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| Worth 4 beats in common time |
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| worth 2 beats in common time |
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| worth one beat in common time |
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| worth 1/2 a beat in common time |
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| worth 1/4 of a beat in common time |
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A series of pitches that proceeds upward or downward according to a prescribed pattern |
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| The simultaneous sounding of three or more pitches |
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| How fast or slow the music is |
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Two numbers (one above the other) at the beginning of a section of music that indicate the metrical pattern and how it is notated. |
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| Used for Higher Pitch instruments |
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A group of beats marked as a separate unit in music notation. |
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| The flow of music in terms of time |
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| The high and low of sounds |
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| A mathmatician who was very prominent, but discovered the interval ratios for vibrations |
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| the idea that music can influence a person's character |
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| was developed by the church. there is a single meloidic line. It is in latin. Only preformed by monks and priests. |
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| a symbolic recreation of the last supper. The different parts are songs/chants that are said or sung. Originally in latin, but later secular languages were included. |
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| the idea that you can rationalize god's work and god's ideas |
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| the base line, usually gregorian chant, of a medieval motet. the other lines were written above it. |
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| languages that are not latin |
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| same thing as a motet, just in secular language. used for celebrations, not so much for the church. Developed during renassiance |
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| a solo singer with orchestra accompniment. often times the text is repeated a lot. |
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| a drama with all singing and orchestra accompniment. |
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| has a vocalist. it is a lot of text in a short amount of time. orchestra has little accopmniment. |
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| volume levels shift abrubtly. |
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| like a music drama without the acting, props, costume, scenery etc. |
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| sung by a chorus. somehwat lenghty and repeats the same words over and over again. |
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| a system where someone wealthy sponsors an artist or composer to create peices for them. |
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| a short hand system of writing music which allowed composers to write a lot |
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| a hymn for the lutheran church |
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| a long peice of music consisting of four parts. it has very strict rules |
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| the first part of sonata form, it gives the two themes. |
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| the second part of sonata form, it takes the two themes and changes them a little bit |
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| the last part of sonata form where it recaps the two themes again. both are in the same key |
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| the first movement of a symphony. consists of three different parts |
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| the return of a theme at least two times |
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| contrasts a soloist with an orchestra |
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| music written for the piano and one or two more instuments |
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| a preformance with a violin, chello, and a piano |
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| a shorter section of music from a symphony or a concerto |
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| a musical motive associated with a certain character, emotion, or idea |
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| music that is written with a purpose |
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| Very technically challenging pieces |
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| musical setting or poem. for piano and vocal solosit |
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| abstract music, not really written for any purpose |
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| much bigger than earlier operas |
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| an artistic viewpoint where artists try to capture of the moment, a sensation |
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| a formal dance to classical music |
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| an idea fixed on something |
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800 B.C - 476 A.D
Dominated by Greeks and Romans
Don't know what the music sounded like
Important Figure: Pythagorus |
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476 A.D - 1450
Dominated by Church
Gregorian Chant developed
Motet Developed (polyphonic music)
Important figure: Hildegard |
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1450 A.D - 1600
Madrigal Developed
Motet becomes simplar
Important figure- Weelkes |
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1600 A.D - 1750
Patronage system developed
Composers wrote huge amounts of music (figured bass)
Important figures: Bach
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1750 A.D - 1820
The symphony is developed
Centered around Vienna
Important figures: Motzart |
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1820 A.D - 1900
Big, Dramatic Music
Program Music
Important figures: Wagner |
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| Alleluia, Diffusa est gratia |
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Palestrina
Renassiance Period |
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| As Vesta was from Latmos Hill Descending |
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Weelkes
Renassiance period |
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Bethoveen
Classical Period |
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| “Immolation Scene” from Gotterdammerung |
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Wagner
Romantic Period
Big trumpets... dramatic opera singer
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| The application of the principles of tone row music to elements such as dynamics and articulation |
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| Music that seeks to contain rhythmic power. Inspired by the music of non-western, “non-literate” cultures, |
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| Works that attempt to emulate the techniques and flavor of those composed during the classical period |
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| Music that incorporates elements of Romantic Music but with modern elements mixed in. |
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| Music in which some or all events are the product of chance |
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| Music in which the composer has “total control” because sounds are created through electronics (not by performers) |
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| Music that celebrated American pride during the middle of the 20th century |
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| Music in which a small amount of material is repeated with gradual changes over the course of the composition |
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| The practice of combining what the composer believes to be the best features of several different styles |
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| Added electronics to acoustic |
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| Extra Volume and Intensity |
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| Pink Floyd, concept albums |
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| Ramones, anti establisment |
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| Mix of jazz and 20th centurary classical |
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| expressed emotions of African Americans |
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| First real jazz style, New Orleans |
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| Pree jazz style developed in South |
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| Jazz with suncopated carribean/latin american themes |
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| 1930's and 1940's, very popular with mainstream |
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| Developed as a reaction from Bebop |
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| Jazz with no predetermined parameters |
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| Fanfare for the Common Man |
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| Copland, American Nationalism |
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| Short Ride in a Fast Machine |
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| Armstrong, Dixieland Jazz |
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| Jimi Hendrix, Psychadelic |
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