Section 1
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differences between opera and operetta and musicals
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Section 1
(50 cards)
differences between opera and operetta and musicals
Distinctions among musical, opera, operetta, include: Role of the orchestra Relationship between words and music Expectations of the audience Vocal requirements
Neoromanticism (Chapter 21: Early Twentieth-Century Mainstream Concert Music: Evolution)
20th century version of a romantic approach to music
tape music (Chapter 22: The Avant-Garde)
type of electronic music in which sounds are recorded on tape and then manipulated and mixed in various ways
New Music (experimental music Chapter 20)
the term used for music of advance and experimental nature
Chorus (Chapter 19 American opera)
a person or group of people who act as a narrator, commentator, or general audience to the action of the play Usually people in the audience that supports
12 tone music
a predetermined set of 12 different pitches used consecutively within a piece
20th-century use of rhythm and timbre
source/diegetic music (Chapter 18 film music)
In film, music that is heard or performed by the characters themselves. provides a thematic anchor for images on screen
sound track (Chapter 18 film music)
all of the dialogue, sound effects, and music of a film
Eastern Music
Gamelan Music
An Indonesian orchestra of metallophones (sets of keys suspended over a frame and struck with mallets), gongs and drums
Polytonality (experimental music Chapter 20)
the use of several different keys at the same time
aleatoric music
music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s).
Musique Concrete (experimental music Chapter 20)
music made up of natural sounds and sound effects that are recorded and then manipulated electronically Selecting the sounds to be taped Recording the sounds Manipulating the sounds Mixing the sounds "Montage" - cutting and pasting the tape
quarter tones (Chapter 18 film music)
Pitches separated by a quarter of a step rather than a half or a whole step.
music in the silent cinema
Classicism
Deriving from the orderly qualities of ancient Greek and Roman culture; implies formality, objectivity, simplicity, and restraint.
Mickey Mousing (Chapter 18 film music)
film technique that syncs the accompanying music with the actions on screen Music draws the audience into the atmosphere of the film Music helps build a sense of continuity
Modern Dance (Chapter 21: Early Twentieth-Century Mainstream Concert Music: Evolution)
Copland's ballets are an example of modern dance
experimental music (experimental music Chapter 20)
When composers, in every generation, try new styles, techniques, forms, timbres, or concepts in order to develop a new approach to composition, new aesthetic notions, or a new language for expressing music.
Operetta
a short opera, usually on a light or humorous theme and typically having spoken dialogue Operetta covers the same; however, the drama portion is a bit more exposed because of the spoken dialogue inserted.
Transcendentalism
any system of philosophy emphasizing the intuitive and spiritual above the empirical and material
Traditionalists (Chapter 21: Early Twentieth-Century Mainstream Concert Music: Evolution)
a person who has deep respect for long-held cultural and religious values
Twelve-tone technique (experimental music Chapter 20)
arrangement of the twelve chromatic pitches into a row that provides the melodic and harmonic basis for a music composition
temporary score
A temp track is an existing piece of music or audio which is used in film production during the editing phase, to serve as a guideline for the tempo, mood or atmosphere the director is looking for in a scene
film scoring (Chapter 18 film music)
the art of composing music for a film
prepared piano (experimental music Chapter 20)
Modified or 'prepared' the piano by applying wood, metal, or rubber to the strings Created percussive timbres and indeterminate pitches
functional/nondiegetic music (Chapter 18 film music)
film music heard by the audience only
Classical Ballet (Chapter 21: Early Twentieth-Century Mainstream Concert Music: Evolution)
a style of dance rather than a period; the "dance on the toe"
Neo-Romanticism
new romantic
minimalist art
Contemporary art that adheres to the philosophy and stylistic principles of Minimalism. Minimalism in art strips objects to their basic geometric shape. - Not symbolic or representational - Restricted color, value, shape, line, texture Minimalism in music focuses on structure with minimal changes in melody, harmony, rhythm - Simple, restful sonorities changing very slowly over a drone
classical hollywood film score (Chapter 18 film music)
lush orchestral scores associated with films of the 1930s, 40s, and 50s
Early American composers of opera? (Chapter 19 American opera)
Scott Joplin - Ragtime composer who wrote 2 operas Virgil Thompson - collaborated with Gertrude Stein on Four Saints in Three Acts George Gershwin - Porgy and Bess
chamber opera (Chapter 19 American opera)
an opera for a small number of performers
overture (Chapter 19 American opera)
introductory music
Recitative (Chapter 19 American opera)
vocal line that imitates the rhythms and pitch fluctuations of speech (Solo and Ensemble Singing) - no repitition because it is to further the play
Bitonality (experimental music Chapter 20)
the use of two different keys at the same time
New Age (Chapter 18 film music)
The soft rock of phenomenon of 1980s
aria (Chapter 19 American opera)
Aria- operatic solo; a song sung by one person in an opera or oratorio (Solo and Ensemble Singing) - More melodic than recitative
concrete music
music consisting of recorded and electronically altered sounds
theremin (Electronic music) (Chapter 18 film music)
The earliest electronic musical instrument Invented in 1920 1960s - introduction of analog techniques 1980s - advent of digital systems Non-acoustic score composed by Maurice Jarre for Fatal Attraction (1987)
Polyrhythm (experimental music Chapter 20)
a rhythm that makes use of two or more different rhythms simultaneously
Liberreto (Chapter 19 American opera)
the text of an opera or other long vocal work.
fanfare (Chapter 21: Early Twentieth-Century Mainstream Concert Music: Evolution)
A sounding of trumpets or other brass instruments
tone cluster (experimental music Chapter 20)
chord built on seconds
Pop Score
1950s - composers accompanied films with pop music The Sting (1973) The Third Man (1949) 1960s - pop scores helped attract a younger audience Music by Burt Bacharach and Henry Mancini 1970s Randy Newnan - Toy Story 2 (1999)
Harlem Renaissance (Chapter 21: Early Twentieth-Century Mainstream Concert Music: Evolution)
Movement of the 1920s African American artists sought to "promote racial advancement through artistic creativity" Treated as a literary movement, but was supported by visual art and music Musicians involved included Duke Ellington and "Fats Waller" Musicians developed concert music from folk materials of the black cultural heritage
opera vs. operetta (Chapter 19 American opera)
Opera is a drama that is sung instead of spoken Combines singing, acting, dance, drama, costume, scenery, lighting effects Solo and Ensemble Singing Aria- operatic solo; a song sung by one person in an opera or oratorio Usually represents characters in the drama Opera is defined as "a large labor" because it covers all the arts: instrumental, vocal, dance, stage, drama, architectural, etc.
Microtones (experimental music Chapter 20)
quarter tones
Section 2
(7 cards)