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| accompanied keyboard sonata |
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| sonata for keyboard with instrumental accompaniment (specifically violin or flute) |
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| three note chords broken low-high-middle-high |
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| the rate at which chords change. in classical music the chords changed less often than baroque music (slower harmonic rhythm |
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| organization of musical phrasing into an equal number of measures |
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| music historian. published "memoirs and letters of metastasio" and responsible for naming haydn "father of the symphony" |
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| having connotations of lightweight, courtly and "frenchy": comparable to the empfindsamer Stil in germany. Light and elegant as opposed to the stately, serious grandeur of the baroque period |
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| second SOB, master of empfindsamer Stil, worked closely with friedrich gottlieb klopstock (poet) |
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| wrote a lot of music for party/social occasions |
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| the original key and the original theme simultaneously reachieved with mutually reinforcing effect |
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| humorous drama; mostly dramatic with comedic elements; ends with something dramatic (usually tragic) |
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| small scale compositions for intimate surroundings; sought to capture sentiments of real people |
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| wrote reform operas; stripped down operas based on opera seria/"tragedie lyrique |
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| a scientific revolution that invaded humanity. musically would later be known as viennese classicism (late 17th century to end of 18th century) |
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| died at the age of 26 from tuberculosis, wrote many famous compositions and the intermezzo "la serva padrona" |
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| son of allessandro scarlatti, best known for his keyboard sonata compositions |
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| the rivalry of two musical philosophies in Paris. Opera buffa vs. tragedie lyrique//sophisticated v. unsophisticated |
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| a variation/transformation of an original musical thought or theme, generally occurs after the A section |
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| the first presentation of a theme in a movement |
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| the recurrence of the exposition after the development |
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| classical period version of 'ritornello,' but the rondo uses the same exact theme every time instead of variations (in the same key and the entire theme) |
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| part of the rondo; one or more themes that are contrasting to the principle. possible patterns in the classical period include: ABA, ABACA, or ABACABA. The number of themes can vary from piece to piece, and the recurring element is sometimes embellished and/or shortened in order to provide for variation |
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| mozart's librettist for don giovanni, figaro, and cosi. teamed up with mozart to produce a lot of opera bugga. the pair was in direct competition with the italians antonio salieri, who was the "paragon of opera seria" |
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| people traveled from all over to hear this orchestra, was very influential. dynamic contrast: mannheim crescendo, mannheim arpeggio- scale throughout orchestra from bass to very top instrument. |
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| important composer and violionist of the mannheim school, transitional between baroque and classical |
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| "storm and stress," an aesthetic movement (time period) with literary origins in the latter eighteenth century, in which Austrian and German composers aimed to depict violent emotional changes in the most dramatic way possible, sometimes leading to formal innovations. similar to "empfinsamkeit"; emphasis on subjective, often violent moods, social alienation; - Named after the subtitle of a play by Maximilian von Klinger who was friends with Goethe --> CPE Bach reflected Goethe’s poetry, CPE influenced Haydn. (trail of connection from german poetic themes->empfindsamkeit--> Haydn’s works/Sturm und Drang |
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| musician gone mathematician gone astronomer--discovered uranus inspired hope for growth in the human species/mind |
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- merging of dualisms
- simplicity and 'good taste'
- comprehensible form and porportion |
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- premiered 15 days before the death of gluck
- beethoven was at the premier |
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| a form of german-language music drama, now regarded as a genre of opera. characterized by spoken dialogue that's alternated with ensembles, songs, ballads, and arias which were often strophic, or folk-like. singspiel plots are generally comic or romantic in nature, and frequently include elements of magic, fantastical creatures, and comically exaggerated characterizations of good and evil. |
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| music that used instruments/influences from the ottoman turks. stemmed from a political opposition/national sport in making fun of the turkish military. included timpani, bass drum, cymbals, and triangle |
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