian Bach Instrumental | 1685-1750 Baroque Works Include: Brandenburg Concerto, Well-Tempered Clavier, Cello Suites, Passacaglia and Fugue in C Minor |
| Georg Telemann (German) | 1681-1767 Baroque Important German Baroque Composer |
| prelude and fugue | Baroque prelude before fugue. Fugue consists of theme passed from voice to voice, etc. |
| trio sonata | baroque Music Form written for two solo melodic instruments and basso continuo. |
| sonata da chiesa | baroque generally consists of of four movements. Slow-fast-slow-Fast order. 2nd mvt- fugal allegro. 3rd and 4th resembled sarabande and gigue |
| sonata da camera | baroque instrumental pieces set into 3 or 4 movements. beginning with prelude (small sonata) |
| chorale prelude | Baroque short liturgical composition for organ using a chorale tune as basis. |
| concerto grosso | baroque Music Material passed between small group of soloist and full orchestra |
| solo concerto | baroque Musical work in three parts of movements where one solo instrument is accompanied by orchestra |
| ritornello | Baroque recurring passage in baroque music. The first or final movement |
| French Overture | Baroque Musical form in two parts. Parts are complimentary in style and first ends in half-cadence, needing an answer |
| Italian Overture | Baroque Piece of orchestral music in three-movements Structure. Fast-slow-fast order. |
| agrements | Baroque French Baroque style of ornamentation. |
| Style Brise | Baroque Arpeggiated texture in instrumental Music. Usually French Baroque Music |
| Tablature | Baroque Form of musical notation indicating instrument fingering rather than musical pitches. |
| temperament | System of tuning which slightly compromises the pure intervals of 'just intonation' to meet other requirements of the system |
| ricercar | baroque Instrumental composition that "searches out" the key or mode of a following piece. |
| Canzona | baroque multipart vocal setting of a literary canzone and a 16/17th century instrumental composition |
| chaconne | baroque type of musical composition in which variation on a repeated short harmonic progression, often involving a grounded bass-line |
| passacaglia | baroque Usually written in triple meter based on bass ostinato in serious character. |
| suite | Ordered set of instrumental or orchestral pieces. normally performed in a concert setting rather than as an accompaniment, and may be extracts from a play, opera, ballet, etc. |
| toccata | baroque virtuosic piece of music usually for a keyboard or plucked string instrument. features fast-moving, lightly fingered virtuosic passages and sections. |
| Domenico Scarlatti (Italy) | 1685-1757 Classical Composer Influential in classical style. Mainly known for many keyboard sonatas. |
| North German School | Classical Popular organ school in the 17th century |
| C.P.E. Bach (German) | Classical musician and composer. A founder of classical style composing in the Rococo and Classical Periods. |
| Giovanni Sammartini (Italy) | 18th Century Classical Teacher of Gluck and Highly regarded by J.C. Bach. Oranist and Composer. Influnetial in formation of concert symphony. |
| Mannheim School | Classical both orchestral techniques pioneered by the court orchestra of Mannheim, as well as composers who wrote music for that orchestra. |
| Johann Stamitz (Czech) | Classical Composer and violinist. Music reflects the transition of the baroque period to the classical period. |
| Viennese School | Classical School of teaching/style of Mozart, Haydn and Beethoven. |
| J.C. Bach (German) | 1735-1782 Classical Influenced concerto style of Mozart. Important Classical composer. |
| Giovanni Pergolesi (Italy) | One of most important composers of opera buffa (comic opera). Also wrote sacred music. |
| Jean-Jacques Rousseau | 1712-1778 Classical Genevan phliospher, writer and composer of 18th century romanticism. |
| Gay and Pepusch | 1728 Classical Writter and Arranger of The Beggar's Opera, an example of a opera genre called satirical ballad opera. These type of operas are without recitative and are meant to shame audiences/society into improvement, usually comically. |
| Cristoph Willibald Gluck | 1714-1787 Classical Famous opera composer. Wanted to return opera to focusing on human drama and passions and making words and music of equal importance. Writer of Don Juan and Orfeo ed Euridice. |
| W. A. Mozart | 1756-1791 Classical One of most important composers of classical period. He composed operas, concertos, string quartets, symphonies, and piano sonatas. |
| Lorenzo da Ponte | 1749-1838 Classical Venetian Opera Librettist. Wrote text for such operas as Don Giovanni, The Marriage of Figaro, and Cosi fan tutte |
| F.J. Haydn | 1732-1809 Classical Made important contributions to symphony and the string quartet. Court musician for the Esterhazy family. Was a close friend of Mozart and a teacher of Beethoven. |
| Muzio Clementi | 1752-1832 Classical Best known for piano sonatas and collection of piano studies, Gradus ad Parnassum. Had influence on Beethoven. |
| Ludwig van Beethoven | 1770-1827 Classical and Romantic Crucial in transition from Classical to Romantic Period. Studied with Haydn. Gradually went deaf. Wrote 9 symphonies, Eroica, Piano sonatas, a single opera, etc. |
| Enlightenment | 18th Century Intellectuals sought to mobilize the power of reason to advance society/knowledge. Important figures include Newton, John Locke, Voltaire, et al. |
| Rococo | 18th Century Late Baroque Artistic movement and style as a reaction against the symmetry and strict regulations of the Baroque. Import- ant figures include Jean Philippe Rameau and Daquin. |
| Style galant | 1720s-1770s Classical Simplified contrapuntal style and became more melody driven as opposed to pattern/counterpoint driven. |
| empfindsamer Stil | 18th Century Classical Developed in Germany. Style of music inteded to express "true/natural" feelings |
| Sturm and Drang | 1760s-1780s Classical Storm and Stress. Emotional extremes given free expression |
| Sonata (Classical) | Exposition, Development, Recap |
| Symphony | Scored almost always for orchestra. Often tonal works in four movements with the first in sonata form. |
| Classical orchestra | About 45 players. It standardized instrumentation. |
| divertimento | 18th Century Classical Generally lighthearted & for small ensemble |
| string quartet | 18th Century Ensemble of 4 string players or piece written for such a group. |
| Binary Form | A-Repeat, B-Repeat (AABB) |
| Ternary Form | ABA Form |
| minuet and trio | Social dance of French origin usually in 3/4 time. Usually 2nd or 3rd movement in a symphony. |
| scherzo | would replace minuet in multimovement work and would be much quicker in tempo |
| Rondo | Like baroque ritornello, constant return of material (ABACADAEA.....) |
| Sonata Rondo | ABACABA-with C being extended and developmental |
| theme and variations | Music material is repeated in altered form |
| opera comique | opera that contains spoken dialogue and arias. Not always lighthearted. A famous example is Carmen. |
| Singspiel | Genre of opera with spoken dialogue, alternated with ensembles, songs, ballads, arias that were often strophic or folk'like. |
| Ballad opera | 18th century Classical Satirical spoken dialogue interspersed with songs. |
| Franz Schubert (Austrian) | 1797-1828 Romantic Romantic Composer. Wrote 9 symphonies including "Unfinished symphony." |
| Felix Mendelssohn (German) | 1809-1847 Romantic Romantic composer, pianist, organist, and conductor. Works: A Midsummer Night's Dream, Italian Symphony |
| Hector Berlioz (French) | 1803-1869 Romantic Best known for Symphonie Fantastique & significant contributions to modern orchestra with his Treatis on Instrumentation |
| Robert Schumann (German) | 1810-1856 Romantic Romantic Composer. Wrote 4 symphonies Attempted suicide. Placed in mental Institution at own request. |
| John Field (Irish) | Romantic composer Studied under Clementi. Best known for originating the piano nocturne. These influenced Chopin |
| Frederic Chopin (Polish) | 1810-1849 Romantic Composer and Piano Virtuoso. Made innovations to to pieces and wrote important piano literature. The pieces are often techinically demanding. |
| Franz Liszt Hungarian | 1811-1886 Romantic Composer and Virtuoso Pianist. Invented the symphonic poem. Strongly influenced by Berlioz and Paganini. |
| Johannes Brahms (German) | 1833-1897 Romantic Strongly influenced by Beethoven. Wrote 4 symphonies. Bold in exploration of harmony and rhythnm. |
| Anton Bruckner (Austrian) | 1824-1896 Romantic Important in defining Austro-German Romanticism. His pieces consisted of new dissonances, unprepared modulations, and rich harmonies. |
| Antonin Dvorak (Czech) | 1841-1904 Romantic Employed idioms of folk music of Moravia and his native Bohemia. Known for nationist views. Popular works include New World Symphony, "American" String Quartet |
| Peter Tchaikovsky | 1840-1893 Romantic Wrote popular concert and theatrical music: Swan Lake, The Sleeping Beauty, The Nutcracker. |
| Cesar Franck | 1822-1890 Romantic Composer, Pianist, and Organist known for his improvisation. |
| Gioacchino Rossini (Italian) | 1792-1868 Romantic Best known for operas that include: II barbier di Siviglia (The Barber of Seville), Guillaume Tell (William Tell), etc. |
| Vincenzo Bellini | 1801-1835 Romantic Known for his long-flowing melodic lines. He is the quintessential composer of bel canto opera. |
| Gaetano Donizetti | 1797-1848 Romantic A leading composer of bel canto opera. Works: Don Pasquale, Lucia di Lammermor |
| Giuseppe Verdi | 1813-1901 Romantic Mainly opera composer. Writer of Rigolletto, he is one of the most influential composers of the 19th century. Used musical theater as a politcal tool. |
| Carl Maria von Weber (German) | 1786-1826 Romantic One of first significant composers of the Romantic school. Wrote Der Freischutz, regarded as the 1st German "nationalist" opera. |
| Richard Wagner (German) | 1813-1883 Romantic Known for operas. Compositions known for complex texture, rich harmonies, and orchestration, and use of leitmotifs. Who wrote both music and libretto. Works: Ride of the Valkyries from Die Walkure, Wedding March (Bridal Chorus) from Lohengrin |
| Giacomo Meyerbeer (German) | 1791-1864 Romantic Opera composer and first great exponent of "grand opera." |
| Georges Bizet (French) | 1838-1875 Romantic Mainly operatic composer. Most well known for writing Carmen. |
| cyclic form | A theme, melody, or thematic material occurs in more than one movement as a unifying device. |
| absolute music | Music strictly for music's sake; not intended to have a specific meaning or be strictly "about" anything. |
| program music | Attempts to musically render an extra- musical narrative or idea. |
| thematic transformation | Leitmotif/Theme is developed by changing the theme by permutation (transposition, modulation, et. al) |
| tone (symphonic) poem | piece of orchestral music in a movement in which content of a non-musical idea or story is illustrated. |
| Lied (German) | German "song" |
| ballad | Often a narrative set to music. |
| Song cycle | Group of songs designed to be performed in a sequence as a single entity, and unified by a narrative or common persona |
| character piece | Romantic Piece designed to evoke a character, mood or moment. Exp: Schumann's Carnaval |
| grand opera | 19th century Romantic Opera Genre generally in 4 or 5 acts. Have spectactular design and stage effects and noramlly with plots on historic events. |
| Opera Comique | 1807-1902 Romantic Theatre in London well known for hosting several of early Gilbert and Sullivan operas. |
| Opera Lyrique | Romantic Less grandiose than grand opera, but w/out spoken dialoque of opera comique |
| Gesamtkunstwerk | Romantic Work of art that makes use of all or many art forms. Wagner known for use and implementation. |
| Leitmotiv | Romantic Recurring them, associated with a particular person, place, or idea. |
| Romantic orchestra | Greatly larger than the classical orchestra and features advances in instrumentation. |
| Hugo Wolf (Austrian) | 1860-1903 Late Romantic Well known for his lieder songs. |
| Gustav Mahler Austrian | 1860-1911 Late Romantic Composer and leading conductor of his generation. Was a bridge between romantic and modern style. |
| Richard Strauss (German) | 1864-1949 Late Romantic/Early Modern Known for operas such as Salome and Rosenkavalier. |
| Mikhail Glinka | 1804-1857 Romantic Nationalism Influenced future Russian composers and produced distinct Russian style. His Patriotic Song became anthem |
| The Mighty Handful (The Five) | 1856-1870 Also known as "The Five." A circle of composers that met with the aim to produce a Russian kind of art music, as opposed to imitated older European music. |
| Modest Mussorgsky (Russian) | 1839-1881 Late Romantic/Nationalist One of "The Five." Innovator of Russian music. Strove to achieve unique Russian musical identity. Music inspired by Russian history, folklore, and themes. |
| Nicolai Rimsky-Korsakov (Russian) | 1844-1908 Late Romantic/Nationalist Member of "The Five." Master of orchestration. Nationalist. Pieces include Scheherazade, Capriccio Espagnol, Russian Easter Festival Overture. |
| Alexander Scriabin | 1872-1915 Late Romantic/Modern Developed an increasingly atonal musical system, presaging twelve-tone composition and other serialism. |
| Bedrich Smetana (Czech) | 1824-1884 Late Romantic/Nationalist Known as the father of Czech music. (Developed Czech musical style). |
| Leos Janacek | 1854-1928 Late Romantic/Nationalist Devoted to creating a unique modern musical style. Inspired by folk music. |
| Edvard Grieg (Norwegian) | 1843-1907 Late Romantic Composer and Pianist. Best known for his Piano Concerto in A minor, and incidental music to Peer Gynt |
| Jean Sibelius (Finnish) | 1865-1957 Late Romantic/Nationalist Important role in formation of Finnish national identity. |
| Edward Elgar (English) | 1857-1934 Late Romantic Best known works include Enigma Variations, Pomp & Circumstance Marches, The Dream of Gerontius. |
| Manuel de Falla (Spanish Andalusian) | 1876-1946 Late Romantic One of Spain's most important composers of the first half of the 20th century. |
| Camille Saint-Saens (French) | 1835-1921 Late Romantic Composer, organist, conductor, pianist. |
| Gabriel Faure (French) | 1845-1924 Late Romantic/Modern Important 20th Century French composer. Best known for his Nocturnes for piano, Clair de lune. Taught by Camille Saint-Saens |
| Giacomo Puccini (Italian) | 1858-1924 Late Romantic Operas among most frequently performed which include La boheme, Tosca, Madama Butterfly, Turandot. |
| verismo | 1875-1900s Late Romantic Italian literary movement and was associated with post-romatic operatic tradition. |
| Claude Debussy (French) | 1862-1918 Impressionist Most prominent impressionist. Music noted for its sensory component and for not forming around on key or pitch. |
| Maurice Ravel (French) | 1875-1937 (Twentieth Century) Known especially for his melodies, orchestral and instrumental textures and effects. Works include Bolero, Jeux d'eau Miroirs, Le tombeau de Couperin, etc. |
| Erik Satie (French) | 1866-1925 20th Century Precursor to minimalist movement Colourful figure in the early 20th century |
| Les six francais | 1920s Group of six composers working in France whose music was often seen as a reaction against Wagner's style and impressionism |
| Darius Milhaud (French) | 1892-1974 20th Century Member of Les Six. One of most prolific composers of 20th century. Influenced by jazz and makes use of polytonality. |
| Arthur Honegger (Swiss) | 1892-1955 20th Century Member of Les Six. Most popular piece is probably Pacific 231, which attempts to imitate the sound of a steam locomotive. |
| Francis Poulenc (French) | 1899-1963 20th Century Member of Les Six. Composed solo piano music, oratorio, choral music, opera, balllet music, and orcherstral music. |
| Gustav Holst (English) | 1874-1934 20th Century Most well known for The Planets. His work influenced Wagner, Strauss, and fellow student Ralph Vaughan Williams. |
| Ralph Vaughn Williams (Eng | 1872-1958 20th Century English composer of symphonies, chamber music, opera, choral music, and film scores. |
| Bela Bartok (Hungarian) | 1881-1945 20th Century Top 20th Century composer and important Hungary composer. Considered a founder of ethnomusicology. |
| Zoltan Kodaly (Hungarian) | 1882-1967 20th Century Composer and ethnomusicologist. Known for Kodaly Method, an approach to music education. |
| Carl Orff (German) | 1895-1982 20th Century Composer. Best known for cantata Carmina Burana. Developed influential method of musican ed for children |
| Benjamin Britten (English) | 1913-1976 20th Century Composer, Conductor, and Pianist. Central figure of 20th Century British Classical music. Wrote Peter Grimes opera |
| Gian-Carlo Menotti (Italian-American) | 1911-2007 20th Century Composer and Librettist. Wrote the Christmas opera Amahl and the Night Vistors |
| Sergei Prokofiev (Russian) | 1891-1953 20th Century Composer, pianist, and conductor. Mastered numerous musical genres. Works: Peter and the Wolf, Romeo and Juliet (ballad), Love for Three Oranges, Lieutant Kije (suite) |
| Dimitri Shostakovich (Russian) | 1906-1975 20th Century Soviet Russian composer. Developed a hybrid style influenced by Prokofiev and Stravinskiy, heard in Lady Macbeth... |
| Charles Ives (American) | 1874-1954 20th Century One of first internationally renown American composers Experimented with polytonality, polyrhythm, and tone clusters, foreshadowing atonality and 20th century |
| Arnold Schoenberg (Austrian) | 1874-1951 20th Century Associated with expressionist movement Leader of Second Viennese School. Developed 12-tone technique (pioneer of atonality). |
| Alban Berg (Austrian) | 1885-1935 20th Century Member of Second Viennese School. Pioneer of atonality Writer of Wozzeck opera. |
| Anton Webern (Austrian) | 1883-1945 20th Century Composer and Conductor. Member of Second Viennese school. A Best-known exponent of 12-tone technique. His work later became known as total serialism. |
| Paul Hindemith (German) | Composer, violinist, theorist, and conductor. Created his own musical system that is tonal but not-diatonic. Most famous work is Symphonic Metmamorphosis of Themes by Carl Maria von Weber. |
| Igor Stravinsky (Russian) | 1882-1971 20th Century Composer, Pianist, and Conductor. One of the most inflential composers of 20th century. Ballets include The Firebird, Petrushka, and the riot provoking The Rite of Spring. |
| Aaron Copeland (American) | 1900-1990 20th Century Instrumental in forging distinct American Style of composition. Works include: Appalachian Spring, Billy the Kid, Rodeo, Fanfare for the Common Man. |
| Elliot Carter (American) | B. 1908 (20th Century) Studied with Nadia Boulanger. Style has included neoclassical and atonal pieces. Has been performed worldwide. |
| Virgil Thomson (American) | 1896-1989 20th Century Instrumental in development of "American Sound." Desribed as modernist and neoclassicist. |
| Iannis Xenakis (French Composer) | 1922-2001 20th Century Pioneered use of mathematical models in music and influencial in development of electronic music. |
| Olivier Messiaen (French) | 1908-1992 20th Century Music was rhythmically complex. Experimented with parametrisation, associated with "total serialism." Many exotic influences in his music. |
| Pierre Boulez (French) | B. 1925 20th Century Developed integral serialism. |
| Karlheinz Stockhausen (German) | 1928-2007 20th and 21st Centuries Most important and controversial composers of 20th and 21st centuries. Known for electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. |
| Edgar Varese (French and American) | 1883-1965 20th Century Music emphasizes timbre and rhythm. Inventor of the term "organized sound." Known as the "Father of Electronic Music." |
| Milton Babbitt (American) | 1916-2011 20th Century Noted for serial and electronic music. |
| John Cage (American) | 1912-1992 20th Century Pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments. 4'33. |
| Luciano Berio (Italian) | 1925-2003 20th Century Noted for experimental work (Sinfonia for voices and orchestra) and pioneering work in electronic music. |
| George Crumb (American) | B. 1929 20th Century Composer of contemporary classical music. Noted as explorer of unusual timbres, alternative forms of notation, & extended instrumental/vocal techniques |
| Gyorgy Ligeti | 1923-2006 20th Century Composer of contemporary classical music. |
| Krzysztof Penderecki (Polish) | B. 1933 20th Century Avant-garde Threnody to the Victims of Hiroshima brought him international attention. Later encompassed post-Romantic idiom. |
| Steve Reich (American) | B. 1936 20th Century Minimalist. Innovations include tape loops for phasing patterns, and use of simple, audible processes. |
| Terry Riley (American) | B. 1935 20th Century Minimalist. Work deeply influenced by jazz and indian classical music. |
| Philip Glass (American) | B. 1937 20th Century Minimalist. Very influential in the 20th Century Scored Koyaanisqatsi. |
| impressionism | European classical music in the late 19th Century and through middle of 20th century. Composered favored short music forms such as nocturne, and prelude, and uncommon scales and devices such as whole-tone scales and extended harmonies. |
| expressionism | Beginning of 20th Century Composers used atonality and serialism to free themselves from traditional tonality (and express freely). |
| neo-classicism | Western movements that drew inspiration from "classical" art. In music, was a response to German Modernism as composers claimed mankind is inherently "diatonic" and 'tonal" |
| Atonality | 20th Century Music that lacks a tonal center, or key. |
| dodecaphony | 20th Century 12-tone technique- Ensures all 12 notes in the chromatic scale sound as often as another in a piece of music through use of 12 tone rows. |
| Serialism | 20th Century Technique that uses a series of values to manipulate different musical elements. |
| Sprechstimme | 20th Century Expressionist vocal technique between singing and speaking. Close to speech because it does not emphasise any particular pitches. |
| Klangfarbenmelodie | 20th Century Technique that involves distributing a melody to several instruments, rather than to just one instrument |
| Polytonality | 20th Century Use of more than one key simultaneously. |
| pandiatonicism | 20th Century Technique of using the diatonic scale without the limitation of functional tonality. |
| Primitivism | 20th Century Borrows ideas form prehistoric peoples. |
| Musique Concrete | 20th Century Form of electroacoustic music that utilities acousmatic sound as a compositional resource. |
| electronic music | 20th Century Music that employs electronic musical instruments and electronic music technology. |
| Gebrauchsmusik | 20th Century Music composed for some specific, identifiable purpose. |
| indeterminacy | 20th Century Aleotoric music, which is music chosen by chance. For example, pitches and key may be chosen, but the rhythms may be selected by chance. |
| Minimalism | 20th Century Work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features, or concepts. |
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