Music History 2008 Short questions

1. Features Gregorian.
• It is the official chant of the Catholic Church. • It Monod and voice, without
instrumental accompaniment. • It is sung in Latin by a chorus of men. • Its rhy
thm is free and is related to the prosody of the text (emphasis). • Melodically
moves through joint degrees, with a maximum area of 8th. • Uses four singing sty
les (syllabic psalm, pneumatic and melismatic). • Uses eight scales called churc
h modes. • Its purpose is to pray.
2. Differences and similarities between troubadours and minstrels.
€Minstrels and troubadours have in common that they are poets, musicians who eme
rged in the Middle Ages as a result of the refinement of manners, and the spirit
of chivalry and devotion to women. They belonged to the nobility, and were educ
ated,foranddifferences,
€As who wrote both
we can
poems
sayand
thatthethemusic
troubadours
that accompanied
were in the
them.
south of France
and using the language called "c" (Langue d'oc), while the minstrels, located in
northern France, the language used "oil." The latter are chronologically later.
3. Main authors and musical forms from the School of Notre-Dame.
Organum: polyphonic medieval cantus firmus based on the songs from just responso
rial of the Mass and of the trade. Of these songs were developed polyphony the s
olo parts, while the interventions of the choir were Monod. Thus, alternating wi
th polyphonic monodic fragments. The organum can be in two voices, or have added
a third (triplum) or fourth voice (quadruplum). Conductus: 1-3 song voices of c
ontent liturgical sacred but profane and was later (moral, political ...). The t
enor, which is at the bottom and contains the text, and not the Gregorian. Strop
hic structure, there are two styles: a simple, strophic structure and one embell
ished with melismatic passages. Motet (MOT: word, in French) is a short composit
ion of 2 or 3 voices in a chant from the tenor is the basis for one or more uppe
r voices with texts in French or Latin. The wording is a design brief and repeat
ed with the upper voices rhythmically active, and in the motets for 3 voices, of
ten using independent texts (sometimes in different languages). The authors of t
hese forms are usually anonymous, but stand out from the Notre Dame School teach
ers and Pérotin Léonin.
4. Features music of the Ars Nova
• • 3 mixed voices polyphony, which combine voices and instruments. It accentuat
es the effect of music sensual rhythmic, melodic and harmonic (chords for 3rd an
d 6th). Breakthroughs occur in the notation of binary and ternary combinations (
Franco of Cologne), faster values (minimum and semimínima) that favor the appear
ance of enormous rhythmic complexity. Cultivated genera are the mass, the motet
and the chanson. The most important is the motet, which will no longer be exclus
ively sacred and will become a public event linked to the events, parties, publi
c figures conflicts and political and religious life.
•
• •
5. Coral Sets how
It is a religious vocal form of the Renaissance. Coral is the base and the most
important contribution of the Lutheran Protestant Church. Born by the attempt to
most of the faithful intervene in the liturgical chant (a prerequisite of the R
eformation initiated by Luther). It is
simple music usually adaptations of Gregorian melodies, new tunes and popular me
lodies mostly by changing the religious text and using profane language German.
At first they sang in unison and without accompaniment, so they could sing the f
aithful, but very soon it was enriched by the accompaniment of organ and adding
other voices to fill harmonic. Its splendor was in the Baroque with the great fi
gure of J. S. Bach.
6. Define how Madrigal.
Of Italian origin, this is how most important secular vocal music of the Renaiss
ance. Polyphonic music is a form of descriptive character, aims, through the uni
on of words and music, to express the feelings of man as a layman. Usually 4 or
5 voices and a cappella, but can also instrumental accompaniment. Pastoral theme
s treated inuses
€Technique principle
a very difficult
but soon spread
musicaltolanguage,
the fieldreligion
satiricalandandminorities,
humorous. besi
des the use of
chromaticism (Madrigal) and the vernacular€all in a contrapuntal development com
bined with high expression homophony and adapted the text, so that the music des
cribes the meaning of the words even onomatopoeia. As representatives, among oth
ers, include: A. Willaert, O. Di Lasso, C. Gesualdo, C.
Of Monteverdi.
7. List four Spanish Renaissance composers of instrumental music.
Luis de Milan, Luis de Narvaez, Alonso Mudarra, Antonio de Cabezón ...
8. What are the main musical instruments of the Renaissance?
or key instruments: Organ, Harpsichord, Key, Virginal, Spinet. (The organ can al
so be classified as a wind instrument; Key, Spinet Virginal and they can also be
classified as a dotted string instruments, the harpsichord as a rope And hit).
or String Instruments: • String Pattern: Lute, archlute, Vihuela, Theorbo, chita
rrone, Psalter (of medieval origin), Harp.
• rub strings: Violas (viola da gamba, viola bastard, alto viola, tenor viola, v
iola d'amore.), Violin, cello and double bass (current bass). or wind instrument
s: recorder, flute, fife, bagpipe, crumhorn, Bombard, Trumpet, Horn, serpent. or
Percussion Instruments: nácaras (timbales) echelette (xylophone)
9. Define how Oratorio.
€This musical form takes the name of the religious order founded by the Florenti
ne Oratoriana, Felipe de Neri (1515-1595), who had the habit of singing every da
y in their religious community in Rome called Laudi Spirituali hymns, composed i
n polyphonic style by his friend, Giovanni Animuccia, then, by Palestrina. Of se
cular origin, the real Oratorio, born in Rome but then rapidly spreads throughou
t Europe. Adopt monody and purchased several items from the operas: the recitati
ves, duets, choruses, solos and parts narrated by a reporter, but were not inten
ded for stage performance, that is, the characters were not acting, singing only
limited . They wrote in Latin, (Latin Oratory) or own the country (Oratorio vol
gare)first
€The on religious
known Oratorio
texts. Rappresentazione called dell 'Anima e Corpo of compose
d
by Cavalieri and presented around 1600 in Rome, in the Chapel of the Oratorians
(Neristas). In this work, reality and faith, reason and affection, alternate hum
ble, strong
€Giacomo Carissimi
and rudely
perfected
from episode
the Oratory
to episode.
in America, specifically the involvemen
t of characters
and giving greater importance to the melody, adding also very moving choral part
s. We keep about 15 of his oratorios: The Story of Job, Balthazar, Abraham and I
saac, The Last Judgement, Jonah and others.
10. What is the Camerata Fiorentina?
€The Florentine Camerata was a group of humanists, musicians, poets and intellec
tuals in late Renaissance Florence who were united under the patronage of Count
Giovanni de 'Bardi to discuss and guide trends in the arts, especially music and
drama. They met mainly from about 1573 until the late '80s, the house of Bardi,
and their meetings were reputed to have the most famous men of Florence. Known
members of the group also included Giulio Caccini Bardi, Pietro Strozzi, Emilio
de 'Cavalieri and Vincenzo Galilei (father of the astronomer Galileo Galilei).

The reason of their association was the belief that music had become corrupted,
and that through
return to the forms and style of ancient Greece, the art of music could be impro
ved, and thus also improve society. Were influenced by Girolamo Mei, the first s
cholar of his time in ancient Greece, which held that Greek tragedy had been sun
g predominantly
€The criticism ofspoken.
contemporary music that made the Camerata focused on
abandonment of polyphony, which adversely affected the intelligibility of sung t
ext. Paradoxically, this was the same criticism given by the Council of Trent fe
w decades
€The musical
earlier.
style that developed from these early experiments was called
monody, became, at 90 years, thanks to the works of composers such as Jacopo Per
i, a vehicle capable of a wide dramatic expression. In 1598, Peri and produced R
inuccini Euridice, an entire drama sung in monodic style: it was the first creat
ion of a new form called "Opera." Other composers followed quickly.
11. The Baroque Suite.
€The union can be defined as a single work of several different character dances
for solo keyboard (harpsichord) and orchestra, all with the same key (or relati
ve major) that comes from the Renaissance Suite. The number of dances that make
up can be very variable, so it has been called "open form."€The culmination of t
he orchestral
€It often begins
formwith
camea prelude
with Bach.
of introduction (opening or intractable). There
follow a variable number of dances (allemande, corrente, Sarabande, Giga ...).
12. What is an overture? Types.
€Etymologically means "piece to open", so to begin serving large works (operas,
oratorios
€A late seventeenth
...) century this piece instrumental take its final form in two v
ariants:
• French overture: (slow-fast-slow) Created by Lully, consists of two movements:
a slow, pompous and a fast second movement, imitative style that you can finish
within a short time slow. • Overture Neapolitan (fast-slow-fast) was introduced
by Scarlatti and consists of three sections: allegro (in contrapuntal style), a
dagio and allegro (influenced by the dance).
13. He cites the main operas W. A. Mozart.
Serious operas: King Idomeneo of Crete, Mitridate, La Clemenza di Tito giocoso D
ramas: La finta semplice, Cosi fan tutte, The Marriage of Figaro, Don Giovanni S
ingspiel: Bastian and Bastiana, The Abduction from the Seraglio, The Magic Flute
14. Differences between opera buffa and opera seria.
Opera seria: 1. It is the evolution of those attempts to revitalize the Florenti
ne Camerata Greek theater. 2. Her subjects are mythological, with classical hero
es and stereotypical gestures. 3. Directed aristocratic and wealthy classes. 4.
Sophisticated and international in nature. They used to be sung in Italian. 5. J
ust use choirs and practically do not exist concertato to 2 or 3 voices or the b
allet, except in French opera. 6. The main protagonist is the aria, especially t
he "da capo aria (ABA '), in which the soloist used to improvise in the third (A
'), in many cases these improvisations were based on small flourishes and improv
isations quality. It is the realm of the castrati.
Opera buffa: 1. Emerges as a parody of opera seria, in the middle of it, as fun
breaks, this coupled with the need for employers to represent operas to bring to
gether the most profitable public investment. 2. Its themes are drawn from every
day life and popular protagonists are not gods. 3. Uses elements of folk charact
er, with short musical phrases and frequent repetitions. 4. From cheerful, bourg
eois and parochial, in the language sung and even the local dialect. 5. At first
they were very short, with two or three characters, but little by little began
to take more shape, to become an independent genre.
15. Compare sonata, symphony and concert
€Although these forms and agreed on the Baroque period, from classicism is when
all are fully consolidated. In this sense, we take as reference the classical so
nata: 1st movement: Allegro, Exposition-Development-Recapitulation. 2nd movement
: Adagio O ANDANTE (slow movement), a tripartite lied ABA ', or variations on a
theme. 3rd movement: Minuetto (tempo dance) or SCHERZO. 4th movement: Finale ALL
EGRO, Allegro-Rondo.

This musical form will be named sonata where one or two instruments,
although it will be followed by most of the chamber works of this period, regard
less of theand
€Moreover, formation
as regards
to which
the symphony
they belong
is a(trio,
sonataquartet,
for orchestra.
quintet,However,
etc.). the c
oncert (given that disappear from the grosso classical and orchestral, leaving o
nly solo concert), uses the sonata form but eliminates the third movement, and i
ncorporates a dual presentation by the orchestra and the soloist in the first mo
vement Allegro.
16. What are the differences between the key and the piano?
€Basically, the harpsichord is a stringed instrument used in pinched the baroque
period. However, the piano is a percussive stringed instrument that was widely
disseminated
€On the otherfrom
hand,classicism,
the harpsichord
and especially
can not vary
during
thethe
intensity
Romanticisera.
its sounds (gi
ven their charac-
tics techniques), while the piano itself can vary the volume of their sounds and
use more resources as their size, sound damping, etc..
17. What is a romantic Lied?
€Lied, a German word meaning song. composition is usually of short dimensions, c
omposed for one voice with piano accompaniment, in which music becomes a poem, a
chieving the union of two artistic languages. As for ways we can find several ty
pes:
- Strophic
€Also generally
Lied:clustered
A - A '- in
A ``lieder
- Lied:
lieder
A - cycles
B - A -with
Rondo:
theAsame
- B theme.
- A - C - A
Important composers, Franz Schubert (The beautiful miller - Winter Journey), Rob
ert Schumann (Love and life as a woman, Love of poet), and others such as Johann
es Brahms, Gustav Mahler and Hugo Wolf.
18. He cites the most representative of the Romantic opera.
French Grand Opera: Giacomo Meyerbeer and comic opera buffa: Daniel François Esp
rit Auber and Jacques Offenbach Lyric Opera, Charles Gounod, and George Bizet It
aly Home: Gioacchino Rossini, Gaetano Donizetti, Vincenzo Bellini, Development:
Giuseppe Verdi, verismo: Giacomo Puccini Germany Beginnings: Carl Maria von Webe
r Development: Richard Wagner
19. Indicates short forms four small piano.
€The piano in the nineteenth century reached its greatest popularity. The litera
ture for this instrument is abundant and varied. The piano is well suited to pur
suing the Romantic sense. Among other highlights these short pieces:
• Polonaise. Part in a movement of ternary and moderate pace, beginning thetic a
nd high chromatic harmony. Highlight F. Chopin. • Impromptu. French word derived
 from Latin roots, preferably small piano piece, single movement the result of f
reedom of the composer's inspiration. The ABA ternary structure is the most comm
on. The earliest examples are those of Schubert. • Nocturnal. Piano piece of an
intimate and sentimental, a single movement which has a characteristic cantabile
melody with arpeggiated accompaniment. • Rhapsody. Part consists of several par
ts, without much relation to one another, with links free, and whose main purpos
e is to provide an effect of brilliance. It can be made in two parts, a slow and
dramatic, and a quick second. We can highlight the Hungarian Rhapsodies of Lisz
t.
20. What is program music?
€That describes a musical theme or argument, such as a story, an object or a sce
ne, using musical elements and structures. The intention of using music for desc
riptive purposes can be seen throughout the history of music: keyboard piece "La
poule" (The hen, 1706) by French composer Jean Philippe Rameau. "Four Seasons"
by Vivaldi, the so-called issue of fate at the beginning of the Fifth Symphony o
f Ludwig van Beethoven, etc. But in the early nineteenth century, music was very
influenced by the literary movement known as Romanticism, the French composer H
ector Berlioz and Franz Liszt Hungarian leaders were program music. They created
works based on or inspired by literary themes, painterly and others, such as Be
rlioz's Symphonie Fantastique. Franz Liszt was based on great works of literatur
e such as "Les Préludes", for which he coined the term symphonic poem, a play in
one motion. Liszt employed the motif, using melodic phrases to identify specifi
c characters, actions or symbols, an innovation developed by German composer Ric
hard Wagner, in his musical dramas.
21. List some characteristics of musical nationalism.
or arises in the mid-nineteenth century as a reaction to the excessive influence
of temperature inversions in German and Italian opera in other countries. Can b
e considered as a component of the Romantic movement, which seeks to emphasize t
he individuality of each country. or acquires special importance in those countr
ies that had less weight in the musical development in Russia, Scandinavia, Spai
n, Hungary, Czechoslovakia ... or composers in their works use specific characte
rs of folklore (rhythms, scales, melodic, harmonies , tools ...) or among the in
novations include: emancipation modal, pentatonic scales and usage hexátonas, in
troduction of new percussive instruments in the orchestra, orchestration more co
lorful, more melodic richness. or Search the union between music and poetry in e
ach country. Among the favorite genres include program music and opera.
22. Lists the main nationalist schools.
Russian school: Mikhail Glinka and the Group of Five (Mily Balakirev, César Cui,
Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin). Czechoslovak
School: Bedrich Smetana and Anton Dvorak. Scandinavian School: Edward Grieg (No
rway), Jan Sibelius (Finland), Carl Nielsen (Denmark). Hungarian School: Bela Ba
rtok and Zoltan Kodaly. Spanish School: Asenjo Barbieri, felipe Pedrell, Isaac A
lbéniz, Enrique Granados and Manuel de Falla. English School: Edward Elgar and R
alph Vaughan-Williams.
23. Differences between large and zarzuela genre.
24. General characteristics of the tune on stage. 25.€List some characteristics
of musical impressionism.
The melody. Instead of the broad romantic melodies, Debussy cultivated a melody
composed of fragmentary sentences, each of which was repeated frequently. It is
a melody that comes and goes, that fades (you can compare with the dissolution o
f the line in the paint). The rhythm. Wanted a stream of sound that does away wi
th the beat and you release your music from the tyranny of the accentuation of t
he beats, thus a continuous flow characteristic of Impressionist music. Harmony.
Medieval elements are used (however, parallel movements of fourths, fifths and
octaves in the style of primitive organum) whole-tone scales, pentatonic scale,
the chords are extended, become independent, they lose their tonal direction and
its intention is basically sound .. The timbre. Debussy's orchestral technique
is that each instrument has its individual function and precise, so that each ri
ng is in contrast to others in a masterful way. Like the Impressionist composers
juxtaposed colors directly on the canvas, leaving the mixture to the viewer, th
e impressionist musicians do the same with the sounds and timbres. Using the ext
reme registers of the instruments and the melody is often divided among many ins
truments. Forms. Is surrendered to the rigors of construction to give priority t
o the timbre and harmonic color. Is widely used to duplicate the material to str
etch the form, looking for simple structures such as ABA. Thematic development i
s abandoned, so small cells are used that are repeated and duplicated to extend
the forms. As a result of all this, the resulting artwork leads to the dissoluti
on of the tonal language that will lead to proposals of the early atonal twentie
th century.
26. What is the twelve-tone? He cites the names and major works of twelve-tone.
€The twelve-tone composer ordering system at their discretion the twelve-tone co
lor and what is it called a series, characterized by: 6
€the work.
Once the order of the twelve-tone, it remains unchanged for all
The individual notes of the series can be repeated. The use of counterpoint and
its resources makes possible a wide variety in
successive exposures of the series. Thus, we can find original series, retrograd
e original,
€The basic set
inverse
is notandaninverse
issue, and
retrograde.
that subsequent exposures can be applied any
rhythmic break any note can be played one octave above or below its original pit
€The series is also used in harmony. That is, the sounds of the series may
ch.
used simultaneously.

Composers:
Arnold Schoenberg (Five Pieces for Piano Op 23, only the fifth, Suite for Piano
Op 25, Violin Concerto) Alban Berg (his opera Wozzeck and Lulu's Violin Concerto
, Lyric Suite) Anton Webern (Six Pieces for orchestra; Six trifles)
27. What is the music Shuffle? 28. Differences between the acoustic and electroa
coustic.