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After one part starts to play or sing a melody, another part enters shortly afterwards with exactly the same melody
continuous bass part, often with figures to indicate chords to be improvised on a harmony instrument
composition based on a melody, repeated in combination with rhythmically independent counter subject
musical texture which focuses on a single melody with accompaning harmonies (mainly chordal)
two or more different rhythms going along at the same time, strongly conflicting with each other
use of two or more keys played simultaneously, may have a melody in one key and supporting harmonies in another
A melodic or harmonic formula that gives a sense of phrase ending. In poetic usage, it sometimes refers to beat or tempo
The form found in African music in which phrases of music are exchanged between soloist and group
A multi-movement work consisting of music that contrasts a soloist with an orchestra or band
A series of seven different pitches within an octave, with half steps between the third and fourth steps and the seventh and eighth steps
A series of seven pitches within an octave, with a half step between the second and third steps
A pitch that has twice or half the frequency of vibrations of another; usually the two pitches have the same letter designation
Notes on a string instrument that are played by the player's fingers plucking the string instead of using the bow
Music in which two or more melodic lines of approximately equal importance are sounded at the same time
The displacement of an accent so that it occurs where it is not normally expected or does not occur where it is expected
(1) The higher, lighter male voice. (2) The line in a medieval motet that contains the phrases from Gregorian Chant
The two numbers, one above the other, at the beginning of a piece or section of a longer work that indicate its metrical pattern and how it is notated
1883-1945, texture, expressive textures, sparse textures, use of silence, brevity-strict serialism
1841-1904, Czech, strongly ifluenced by Smetana-moved to U.S., famous works include Slavonic Danses, Symphony no. 9
1874-1951, Vienna then U.S., expressionism-Pierrot Lunaire-sprechstimme (spoken song)
1824-1884, Czech-Bohemia, built national theater in Prague, criticized for sounding too much like Liszt, The Moldau river, emphatic-Furiant from The Bartered Bride
1797-1828, viennese closee circle of artistic friends, over 600 songs, chamber music, piano pieces, symphonies-Gretchen am Spinnrade
1810-1849, Rubato, solo piano pieces-mazurka, polonaise, impromtus, improvisatory in manner
1813-1901, went from bottom to top from small opera houses to La Scala, Italian operatic tradition, worked with famous librettists-Otello
1860-1911, Brahms' Viennese successor, conductor, radical ideas, symphony, big orchestra, unusual sounds for a concert hall
1803-1869 studied composition at Paris conservatory, music critic, conductor, master of orchestration
1882-1971, Russian, settled in France then U.S., early collaboration with Diaghilev and Ballets Russes, large, romantic era orchestra, Russian themes, neo-classism, serialism-Firebird, Petrushka, Rite of Spring
1833-1897, vienna, conservative center of music tradition, friend of Robert and Clara Schumann-Variations on Haydn
1840-1893, tragic life, studied with Balakiev but embraced European symphonic music, especially Mozart, famous pieces: Nutcracker Suite, Overture, six symphonies, violin concerto in D Major, Romeo and Juliet
1813-1883, opposed to traditional Italian opera, "music drama" (not drama), German Romantic Opera traditions, greater role for orchestra, supernatural plots, controversial writings about music and race, lietmotiv-Ring Cycle
1801-1835, master of bel canto opera, preferred serious/tragic plots, lyric intensity, vocal display (ornamentation), coloratura-Norma, Casta Diva
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