Music Appreciation: Roger Kamien 9th Edition Parts 1-4 First Semester Final Flashcards
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| 1190382345 | Sound | Begins with the vibration of an object. | 0 | |
| 1190382346 | Pitch | The relative highness or lowness that we hear in a sound. | 1 | |
| 1190382347 | Tone | A sound that has a definite pitch. | 2 | |
| 1190382348 | Interval | The "distance" in pitch between any two tones. | 3 | |
| 1190382349 | Octave | When the tones are separated by an interval. | 4 | |
| 1190382350 | Range | The distance between the lowest and highest tones that a voice or instrument can produce. | 5 | |
| 1190382351 | Dynamics | The loudness or softness in music. | 6 | |
| 1190382352 | Accent | Playing a tone louder than other tones around the loud tone. | 7 | |
| 1190382353 | Timbre (Tone Color) | How you describe music. | 8 | |
| 1190382354 | Pianissimo (pp) | Very soft. | 9 | |
| 1190382356 | Piano (p) | Soft. | 10 | |
| 1190382357 | Mezzo piano (mp) | Moderately soft. | 11 | |
| 1190382359 | Mezzo forte (mf) | Moderately loud. | 12 | |
| 1190382360 | Forte (f) | Loud. | 13 | |
| 1190382361 | Fortissimo (ff) | Very loud. | 14 | |
| 1190382362 | Decresendo | Gradually getting softer. | 15 | |
| 1190382363 | Cresendo | Gradually getting louder. | 16 | |
| 1190382364 | Soprano | Highest female voice. | 17 | |
| 1190382365 | Mezzo Soprano | Medium female voice. | 18 | |
| 1190382366 | Alto | Lowest female voice. | 19 | |
| 1190382367 | Tenor | Highest male voice. | 20 | |
| 1190382368 | Baritone | Medium male voice. | 21 | |
| 1190382369 | Bass | Lowest male voice. | 22 | |
| 1190382370 | Register | Part of a total range. | 23 | |
| 1190382371 | Rhythm | Flow of music through time. | 24 | |
| 1190382372 | Beat | A regular recurrent pulsation that divides music into equal units of time. | 25 | |
| 1190382373 | Meter | The organization of beats into regular groups. | 26 | |
| 1190382374 | Measure | A group containing a fixed number of beats. | 27 | |
| 1190382375 | Duple Meter | When a measure has 2 beats. | 28 | |
| 1190382376 | Downbeat | The first beat in a measure. | 29 | |
| 1190382377 | Syncopation | When the accent is on the offbeat. | 30 | |
| 1190382378 | Tempo | The speed of the beat. | 31 | |
| 1190382379 | Largo | Very slow, broad. | 32 | |
| 1190382380 | Grave | Very slow, solemn. | 33 | |
| 1190382381 | Adagio | Slow. | 34 | |
| 1190382382 | Andante | A walking pace. | 35 | |
| 1190382383 | Moderato | A jogging pace. | 36 | |
| 1190382384 | Allegro | Fast. | 37 | |
| 1190382385 | Vivace | Lively. | 38 | |
| 1190382386 | Presto | Very fast. | 39 | |
| 1190382387 | Prestissimo | As fast as possible. | 40 | |
| 1190382388 | Accelerando | Getting faster. | 41 | |
| 1190382389 | Ritardando | Getting slower. | 42 | |
| 1190382390 | Notation | A system for writing down musical sounds, or the process of writing down music. | 43 | |
| 1190382391 | Staff | 5 lines and 4 spaces used for writing music. | 44 | |
| 1190382392 | Clef | Placed at the beginning of the staff to show the pitch of each line and space. | 45 | |
| 1190382393 | Grand Staff | A combination of the treble and bass staves. | 46 | |
| 1190382394 | Time Signature | Shows the meter of a piece. | 47 | |
| 1190382395 | Melody | A series of single notes that add up to a recognizable whole. | 48 | |
| 1190382396 | Legato | If the tones of a melody are played or sung in a smooth connected style. | 49 | |
| 1190382397 | Staccato | If the tones of a melody are played or sung in a short detached style. | 50 | |
| 1190382398 | Phrases | Shorter parts of melodies that make whole melodies. | 51 | |
| 1190382399 | Cadence | Speed of the piece. | 52 | |
| 1190382400 | Sequence | A repetition of a melodic pattern on a higher or lower pitch. | 53 | |
| 1190382401 | Theme | The melodic line the piece of music is structured around. | 54 | |
| 1190382402 | Harmony | The way chords are constructed and how they follow each other. | 55 | |
| 1190382403 | Chord | A combination of three or more tones sounded at once. | 56 | |
| 1190382404 | Consonance | A tone combination that is stable. | 57 | |
| 1190382405 | Dissonance | A tone combination that is unstable. | 58 | |
| 1190382406 | Resolution | A dissonance has its resolution when it moves to a consonance. | 59 | |
| 1190382407 | Triad | Simplest, most basic chord, contains three notes. | 60 | |
| 1190382408 | Arpeggio | A broken chord. | 61 | |
| 1190382409 | Keynote | The central note of a melody. | 62 | |
| 1190382410 | Key | Involves not only a central note but a central scale. | 63 | |
| 1190382411 | Scale | Made up of the basic pitch of a piece of music in order from low to high or from high to low. | 64 | |
| 1190382412 | Chromatic Scale | All the white and black keys in one octave on the piano. | 65 | |
| 1190382413 | Modulation | Shifting from one key to another within the same piece. | 66 | |
| 1190382414 | Musical Texture | Refers to how many different layers of sound are heard at once. | 67 | |
| 1190382415 | Monophonic | Having one sound. | 68 | |
| 1190382416 | Polyphonic | Having many sounds. | 69 | |
| 1190382417 | Counterpoint | The technique of combining several melodic lines into a meaningful whole. | 70 | |
| 1190382418 | Homophonic | A main melody with chords. | 71 | |
| 1190382419 | Three-part Form | A B A. | 72 | |
| 1190382420 | Two-part Form | A B. | 73 | |
| 1190382421 | Gregorian Chant | Consists of melody set to sacred Latin texts and sung without accompaniment. It is monophonic. | 74 | |
| 1190382422 | Church Modes | Unfamiliar scales used in Gregorian Chant. | 75 | |
| 1190382423 | Drone | Consists of one or more long, sustained tones accompanying a melody. | 76 | |
| 1190382424 | Jongleurs | Performed music and acrobatics in castles, taverns, and town squares. | 77 | |
| 1190382425 | Organum | Medieval music that consists of Gregorian chant and one or more additional melodic lines. | 78 | |
| 1190382426 | Cantus Firmus | A chant that is used as the basis for polyphony. | 79 | |
| 1190382427 | Mass Ordinary | Consists of texts that remain the same from day to day throughout the church year. | 80 | |
| 1190382428 | Renaissance | Occurred between 1450-1600. | 81 | |
| 1190382429 | Word Painting | Musical representation of specific poetic images. | 82 | |
| 1190382430 | A capella | Music without accompaniment. | 83 | |
| 1190382431 | Motet | A polyphonic choral work set to a sacred Latin text other than the ordinary of the mass. | 84 | |
| 1190382432 | Mass | A polyphonic choral composition made up of five sections -- Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. | 85 | |
| 1190382433 | Madrigal | A piece for several solo voices set to a short poem, usually about love. | 86 | |
| 1190382434 | Ballett | A dancelike song for several solo voices. | 87 | |
| 1190382435 | Polychoral Motets | Motets for two or more choirs, often including groups of instruments. | 88 | |
| 1190382436 | Baroque Music | Occurred between 1600-1750. | 89 | |
| 1190382437 | Characteristics of Baroque Music | Unity of Mood, Rhythm, Melody, Dynamics. | 90 | |
| 1190382438 | Terraced Dynamics | Abrupt movements from loud to soft. | 91 | |
| 1190382439 | Basso Continuo | Usually played by at least 2 instruments. | 92 | |
| 1190382440 | Movement | A piece that sounds fairly complete and independent but is part of a larger composition. | 93 | |
| 1190382441 | Concerto Grosso | A small group of soloists. | 94 | |
| 1190382442 | Tutti | A large group of players. (All). | 95 | |
| 1190382443 | Ritornello Form | Based on alternation between tutti and solo sections. | 96 | |
| 1190382444 | Ritornello | The theme the tutti opens with. | 97 | |
| 1190382445 | Fugue | A polyphonic composition based on one main theme. | 98 | |
| 1190382446 | Subject | A main theme. | 99 | |
| 1190382447 | Pedal Point | A single tone, usually the bass, is held while other voices produce a series of changing harmonies against it. | 100 | |
| 1190382448 | Inversion | A fugue played "upside down". | 101 | |
| 1190382449 | Retrograde | A fugue played backwards. | 102 | |
| 1190382450 | Augmentation | A fugue with time values lengthened. | 103 | |
| 1190382451 | Dimunation | A fugue with time values shortened. | 104 | |
| 1190382452 | Prelude | An introductory piece to a fugue. | 105 | |
| 1190382453 | Opera | A drama that is sung to orchestral accompaniment. | 106 | |
| 1190382454 | Libretto | Text of an opera. | 107 | |
| 1190382455 | Librettist | Writer of the opera text. | 108 | |
| 1190382456 | Aria | A song for a solo voice without orchestral accompaniment. | 109 | |
| 1190382457 | Recitative | A vocal line that imitates the rhythms and pitch fluctuations of speech. | 110 | |
| 1190382458 | Ensemble | When three or more singers are singing in the opera. | 111 | |
| 1190382459 | Chorus | Generates atmosphere and makes comments on the action. | 112 | |
| 1190382460 | Prompter | Gives the singers and actors reminders if they forget words or lines. | 113 | |
| 1190382461 | Overture | Operas that open with a purely orchestral composition. | 114 | |
| 1190382462 | Camerata | A group of nobles, poets, and composers who began to meet regularly in Florence in the year 1575 to discuss music. | 115 | |
| 1190382463 | Castrato | A male singer who had been castrated before puberty. | 116 | |
| 1190382464 | Secco Recitatives | Recitatives accompanied by the basso continuo. | 117 | |
| 1190382465 | Claudio Monteverdi | 1567-1643 Born in Cremona, Italy. Wrote Orfeo 1607. 1613: Appointed music director at St. Mark's in Venice. | 118 | |
| 1190382466 | Henry Purcell | 1659-1695 Born in London. Wrote Dido And Aneas 1689. Was the the acclaimed English composer of his day. | 119 | |
| 1190382467 | Sonata | A composition in several movements for one to eight instruments. | 120 | |
| 1190382468 | Trio Sonatas | A sonata that has three lines, two high lines and a basso continuo. | 121 | |
| 1190382469 | Arcangelo Corelli | 1653-1713 Born in Fusignano, Italy. Wrote Trio Sonata in A minor. He laid out the foundations of modern violin technique. | 122 | |
| 1190382470 | Antonio Vivaldi | 1678-1741 Born in Venice. Wrote The Four Seasons 1725. For most of his life he was a violin teacher, a composer, and conductor at a school for orphan girls in Venice. | 123 | |
| 1190382471 | Johann Sebastian Bach | 1685-1750 Born in Germany. Wrote The Well-Tempered Clavier 1722. His masterpieces marked the high point of baroque music. | 124 | |
| 1190382472 | Suites | Sets of dance-inspired movements. | 125 | |
| 1190382473 | French Overture | Presents a slow section with dotted rhythms that is full of dignity and grandeur. | 126 | |
| 1190382474 | Chorale | Hymn tune. | 127 | |
| 1190382475 | Chorale Prelude | A short composition based on the hymn tune that reminded the congregation of the melody. | 128 | |
| 1190382476 | Cantata | A piece of music that was sung. | 129 | |
| 1190382477 | Oratorio | A large-scale composition for chorus, vocal soloists, and orchestra. It is like an opera but has no action, scenery, or costumes. | 130 | |
| 1190382478 | George Frideric Handel | 1685-1759 Born in Germany. Wrote Messiah 1741. Was a master of Italian opera and English oratorio. Also, he was not from a musical family. | 131 |