Mozart

Midterm Study Guide

There will be 50 questions on the test worth two points each. The questions will include listening (you will have to identify title and composer from a word bank - the songs in bold below are the ones you are responsible for), multiple choice, matching, and true/false. You are still responsible for the material on the Unit One Test, but it will show up in the context of the later material. For example, you might need to know that a Gregorian Chant has a monophonic texture or that Mozart's melodies are generally more tuneful than Bach's.

Chapter 1

Sound vibrations

Pitch

Dynamics

Crescendo, Decrescendo

Tone Color

Timbre

Overtones

Chapter 2

Rhythm

Beat

Accent

Meter

Duple meter

Triple meter

Compound meters

Syncopation

Tempo

Pitch

Intervals

Octave

Diatonic scale

Chromatic scale

Half step

Whole step

Chapter 3

Melody

Tune

Motive

Theme

Harmony

Chords

Consonance

Dissonance

Cadence

Resolution

Texture

Monophony

Homophony

Polyphony

Counterpoint

Imitative polyphony

Non-imitative polyphony

Tonality

Tonic

Modality

Major mode

Minor mode

Chapter 4

Form

Chapter 5 - The Middle Ages

Music and the church

Plainchant

Pope Gregory

Medieval modes

Hildegard of Bingen

LISTENING: "Columba aspexit"

Plainchant sequence

Early Polyphony

Organum

The development of organum

Notre Dame Cathedral

Perotin

Motet

Guillaume de Machaut

LISTENING: "Quant en moi"

Ars Nova

Chapter 6 - the Renaissance

"Rebirth"

Paraphrase

Early Homophony

Guillaume Dufay

Gregorian Hymn

The Mass

The "symphony" of the Renaissance

Five parts of mass set polyphonically

High Renaissance Style

Imitative counterpoint and homophony

Imitation as balance

Ideal tone color is a cappella singing

Josquin Deprez

Music as expression of meaning

Fascination with Greek myth and history

Declamation

Word painting

Palestrina

Relationship to counter-reformation

Use of homophony and polyphony

LISTENING: "Pope Marcellus Mass, from the Gloria"

Italian and English madrigals

Use of polyphony

Use of word painting

Thomas Weelkes

LISTENING: "As Vesta Was from Latmos Hill Descending"

Chapter 7

Extravagance vs. Control

Origins of the term "baroque"

Style Features

Metrical

Basso Continuo

Ground Bass

Functional harmony

Opera

popularity

recitative

aria

Claudio Monteverdi

Last great madrigalist, first great opera composer

Henry Purcell

"Dido and Aeneas, final scene (aria)"

Instrumental Music

Influence of dance, vocal music and virtuosity

Stylized dance suites

Chapter