RCM History 1

75 Questions

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History Quizzes & Trivia

Questions and Answers
  • 1. 
    Music without extra-musical associations; Generic titles (sonata, rondo, minuet)
  • 2. 
    The second statement of the main theme of a fuge, usually in the dominant key
  • 3. 
    Musical setting of a poem; solo voice and piano accomp;
  • 4. 
    Derived from the Portugese “barocco” meaning an irregular pearl; originally derogatory term; now applied to the art,architecture, and music of the 17th and early 18th century
  • 5. 
    A baroque performance practice involving 2 performers; one realizing the harmonyas indicated by the figured bass(keyboard); the other playing the notated bass line(cello)
  • 6. 
    2 part form; A opens with a cadence; used in Baroque dances and keyboard pieces
  • 7. 
    Music for small ensemble (2-10 players), one player per part, usually performed without a conductor
  • 8. 
    Extensive use of notes outside the prevailing key signature
  • 9. 
    Pertains to the highest level of excellency; refers to the culture of ancient Rome and Greece,as well as the art, architecture and music of the late 18th Century
  • 10. 
    Fr for “bells”; pitched percussion instrument; emits a ringing sound when struck with a mallet
  • 11. 
    Lt for “tail”; the concluding section reaffirming the tonic key
  • 12. 
    It for “with the wood”; string players tap on strings with the wood part of their bows; invented by Berlioz
  • 13. 
  • 14. 
    A recurring counter-melody that accompanies entries of the subject and answer
  • 15. 
    Material heard in one mvmt recurs in other mvmts; creates unity in a multi-mvmt work
  • 16. 
    Three part structure; return of part A is more elaborate; B is a contrast
  • 17. 
    2nd main section in sonata form; themes from exposition are used but changed and new themes are used
  • 18. 
    Lt for “day of wrath”; chant melody from the Middle Ages; taken from Roman Catholic requiem
  • 19. 
    Sustained bass not the provides a harmonic foundation
  • 20. 
    Through-composed; avoids repetition of entire sections of music; music is able to reflect the text
  • 21. 
    A passage within a fugue in which neither subject or answer are present
  • 22. 
    Method of tuning keyboards; all semitones in the octave are divided equally; allows music to be performed in all keys
  • 23. 
    Fascination with foreign lands and cultures; evoked through melody, rhythm, harmony and orchestration
  • 24. 
    1st main section in sonata form: 2 contrasting themes; 1 – tonic key; 2 – dominant or relative major
  • 25. 
    Musical shorthand; numbers are placed below the bass line to show harmonic progression; structure for improvisation
  • 26. 
    Baroque orch. genre in 2 parts; 1 – slow, homophonic, dotted rhythms; 2 – fast, imitative
  • 27. 
    Single line of melody supported by a harmonic accompaniment
  • 28. 
    All voices sing the same rhythm resulting in homophonic texture; delivers the text with clarity and emphasis
  • 29. 
    Fr. for “fixed idea”; devised by Berlioz; a recurring theme undergoes transformation; unifies multi-mvmt compositions; represents “the beloved” in Symphonie fantastique
  • 30. 
    The text of an opera, oratorio, or cantata; often written by someone other than the composer
  • 31. 
    Menuet – stylized french dance; Trio; contrasting middle section
  • 32. 
    Short melodic of rythmic idea; the smallest unit used to form a melody or theme
  • 33. 
    Patriotism expressed through music; influenced by folk songs & dances, legends, landscapes, & historical events
  • 34. 
    Brass instrument, no obsolete; predecessor of the tuba
  • 35. 
    A large scale work for soloists, choir, and orch. developed in the baroque era; serious subject; consists of recitatives, arias, ensembles, and choruses
  • 36. 
    Italian for “persistent”; a rhythmic of melodic pattern repeated for and extended period of time
  • 37. 
    Stately Polish dance in triple meter; transformed by Chopin into a virtuosic piano composition; often proud and majestic and includes rhythmic figures
  • 38. 
    Combination of two or more melodic lines; counterpoint
  • 39. 
    It for “carrying”; sliding smoothly from one note to the next; originally for vocal – adapted by Berlioz for instruments
  • 40. 
    A short keyboard work, often paired with a fugue; improvisatory style
  • 41. 
    Music with extra-musical associations (literary, poetic, visual); descriptive titles; sometimes includewritten text (program) provided by the composer
  • 42. 
    19th Century multi-mvmt orch work modeled after 18th century symphony; descriptive title; accompanying text (program)
  • 43. 
    An exact transposition of the subject
  • 44. 
    It for “accompanied recitative”; a speech like declamatory style of singing; accomp by instrumental ensemble or orch. used in opera, oratorio and cantata
  • 45. 
    It for “dry recitative”; a speech like declamatory style of singing; only supported by basso continuo used in opera, oratorio and cantata
  • 46. 
    It for “full”; denotes the full use of the orchestra
  • 47. 
    A form used in 1st and 3rd of a Baroque concerto where the opening passage is restated throughout the mvmt.
  • 48. 
    Rapidly ascending melody outlining an arpeggio; used as a dramatic opening in Classical works
  • 49. 
    Origins in late 18th century literature; reaction against classicism; emphasis on creativity and expression of emotions
  • 50. 
    Classical structure often used in Sonata cycle; section A repeats 3+ times; has alternating, contrasting sections; ABACA or ABACABA
  • 51. 
    Two part musical form: material from part A appears in part B: (A)(A+B)
  • 52. 
    It. for “robbed time”; rhythmic flexibility – speeding up and slowing down; expressive device
  • 53. 
    It for “jest”; Beethoven substituted the minuet with a scherzo; more dramatic than the elegant minuet; triple meter; ABA (scherzo – trio – scherzo)
  • 54. 
  • 55. 
    Emerged in the Classical era; multi mvmt. Structure used in symphony, sonata and concerto
  • 56. 
    Classical form often found in the first mvmt of sonata cycle; consists of an Exposition, Developement, Recapitulation
  • 57. 
    Overlapping subject entries in close succession
  • 58. 
    Most important chamber music of Classical era; 4 mvmts fast- slow- moderately fast- fast;Performing forces – Violin I & II, Viola and Cello
  • 59. 
    The initial statement of the main theme of a fugue
  • 60. 
    Three part form (ABA); part B is a contrast
  • 61. 
    Baroque practice of changing dynamics suddenly not gradually
  • 62. 
    A melody is stated and then undergoes a series of transformations; changes can be made to melody, rhythm, harmony and orchestration; used in slow mvmt of sonata cycle
  • 63. 
    Picardy 3rd: a work in a minor key end in the tonic major; common in Baroque music
  • 64. 
    A statement of the subject in which one or more intervals are changed to accommodate the harmony
  • 65. 
    Refers to the musical style of Haydn, Mozart, Beethoven and their contemporaries
  • 66. 
    The use of melodies, harmonies, and rhythms to create a picture that mirrors the literal meaning of the words
  • 67. 
    Baroque philosophy that refers to the emotional states of the soul; in Baroque music on “affection” was projected through an entire composition of mvmt
  • 68. 
    Drama that is sung; combines vocal and instrumental music with drama; includes recitatives, arias, ensembles, and choruses
  • 69. 
    Orchestral work, serving as an intro to opera; no prescribed form; often includes themes to be heard later in the opera
  • 70. 
    It for “realism”; story lines have a gritty realism, often end violently or tragically; Pucinni mastered this style
  • 71. 
    Scale consisting of five pitches; played by playing the black keys on the piano
  • 72. 
    Scale consisting of six pitches, all spaced a whole tone apart
  • 73. 
    It for “air”; solo song heard in opera, oratorio or cantata; emotional, dramatic and highly virtuosic
  • 74. 
    Orchestra doubling the vocal line; often used by Pucinni