Music History Comp Terms Crossword
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
                                                          
 
 
Down: 2) The playwright, known for his satirical comedies, who wrote the highly controversial Solome, staged in Berlin 1902, and gave Strauss the material for his opera. The play is based on the beheading of John the Baptist by Herod. 3) the German term for the vibrating sound produced by the clavichord technique of holding and "wriggling" a key up and down (C.P.E. Bach: Fantasia in C Minor for clavichord). 5) an old Polish country dance in triple time with accents often on beats 2 or 3 of a measure (Chopin: many pieces and variations of the dance). 6) an ornamental setting of a pre-existing chorale tune intended to be played on the organ before the singing of the chorale by the full congregation (Bach- Orgelbüchlein: “In dulci jubilo” (BWV 608)). 7) (handful) the sobriquet given in 1867 to a group of Russian composers living in St. Petersburg Rimsky-Korsakov, Cesar Cui, Alexander Borodin, Mussorgsky and Balakirev. This group is also known as the Five. 8) (1867-1957) Famous Italian conductor, specifically of La Scala. He had same qualities as Mahler such as excellent musicianship, high standards, and the willpower to impose a unified artistic conception on a large group of musicians. He was equally at home conducting opera and symphonic works. 9) a term associated with composer Steve Reich; a phase piece is one that begins with two identical sources of sound giving forth an identical ostinato; ones sound source gradually pulls ahead, creating a constantly changing rhythmic interaction with the other source (Reich: Clapping Music).13) a descending tetrachordal basso ostinato employed during the Baroque era as a musical signifier of grief14) an association of musicians in eighteenth-century Germany, consisting usually of university students, who came together voluntarily to play the latest music in a public setting such as a large café or beer hall15) (1) a building consecrated for religious worship; (2) an organized group of highly trained musicians who sang at the services in such a chapel19) term coined by Charles Seeger to refer to counterpoint in which the traditional roles of consonance and dissonance are reversed 21) originally a separate and distinct bass melody, but during the seventeenth century the term came to mean almost any repeating bass pattern of short duration24) florid configuration assigned to the soprano voice in an opera; also the high female voice that is able to sing such a part (Hasse: Cleofide: "Digli ch'io son fedele"). 25) an animation of simple triads brought about by playing the notes successively and in a pattern (Alberti- Opus 1, No. 3-first movement).27) an orchestral piece in one movement, usually programmatic in content, and intended for concert purposes (Berlioz: The Corsair). 29) the term used by Berlioz to describe the recurrent melody of the beloved (Berlioz: Symphonie Fantastique). 30) a bass line that provided a never-ending foundation, or "continuous bass," for the melody above; also a small ensemble of usually two instruments that played this support34) a comic opera using re-texted ballads (or other popular songs) and spoken dialogue rather than recitative (Gay: The Beggars Opera).36) a musically heightened speech, often used in opera, oratorio, or cantata to report dramatic action and advance the plot. Monteverdi: Tu se’ morta, mia vita38) one of two main dance types of the Middle Ages; originally a dance song in which the dancers also sang a text, usually a poem about love; however, during the thirteenth and fourteenth centuries it evolved into a purely instrumental piece39) an “entertainment” in an opera or ballet, only loosely connected to its surrounding scenes (Tchaikovsky: The Nutcracker).42) a motet in the concertato style with strong contrasts in textures and timbres involving voices and instruments43) a term used by Richard Wagner to designate a goal for art in which its various branches are merged into a integrated and dramatic whole The Ring Cycle44) the traditional style for church music that is in contrast to the freer writing found in some madrigals of the 16th century; the musical embodiment of the restrained spirit of the Counter-Reformation47) a technique whereby isorhythm is applied to all voices, not just the tenor in an isorhythmic piece52)  a style of English medieval choral music that arose when singers improvised around a given chant that was placed in the middle voice. Across: 1) (Werk ohne Opuszahl) work without opus numbers, a number given in a catalogue of a composer's works designating those pieces as lacking a traditional opus number; first used in the 1955 catalogue of Beethoven's works compiled by Georg Kinsky and Hans Halm.4) a type of polyphonic religious music of the Middle Ages; the term came to be used generally to connote all early polyphony of the church10) the transformation of a piece of music from a secular piece to a sacred one or from a sacred piece to a secular one.11) 1) a narrative poem or its musical setting, 2) a traditional, usually strophic, song that tells a lengthy story; in popular music, a love song in a slow tempo (Schubert: Erlkőnig).12) a sometimes ungainly alto oboe also used by Mahler and Strauss (Mahler: Um Mitternacht).16) the music of the thirteenth century characterized by a uniform pace and clear ternary units (as contrasted with the Ars nova of the early fourteenth century)17) in 20th century compositions, musical notation that includes unusual graphic designs (Penderecki: Threnody for the Victims of Hiroshima).18) music for two, three, or four choirs placed in different parts of a building Gabrieli- Canzonas20) a motive consisting of the tones B-flat A C B-sharp. (the musical letters in Bach's name, according to German usage); found in compositions by J.S. Bach himself and many later composers22) a dance song with a choral refrain; one of the three formes fixes of secular music in trecento Italy23) The names that Schumann himself gave to the impetuous and dreamy sides, respectively, of his personality. 26) the term used to describe the decorative arts and the music of the mid 18th century France, with all their lightness, grace and ornamentation. Couperin: Pieces de clavecin-La Favorite28) a well-established, previously existing melody, be it a sacred chant or a secular song, that usually sounds in long notes and provides a structural framework for a polyphonic composition31) musical avant garde of the early fourteenth century characterized by douple as well as triple relationships and a wide variety of note values (as contrasted with the Ars antiqua of the thirteenth century)32) a 3 or 4 movement instrumental work projecting a unified sounds of an orchestra; has its origins in the Enlightenment (Sammartini: Symphony in D Major).33) (realism) a style of Italian opera appearing in the 1890s in short works in which characters from lower social are driven by the passions to violent acts (Mascagni: Cavalleria rustican.) 35) (fourteenth century) originally a poem in the vernacular to which music was added for greater emotional effect; having the form AAB, it was one of the three formes fixes of secular music in trecento Italy; (sixteenth century) like the frottola, a catch-all term used to describe settings of Italian verse; sixteenth-century madrigals were through composed rather than strophic and employed a variety of textures and compositional techniques37) an opening piece without specific indications for rhythmic duration or metrical organization40) a music theory treatise that dates from the 890s and is ascribed to Abbot Hoger; it describes a type of polyphonic singing called organum and aimed to teach church singers how to improvise polyphonic music41) the 5 principle Russian composers including Rimsky-Korsakov, Cesar Cui, Alexander Borodin, Mussorgsky and Balakirev. All of the composers’ music contained a distinctive Russian profile and the composers, as a whole, lacked a systemic musical education which left them more sympathetic to experimentation into new musical resources. 45) a musical genera where spoken text is accompanied by, or alternates with, instrumental music (Beethoven: Fideilo).46) rench for the "German" dance and usually the first dance in a Baroque suite; a stately dance in 44 meter at a moderate tempo with upbeat and gracefully interweaving lines that create an improvisatory-like style48) the climatic section of a number in 19th century opera, often in a fast tempo (Rossini: The Barber of Seville). 49) the religious revolution that began as a movement to reform Catholicism and ended with the establishment of Protestantism 50) in 19th century French music, a simple strophic song.51) a polyphonic German song in which a preexisting tune is placed in the tenor and two or three other voices enhance it with lightly imitative polyphony, Martin Luther, A Mighty Fortress is our God 53) a genera term used by Weber and Wagner; the term suggests that the texts stressed mysterious or supernatural elements, as in the contemporary literary genera of the “romance” (Weber: Der Freischutz).54) a style of opera originating around 1830 in France characterized by lavish use of chorus, ballet, and elaborite spectacle (Meyerbeer: Robert lediable).55) an addition of music or texst, or both, to a preexisting chant. They more fully explain the theology inherent in the chants to which they were added. An example of a trope is Hodie cantandus est nobis by Tuotilo of St. Gall.s56) music written for an eighteenth-century Harmonie, or independent wind band- MOZART57) (1898-1956) Berlin poet and playwright who inspired Weill. Wrote about and criticized German post-war society. He and his assistant translated text of The Beggar’s Opera into German with a few revisions. 58)  a one movement programmatic work, usually for orchestra, and roughly synonymous with symphonic poem (Strauss: Don Juan). 59) the division of a line into two parts such that the ratio of the smaller to the larger division equals the larger to the whole.60)  a recitative that features a full orchestral accompaniment; it appears occasionally I the music of Bach, but was more extensively used in the operas of Gluck and later composers (Bach: Wachet auf, ruft uns die Stimme, Movement 5 (BWV 140)).61) a rhapsodic, improvisatory work, often unbarred, in which the creative imagination waxes unfettered by conventional musical forms (C.P.E. Bach: Fantasia in C Minor for clavichord). 62) a distinctive type of instrumental prelude created by Lully; it came to be understood as an overture in two sections, the first slow in duple meter with dotted note values, the second fast in triple meter with light imitation. Lully: Armide-Overture63) the term used to describe eighteenth-century music that is graceful, light in texture and generally symmetrical in melodic structure (Hasse: Cleofide).64) 20th century music in which compositional decisions are made by chance procedures (Cage: Music of Changes-Part 1).
 

 

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