1.

MASS ORDINARY:
- Term that for musicians mean: the five invariant texts sung by the choir: Kyrie,
Gloria, Credo, Sanctus and Agnus Dei.
- Began to receive significant attention in the Carolingian period;
- Later they began to get set as an unified polyphonic cycle, spawning a tradition
of mass composition that lasted into the 20th century
- Many famous composers of the standard concert repertory (Bach, Mozart, etc.)
made contributions.
2. DIES IRAE:
- Sequence of the requiem mass very well-known melody
- Poem probably by Thomas of Celano (dc. 1250).
- Syllabic and arranged in couplets, second line repeats the melody of the
first.
- The plainsong tune has been introduced into instrumental music, as in
Berliozs Symphonie fantastique, Saint Saenss Danse macabre, among
others.
3. REQUIEM MASS:
- The mass for the dead of the Roman rite.
- Format is basically identical with that of the normal Latin mass
- More joyful parts omitted, such as the alleluia and the Credo, and the long
13th-century sequence Dies Irae interpolated.
4. TROUBADORS AND TROUVERES:
- Troubadors and Trobairitz (women) were poet composers
- Southern France
- 12th century
- Spoke Provencal (Occitane)
- Trouveres were their counterpart in northern France
- Spoke the langue de ol
- Remained active through the 13th century.
- Their poems are strophic, and melodies are mostly syllabic with a range of
an octave or less.
- Each line of a canso (love song) receives its own melodic phrase, and some
phrases use repetition to create formal patterns.
- One of the most prominent troubadours was Bernart de Ventadorn.
Bernart de Ventadorn (ca. 1150-1180), remembered for his
mastery and popularization of the trobar leu style, and for his prolific
canons, which helped define the genre and establish the classical form
of courtly love poetry.

Comtessa Beatriz de Dia was a countess and a troubairitz in

southern France from the twelfth century, and her song A chantar shows
a womans perspective of courtly love.
5. ORGANUM:
- One of several styles of early polyphony
- In use from the 9th through the 13th centuries
- Reached its most sophisticated levels in Paris at the cathedral of Notre
Dame.
- It is a form of troping a chant and offering the possibility of adding new
layers of melody in a vertical dimension.
- Leoninus organum for soloists alternates sections in organum style with
sections in discant style.
6. PARALLEL ORGANUM:
- Type of polyphony
- Appeared in the 9th century
- An added voice (organal voice) appears below a chant melody (principal
voice) moving in parallel fifths or fourth and making adjustments to avoid
the tritone.
- Either or both voices may be doubled at the octave.
7. NOTRE DAME POLYPHONY:
- Notre Dame polyphony is an elaborated style of polyphony
- Late 12th and 13th centuries,
- Associated with the composers working at or near the Cathedral of Notre
Dame in Paris, along with the music they produce.
Clausula is, in Notre Dame polyphony (late12th and 13th centuries), a
self-contained section consisting of melismatic figures based on a single
word or syllable, closing with a cadence. They move in modal rhythm,
producing short phrases and lively pacing.
8. LEONINUS:
- (ca.1150) was the first known significant composer of polyphonic organum
- 12th century, probably French.
- He compiled the Magnus Liber Organi (Great Book of Polyphony),
containing two-voice settings of the solo portions of the responsorial chants
for major feasts of the church year.
9. MOTET:
- Polyphonic vocal composition
- Originated in the early 13th century.
- It refers to a clausula taken from its original place in a larger polyphonic
work and performed as an independent composition with the upper voice
singing newly added Latin or French words.

In the 15th century, the term was applied to any polyphonic composition on
a Latin text other than the Mass Ordinary.

10. ARS NOVA:

- Was the new musical style emerged in France
- 14th century,
- Named after the treatise Ars Nova notandi (A New Technique of Writing
Music)
- Attributed to Philippe de Vitry (1291-1361).
- It presents developments in notation, allowing notes to be written with
greater independence of rhythm, and new techniques and forms, such as
isorhythm and the isorhythmic motet.
- Guillaume de Machaut and Francesco Landini were the most important Ars
Nova composers.
a. Roman de Fauvel is a 14th century satirical poem by Gervais du Bus with
interpolated music, typical of the 14th century. Its about a jackass who
rises to power and offspring destroy the world. It includes thirty-four
motets and numerous monophonic songs, many texts
referring
to
abuses of contemporary political and religious life. (ca. 1291-1361)
b. Philippe de Vitry was a French composer, poet and theorist from the 14th
century who wrote the treatise Ars Nova notandi (A New Technique of
Writing Music). The motets that he may have written in the Roman de
Fauvel poem provide the earliest examples of isorhythm (the tenor
features a repeating rhythm pattern).
c. (ca. 1300-1377) Guillaume de Machaut was the leading poet and
composer of the French Ars Nova (14th century). His Messe de Notre
Dame is probably the first polyphonic setting of the mass ordinary to be
written by a single composer and conceived as a unit.
11. ARS SUBTILIOR:
- Style of polyphony
- Late 14th century and very early 15th century
- Southern France and northern Italy,
- Distinguished by extreme complexity in rhythm and notation.
- This music was intended for professional performers and cultivated
listeners.
- One of the main exponents of was Philippus de Caserta.
o Philippus de Caserta was a music theorist and composer from the
late 14th century. He tested the limits of Ars Nova notation with
syncompations (different meters in different voices,
and
rhythmic disjunction, as seen in his ballade En remirant vo douce
pourtraiture).

12. ISORHYTHM:
- Technique developed in the 14th century
- Consists on the repetition of an extended pattern of durations in a voice
part throughout a section or an entire composition.
- It made easier for singers to memorize music.
- The motets by Philippe de Vitry written in the Roman de Fauvel poem
provide the earliest examples of isorhythm.
-

ISORHYTHMIC MOTET:
Musically unifying device from the Medieval and the early Renaissance
Tenor is laid out in segments of identical rhythm, which recurs up to 10
times.
The repeating rhythmic unit is called the tenor, melodic unit called
color.
The upper voice moves quicker than the tenor; the tenor serves as the
foundation for the polyphony.
Machaut motets used the hocket (2 voices alternate in rests and
notes).

13. FORMES FIXES:

- Schemes of poetic and musical repetition, each featuring a refrain,
- Used in late-medieval and 15th century French chansons;
- In particular: the ballade, rondeau, and virelai.
- The first comprehensive repertory of these form was written by
Guillaume de Machaut.
14. CONTENANCE ANGLOISE:
- Or lively consonance refers to a group of characteristics of English music
- in the 15th century
- Marked with pervasive consonance and frequent use of harmonic thirds
and sixths, often in parallel motion.
- The main representative composer was John Dunstable. (ca.1390-1453) the
leading English composer in the first half of the 15th century.
15. GUILLAUME DU FAY: (ca. 1397-1474)
- Born in Brussels, was the most famous composer of the Burgundian style of
his time
- His music well represents the international style of the mid-15th century.
- His ballade Resvellies vous blends French and Italian characteristics
- The chanson Se la face ay pale illustrate the strong influence of English
music.
16. MOTTO MASS:
- Mass that uses the same head motive, or motto, to begin each movement.
- This most commonly occurred in the tenor voice.

The melody used throughout the mass was taken from a preexisting piece
of music
Each movement is freely composed after its occurrence. The motto mass
led to the creation of the cantus firmus mass.

17. CANTUS FIRMUS:

- or tenor mass is a technique from the Renaissance
- Used to link the separate sections of a mass to one another
- In which each movement is constructed around the same borrowed
melody (the cantus firmus normally placed in the tenor).
- It could be taken from a chant, a secular song, or the tenor of a
polyphonic chanson.
- Four-voice texture became standard in cantus firmus masses.
- Se la face ay pale is a cantus firmus mass by Du Fay (15th century),
whose tenor is taken from Du Fays ballade Se la face ay pale.
18. DODEKACHORDON:
- The dodekachordon (The Twelve String Lyre, 1547)
- Book of music theory written by the Swiss music theorist Heinrich Glarean.
- The book proposes that there are actually twelve modes instead of eight.
- The added four new modes are authentic and plagal modes on A and C.
a. (ca. 1488-1563) Heinrich Glarean was a swiss music theorist,
poet and humanist of the 16th century. His most famous work
was the Dodecachordon, in which he proposes four new modes
tothe traditional eight.
19. PARODY MASS:
- 16th century mass
- Where the composer borrows extensively from all voices of a polyphonic
model (chanson, motet or madrigal)
- Reworks them to create something new in each movement of the mass.
- An example of early parody mass is Missa fortuna desperata of Josquin des
Prez.
20. PARAPHRASE MASS:
- Paraphrase mass is a technique
- From the last quarter of the 15th century
- A borrowed melody is restated in all voices in each movement.
- Composers used this technique to honor patrons and convey meaning,
among others
- (Example: Josquins Missa Pange Lingua).

21. MADRIGAL:
- The 14th century madrigal
- Italian poetic form and its musical setting,
- Having two or three stanzas followed by a ritornello.
- Florence produced the greatest madrigal composer of the 14th century,
Francesco Landini.
- The 16th century madrigal is a secular song part without instrumental
accompaniment,
- Usually for four to six voices using contrapuntal imitation,
- which used striking musical images that almost literally evoke the text
(word painting)
- Its major exponents in this century were the Flemish Arcadelt and Willaert.
It became more experimental in the hands of Lassus, Palestrina and A.
Gabrieli.
- Madrigalism is a term used to describe 16th century madrigals.
22. GIOVANNI DA PALESTRINA: (ca. 1525/6-1594)
- Leading Italian composer of church music
- 16th century.
- Renowned for his masses and secular madrigals
- He and his colleagues were commissioned to revise the official chant books
after the Council of Trent.
- Its been said that his Pope Marcellus mass saved polyphony in the Catholic
Church.
23. BAROQUE:
- Baroque is a period of European music history
- From about 1600 to the deaths of Bach and Handel in 1750 and 1759
respectively.
- Noel Antoine Pluche was the most illuminating of the early users of the
term.
- In Spectacle de la nature (vii, Paris, 1746) he maintained that the
comparison between French and Italian music no longer divided critics
- The issue was between partisans of music chantante and music barroque.
24. BASSO CONTINUO:
- Or thorough bass is a notational system
- From the early Baroque onwards
- In which a melody or melodies and a bass line are written out, but the
harmony is filled by performers playing one or more continuo instruments
like the harpischord.
- It was first coined in Italy by Lodovico Viadana, whose Cento concerto
ecclesiastici con il baso continuo (Venice, 1602) was widely known.
- Composers indicated the appropriate harmonies with figured bass.

25.

FIGURED BASS:
- Bass line with figures indicating the required harmonies.
- The figured bass was a feature of the Baroque period.
- Usually a bass instrument, for example the cello, would play the single bass
line while a keyboard or plucked instrument filled in the harmonies.
- It is generally associated with basso continuo.

26. OPERA:
- Staged drama composed to a libretto,
- Sung to continuos or nearly continuous music
- Staged with scenery, costumes and action.
- Its direct ancestors appeared in 16th century Italy with the Florentine
Intermedi.
- In 1598, Ottaviano Rinuccini and Jacopo Peri created Dafne, the first opera
modeled on Greek plays.
- Opera was inspired by ancient Greek tragedies and Pastoral drama.
b. FLORENTINE CAMERATA: The Florentine camerata was a group
of poets and musicians who met in houses of Florentine
aristocrats Bardi and Corsi between 1573 and 1590 and from
whose discussions opera was developed. The group evolved the
monodic style rappresentativo of which the first example was
Peris dramma per musica, Dafne. Vicenzo Galilei was the leader
of the Florentine camerata.
27. RECITATIVE:
- Recitative is a style of vocal music
- Developed by Jacopo Peri
- Early Italian Baroque period
- It is normally for a single voice, with the intent of mimicking dramatic
speech in song.
- A style of recitative that emerged in the early 18th century was the recitative
accompagnato, which features orchestral outbursts that highlighted
dramatic moments and punctuates vocal phrases.
- An example is Thus saith the Lord from Handels Messiah.
- Haydn and Mozart were also fond of it.
c. (ca. 1561-1633) Jacopo Peri was an Italian composer noted for
his contribution to the development of dramatic vocal style in
early Baroque opera. In collaboration with Ottavio Rinuccini, Peri
is best known for composing what was probably the first opera,
Dafne. Leuridice was the first surviving opera from Florence in
1600, with text by poet Ottavio Rinuccini and composer Jacopo
Peri. It was first performed at the Pitty Palace in October 6th,
1600. The operas story demonstrates musics power to move the
emotions.

28. RECITATIVO ACCOMPAGNATO:

- Style of recitative
- Emerged in the early 18th century.
- It features orchestral outbursts that highlighted dramatic moments and
punctuates vocal phrases.
- An example is Thus saith the Lord from Handels Messiah.
- Haydn and Mozart were also fond of it.
29. CLAUDIO MONTEVERDI: (ca.1567-1643)
- Italian composer
- The most important musician from the late 16th and early 17th centuries.
- Monteverdi only wrote vocal works and his music was always suited to the
text.
- His nine books of madrigals: consolidate the achievements of the late
Renaissance
- His operas for Mantua and Venice, he developed powerful ways to structure
and develop musical dramas.
d. ORFEO is a Favola in musica in a prologue and five acts by
Claudio Monteverdi to a libretto by Alessandro Striggio in
1607 in Cremona, Italy. It is based mainly on the Orpheus
myth and written to entertain the 1607 carnival season at
the Mantuan court.
e. STROPHIC ARIA is a solo song with instrumental accompaniment
in opera, cantata or oratorio, in which each new stanza
might represent a melodic variation of the first. It first
appeared in Monteverdis Orfeo (1607) and was widely
used for decades.
30. ARIA:
- Late 16th and early 17th centuries
- Aria refers to any closed lyrical piece for a solo singer, with or without
musical accompaniment.
- It also refers to lyrical monologue in an opera, cantata or oratorio.
- Possente spirto from Monteverdis Orfeo (1607) is a particular elaborated
example of an aria per cantar terza rima, though not so indicated.
31. RITORNELLO:
- 16th and 17th century vocal music,
- An instrumental introduction or interlude between sung stanzas.
- It is also, in an aria or similar piece, an instrumental passage that recurs for
several times, like a refrain.
- It is typically played at the beginning as an interlude, and at the end, to state
the main theme.

Ritornellos description appears for the first time in the third volume of
Michael Praetoriuss Syntagma musicum of 1618.

32. RITORNELLO FORM:

- Standard form for fast movements in concertos of
- First half of the 18th century, f
- Features a ritornello for full orchestra that alternates with episodes
characterized by virtuosic material played by one or more soloists.
- The "expanded ritornello form" used in Vivaldis concertos, contain a
ritornello with several small sections at the beginning.
- The subsequent ritornellos of the same piece contain fragments of the first
ritornello.
33. GIROLAMO FRESCOBALDI: (ca. 1583-1643)
- Italian organist and keyboard composer.
- He was one of the first composers to focus primarily on instrumental music.
- A volume of toccatas and partitas published in1615 shows his gifts as an
improviser, using unusual harmonies and turns of phrase.
34. FUGUE:
- In the early 17th century the term fugue described a serious work for organ
or harpsichord in which one subject was continuously developed in
imitation.
- In the 18th century, fugal and non-fugal sections became separate
movements, creating a toccata (or prelude) and fugue.
- One of its greatest exponents was J.S. Bach with his well-known
harpsichord music compiled in the Well-Tempered Clavier consists of 24
prelude and fugue pairs, one in each major and minor key.
a. J.S. Bach (ca. 1685-1750) was a virtuoso organist, composer and
keyboard player born in Eisenach. He composed in every genre
except opera, to meet the demands of his patrons in different
cities throughout Germany. His well-known harpsichord music
compiled in the Well-Tempered Clavier consists of 24 prelude
and fugue pairs, one in each major and minor key. In his Golden
Variations, he used a variety of techniques, such as canon, fugue,
and quodlibet.
35. THE WELL-TEMPERED CLAVIER:
- J.S. Bachs well-known harpsichord music compilation.
- It consists of 24 prelude and fugue pairs in 2 books between 1722 and
1744, one in each major and minor key in order from C to B,
- Designed to explore the possibilities of playing in all lays in near equal
temperament on the keyboard.

May of the preludes feature a specific technical task to be used to reach a

certain pedagogical goal.

36. FRANCOIS COUPERIN: (ca. 1668-1733)

- French composer, organist and clavecinist, the most distinguished of his
family,
- Known as Couperin le Grand because of his prowess as an organist.
- Influenced by Corelli, he introduced into France the Italians trio sonata
form.
- In 1716 he published his famous book LArt De Toucher Le Clavecin,
containing instructions for fingering, methods of touch, and execution of
agrements (ornamentation) in performing his harpsichord pieces.
b. Style brise is the characteristic style of 17th century lute music, in
which the notes of a chord were not plucked simultaneously but
arpeggiated. The style had considerable influence on late17th and
early 18th century composers of keyboard music, especially on
French composers such as The Couperins, dAnglebert, and
Chambonnieres, but also on J.S. Bach.
37. ARCANGELO CORELLI: (1653-1713)
- Italian violinist and composer.
- By 1675 he became one of the leading violinists.
- His importance as a composer lies in his trio sonata, sonata da camera and
concerti grossi from which the solo sonata and the orchestra concerts of
Handel and Bach evolved.
- His sonatas focused on lyricism rather than virtuosity.
c. Trio sonata in the 17th century came to refer to a work for one or
two melody instruments with basso continuo. The solo writing
was often idiomatic and imitated vocal style. Arcangelo Corelli
(1653-1731) was one of the most influential composers of this
genre, whose sonatas focused on lyricism rather than virtuosity.
38. DA CAPO ARIA:
- Standard aria form by the late 17th century.
- It has two main sections: opening A section in the main key, followed by
acontrasting B sections in other keys.
- At the end of the B section, the word da capo directed a repeat of the A
section, which usually served as an opportunity for singers to show off their
vocal prowess.
- It became the standard aria form of the 18th century.
- Alessandro Scarlatti used this form of aria in his operas and cantatas very
frequently.

d. (CA. 1660-1725) Alessandro Scarlatti was an Italian composer

generally considered the founder of the Neapolitan school of 18th
century opera. He wrote over 600 cantatas. His recitatives used
diminished seventh chords and wide-ranging harmonies for
expressive effects. The most common form of aria in his operas
and cantatas is the da capo aria.
39. CANTATA:
- Work for voice or voices and instruments of the Baroque era.
- From its beginnings in early 17th century Italy, both secular and religious
cantatas were written.
- The earliest cantatas were generally for solo voice and minimal
instrumental accompaniment.
- The most celebrated are the approximately 200 written by J.S. Bach. After
c.1750, the cantatas gradually declined.
40. CHORALE CANTATA:
- Sacred composition for voice and instruments from the German Baroque
era, in which the organizing principle is the words and music to a chorale.
- Usually a chorale cantata is in multi movements or parts.
- Most of them were written between approximately 1650 and 1750.
- The most famous are by J.S. Bach, composed in his second annual cycle of
cantatas (Leipzig, 1724).
41. FRENCH OVERTURE:
- A festive musical introduction used in tragedie en musique and other
genres.
- It opens with a slow, homophonic and majestic section followed by a faster
second section that begins with imitation.
- It originated with Lullys ballet overtures of the 1650s and quickly became
the sole pattern for French opera and ballet overtures.
42. JEAN-BAPTISTE LULLY: (ca. 1632-1687)
- As Louis XIVs highest musical official, Lully was the most influential
musician in 17th century France.
- His greatest fame came from his operas, and in 1672, he was given
theexclusive right to produce sung drama in France.
- He was also known for creating a distinctive orchestral sound by imposing
uniform bowing and coordinated ornamentation.
43. INSTRUMENTAL CONCERTO:
- New genre that emerged in the 1680s and 90s
- Became the most important type of Baroque instrumental music.
- It is divided in three types of concerto: the orchestral concerto, where the
first violin part and bass dominated, and the texture was less contrapuntal
than in the sonata;

The concerto grosso, which contrasted a small ensemble (concertino) with

a large ensemble (concerto grosso, ripieno or tutti); and the solo concerto,
in which a solo instrument contrasted with the orchestra.

44. ANTONIO VIVALDI: (ca. 1678-1741)

- Best-known Italian composer
- Early 18th century
- Known today primarily for his concertos
- Features opposition between soloist(s) and orchestra and used ritornello
form for the fast movements.
- He also was the first concerto composer to make slow movements as
important as fast ones.
45. JEAN-PHILIPPE RAMEAU: (ca. 1683-1764)
- French composer, harpsichordist and organist.
- His treatise on harmony (traite de lharmonie, 1722) made him earn his
first fame
- He set out the then novel doctrines of inversion of chords and principles of
chord progression.
- He composed more ballets and operas than any other French composer of
the 18th century.
- His most famous operas were Hippolyte et Aricie (1733) and Castor et
Pollux (1737).
46. GEORGE FRIDERIC HANDEL: (ca. 1685-1759)
- German composer from the early 18th century.
- Although he wrote many instrumental works, he is best known for his
Italian operas and English oratorios.
- His cosmopolitan style is exemplified in his most famous work, Messiah
(1741).
- His two most popular instrumental works, Water Music and Music for the
Royal Fireworks are suites for orchestra or winds that he composed for the
king.
47. GALANT STYLE (or music):
- The tuneful, homophonic style that distinguished the classic period from the
learned style of contrapuntal writing.
- It focused on melody, periodicity (two or more phrases ending with a cadence
to create a complete musical thought), slower harmonic pace.
- Composers differentiated musical material according to its functions in the
form, with each musical segment serving as beginning, middle, or end of
phrase, period, or section.
- Composers used the sections to create emotional contrasts, sometimes within a
single theme.

48. SINGSPIEL:
-

An opera where simple musical numbers are interspersed with spoken

dialogue in German.
The term was used before the 1700s to denote a dramatic piece with music
By 1770s the term was used to denote any comic opera translated into
German.
Mozarts opere buffe in Germany were referred to as Singspiele.

49. DON GIOVANNI:

- Dramma giocoso in two acts by W.A. Mozart to a libretto by Lorenzo Da
Ponte
- Based on the Don Juan legend, a fictional libertine and seducer, as told in
Bertatis play.
- Composed in 1787 and produced in Prague in 1788.
- Although sometimes classified as comic, it blends comedy, melodrama and
supernatural elements.
50. CPE BACH: (1714-1788)
- The most important composer in Germany
- 2nd half of the 18th century
- Leading exponent of the empfindsam style: exploited the elements of
surprise, with abrupt shifts of harmony, unconventional modulations,
unusual turns of melody, among others
- Developer of the sonata form in his keyboard sonatas (over 200), violin
sonatas, symphonies and concertos.
51. NICCOLO PAGANINI: (1782-1840)
- Italian violinist and composer from the early 19t century.
- He was a skilled showman,
- Pioneered the use of harmonics
- Tuned his instrument to obtain special effects
- Used several styles of bowing
- Exploited staccato and pizzicato as never before.
52. LA SERVA PADRONA:
- Italian comic intermezzo
- Mid-18th century,
- Written by Giovanni Battista Pergolesi,
- Which exhibited humor through his use of opera seria in comic situations.
- Syllabic patter songs, octave jumps and frequent repetitions of cadential
material: component of the new comic idiom and the basis of pre-classical
style.
53. HAYDNS OP. 33:

Set of 6 quartets by Haydn written in 1781 that he advertised as written in

a new and special way
Light hearted and witty character.
The quartets featured humor in the dance movements that break the
metrical dance pattern
The finale of the No. 2 is nicknamed The Joke: anticlimactic entrances of
the A theme after dramatic buildups in the B section.

54. STURM UND DRANG:

- Movement in German literature
- 2nd half of the 18th century
- Literally translated as storm and stress
- Powerful and shocking expression of emotions as its goals.
- Associated with the empfindsam style of the early classic period
- Exploited elements of surprise through abrupt shifts in harmony, melodic
contour, texture, sudden accents and surprising pauses.
55. BEEETHOVENS EARLY PERIOD:
- 1770-1802
- First decade in Vienna
- Mastered the musical languages and genres of his time
- Making a living as a pianist, teaching & publishing, receiving generous gifts
from patrons
- First String Quartet Op. 18 (1800)
- First Symphony, C Major (1800)
56. EROICA SYMPHONY:
- Written in 1804
- Exemplifies Beethovens compositional approach that distinguishes his 2nd
heroic period where he expresses musically the subject of heroic
greatness.
- The triadic primary theme in the 1st movement represents the heroic
protagonist.
- This movement also has a surprising recurrent of the primary theme in the
horn before the dominant that transitions to the recapitulation.
- Sonorities, and the prominent use of imitation and fugal texture.
57. BEETHOVENS HEROIC PERIOD:
- 1802-1816
- Asserted his individualism as a pianist and composer, sought after by
publishers
- His music was narrative or drama, reflecting his struggles
- Eroica Symphony (1803-04)
- Fifth Symhpony: portrays struggle and ultimate triumph, moves from C
minor to C major, develops the famous four-notes opening.

58. BEETHOVENS LATE PERIOD: (ca. 1770-1827)

- Focused on smaller genres (piano sonatas, variations and string
quartets), exception of the Missa solemnis and Ninth Symphony.
- The pieces were written for connoisseurs and meant to be studied.
- His style generally emphasized extremes of mood & character,
- Continuity between phrases and movements,
- Improvisatory passages, new sonorities,
- Prominent use of imitation and fugal texture.
59. OPUS 28 PRELUDES:
- Chopins 24 preludes, Op. 28
- Set of short pieces for the piano, one in each of the 24 keys
- Originally published in 1839, but written between 1835 and 39 at
Majorca.
- Each one stands as self-contained units, each conveying a specific
idea or emotion.
- In publishing the 24 preludes as a single opus, Chopin challenged
contemporary attitudes regarding the worth of small musical forms.
60. DICHTERLIEBE:
- Song cycle written by Schumann in 1840, known as his year of song
because he wrote 120 art songs.
- Made of 16 songs
- Features single figuration in every song to convey the poems
central idea or emotion
- Long solo passages, elevating the role of the piano above mere
accompaniment.
61. GESAMTKUNSTWERK:
- Richard Wagners aim to completely unify words and music,
- complete art work, in which the composer excercised complete
control over how the orchestra, singing, poetry, scenery, stagic
action, and costumes worked together.
- Tristan und Isolde
62. JOHANNES BRAHMS: (ca. 1833-1897)
- The leading composer of his time in all genres except opera,
- Drew heavily on elements of past classics, writing symphonies,
chamber & piano works, and songs worthy of comparison with the
previous greatest achievements in the genres.
- Greatest Work: Paganini Variations, Op. 35.
63. CLAUDE DEBUSSY: (ca. 1862-1918)
- Late 19th century

French composer that blended from Wagner, French tradition,

Russian composers, medieval music and music from Asia, to create
striking on individual works.
Style: greater attention to musical images rather than syntax
(repetition of motives with small changes, parallel movements of
harmonies)
Best known for piano and orchestral works, and opera Pelleas et
Melisande.

64. BEL CANTO OPERA:

- Type of opera developed in Italy
- first half of the 19th century
- Makes emphasis in the main singers virtuosity with elaborated melodies.
- Its hallmarks were the use of light tones in the higher registers, execution of
fast and accurate divisions, among others.
- Rossini is one of its leading composers.
65. SYMPHONIE FANTASTIQUE:
- Symphonie Op. 14 in five movements by Berlioz,
- composed in 1830 and revised 1831-45.
- Ispired by Berliozs love for the Irish actress Harriet Smithson
- Symbolized by a recurring theme used in a similar way to a Wagnerian
leitmotif.
- It is one of the most important examples of programme music
- Forerunner of the programme symphonies and symphonic poems of Liszt,
Mahler, Strauss and Tchaikovsky, among others.
66. NEO CLASSICISM:
- Movement of style in the works of certain 20th century composers
- Revived the balanced forms and clearly perceptible thematic processes of
earlier styles to replace the exaggerated gestures of late Romanticism.
- The term was first applied to Stravinsky in 1923, with special relevance to
his music in Pulcinella (1919-20).
67. PIERROT LUNAIRE: (1912)
- Melodrama by Arnold Schoenberg
- Setting of 21 selected poems from Albert Giraud's cycle of French poems of
the same name.
- Text is sung using speaking voice or speech song.
- The work is atonal but does not use the twelve-tone technique that
Schoenberg would devise eight years later.
- Set symbolist poetry of a clown named Pierre tortured by visions caused by
momphing moonbeans.
68. CHANCE MUSIC:

Chance music or aleatory music is music in which some primary elements of

a composed works realization are left to the determination of its
performer.
The sounds in the music are meant to be experienced only as pure sound.
John Cage's Music of Changes (1951) is the first piece to be conceived
largely through random procedures

69. GYORGY LIGETI: (1923-2006)

- Hungarian composer.
- Achieved renown through Stanley Kubricks science fiction film 2001: A
Space Odyssey, in which he uses excerpts from three of his works:
Atmospheres (1961), Requiem (1963-65), and Lux aeterna (1966).
- Music characterized by constant motion (composers manipulation of
dissonant textures and changing sonorities; yet static both harmonically
and melodically).
70. GEORGE GERSHWIN:
- American composer from the early 20th century
- Championed jazz as art music.
- Rhapsody in Blue is his most famous piece, jazz concerto blend also seen in
Piano Concerto in F, and Porgy and Bess.
- Compositional pedagogue that trained major American composers such as
Copland, Carter and Thompson in Paris
- Encouraged them to use American folk/popular tunes in their
compositions.
71. MINIMALISM:
- A term borrowed from the visual arts to describe a style of composition
characterized by an intentionally simplified rhythmic, melodic and
harmonic vocabulary.
- Although in the 1960s and 70s minimalist music was closely associated
with minimalist art, itself in certain respects crucially modernist, it
subsequently came to be widely seen as the major antidote to
Modernism
- Represented by both the total serialism of Boulez and Stockhausen and
the indeterminacy of Cage.
72. TOTAL OR INTEGRAL SERIALISM:
- Technique of composition from post-World War II
- Uses the principle of tone rows applied to parameters other than pitch such
as register, duration, dynamic and timbre
- Major exponents: Milton Babbitt, Pierre Bowlez, and Karlheinz Stockhausen
in Kreuzspiel.
73. BELA BARTOK:

Hungarian composer, pianist

Collector of eastern European folk music from the 20th century.
Synthesized folk and classical music through their common areas such as
the use of pitch centers, diatonic scales and varied motives.
Famous work: collection of piano pieces called Mikrokosmos.

74. AARON COPLAND: (ca. 1900-1990)

- 20th century
- Most important American composer of his generation
- Early works feature jazz elements.
- Later sought to appeal to a larger audience using simple diatonic melodies
and cowboy songs in Billy the Kid 2 Rodeo, while incorporating modernist
elements, established him as a promoter of American music.
- Appalachian Spring (1943) orchestral suite, simple variations and
distinctive widely spaced harmonies made of open 5th & 8ves.
75. THRENODY FOR THE VICTIMS OF HIROSHIMA:
- Music for 52 string instruments, composed in 1960 by Krzysztof
Penderecki (b. 1933)
- Third prize at the Grzegorz Fitelberg Composers' Competition
in Katowice in 1960
- The piece swiftly attracted interest around the world and made its
young composer famous.
- The piece tends to leave an impression both solemn and catastrophic,
earning its classification as a threnody.
76. HEINRICH SCHENKER:
- Composer, pianist and theorist born in Austria.
- Contributions in music theory about tonal music called Schenkerian
analysis.
- Among the most significant are the Erluterungsausgaben of
Beethovens last five piano sonatas (the edition of op.106 was not
completed due to lack of an extant autograph).