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13 Cards in this Set
- Front
- Back
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Galant |
1. Cantabile 2. Homophony 3. Phrase rhythm |
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Functions of Sonata principle |
[Exposition] 1. Establish tonic 2. Modulation away from tonic 3. Consolidation of new key [Development] 4. Harmonic flux and exploration [Recapitulation] 5. Return to tonic 6. Restatement of off-tonic material, "balancing" the form |
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Sonata form |
1st area->transition->2nd area->transition->development->1st area->transition->2nd area->transition->closing |
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Symphony |
1. Sonata form (optional slow intro) 2. Slow movement (sonata w/o development or ternary) 3. Minuet and trio (ternary) 4. Finale (sonata or rondeau) |
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Heinrich Christoph Koch |
Argues that concerto is an extended dialogue between instruments |
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Concerto |
1. Association with being noble 2. Proving ground of virtuosity 3. Ritornello, returning theme 4. Double exposition |
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Aesthetics of the sublime |
1. Noble, good 2. Terrifying, life-threatening |
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Reverie |
Day-dreaming |
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Romanticism |
1. Romance, novel 2. Endless search for the ideal (the unattainable) 3. Desire and vague longing in the face of the unknown and infinite |
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Musical Romanticism |
1. Intimacy (reverie, nostalgia) 2. Monumentality 3. Virtuosity |
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Classical style |
1. Melody: emerged from galant style 2. Harmony and texture: flexible harmonic rhythm, homophony, greater contrapuntal density 3. Rhythm: flexible, marked by contrast 4. Musical drama: animates by dramatic impulse of contrast, surprise, and conflict |
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Stamitz |
1. Expanded orchestration to include winds 2. First to consistently use four movement symphony 3. Altered the Sonata form to surprise the listener |
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4 genres of program music |
1. Program symphony 2. Dramatic overture 3. Concert overture 4. Symphonic poem |
