The Modern Period

Intro Post Romantic Modern Music
Classical Music Glossary

Introduction

The Modern period (1890-1975) saw the end of musical traditions, starting with the small musical revolution of the post romantic transitional phase, occurring in the joint between late romanticism and early modernism. All conventions of composition are revolutionized in the Modern period: rhythm, harmony, melody, form, timbre, and so on. Modernistic classical music is without a dominant style and highly diverse. It's the birth of pluralism in music and everything goes, so to speak.

La Belle Époque

Towards the end of the 19th century romanticism in music was a mark of tradition, not a movement for change. In the world of art the impressionists tried to paint 'snapshots' of reality. This would later translate well into the world of music. Meanwhile La Belle Époque, was in full swing in France and particularly among the artist of Paris. The era - stretching between two wars, from 1871 to 1914 - would see the birth of post-romanticism in music.

Paris was truly vibrant in this epoch. It saw the construction of the Eiffel Tower, the Paris Métro, the Paris Opera, and the beginning of the Basilica of Sacré-Cœur on Montmartre. Three universal expositions in 1878, 1889 and 1900 showed off the latest in commerce, art and technology. Paris was the scene of the first public projection of a motion picture, and the birthplace of the Ballets Russes, Impressionism and Modern Art. It's no wonder it also changed classical music.

The Post Romantics

Paris composers during the period had a major impact on European music, moving it away from romanticism toward impressionism in music and modernism. Some of them were late romantics rather than post romantics: Saint-Saëns, Bizet, Massenet, and Fauré. The first and most prominent post romantic composer was Claude Debussy. At first an ardent admirer of Wagner, he then went on to experiment with impressionism in music, chromaticism and extended tonality, in a rebellion against traditional composing formulas. His compatriot Maurice Ravel is like Debussy regarded an impressionist. The third Frenchman, Erik Satie, was in a league of his own, one of those composers that are true individualists.

Another true individualist and post romantic was Scriabin, the Russian hailed as a genius by many pianists. The particularities of this period gave birth to many revolutionary composers also outside France, a proof if ever that it was more than a mere phase, more than a transition. Mahler was the first German rebel, doing for the symphony genre what Wagner had done for the opera. And talking about opera, the 'verismo' movement took Italian opera far enough from the romantic ideals to establish it as a post romantic sub-genre. The champions here are Puccini, Mascagni, and Leoncavallo.

In Finland Sibelius did like Mahler and extended the symphony. He was also a master of the symphonic poem, a trait that he shared with Richard Strauss, who was to be the last of the post romantics. Other composers of the post romantic phase include the Czech Leos Janácek and the American Amy Beach, another composer that was neither a romantic nor a modernist and as such a typical post romantic.

Modernism

Modernism is a philosophical movement that, along with cultural trends and changes in art, arose from the dramatic changes in Western society in the joint between the 19th and 20th centuries. Modernism rejected the certainty of Enlightenment thinking, and many modernists also rejected religious belief. Modernism, in general, includes the activities and creations of those who felt the traditional forms of art, architecture, literature, religious faith, philosophy, social organization, activities of daily life, and music of course, were becoming ill-fitted to their tasks.

Modern Music

The musical revolution started, as already stated, with post romantics such as Debussy and Mahler and then grew strong with early avant-garde modernists like Bartók, Schoenberg and Stravinsky. The two latter ones actually indulged in music of a more or less post romantic idiom in their youthful beginnings. Stravinsky's three ballets The Firebird, The Rite of Spring, and Pétrouchka are from his 'impressionist period', and Schoenberg composed his Verklärte Nacht, Pelléas und Mélisande, and Gurre-Lieder during his initial 'expressionist period'. Both would soon enough bloom into typical modernists though.

The single most important phenomena of music throughout the 20th century was the widespread break with traditional tonality, effected in diverse ways by different composers. Schoenberg was the pioneer of this radical step into modernism. Meanwhile, influenced or not by this, many composers started experimenting with various styles of music. Futurism was one movement wherein composers such as Prokofiev, Stravinsky and Honegger where active. Expressionism was another. Composers such as Stravinsky - again - and Bartók, Hindemith, Szymanowski and many more were exhibiting expressionist traits. Others experimented more freely, for example Charles Ives.

In the 1920s Schoenberg launched his twelve-tone composing technique, which meant a total break with all traditions of past music. He taught Anton Webern and Alban Berg and these three composers are often referred to as the principal members of the Second Viennese School. They and later composers such as Boulez and Stockhausen developed the technique further, into 'serialism'.

Other modernists looked to the past for inspiration, at least with reference to composing techniques. Composers like Holst, Barber, Prokofiev, and Shostakovich indulged in the neoclassical and neoromantic styles. Others were nationalistic, for example Vaughan Williams. Ives and Copland and Gershwin composed 'americana' flavored music. No common denominator joined all composers around one central musical idea. American and European composers moved in slightly different musical directions, especially towards the later part of the Modern period.

Contemporaries

To give you a sense of the times in which the Modern composers lived we've compiled a list with some of their contemporaries outside the world of music: Monet, Renoir, Thomas Edison, Paul von Hindenburg, Sigmund Freud and Carl Jung, Nikola Tesla, George Bernard Shaw, Arthur Conan Doyle, Baron de Coubertin, Rudyard Kipling, Kandinsky, H.G. Wells, Wilbur & Orville Wright, Marie Curie, Rasputin and Lenin and Trotsky, Matisse, Marcel Proust, Harry Houdini, Mata Hari, Einstein, Kemal Atatürk, Kafka, Niels Bohr, Lawrence of Arabia, Charlie Chaplin, Frank Lloyd Wright, Mahatma Gandhi, Bertrand Russel, Churchill and Roosevelt and Hitler and Stalin and Mussolini, Thomas Mann, Konrad Adenauer, Picasso, Coco Chanel, Charles de Gaulle, J.R.R. Tolkien, Haile Selassie, Mao Zedong, Miró, Bertolt Brecht, Hemingway, Oppenheimer, Salvador Dali, Edmund Hillary, and Walt Disney.

French Impressionism

Debussy

Orchestral

Nocturnes
1899. L 91.
Three movements/nocturnes, hence sometimes called 'Trois Nocturnes'. For female choir & orchestra. The choir is used in the third nocturne, Sirènes.
Fêtes
 
The 2nd nocturne, 'Festival', has a lengthy tempo and mood description: Animé et très rythmé – Un peu plus animé – Modéré (mais toujours très rythmé) – Tempo I – De plus en plus sonore et en serrant le mouvement – Même Mouvement.

Solo Instrumental

Children's Corner
1906-08. L 113.
Suite of six piano pieces intended for children's ears. Debussy dedicated it to his daughter, Claude-Emma (known as "Chou-Chou"), who was three years old at the time. And yes, Debussy named the work using English, not French. The sixth piece, Golliwogg’s Cake Walk, is fairly popular. Other works for children are: Bartók's piano pieces 'For Children'; Poulenc's orchestral 'The Story of Babar the Elephant'; Britten's orchestral 'The Young Person's Guide to the Orchestra'; Fauré's suite 'Dolly' for piano four hands; Prokofiev's incidental music 'Peter and the Wolf'; Saint-Saëns' ensemble suite 'The Carnival of the Animals'; and John Rutter's 'Brother Heinrich's Christmas'.
Golliwogg’s Cake Walk
 
Syrinx for solo flute
1913. L 129.
The piece is about a horny Greek God pursuing a chaste nymph, so the women in the fashion show video below are not completely out of place. It also shows how a rather sophisticated piece of classical music can be used as a showpiece. It's all about the circumstance here.

Satie

Ballet

Parade
1916-17 & 1919.
Parade is a 'ballet réaliste' from 1916-17, with additional movements added in 1919.

Solo Instrumental

Sarabandes
1887.
Three pieces.

Ravel

Orchestral

Rapsodie Espagnole
1908. No 54.
Four movements. The genesis of this orchestral rhapsody was a Habanera for two pianos from 1895. In 1907 Ravel composed three companion pieces, also for two pianos, and then completed this orchestration in 1908. At about this time there was a distinctly Spanish tone to Ravel's output: His opera L'heure espagnole was completed in 1907, as was the song Vocalise-Etude en forme de habanera.
Pavane pour une infante défunte for orchestra
1910. No 19.
This 'Pavane for a dead princess' was originally composed for solo piano in 1899.

Solo Instrumental

Le Tombeau de Couperin
1914-17. No 68.
Contains six movements. Four of these are included in the orchestral version.

Spanish Nationalists

Albéniz

Solo Instrumental

Suite Española 1
1886. Opus 47. B 7.
This popular set of eight pieces is a fairly early composition, quite different from the mature works, such as Iberia. Each piece represents a specific region of Spain and is cast as a dance, song, or musical form characteristic of that place. Although playable as a suite, the various pieces are often heard separately, frequently in one of the orchestral versions done by Arbós and others. There's a "Suite Española 2" too, however of much lesser quality.
Sevilla
 
The 3rd piece.
Asturias
 
The 5th piece. It's also very popular in its guitar arrangement.

Falla

Orchestral

Nights in the Gardens of Spain
1915. G 49.
In Spanish 'Noches en los jardines de España'. Falla began this work as a set of nocturnes for solo piano in 1909, but on the suggestion of the pianist Ricardo Viñes he turned the nocturnes into a piece for piano with orchestra. Falla completed it in 1915 and dedicated it to Viñes. This work is possibly the most obvious proof of the impressionistic style and spell Falla was under after his period in Paris. Three named movements.
Ritual Fire Dance
1925.
The 'Danza ritual del fuego' is a popular encore piece taken from a larger work, along the lines of Rimsky-Korsakov's Flight of the Bumblebee or Khachaturian's Sabre Dance. In this case, the Ritual Fire Dance is taken from Falla's ballet El Amor brujo. And just like those other pieces, it has been arranged for all sorts of instruments and ensembles. Falla's original scoring, in the first version of the ballet, was for a small ensemble of 14 or so instruments. He later extracted a piano suite from the ballet and in 1925, revised it for a larger orchestra.

Other Nationalists

Janácek

Orchestral

Taras Bulba
1915, revised 1918. JW 6:15.
A rhapsody for orchestra.

Opera

The Cunning Little Vixen
1921-23. JW 1:9.
Opera in three acts. One of the composer's most popular works, the story is based on a cartoon strip about animals in the Czech countryside. An excerpt.

Sibelius

Orchestral

Tapiola
1926. Opus 112.
Lemminkäinen Suite: Four Legends from Kalevala
1893. Opus 22.
The name varies, I've also seen 'Lemminkäinen Legends'. The famous Swan of Tuonela is the 3rd of the four movements/legends. The work's adapted from material of Sibelius' only attempt at opera, Veneen luominen (The Building of the Boat), which was never completed. The Lemminkäinen Suite is occasionally categorized as a symphony.
The Swan of Tuonela
 
The 3rd 'legend', the Swan of Tuonela, has been called the composer's first bona fide masterpiece.

Respighi

Orchestral

Roman Festival
1928. P 157.
The third work in Respighi's Roman Trilogy, the 'Feste Romane' is a symphonic poem in four movements. Each of the four movements depict a scene of celebration from ancient or modern Rome. It is the longest and most demanding of the trilogy, and thus it is less-often programmed than its companion pieces.

More Post Romantics

Mahler

Orchestral

Symphony 3 in D minor
1893-96.
Choral symphony in six movements with soprano and alto soloists, boys' and women's choirs. Playing time 90-100 minutes, making this work the (probably) longest symphony in classical music's standard repertoire.

Solo Vocal

Kindertotenlieder
1901-04.
Cycle of five songs on the death of children (Kinder = Children, Toten = Death, Lieder = Songs). In the times before antibiotics it was not uncommon with the deaths of children, and Alma and Gustav Mahler got their share of that sad ordeal.

Scriabin

Solo Instrumental

Piano sonata 9 'Black Mass'
1912-1913. Opus 68.
From Scriabin's 'atonal' phase. One movement. With this 'Black Mass' sonata Scriabin's journey towards complete atonality is complete.

Puccini

Opera

Manon Lescaut
1893.
Opera in four acts. The success of this work established Puccini's reputation as a composer of contemporary music of the first rank. The story is based on the 1731 novel L’histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost and should not be confused with Manon, an 1884 opera by Jules Massenet based on the same novel.
Donna non vidi mai
 
From Act I: Donna non vidi mai.
In quelle trine morbide
 
From Act II, the aria 'In quelle trine morbide'.
Sola, perduta, abbondonata
 
From Act IV, the death aria 'Sola, perduta, abbondonata'.
Gianni Schicchi
1918.
Opera buffa in one act. Part three of the triptych 'Il trittico'. Based on an extract from Dante's Inferno. The two other operas of the triptych are 'Il tabarro' and 'Sour Angelica'.
O mio babbino caro
 
The very famous aria 'O mio babbino caro'.

Nielsen

Orchestral

Symphony 4 'Inextinguishable'
1914-16. FS 76. Opus 29.

Delius

Orchestral

Brigg Fair
1907. RT VI/16.
Brigg Fair is an English folk song. It is best known in a choral arrangement by Percy Grainger and in this subsequent set of orchestral variations by Delius. The work is subtitled 'An English Rhapsody'. Delius dedicated it to Grainger.

Beach

Orchestral

Piano Concerto in C-sharp minor
1899. Opus 45.

Boulanger

Choral

Faust et Hélène
1913.
Cantata. In 1912 Boulanger competed in the Prix de Rome with this work but during her performance she collapsed from illness. She returned in 1913 at the age of 19 to win the composition prize, becoming the first woman composer to win the Prix de Rome.

R Strauss

Orchestral

Till Eulenspiegels lustige Streiche
1895. Opus 28.
'Till Eulenspiegel's Merry Pranks', not seldom shortened 'Till Eugenspiegel' is a symphonic poem in 26 sections. The work is inspired by the tales of Till Eulenspiegel, an impudent trickster figure originating in German folklore.
Ein Heldenleben
1898. Opus 40.
'A Hero's Life' is a symphonic poem in six movements.

Opera

Ariadne auf Naxos
1912, revised 1916. Opus 60.
At first this was a one-act opera intended to be performed together with Molierè's play Le Bourgeois Gentilhomme, so Strauss composed both the opera and incidental music for the play. However the six hour long production did not appeal to audiences. Hence Strauss revised the opera by adding the prologue, and revised the incidental music to Le Bourgeois Gentilhomme into a suite. These two works now share Opus 60.

Holst

Orchestral

Egdon Heath
1927. Opus 47. H 172.
Subtitled 'Homage to Thomas Hardy'.

The Americans

Ives

Orchestral

Orchestral Set 1 'Three Places in New England'
1912-16, revised in 1929. S 7.
The three movements that describes three places: 1) The 'St. Gaudens' in Boston Common. 2) Putnam's Camp, Redding, Connecticut. 3) The Housatonic at Stockbridge.

Gershwin

Orchestral

Piano concerto in F major
1925.

Stage

Girl Crazy
1930.
Girl Crazy is a musical with music by George Gershwin, lyrics by Ira Gershwin and book by Guy Bolton and John McGowan. Ethel Merman made her stage debut in this musical production and it also turned Ginger Rogers into an overnight star. An orchestral selection from the musical.
I Got Rhythm
 
The big hit from the musical Girl Crazy. From an event in honor of Ira Gershwin, George's brother and the lyricist to his musicals.

Copland

Orchestral

Appalachian Spring Suite
1944.
Suite in eight movements based on the ballet music, that has the same number of scenes. Originally scored for ensemble of 13 instruments. The original ensemble setting.
Simple Gifts
 
The 7th movement.

Ballet

Rodeo
1942.
This ballet is in 5 sections. Later one of these would be omitted, giving birth to the symphonic suite 'Four Dance Episodes'. The music of these remaining four parts were left more or less intact, hence the ballet music and the suite is very much alike.

Barber

Orchestral

Violin concerto
1939-40. Opus 14.

Choral

Agnus Dei
1967. Opus 11
Opus 11 is shared between three works. First of all the String quartet in B minor from 1936. The second movement of the string quartet is the basis of the famous Adagio for Strings from 1938. Then in 1967 the Adagio got adapted for chorus and named Agnus Dei.

Bernstein

Orchestral

Symphonic Dances from West Side Story
1961.
This suite, obviously drawn from the music West Side Story, brings together the musical's nine most famous parts; the songs - 'Somewhere' and 'Maria' - and the dances - 'Mambo' and 'Cha-cha' and 'Rumba' - plus the orchestral sections; the 'Meeting Scene', plus from the opening the 'Prologue' and from the ending the 'Finale'.

Operetta

Candide
1956,revised 1973 and 1989.
Candide is an operetta based on the novel of the same name by Voltaire. The operetta was first performed in 1956 with a libretto by Lillian Hellman; but since 1974 it has been generally performed with a book by Hugh Wheeler which is more faithful to Voltaire's novel. The 1974 version is known as the Chelsea Version. In 1988 Bernstein started working to produce a version that expressed his final wishes regarding Candide. This version is often referred to as the Scottish Version.

Villa-Lobos

Orchestral

Guitar Concerto
1951. A 501.
This concerto with the subtitle 'Fantasia Concertante' was composed for the Spanish guitar virtuoso Andrés Segovia. Upon hearing it the first time Señor Segovia insisted a cadenza was missing. Villa-lobos added one and here's the result.

Chamber

Bachianas Brasileiras 1
1930. A 246.
The very first of the Bachianas Brasileiras was for a new form of chamber ensemble: a group of eight cellos. It's in three movements.

The nine Bachianas Brasileiras consist of six orchestral works, one of them - the fourth - doubling as both a solo piano version and an orchestral one. There are two chamber works and then there's the by far most popular of them, incidentally the only vocal one, Bachianas Brasileiras 5.

Second Viennese School

Berg

Orchestral

Lyric Suite
1928.
Drawn on the earlier string quartet of the same name, this is almost an exact and direct transcription of the second, third, and fourth movements of the string quartet. The only changes are in a few places regarding the disposition of notes between parts to accommodate the added contrabass line.

Opera

Wozzeck
1917-1922. Opus 7.
This is the first great atonal opera. It's in three acts with five scenes. The story is grim: A poverty-stricken soldier struggles to support his illegitimate son and the boy's mother while enduring victimization and humiliation from virtually everyone he encounters, until finally he discovers that his girlfriend has been unfaithful. He murders her, and then, crazed with guilt and apprehension, he drowns while trying to recover the murder weapon from a lake. The final scene is chilling: we see tragedy beginning anew as the orphaned toddler, still unaware of what has happened, hops off innocently to where the older children have found the mother's corpse.

Schoenberg

Orchestral

Verklärte Nacht for string orchestra
1917. Opus 4.
From Schoenberg's 'Atonal' phase. Based on the string sextet. The two versions share Opus 4. Often played by full-size orchestras, as in the video.

Solo Instrumental

Fünf Klavierstücke / Five Piano Pieces
1920-23. Opus 23.
From the 'Twelve-tone' phase. Here Schoenberg saved the best for last: The 5th of the pieces, Waltzer, is described as the first twelve-tone piece. The first four pieces in this collection exhibit 12-tone techniques to a limited degree, but it's only the Waltzer that makes use of the entire 12 notes of the chromatic scale. The composer Josef Mattias Hauer wrote music using the whole chromatic scale slightly before Schoenberg, but it was Schoenberg that devised and formulated the twelve-tone composing technique.
Waltzer
 
The ground-breaking 5th movement.

Choral

Gurrelieder
1901-11.
From Schoenberg's 'Post Romantic' phase. A dramatic cantata for five soloists, narrator, chorus and orchestra. Many composers have used odd 'instruments' in some of their works. In this Schoenberg uses iron chains.

Webern

Orchestral

Symphony
1928. Opus 21.
Webern's only symphony has, as you can see, a very straightforward name. The music is not equally straightforward, although it's fairly accessible. It's in two movements and the duration is approximately ten minutes.

Soviet Neoclassical

Khachaturian

Orchestral

Violin concerto in D minor
1940.
The three concertos for cello, piano, and violin were all written for the individual members of a renowned Soviet piano trio; this work was for the famous violinist David Oistrakh.
Sabre Dance from Gayane
1941.
This part of the ballet, and from Gayane Suite 3, is indeed popular; it appears everywhere, in video games and whatnot.
Adagio from Spartacus
1954.
The somewhat shortened version of the 'Adagio of Spartacus and Phrygia' part from the ballet (also appearing in Spartacus Suite 2 as 'Adagio of Spartacus') became household music after its use as signature piece for the BBC drama series The Onedin Line in the 1970s.

Prokofiev

Orchestral

Symphony 1 in D major 'Classical'
1916-17. Opus 25.
This symphony has it's name from the fact that Prokofiev wanted to compose a symphony in the classical style of Haydn. This work is regarded as the starting point of the neoclassical style of the 20th century.
Lieutenant Kijé Suite
1934. Opus 60.
Suite in five movements based on the soundtrack of the same name and same opus.
Troika
 
The 4th movement.

Opera

War and Peace
1941-43, revised 1946-52. Opus 91.
Opera in two parts: an epigraph and thirteen scenes. Prokofiev returned to the tradition of Russian historical opera for this epic work based on Leo Tolstoy's novel.

Shostakovich

Orchestral

Symphony 8 in C minor 'Stalingrad'
1943. Opus 65.
A symphony in 5 movement, over one hour long. The nickname was assigned by the Soviet authorities, giving it the appearance of a mourning of the dead in the bloody Battle of Stalingrad. It was criticized by the same authorities anyway (!) and unofficially but effectively banned until 1956.
Suite for Variety Orchestra
1956.
This 'Suite for Variety Stage Orchestra' is in eight named movements. For many years this work was misidentified as 'Jazz Suite 2', and this error is continued in some sources. It is here, not in the jazz suite, that you'll find the now famous - after its use in the film Eyes Wide Shut by Stanley Kubrick - Waltz 2 in C minor and E-flat major.
Waltz 2 in C minor & E-flat major 'The Second Waltz'
 
Here it is, the 'Second Waltz' that Stanley Kubrick used in the film Eyes Wide Shut and as a consequence made famous. Despite its numbering it's the 7th movement though.

Chamber

Piano quintet in G minor
1940. Opus 57.
Five movements. In 1941, this work was awarded the 'Stalin Prize'. A vintage recording with Shostakovich himself at the piano together with the Beethoven Quartet.

Other Neoclassical

Vaughan Williams

Orchestral

Symphony 2 'A London Symphony'
1912-13, revised 1933.

Solo Vocal

Linden Lea - A Dorset Song
1901.
This song for voice & piano is the most popular of Vaughan Williams' songs, and probably the one piece of music that made him the most money over the course of his life.

Martinu

Orchestral

Symphony 6 'Fantaisies symphoniques'
1953. H 343.
The first of the late orchestral works of Martinu, the Symphony No 6, Fantaisies symphoniques, is truly awe-inspiring. Commissioned by Charles Münch of the Boston Symphony in 1951, Martinu completed the work two years later.

Poulenc

Opera

Dialogues des Carmélites
1953-56. FP 159.
The 'Dialogues of the Carmelites' is a French-language opera (premiered in an Italian version though) in twelve scenes and several orchestral interludes, grouped into three acts. It tells a somewhat fictionalized version of the story of the Martyrs of Compiègne, Carmelite nuns who, in 1794 during the closing days of the Reign of Terror during the French Revolution, were guillotined in Paris for refusing to renounce their vocation. During the final tableau of the opera, which takes place in the Place de la Nation, the distinct sound of the guillotine's descending blade is heard repeatedly over the orchestra and the singing of the nuns, who are decapitated one by one. The finale a.k.a. 'Salve Regina'.

More Europeans

Bartók

Orchestral

Music for strings, percussion & celesta
1936. Sz 106, BB 114.
A celesta is a kind of keyboard instrument with plates of steel instead of strings. The 4th movement, Allegro molto.

Chamber

String quartet 1 in A minor
1909. Sz 40, BB 52. Opus 7.
The 1st movement, Lento.
String quartet 2 in A minor
1915-17. Sz 67, BB 75. Opus 17.
The 1st movement.

Stravinsky

Orchestral

Symphony in Three Movements
1945.
From the 'Neoclassical Phase'.

Ballet

Apollon Musagète / Apollo
1928, revised 1947.
From Stravinsky's 'Neoclassical Phase'. Ballet in two scenes accompanied by string orchestra. The name Apollon Musagète is from 1928. When revised in 1947 it's name was shortened to Apollo. The ballet performed to this music is regarded the very first neoclassical ballet - a style of dance between classical ballet and today's contemporary ballet - choreographed by George Balanchine.

Chamber

L'histoire du soldat suite / The Soldier's Tale Suite
1920.
From the 'Neoclassical Phase'. The original is a septet, i.e. for 7 instruments (violin, double-bass, clarinet, bassoon, cornet/trumpet, trombone and percussion) plus three voices and a dancer. In this suite the voices and the dancer are excluded. There's also a trio version, for violin, clarinet and piano.

Choral

Symphony of Psalms
1930.
From the 'Neoclassical Phase'. Three unnamed movements, with choral parts of certain psalms.

Weill

Opera

The Threepenny Opera
1928.
The Threepenny Opera (Die Dreigroschenoper) is a 'play with music', translated by German dramatist Elisabeth Hauptmann from John Gay's 18th-century English ballad opera, The Beggar's Opera, with music by Kurt Weill, and insertion ballads by François Villon and Rudyard Kipling as adapted by Bertolt Brecht. The work offers a Socialist critique of the capitalist world. It opened on 31 August 1928 at Berlin's Theater am Schiffbauerdamm. By 1933 it had been translated into 18 languages and performed more than 10,000 times on European stages. Songs from The Threepenny Opera have been widely covered and become standards, most notably 'Die Moritat von Mackie Messer' (The Ballad of Mack the Knife) and 'Seeräuberjenny' (Pirate Jenny).
The Ballad of Mack the Knife
 
Pirate Jenny
 

Hindemith

Orchestral

Symphonic Metamorphosis (of Themes by Carl Maria von Weber)
1943.
The name varies a little. Four movements.

Ballet

Nobilissima Visione
1939.
A ballet suite and so called 'dance legend' in six scenes, based on the life of St. Francis of Assisi and of the actual ballet 'Saint Francis' that Hindemith composed in 1938.

Orff

Choral

Carmina Burana
1935-36.
This 'scenic cantata' is based on 24 poems from the medieval collection Carmina Burana. The famous 'O Fortuna' part is doubled, it's both the introductory and the finale movement. Whenever produced Carmina Burana is not seldom done so as a stage performance that mimics an opera-ballet, an oratorio or such.
O Fortuna
 
The very famous introductory movement from Carmina Burana.

Britten

Orchestral

Four Sea Interludes & Passacaglia
1945. Opuses 33a & 33b.
Opus 33a is Four Sea Interludes & Opus 33b is the Passacaglia. Based on music from the opera Peter Grimes. The two works are often performed and/or recorded together, hence joined here too. Other classical music composers with works that also are attempting to convey ocean waves are: Debussy in his La Mer, Elgar in Sea Pictures, Ravel in Une barque sur l'océan, Vaughan Williams in A Sea Symphony, and Juventino Rosas with Over the Waves. The Four Sea Interludes (Dawn, Sunday Morning, Moonlight, Storm).

Opera

The Turn of the Screw
1954. Opus 54.
A chamber opera based on the ghost story by Henry James. It is remarkable for its tightly laid out key scheme and active orchestral role. It's set in a haunted house, as is the opera Owen Wingrave. Excerpt.

Tippett

Choral

A Child of Our Time
1939-41.
Oratorio in three parts. Not to be confused with 'The Mask of Time'. This work is based on an actual event, the murder in Paris of a German diplomat by a 17-year-old Jewish refugee, Herschel Grynszpan. This murder triggered Kristallnacht (Crystal Night), a coordinated attack on Jews and their property throughout Nazi Germany on 9–10 November 1938. In this work Tippett took the novel step of using North American spirituals in place of the traditional chorales that punctuate oratorio texts.

Classical Music Glossary

This glossary is divided into two parts. The alphabetical part covers the basics of classical music. The appendix covers the more arduous aspects of classical music. Some entry words appear in both.
 

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a capella Meaning that a chorus or song is to be performed without accompaniment of instruments. absolute music Music that is only music; an art form in itself, separated from the outer world, being non-representational. The opposite is program music. air 1) English song, sometimes spelled 'ayre', often with lute accompaniment, from the late Renaissance and early Baroque.
2) Instrumental piece or song with light character from the Baroque and Classical periods. alto 1) The two lower female voices - mezzo-soprano and contralto - as grouped together in choral music. See also soprano.
2) Description of an instrument with the same range, the second highest register. anthem Short choral piece, usually with biblical references in the text. A so called full anthem is for full choir without soloists, while a verse anthem has solo singers. antiphon A responsory by a choir or congregation, in the form of a Gregorian chant, a motet or such, to a psalm or other text in a religious service or musical work. antiphony Any call-and-response style of singing: music that is performed by two semi-independent choirs in interaction, often singing alternate musical phrases. apotheosis Apotheosis in music refers to the appearance of a theme in grand or exalted form, especially where the theme is connected in some way with historical persons or dramatic characters. aria 1) Solo song that is the central moment in operas, cantatas, passions and oratorios.
2) Instrumental piece that's singable. arietta An arietta is a short aria. arioso Similar to an aria, but between the aria and a recitative in idiom. Wagner's operas are full of this. ars antiqua Term meaning old art/technique, precursor to ars nova and referring to Medieval music between approximately 1170 and 1310, covering the period of the Notre Dame School plus the subsequent years which saw the early development of the motet. ars nova Term meaning new art/technique, successor to ars antiqua and usually referring to the groundbreaking music of Machaut, with greater complexity and more varied rhythm than any before. It usually refers to the years between 1310 and 1375. See also Trecento. atonality Music lacking identifiable tonality (key) and tonal center, such as twelve-tone music. ave maria Latin prayer to the Virgin Mary used as basis in musical settings during the Middle Ages and Renaissance, notably by Caccini. But also later, by Schubert and Gounod. aubade A morning love song (as opposed to a serenade, which is in the evening). azione sacra During the middle Baroque a one-act oratorio or sacred opera as cultivated by the Habsburg court in Vienna. In the late Baroque it became synonymous with 'oratorio' in general. sepolcro Synonymous with azione sacra, with specific reference to the passion and crucifixion of Christ.  

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bagatelle As the name suggest, a short and musically light piece. badinere Piece of music of light and pleasing character. ballad Narrative poem adapted for singing. Also a folk-song popular in Victorian England. Not to be confused with the more common and much more popular ballade. ballata An Italian poetic and musical form in use from the late 13th to the 15th century. Similar to the French virelai (but not to the ballade as the name suggests). One of the most prominent secular musical forms during the trecento. ballade 1) Medieval secular chanson based on French poetry. See also formes fixes.
2) Instrumental piece, usually with a lyrical and heroic quality. Notable composers are Chopin and Liszt. ballet Formalized performance dance that originated in the Italian Renaissance courts. It later developed into Classical ballet, a poised concert dance. There's also Neoclassical and Contemporary ballet. barcarolle Song or instrumental piece characterized by a lilting rhythm. Notable composers are Chopin, Offenbach and Mendelssohn. baritone 1) Male voice with a range between the higher tenor and the lower bass.
2) Description of an instrument with approximately the same range. barococo Description of light, easy listening style galante music from the joint of the late Baroque and early Classical periods. Composers of barococo include Torelli, Geminiani and Boccherini. Baroque Period of musical history stretching from about 1600 to about 1750, the start of classical music proper, establishing most of its genres. barzelletta A popular verse form used by frottola composers in Italy in the 15th and 16th centuries. The barzelletta tends to be lively and dance-like, with heavy accents on cadences. bass 1) The lowest male voice.
2) Description of an instrument with approximately the same range.
3) For instrumental music, the bottom part of a piece. bass-baritone Male singer with a range covering both the baritone and bass register. basso continuo Harmonic accompaniment appended to the bass line of the music. Used during the Baroque and usually played on a keyboard instrument plus a bass instrument such as cello, viola da gamba or bassoon. The keyboard often improvise on the music's melody/theme. Shortened 'continuo'. bel canto Style of singing with tonal beauty, clarity and pure line, common in early Romantic Italian opera.
berceuse Instrumental piece signifying a lullaby, not seldom in lilting triple time. Notable composers are Chopin and Liszt. brass Family of instruments. Basic instruments here are trumpet, trombone, tuba and French horn. There are instruments regarded as brass although not made of brass metal, due to how they are played, how the sound is made: the alphorn, serpent and cornett. And vice versa: the saxophone is a woodwind instrument. burletta 1) A comic intermezzo between the acts of an opera seria.
2) Scherzo-like instrumental music.  

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cabaletta Fast end section of an aria, especially in Italian opera and usually brilliant and showy. cadenza Elaborate and decorative solo passage, played or sung and often virtuosic. In concertos it often leads to a closing of a movement, not seldom moving towards and including a cadence, with which it should not be confused. Often improvised in the Classical period, later usually written down. camerata A group of musicians and aristocrat dilettantes in Florence that played a central role in the invention of opera, at the joint of the late Renaissance and early Baroque periods. canon Music piece in which a part is followed by other parts at fixed intervals, singing or playing the same melody in succession thus overlapping each other. A well known example is Pachelbel's Canon in D. cantabile The first half of a double aria, with a cabaletta as the second half. cantata 1) Music piece intended to be sung, as opposed to a sonata, which is intended to be played on instruments.
2) A choral/vocal work, sacred or secular, with recitative and arias, duets and choruses and instrumental accompaniment, progressing in an operalike maner. It resembles the oratorio but is shorter in length. canticle A hymn or other song of praise taken from biblical texts other than the Psalms. cantus firmus Traditional music piece, not seldom a secular and popular song, serving as basic theme in some contrapuntal and polyphonic compositions, usually in masses. An early example, and possibly the most used, is L'homme armé, the armed man. canzona Instrumental composition in several sections or tempi from the late Renaissance and early Baroque, similar to the ricercar and fantasia but livelier. Influenced the fugue and was somewhat an ancestor to the sonata. Notable composers include Gabrieli and Frescobaldi. Sometimes called canzone. canzone A lyrical song or songlike/singable instrumental piece from the Classical and Romantic periods. Also used to describe a type of lyric which resembles a madrigal. canzonet, canzonetta Light secular, Italian song derived from the villanella and following the pattern of the poetic form with the same name. Very popular in the Renaissance. Resembles the more serious madrigal. capriccio, caprice 1) During the Baroque, usually a composition based on a fugue.
2) During the Romantic period a short and lively piece in free style, the most famous example being Paganini's Caprices for solo violin. carol Festive song from the Renaissance, generally religious and with a dance-like or popular character. castrato Male singer castrated before puberty, thus preserving his alto voice or giving him a male soprano or mezzo-soprano voice. Very popular in Italian opera in the Baroque and Classical periods. cavatina Short song of simple character, a simple and melodious air, as distinguished from brilliant arias or recitatives. chaconne, chacony Slow instrumental or vocal piece based on an ancient dance, with variations over a short repeated bass pattern. Related to the passacaglia. Notable composers are Purcell, Bach and Handel. chamber music Music composed for and played by a small group of musicians, usually in smaller rooms rather than auditoriums. The compositions are usually written so there's one part to each instrument. chamber orchestra Medium sized group of musicians, usually between twelve and twenty-one, but settings with up to fifty players are also known. See also ensemble, string orchestra and orchestra. chamber sonata See sonata da camera under sonata. chance music Music of the Contemporary period with unpredictable and changeable elements, not seldom in the form of controlled improvisation. Also called aleatoric and indeterminate music. Notable composers include Cage, Stockhausen, and Lutoslawski. chanson French secular song. The term is mostly used to indicate songs from the Medieval troubadour compositions, and also some polyphonic works. The version of the Romantic and Modern periods, the art song, is usually called mélodie, not chanson. chant See plainchant. choir Body of people singing in an opera, oratorio, etc. Choral music Music work or piece composed for a body of singers, i.e. a choir, accompanied or otherwise. Genres include the mass and the requiem mass, oratorios, motets, cantatas, etc. Not to be confused with chorale. chorale Simple hymn of the protestant church, often based on plainchant and sung jointly by a choir and the congregation. chorale prelude Introduction to a chorale, developed in the Baroque as an organ composition based on a chorale melody. Notable composers are Buxtehude and Bach. chorus Part of a song, a refrain or such, in which many join in and sing together. Also used as synonym for choir. Classical Period of musical history stretching from about 1750 to about 1820, lending its name to all of classical music, with music that forms the base of it. clavier Synonymous with keyboard, a Baroque term for stringed keyboard instruments - harpsichord, clavichord, pianoforte, etc. In the Romantic period the Germans used this term for 'piano'. The organ is sometimes, and incorrectly, referred to as a clavier instrument. coloratura Elaborate and ornamented style of singing, suited in particular for a high soprano voice. Common Practice A term for the era of musical history stretching from about 1600 to about 1915 and gathering the Baroque, Classical, and Romantic periods. The music of this three-period-era is when the techniques, ideas, and written language of classical music as we know it today were standardized and systemized. concert aria Aria composed for concert performance, often with a certain singer in mind that it's dedicated to. concertante 1) General term for all orchestral works related to the concerto, such as concertino, concerto grosso, sinfonia concertante etc.
2) Part in a music piece that calls for a solo performance. concertato Baroque term referring to a music style in which instruments and voices share a melody, usually in contrasting alternation. concertino 1) Short concerto freer in form than it's regular sibling, usually but not always in one movement.
2) The smaller group of musicians performing in a concerto grosso. The larger group is a ripieno. concertmaster The leader of an orchestra, i.e. the principal first violin. In the UK the term 'leader' is used and in Germany 'konsertmeister'. concerto Orchestral work in (usually) three movements in which a solo instrument is accompanied by an orchestra. There are also double, triple and quadruple concertos with two, three of four solo instruments. concerto for orchestra A 20th century concertante form that uses more than one solo instrument, derived from the sinfonia concertante, which in turn was derived from the concerto grosso. concerto grosso Orchestral work performed by an orchestra with two groups of musicians: a smaller group of solo performers called concertino and a larger accompaniment group called ripieno, usually a string orchestra. Common during the Baroque. conductus Vocal composition for one or more voices, used during the Middle Ages. The style of singing is rhythmic and the voices sing together. Precursor to organum. consonance, consonant Combination of notes considered stable and perceived as pleasant to the ear, due to cultural expectations of what 'sounds good'. The opposite is dissonance. consort Name given to a small ensemble during the Renaissance and Baroque. A so called whole consort had instruments of the same family, usually strings, while a broken consort was mixed. Contemporary Period of musical history stretching from about 1945 to the present, overlapped until circa 1975 by the Modern period. The music of it abandons all traditions; some say it's no longer 'classical music' but rather just 'art music'. contralto The lowest of the three female voices. Very rare, present in only one percent of the female population. The contralto often does the female villains or assume trouser roles in operas. continuo Short for basso continuo. countertenor The highest male voice; men singing within the female contralto range. Many countertenors perform roles originally written for a castrato in baroque operas. cycle A collection of pieces, usually songs, intended to be performed as a group, not individually.  

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da capo aria An aria in three sections with the first repeated in an ornamented fashion in the last. Based on the ternary form and common in opera seria. dance music In general and as you already know, the music composed to accompany the physical act of dancing. However, in classical music the various forms of dance music is most often used to compose music intended to be listened to, as either separate pieces or as parts of larger works. allemande German dance, generally moderate in speed, sometimes the first movement in a Baroque suite, sometimes a prelude to such a suite. bourrée French dance found in some Baroque suits. courante French dance in triple time, used frequently as the second movement in Baroque dance suites. estampie Medieval dance form. galliard Lively dance music form, usually in triple time and very popular in the Renaissance and Baroque. galop Quick dance in duple time, very popular during the Romantic. Notable composers are Johann Strauss and Offenbach. gavotte French folk dance of Renaissance origin. Made popular in the Baroque and not seldom used in suites, between the sarabande and the gigue. german dances See länder and waltz below. gigue French dance music form based on the English 'jig', often used as the final movement in a Baroque or Classical period suite. habanera, havanaise Cuban dance form with characteristic rhythm. Notable composers are Bizet, Ravel and Debussy. jota Traditional Spanish dance form. länder Austrian dance in triple time, used in the Classical period. One of two 'german dances' and precursor to the other, the waltz. loure French dance form of the Baroque, described as a slow gigue. malagueña Spanish dance form, e.g. used in Ravel's Rapsodie espagnole. mazurka Polish dance form in triple time. Chopin wrote many mazurkas. minuet, menuet An elegant French court dance in triple time of the Baroque and Classical periods. Lully used minuets in his operas and later Bach and Handel included the minuet in their suites. musette Baroque dance with a drone bass. passepied French fast dance in two sections and triple time found in some Baroque suites. pavane Slow and processional court dance of the late Renaissance and early Baroque that reoccured during the Romantic period. Notable composers are Dowland, Fauré and Ravel. polka Bohemian dance that became one of the most popular ballroom dances in the Romantic period. polonaise Slow dance in triple time, of Polish origin. Notable composers are Bach, Beethoven, Schubert and, of course, Chopin. quadrille One of the most popular ballroom dances in the Romantic period, usually in brisk duple time. rigaudon French folk-dance usually in brisk duple time, found in Baroque dance suites. saltarello Rapid Italian dance of Medieval origin in triple time, similar to the tarantella. sarabande Slow dance of Latin American origin in triple time, generally used as the third movement in Baroque dance suites. seguidilla Fairly quick Spanish dance in triple time. siciliana, sicilienne Sicilian shepherd dance or song, in slow tempo and melancholy in mood, associated with Baroque pastoral music. tarantella Italian dance of some rapidity, from the town of Taranto (it has nothing to do with the tarantula spider). Notable composers include Chopin and Liszt. See also saltarello. waltz Austrian dance in triple time, very popular in the Romantic period. One of two 'german dances', the other being the länder. dissonance, dissonant Combination of notes considered unstable and perceived as unpleasant to the ear, due to cultural expectations of what 'sounds good'. The opposite is consonance. divertimento Light and pleasing orchestral work, closely related to the serenade. Mozart composed many divertimentos and serenades. divertissement Additional dance and/or song entertainment in a classical ballet or in an opera. Doctrine of the affections An expressive aesthetic from the Baroque, saying that music's main purpose is to arouse 'affections', e.g. love, fear, anger, etc. Various musical elements such as rhythm, keys and so on were connected to specific emotions. An additional idea was that each piece or movement should focus on one affect. duet & duo 1) A duet is a piece for two performers: Piano four hands; voice and piano; two voices; two of any instrument.
2) A duo is a piece for two performers: On two pianos; any instrument and piano; any instrument and basso continuo. dynamics Variations in loudness and softness in a music piece.  

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Early music The era of musical history before the Baroque, in our cicerone stretching from about 1100 to about 1600 and gathering the Medieval and Renaissance periods. elegy, elegie Vocal or instrumental piece that is a lament in mourning of the dead. ensemble 1) Small group of musicians and/or singers. See also chamber orchestra.
2) An ensemble piece in an opera is a set for three or more singers. entr'acte Short and not seldom a comic music piece played between acts of a play or opera, designed to bridge a gap. See also interlude and intermezzo. entrée 1) The opening number in a suite of dances, e.g. a ballet suite; typically a short number which serves as an introduction for the whole suite.
2) Entrée can also mean a number in which the lead character(s) of a ballet make their initial appearance on stage.
3) An older French term for an act in a ballet. etude Also called study, this is a short piece intended to improve or display the performers technical ability. Chopin and Liszt added complexity turning it beyond 'study' music. Chopin, Debussy and Scriabin also wrote etudes for orchestral performances. expressionism Art genre that emphasized an eruptive immediacy of expressive feeling, often based on the psychology of the unconscious. Applied to the music of Mahler, Scriabin, et al, and the early works of Stravinsky and Schoenberg.  

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falsetto 1) Unnaturally high male voice.
2) Vocal phonation that enables the singer to sing notes beyond the vocal range of the normal or modal voice. fantasy, fantasia, fantaisie 1) In the Renaissance and Baroque a relatively free form genre, usually contrapuntal.
2) From the Classical period and onward a much freer genre than the above, often highly expressive and usually for solo piano or orchestra. finale Movement or passage that concludes a musical composition. fioritura A flowery, embellished vocal line found in many arias from nineteenth-century opera. follia One of the oldest remembered European musical themes, a standard chord progression that usually features a standard or 'stock' melody line, a slow sarabande. Many composers of the Baroque period used the follia in their compositions, plus later ones such as Beethoven, Liszt, and Rachmaninov. french overture See overture. frottola Italian, secular song from the mid-Renaissance period, described as the most important and widespread predecessor to the madrigal. fugue Complex polyphonic composition based on themes in imitation by (usually) two to four parts, then undergoing contrapuntal development. Popular in the Baroque but also used later. Bach and Beethoven are notable in this genre. exposition In a fugue an exposition are parts entering one by one, the exposition ending when all have entered.  

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galant style See style galante. gesamtkunstwerk German term for a work of art that makes use of all or many art forms or strives to do so. Wagner's Ring Cycle is a gesamtkunstwerk. A contemporary translation of this concept is 'multimedia art'. glee Vocal composition written for three or more solo parts, usually without instrumental accompaniment. glissando Musical effect meaning to slide from one note to the other, e.g. achieved by sliding a finger across the keys of a piano or string of a harp. gregorian chant See plainchant.  

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harmony Harmony is one of three core elements of music, the other two being melody and rhythm. It's the combination of melodies and chords, composed according to the principles of tonality and coordinated in such a way the music's considered harmonic and pleasing. Said combination of melodies and chords can be done in either a simultaneous (vertical) fashion, or in sequence (horizontal). Regarding the latter, see counterpoint. humoresque, humoreske An indicator of a works character meaning 'humor' used in titles of works by, for example, Schumann and Dvorák. hymn Song or ode in praise of God, an entity or a hero. The earliest known devotional music.  

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impressionism Art genre having elements of vagueness and imprecision coupled with a perceived excess of attention to color. Impressionist music is achieved through new chord combinations, ambiguous tonality, extended harmonies, use of exotic modes and scales, parallel motions, and extra-musically, evocative titles. Notable composers include Debussy, Ravel, Albéniz, Respighi, Falla, Dukas, and Delius. impromptu Short instrumental piece designed to convey the impression of improvisation. incidental music Music, usually orchestral and not seldom with choral/vocal parts, composed for use in a play, etc. insertion aria An aria sung in an opera for which it was not composed. Common in the 19th century to accommodate singer's individual vocal strengths and ranges and to augment their roles. Instrumental music One of three superordinate genres of classical music, the other two being the Operatic and Vocal genres. Instrumental music is divided into Orchestral and Chamber and Solo Instrumental music, with certain compositions for chamber ensembles, such as the chamber concerto, being an intermediate sub-genre. instrumentation See orchestration. interlude 1) Short music piece played between acts of a play or opera, designed to bridge a gap. See also entr'acte.
2) Short music piece played between two instrumental works at a concert, or between two parts of a work. intermedio, intermezzo 1) Theatrical spectacle with music and dance performed between acts of a play at Renaissance courts. Regarded a precursor to opera.
2) In the late Baroque and Classical periods, a comic operatic interlude played between acts of an opera seria.
3) In the Romantic period an instrumental piece, either a movement in larger works or an independent piece. invention Contrapuntal composition for keyboard in two or more parts, as in Bach's Inventionen & Sinfonien. italian overture See overture.  

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kapellmeister 1) Means 'chapel master' and originally the musician in charge at a court, later meaning the director of a choir or ensemble.
2) More recently meaning the chief conductor at an opera house or of an orchestra.
kapellmeistermusik A pejorative implication, suggesting that the music of certain Romantic composers are correct but uninspired. key The tonal disposition of a piece or work, gravitating around one of the twelve major or twelve minor scales of tonal music: If the named key is C major the composition will use notes close to the C major scale; the first movement of a larger work is usually in the named key, while other movements may explore other keys, to achieve contrast. keyboards Family of instruments. The basic instruments in this family are various pianos, organs and harpsichords. There's also the clavichord, celesta and many more. In some of our sources this group is included in the strings family. See also clavier. konzertstück German for concertino.  

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lament, lamento Baroque musical piece in mourning of the dead. Notable composers are Monteverdi and Purcell. lamentations Plainchant or polyphonic setting of the biblical Lamentations of Jeremiah, notably by Tallis, Byrd and Couperin. lauda, laude Sacred polyphonic song from the Renaissance. lay, lai Medieval French verse form for songs. leitmotif Leading theme throughout a work, a musical tag usually associated with a character, but also with an idea, event or situation. Wagner used it in many of his operas. libretto The text to be sung in an opera or another dramatic vocal work, such as an oratorio. lied 1) Traditional German song that during the Renaissance grew polyphonic and was regarded a genuine genre.
2) German art song from the Romantic period and onwards, accompanied by piano, sometimes but seldom by orchestra.  

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mad scene The enactment of insanity in an opera or play. The vocal writing is often exciting and highly demanding, requiring immense skill. Frequent during the bel canto era. madrigal Secular choral/vocal music traditionally sung a capella. It's a polyphonic composition, commonly with three to six parts. Popular during the Renaissance and early Baroque. Monteverdi added basso continuo accompaniment, thus introducing the so called concerted madrigal. madrigale spirituale Madrigal with sacred text, of the late Renaissance and early Baroque. Much less common than the original, secular madrigal. madrigal comedy Entertainment music of the late Renaissance and early Baroque, with groups of madrigals combined to tell a story/plot. One of the origins of opera. magnificat Biblical hymn of Virgin Mary found in both plainchant (monophonic) and polyphonic settings. major One of the two groups of keys of the tonal modes, the other one is minor. Major is viewed as the 'brighter' of the two. See also tonality. march A piece of music with a strong regular 'marching' rhythm. masque Courtly spectacle with music, song, dance, poetry etc. Popular in England during the Renaissance and Baroque. mass, missa The main choral worship service of the Catholic church, including the movements (prayers) Kyrie eleison, Gloria, Credo, Sanctus & Benedictus and Agnus Dei. The Latin word for mass is missa, and is used for Medieval and Renaissance masses. These are often named by the material from which they derived or are inspired by, as in Missa Adieu mes amours, Missa Ave Regina and Missa Papae Marcelli. cyclic mass Renaissance mass in which the prayers share a common musical theme, usually a so called cantus firmus. paraphrase mass Renaissance mass using very elaborate setting of cantus firmus as its basis. parody mass Renaissance setting of the mass in which parts of the music is based on pre-existing pieces of music, such as fragments of motets. The term parody is based on a misreading, a better name would be 'imitation mass'. missa brevis Short mass, usually with only the first two prayers, the Kyrie and Gloria. kyrie The 1st prayer of a setting of an ordinary Mass, not seldom named Kyrie eleison. gloria The 2nd prayer of an ordinary mass, a celebratory passage praising God the Father and Christ. credo The 3rd prayer of an ordinary mass, a setting of the Nicene Creed, and the longest text of a sung mass. sanctus and benedictus The 4th prayer of an ordinary mass. The Sanctus is a doxology praising the Trinity, and the Benedictus is a continuation of the Sanctus. agnus dei The 5th prayer of an ordinary mass, a setting of the 'Lamb of God' litany and including the Dona nobis pacem. Medieval Period of musical history stretching from about year 500 - on this website from around 1100 - to about 1400. The music of this period is solely vocal and usually without instrumental accompaniment. medley Often used in overtures, a composition that uses passages from the composition in its entirety. mélodie French art-song of the Romantic and Modern periods, counterpart to the German lied. melody A musically meaningful sequence of tones. One of the three core elements in music, the other two being harmony and rhythm. mezzo-soprano Female voice with a range between the higher soprano and lower contralto, often abbreviated 'mezzo'. The mezzo-soprano often does the secondary role in operas, the heroin role usually sung by a soprano. minimalism, minimal music Music style in which a basic theme is repeated over and over, creating a mesmeric ambience. Notable composer include the Americans Philip Glass, Steve Reich and John Adams. minor One of the two groups of keys of the tonal modes, the other one is major. Minor is viewed as the 'darker' of the two. See also tonality. minuet, menuet See dance music. miserere The first word in some psalms with the same name, the texts of which are used in polyphonic settings by, notably, Josquin des Prez and Allegri. Modern Period of musical history, stretching from about 1910 to about 1975, overlapped from circa 1945 by the current Contemporary period. The music is avant-garde, due to its break with traditional forms of composition. See also post romantic. motet Medieval polyphonic composition in several parts, usually sung a capella but found in many different forms as it developed in consecutive periods, from a multi-vocal genre into a choral music one. It's regarded the sacred counterpart to the madrigal. motet-chanson Renaissance music form in three parts with a tenor singing a sacred Latin text and two higher voices singing a French secular text, usually commenting on the Latin text. movement More or less independent part of a large orchestral work. The name of a movement usually refers to it's tempo and mood.  

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neoclassical Music style in which a Modern or Contemporary period composer returns to and gets inspired by music forms of the Baroque and Classical periods, as a protest of romantic music's lushness. neoromantic Music style in which a Modern or Contemporary period composer returns to and gets inspired by the music form of the Romantic period. nocturne Work suggesting a mood resembling the calm of the night, often lyrical. Notable composers are Chopin and Field. nonet 1) Composition for nine instruments.
2) Body of nine musicians performing such a composition.  

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obbligato Instrumental part of a work that stands out in the music and hence cannot be omitted, especially when a solo instrument adds an accompanying melody in some Baroque vocal forms. octet 1) Composition for eight instruments.
2) Body of eight musicians performing such a composition. oeuvre The entirety of works by a particular composer. opera Dramatic stage music, performed by acting singers. Often with elaborate stage designs. Opera began in the Renaissance as an attempt to recreate the ancient Greek drama. In the Baroque this found the musical form usually associated with the genre. See also libretto, aria, recitative, chorus and oratorio. afterpiece 18th/early 19th century short opera or pantomime performed after a full-length play. azione teatrale, azione scenica Small-scale one-act opera, or musical play. Early form of chamber opera. Notable composers include Gluck, Haydn and Mozart. ballad opera English stage entertainment, often short and highly satirical. Considered a precursor to the German singspiel. The first ballad opera is The Beggar's Opera of 1728, and one of the later, The Threepenny Opera of Kurt Weill and Bertolt Brecht, is actually a 1928 rewrite of the former. bel canto opera Early Romantic period operas with the bel canto style of singing. Championed by Rossini, Bellini, and Donizetti. burletta A brief and comic Italian or English opera. Also known as burla or burlettina. chamber opera Opera written to be performed with a chamber orchestra rather than a full orchestra. drame lyrique 1) French term used by, for example, Gluck and Chabrier, to describe their operas.
2) Term to describe late Romantic opera that developed out of opéra comique, influenced by Massenet et al, pointing towards the later verismo opera. dramma giocoso An 18th century sub-genre of opera buffa, marked by the addition of serious, even tragic roles and situations to the comic ones. Notable composers include Haydn, Mozart, Salieri, Rossini and Donizetti. dramma per musica Literally meaning ''drama for music', i.e. a libretto, however this term is mainly used as a synonym for opera seria. fait historique A sub-genre of opéra comique based on French history, especially popular during the French revolution. farsa, farsetta A form of one-act opera associated with Venice in the late Classical and early Romantic periods. Rossini composed many farsas. favola in musica The earliest form of opera, with reference to the operas by Peri and Monteverdi. grand opéra French development of the opera genre with historic/epic stories, spectacular stage design, big choruses, ballet parts etc. Often in five acts. literaturoper, literature opera An opera with music composed for a pre-existing text, as opposed to an opera with a libretto written specifically for the work. märchenoper, märchenspiel A genre of 19th century opera usually with a supernatural, fairy-tale theme. Similar to zauberoper. Humperdinck's Hänsel und Gretel is the best known example. melodramma General Italian term for opera. musikdrama Term associated with the later operas of Wagner. Frequently used by post-Wagnerian composers such as Strauss and d'Albert. opéra à sauvetage Alternative French term for rescue opera, featuring the rescue of a main character. opera ballo 19th-century Italian grand opéra. Composers include Gomes, Verdi and Ponchielli. opera buffa Major genre of Italian comic opera popular during the late Baroque and Classical periods, derived from the operatic intermezzo. The opposite is opera seria. Notable composers are Pergolesi, Rossini, Mozart, Donizetti and many more. opéra bouffe Romantic French opera or opérette of a farcical and satirical nature, derived from opera buffa and conceived by Offenbach. opéra comique French opera associated with the Paris theatre Opéra-Comique, often with spoken dialogue and not necessarily comic, the most famous in this genre actually being a tragedy: Bizet's Carmen. opéra lyrique French opera, less grandiose than grand opéra, more like opéra comique but with sung dialogue. Rameau called this 'comédie lyrique'. opera seria Serious Italian opera, the dominating operatic genre of the late Baroque and Classical periods. Has a formal and elaborate structure and often uses mythological themes. The opposite is opera buffa. Notable composers are Scarlatti, Hasse, Vivaldi, Handel, Gluck and Mozart. pastoral, pastorale Early Italian or French opera with pastoral topic. radio opera Operatic works written specifically for the medium of radio. Toye's operetta The Red Pen from 1925 is considered the first. regietheater A not always complimentary term to describe a director-led, modern opera that's staged so that the creator's original, specific intentions are changed, e.g. Carmen set in a car pound. rescue opera Transitional genre between opéra comique and grand opera, featuring the rescue of a main character. One example is Beethoven's Fidelio. romantische oper German opera genre, often with spoken dialogue, derived from French opéra comique and dealing with 'German' themes of nature, the supernatural, folklore etc. Weber's Der Freischütz is considered the first of this genre. sainete, sainetillo Spanish genre of comic opera in the smaller format, similar to the Italian intermezzo; performed together with larger works. Popular in Madrid in the Classical period. During the Romantic period, the sainete was synonymous with género chico. semi-opera Term coined to describe some English dramatic works - with singing, speaking and dancing roles - from the Baroque, e.g. Purcell's King Arthur and The Fairy Queen. serenata Short Italian opera performed at courts for celebrations, similar to the azione teatrale. singspiel German language opera with spoken dialogue instead of recitatives, generally comic or romantic. Especially popular during the Classical period. Developed into rescue opera and romantische oper. The best known example is Mozart's The Magic Flute. Kurt Weill called it songspiel, in an effort to update the concept. television opera An opera composed specifically for the medium of television. Britten's Owen Wingrave is one example. tragédie en musique, tragédie lyrique French merger of opera and ballet - but not an opera-ballet - from the middle and late Baroque, often with mythical themes. Usually in five acts, sometimes with a prologue. Short arias contrast with dialogue in recitative, with choral sections and dancing. Composers include Lully, Marais and Rameau. verismo opera Italian opera movement/genre associated with Italian post-romanticism, with highly realistic stories/plots. Two famous examples are Mascagni's Cavalleria Rusticana and Puccini's Tosca. opera-ballet French merger of opera and ballet from the late Baroque and Classical periods, with more dancing than the predecessor tragédie en musique. Composers include Rameau and Destouches. acte de ballet French term for an opera-ballet with of a single entrée (act). Rameau is known for his acte de ballets. ballet héroïque A type of opéra-ballet featuring the heroic and exotic, of the late Baroque and early Classical period. pastorale héroïque Type of ballet héroïque, i.e. an opéra-ballet that typically drew on classical themes associated with pastoral poetry. Composers include Lully and Rameau. Operatic music One of three superordinate genres of classical music, the other two being the Instrumental and Vocal genres. Operatic music is divided into Opera & Operetta plus Ballet music, with the opera-ballet as an intermediate genre. operetta, opérette A musically and thematically light sibling to opera, of the Romantic period and onwards, often with partially spoken dialogue. It derived from the French opéra bouffe and is a precursor to the modern musical. Notable composers are Offenbach, Hervé, Sullivan, Johann Strauss, Suppé, Lehár, and Bernstein. opérette bouffe Subgenre of the French opérette of the Romantic period, often with partially spoken dialogue. Notable composers include Offenbach, Hervé and Messager. opérette vaudeville Subgenre of the French opérette. savoy opera English term for operetta comprising the works of Gilbert & Sullivan and other operatic works that were performed at the Opera Comique and then the Savoy Theatre in London. saynète French for sainete. Description used for a particular style of opérette in the Romantic period. opus Method of identifying a musical work. Works are given an opus number, usually following the order of publication. Abbreviated Op and Opp, the latter being plural. oratorio Musical setting of Baroque origin, with a usually religious text. With solo voices, chorus and orchestra. Similar to opera but with more emphasis on the choral parts and performed as a concert, not as a stage drama. orchestra With reference to the so called symphony orchestra or philharmonic orchestra, this is a body of musicians in size of about a hundred players, generally comprising four main groups: strings, woodwinds, brass and percussion. A fifth group, keyboards are present ad lib; the exact size and layout of an orchestra varies with the requirements of the composition. See also ensemble, chamber orchestra and string orchestra. orchestral music Music composed for an orchestra. There are many sub-genres, especially the symphony and concertante genres, plus suites, overtures, symphonic poems, waltzes and so on. orchestration The arrangement and scoring of an orchestral composition; the disposition of music among instruments. Which particular instrument that is chosen to play a certain part of an orchestral composition is of course vital to how a work is perceived. Orchestration - or 'instrumentation' if it's a smaller ensemble - is thus second in importance only to composing with regards to the art of creating music. In the Renaissance instrumentation was ad hoc, then in the Baroque composers began to specify who should play what, thus achieving the desired 'color' in their music.
organum Medieval form of polyphony in which the lower voice sung the basic plainchant and the other voices moved freely above it. See also conductus. ornaments Added notes used to embellish the principal melodic tone, to make the music fancier. overture Orchestral composition being the prelude to an opera, oratorio and sometimes incidental music. The term was also used in the Baroque as a synonym for dance suite, especially by Bach and Telemann. concert overture Orchestral composition in one movement without reference to operas and such, in other words a free-standing overture. French overture The so called French overture were used during the Baroque by Lully, Bach, Handel et al in various compositions and were based on the fugue, i.e. in two parts. Italian overture A composition in three parts/movements used as overture in Italian opera and oratorios of the Baroque. Also called sinfonia and as such regarded the precursor to the symphony genre.  

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part Music written for a specific instrument or voice, or groups thereof; a part is one of the melody lines of a piece of music. Note though that this term is also used as a synonym for section or movement, for the former in one-movement instrumental music and for the latter in operatic and vocal music. part-song Song with several parts for several voices, usually sung a capella. partita Originally a name for a single music piece, Baroque composer and among them Bach used it as a synonym for suite. passacaglia Instrumental piece based on a slow Spanish dance, with repeated variations. Related to the chaconne. passion Oratorio based on one of the Gospels of the suffering of Christ. Developed from Medieval 'passion plays' using plainchant into elaborate Baroque settings with solo voices, chorus and orchestra. The genre culminated with Bach. pasticcio 1) An adaptation of an existing work that is loose, unauthorized, or inauthentic.
2) A single work by a number of different composers. pastoral, pastorale A piece of music that offers a pastoral atmosphere. percussion Family of instruments. The setting of the percussions varies heavily according to composer's needs. Examples of instruments to choose from are timpani/kettledrums and other drums, cymbals, triangle, tambourine, glockenspeil, xylophone, vibraphone, chimes, marimba and so on. The percussionist in an orchestra also plays wind instruments such as whistles and sirens. perfect pitch The ability of a person to determine the pitch of and identify a single note, in relation to the notes that surrounds it, e.g. in a chord. This is the intuitive artistic understanding of 'color' in music. See also relative pitch. performance practise Performing music in the way the composer intended. Includes making copies of early instruments and the study of methods of playing these. perpetuum mobile 1) Music played at rapid tempo and repeatedly, often an indefinite number of times.
2) As a genre often performed as virtuoso encores, in some cases increasing the tempo along the repeats. Popular by the end of the 19th century. pizzicato Playing a bowed instrument, such as a violin, by plucking the strings with the fingers. plainchant, plainsong Medieval liturgical monophony, i.e. piece sung a capella in a single melody line (part) either by one voice or a choir. The best known plainchant genre is Gregorian chant. Post romantic A transitional phase overlapping the joint between the late Romantic and early Modern periods, stretching from 1890 to 1935, including composers such as Puccini, Mahler, Sibelius, and Strauss, but defined even more by the French impressionists Debussy and Ravel. The music of this phase is essentially impressionistic and/or expressionistic, and can be described as expanded tonality. postlude Section played as the end of a piece. The opposite is prelude. prelude 1) Piece of music used as an introduction to another work, such as a suite or fugue. See also overture.
2) Short composition, usually for piano. prima donna Term for the leading female singer in an opera company, the woman to whom the prime roles usually are given. Prix de Rome French scholarship for arts, architecture and music students, awarded between 1663 and 1968. Notable composers receiving it are Halévy, Berlioz, Gounod, Bizet, Massenet, Debussy, Charpentier, Boulanger, Ibert and Dutilleux. program music Music conveying outer sources of inspiration such as events, art, people, ideas, drama etc. The examples are many, with opera and ballet as the more obvious, along with symphonic poems, many overtures, suites and songs, and some symphonies. The opposite is absolute music.  

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quartet 1) Music for four parts, e.g. string quartet.
2) Body of four musicians or singers. quodlibet Light composition quoting a combination of popular tunes. quintet 1) Music for five parts, e.g. piano quintet.
2) Body of five musicians or singers.  

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recitative The parts in an opera or oratorio that is sung between arias or choruses, adopting the pattern of speech and expressing the dramatic dialogue. recitativo accompagnato Recitative that employs the orchestra as an accompanying body. As a result, it is less improvisational and declamatory than its precursor recitativo secco, and more song-like. recitativo secco This 'dry recitative' is sung with a free rhythm dictated by the accents of the words. Accompaniment, usually by continuo, is simple and chordal. relative pitch The ability of a person to determine how pitches relate to one another, to identify chords and intuitively understand which should or could precede or follow. In short, this is to understand the 'language' of music. See also perfect pitch. Renaissance Period of musical history stretching from about 1400 to about 1600, with mostly vocal music, not seldom with instrumental accompaniment. This period saw the birth of instrumental music, plus the predecessors of opera and ballet. requiem Musical setting of a mass for the repose of the dead. Notable composers are Mozart, Berlioz, Verdi, Brahms, Fauré and Britten. responsory The most general definition of a responsory is any psalm, canticle, or other sacred musical work sung responsorial, that is, with a cantor or small group singing verses while the whole choir or congregation respond with a refrain. rhapsody, rhapsodie Music work fairly free in form, not seldom in two movements, a slow followed by a fast. Equally often with a national connotation, e.g. Dvorák's Slavonic Rhapsodies. rhythm Organization of notes in relation to time. Notes are grouped in measures and the rhythm is based on the number of beats (notes) in a measure added with the duration of those beats, creating perceived 'rhythm'. Rhythm is one of three core elements of music, the other two being harmony and melody. ricercare 1) Instrumental composition of the late Renaissance and early Baroque, usually referring to a contrapuntal early kind of fugue.
2) A homophonic piece resembling a toccata. ripieno 1) Baroque concerto without a solo instrument, thus reminiscent of a symphony.
2) The larger group of musicians performing in a concerto grosso. The smaller group is a concertino.
3) The main body of musicians in any Baroque orchestra. ritornello Recurrent section or phrase used during the Baroque, punctuating arias in operatic works or used in solo concertos, notably by Vivaldi. rococo A late Baroque art style, in the world of music better known as style galante. romance Intended to express a sentiment, a romance is often light and pleasing and in this respect similar to the serenade and the divertimento. Romantic Period of musical history stretching from about 1810 to about 1915, a development of the previous period but with 'program music', not 'absolute music'. See also post romantic. rondeau 1) French verse form, used in poetry and in chansons during the Medieval and Renaissance periods. Notable composers include Machaut and Dufay. See formes fixes.
2) In the Baroque the label 'rondeau' or 'en rendeau' was applied to dance movements in simple refrain form, by such composers as Lully and Couperin. rondo Instrumental music in which a basic theme is repeated and alternated with contrasting themes. Used in the last movement of sonatas, symphonies and concertos during the Classical and Romantic periods.  

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sacred music Music performed or composed for religious use or through religious influence. The opposite is secular music. scherzo Light, independent music piece or movement (scherzo and trio) similar to the minuet however much quicker and less fancy. Chopin expanded the form considerably. schools The so called schools are musical ideals and/or style traits around which certain groups of composers gather. Most schools are named, and some even invented, posthumously by musicologists. Below you find the major ones, in chronological order. Note that 'Ars antiqua' and 'Ars nova', by some regarded as schools, are missing here. Notre Dame School This term refers to the group of composers, predominantly Léonin and Pérotin, working at or near the Notre Dame Cathedral in Paris from about 1160 to 1250, notable for the use of conductus, the development of organum and, more importantly, polyphony. Burgundian School The 'first generation' (1420-1450) of the Franco-Flemish School, including the composers Dufay, Binchois, Busnois and Dunstaple. Burgundian composers favored secular forms, especially the chanson. Franco-Flemish school Also known as the Netherlandish School it refers, somewhat imprecisely, to the composers of mainly polyphonic music in the Netherlandish States from 1420-1615. The composers include, but are not limited to: Dufay, Binchois, Busnois, Dunstaple, Ockeghem, Agricola, Obrecht, Josquin, Gombert, Rore, Willaert, Clemens non Papa and Lasso. Roman school A group of Italian composers of conservative church music - smooth, clear, polyphony - during the 16th and 17th centuries. By far the most famous composer of the Roman School is Palestrina. Other 'members' include, but are not limited to, Victoria, Allegri (both of them) and Carissimi. Venetian school The body and work of composers working in Venice from about 1550 to around 1610. The Venetian polychoral style is essential here. Another major factor was printing. In the early 16th century, Venice, prosperous and stable, had become an important center of music publishing. Famous composers of this school are Willaert, Gabrieli (both of them), Rore and Monteverdi. Neapolitan school A group of composers from Naples, best known of whom is Alessandro Scarlatti, that influenced Italian opera considerably. Pergolesi was also part of this group/school. Bologna school Group of composers - Cazzati, Perti, Vitali, Torelli and Corelli - active in Bologna in the mid-late 17th century. The school is associated particularly with the rise of the instrumental concerto and sonata. Old German School Formulated as an opposite to the New German School, this one describes the late Baroque and the music of Bach and Handel. First Viennese School A name mostly used to refer to three composers of the Classical period in late-18th-century Vienna: Mozart, Haydn and Beethoven, with Schubert occasionally added to the list. New German School German classical music of the early Romantic period. Not an actual group of composers, more an attempt to unite composers such as Wagner, Liszt and Berlioz under a common German ideal based on Beethoven's musical heritage. The Five, The Mighty Handful A circle of composers who met in Saint Petersburg, Russia, in the mid 1800s: Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. The group had the aim of producing a specifically Russian kind of art music. In a sense, they were a Russian branch of the Romantic Nationalist movement. Also referred to as The New Russian School. Second New England School Also known as the New England Classicists, sometimes specifically the Boston Six, pivotal in the development of an American classical idiom that stands apart from its European ancestors. The six are Paine, Foote, Chadwick, Beach, MacDowell and Parker. American five A school that gathered the composers Ives, Becker, Riegger, Cowell and Ruggles. It was known for its modernist and often dissonant compositions which broke away from European compositional styles to create a distinctly American style. Les Six A group of French composers - Auric, Durey, Honegger, Milhaud, Poulenc, Tailleferre - joined by their wish to distance themselves from the musical style of Wagner and the impressionist music of Debussy and Ravel. Second Viennese School A group of composers that comprised Arnold Schoenberg and his pupils and close associates. Their musical aim was initially characterized by post romantic expanded tonality and later, following Schoenberg's own evolution; atonality. Later still it included Schoenberg's twelve-tone technique. The most famous 'members' include Berg, Webern, Eisler, Skalkottas and Cage, plus that Zemlinsky is also sometimes included. Darmstadt School The 'Darmstadt School' describes the uncompromisingly serial music written by composers such as Nono, Boulez, Maderna, Stockhausen, Berio, Cage, Kagel, et al, from the early 1950s to the early 1960s. Manchester School Also known as 'New Music Manchester', principally identified with the composers Birtwistle, Maxwell Davies and Goehr, together with the pianist John Ogdon and the conductor and trumpeter Elgar Howarth. secular music Non-religious music. Secular means being separate from religion. The opposite is sacred music. septet 1) Music for seven parts.
2) Body of seven musicians or singers. serenade, serenata Light and pleasing orchestral work similar to the divertimento, originally intended to be performed outdoors and directed to a certain individual. Mozart composed many popular serenades. serialism & total serialism Serialism is an extension of twelve-tone music, or rather the twelve-tone composing technique. Both are based on atonalism, using all twelve notes of the chromatic scale in a composition without repeating any note and without having anyone dominating the music. The difference it that serialism extend the technique to include also aspects such as rhythm, dynamics, and timbre, while twelve-tone focuses mainly on pitch. sextet 1) Music for six parts.
2) Body of six musicians or singers. sinfonia 1) Italian composition in three movements used as overture in Baroque opera and oratorios, thus referred to as 'Italian overture'. This is the precursor to the modern symphony (Haydn added a fourth movement and the sonata form to it).
2) Instrumental composition in one movement used in France and Germany during the Baroque. sinfonia concertante A concertante that uses two or more solo instruments, a developed concerto grosso that was common during the Classical period. sinfonietta 1) Short orchestral work in symphonic form. Janácek's Sinfonietta is perhaps the most famous example.
2) Sometimes used as a fancier name for orchestra. Solo Instrumental music Music performed by one instrumentalist (musician). The main genre is piano music, with the piano sonata as the dominating sub-genre, but included is also solo music for other instruments, plus the piano duet and duo. Solo Vocal music Music performed by one singer, with instrumental accompaniment, in which the vocal performance provides the main focus of the piece. Genres include the art song, the aria, etc. sonata 1) Music piece intended to be played on instruments, as opposed to a cantata that's intended to be sung.
2) A chamber or solo instrumental composition in several, usually four contrasted but related movements, with some of them using the sonata form. This particular sonata genre was invented in the Classical period. sonata da camera Secular Baroque sonata also called 'chamber sonata', in essence a dance suite. sonata da chiesa Sacred Baroque church sonata in four movement. sonatina Small sonata, simpler in structure (without the middle development section) hence shorter than the regular sonata. song cycle Sequence of art songs on a single theme, intended to be performed as a whole. soprano 1) The highest of the three female voices, the other two are mezzo-soprano and contralto. Soprano is also the highest choral music voice, where mezzo-soprano and contralto are grouped together as 'alto' voices. The soprano often does the leading, heroine role in operas.
2) Description of an instrument with the same range, the highest register. soubrette Stock operatic figure, usually a sharp-witted maid such as Mozart's Susanna or Zerbinetta, often but not necessarily a soprano. spatial music Music that moves or appears to move through space, e.g. Gabrieli's antiphonal brass music, or contemporary electronic music shifting between speakers. stabat mater Medieval Latin hymn to Mary at the cross, set to music by many composers. The name is abbreviated from Stabat Mater Dolorosa, the Sorrowful Mother Stood. Stage music An additional 'genre' comprising music for the stage other than opera and ballet, such as incidental music. ständchen German for serenade, however used mostly to describe vocal music pieces. stile antico, prima practica Meaning 'ancient style' and 'first practice', both these terms refer to a style of composition with controlled dissonance, avoiding overtly instrumental textures and lavish ornamentation, to imitate the compositional style of e.g. Palestrina. See also stile moderno, seconda practica. stile moderno, seconda practica Meaning 'modern style' and 'second practice', both terms refers to a style of composition which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the stile antico/prima practica. Claudio Monteverdi and Giulio Caccini promoted this style, which also marks the starting point of basso continuo. string orchestra Orchestra with instruments primarily of the string family, with piano, harp and percussion ad lib. The size varies considerably, between a dozen instruments and up to almost a hundred (Schoenberg's Gurrelieder calls for eighty-four players). See also ensemble, chamber orchestra and orchestra. string quartet 1) The most cultivated chamber music genre. For four parts, i.e. two violins, viola and cello.
2) Body of four musicians playing these instruments. strings The instruments in the string family are basically those of the bow played viol family, i.e. violin, viola, cello and double bass. There are also stricken or plucked string instruments such as harp, guitar, mandolin, etc, plus older instruments like the lute, viola da gamba and violone. study See etude. style galante French music of the Rococo art period, ca 1720-1770, characterized by simplicity, immediacy of appeal, and elegance, within a homophonic structure. In Germany known as empfindsamer stil. Notable composers in France are Couperin and Rameau, plus in Germany CPE Bach and JC Bach. See also barococo. suite 1) Instrumental work from the Baroque and Classical period with stylized dance movements (usually the allemande, courante, sarabande and gigue), known as a dance suite.
2) Instrumental work in several movements known as an orchestral suite, often but not always based on extracts from an opera, ballet or incidental music. Especially popular during the Romantic period. symphonic poem Orchestral program music composition, usually in one movement and often influenced by a certain poem. Also called 'tone poem', in German 'tondichtung', a term preferred by Richard Strauss, a master of the genre. symphony Orchestral composition, based on the Italian sinfonia of the Baroque. Usually in four movements with the same structure as a sonata. Perfected by Haydn and Mozart in the Classical period, developed by Beethoven, Brahms and Bruckner, that included the program music element, and expanded by Mahler, Shostakovich et al, with a varied number of movements and unconventional orchestration an so on. choral symphony Symphony with choral parts. There are also symphonies with parts for vocal soloists.  

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tafelmusik Baroque music used to entertain at banquets, usually a varied set including a suite, a quartet, a concerto etc, as in the most famous example, Telemann's Musique de Table. Te deum Early Latin hymn of praise/thanksgiving, short for Te Deum Laudamus (Thee, O God, we praise). Notable settings by Handel, Haydn, Berlioz and Bruckner. tenor 1) The second highest male voice, in range between the higher countertenor and the lower baritone. The tenor often does the main male character, the hero, in operas.
2) Description of an instrument with approximately the same range. heldentenor Meaning 'heroic tenor' and referring to a tenor with voice suited for grand opera and the music-dramas of Wagner. theme A synonym to tune or melody, which is of fundamental importance to a piece of music. theme and variations An instrumental work with an initial theme followed by a number of variations, as in Bach's Goldberg Variations or in Rachmaninov's Rhapsody on a Theme of Paganini, the latter borrowing its theme from a work by another composer, quite common in this genre. tiento Spanish genre of the Renaissance, usually with reference to organ music. toccata Instrumental piece of Renaissance origin, designed to display the virtuoso proficiency of the performer, usually for keyboard and featuring fast-moving, lightly fingered sections. tombeau Genre title used for pieces in tribute of predecessors or contemporaries. Ravel's Tombeau de Couperin is a well-known example. tonadilla Spanish 18th century miniature satirical genre that developed out of the sainete. Performed in between longer works. tonality The use of a number of keys, one of which is dominant, to compose harmonic music, with reference to consonance and dissonance. Tonality is the organization principle of conventional classical music. The opposite is atonality. tone poem See symphonic poem. transcription Composition in an arrangement for other instrument(s) than it was originally written for. trouser role Male character in opera that's performed and sung by a woman, e.g. Cherubino in Mozart's The Marriage of Figaro or Octavian in Strauss's Der Rosenkavalier. Also known as pants role and breeches role. treble 1) The highest voice in choral music; the voice of young people, aged eight to sixteen.
2) Description of an instrument with approximately the same range. trecento The Italian parallel to the French Ars Nova and referring to the 1300s, thus ending the Medieval period. Based on conductus, this Italian polyphonic era's most famous composer is Landini. trio 1) Music for three parts.
2) Body of three musicians or singers. trio sonata The dominant chamber music genre of the Baroque. In three parts, usually played by four musicians; on two treble instruments, usually violins, with one part each, plus basso continuo with cello and keyboards for the lower part. Bach's Trio Sonatas for organ are performed by one musician. A good one. twelve-tone, twelve-note Music not composed in keys, instead using the chromatic scale, i.e. all twelve notes (naturals, sharps, flats) in an octave and without any note dominating the music. This is the simplest form of serialism. See also atonality.  

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variations See theme and variations. vespers Liturgical evening prayer service set to music by many composers, notably Monteverdi, Vivaldi, Mozart and Rachmaninov. villanella Light secular, Italian song of satirical and comic nature, from the early Renaissance. It influenced the later canzonetta, and from there also the madrigal. virelai A form of Medieval French verse used often in poetry and music. Notable composers include Machaut and Dufay. See formes fixes. virtuoso Music performer with remarkable technical skills. Vocal music One of three superordinate genres of classical music, the other two being the Instrumental and Operatic genres. Vocal music is divided into Choral music and Solo Vocal music, with the part-song, the madrigal, etc, as intermediate genres between the two. vocalize Singing without words, i.e. using only vowels. volksmärchen Alternative name for märchenoper.  

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waltz See dance music. woodwinds Family of instruments. Basic instruments here are oboe, clarinet, bassoon, English horn and various flutes, including recorder and piccolo. Not all woodwinds are made of wood, e.g. the modern flute and the saxophone is of metal. The dividing line between woodwinds and brass deals with how the instruments are played, how the sound is made. zarzuela Spanish dramatic genre of Baroque origin, similar to opera. This form includes both singing and spoken dialogue, also dance. Local traditions of this genre are found in Cuba and the Philippines. Composers include Hidalgo and Barbieri. genero chico A type of zarzuela, differing from zarzuela grande by its brevity and popular appeal. See also sainete. zwischenspiel German for intermezzo or entr'acte.  

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Appendix

a prima vista See sight-reading. accent An emphasis on a note. ad lib Short for ad libitum, meaning 'at one's pleasure', this usually refers to the free choice to use a chorus or certain instruments in a composition, as opposed to obbligato. alberti bass Steadily moving accompaniment figure outlining a chord. Often played by the left hand in piano music of the Classical period. arpeggio Sounding of notes in a chord in succession, rather than simultaneously. atonality Music lacking identifiable tonality (key) and tonal center, such as twelve-tone music. bar See meter.
binary form An ancestor of the three-section sonata form, the binary ditto has two sections. The first usually modulates from the keynote to a related key, while the second does it in reverse. Most binary form compositions use one basic melodic theme, but some uses two. bitonality See polytonality. cadence A melodic or harmonic figure, usually two chords, providing a punctuation at the end of a musical phrase, similar to how a comma or period ends a literate unit. Cadences are 'open' or 'closed' depending on the degree of finality. Not to be confused with cadenza. chord Simultaneously sounding group of notes of different pitch. In a so called broken chord the notes are played one after the other. chromatic scale A scale moving along in half steps (semitones), using all twelve notes of an octave. Notable composers include Wagner and Schoenberg. See also diatonic scale. church modes See mode. clef Symbol in notation that fixes the pitch of the notes and their names, according to their position on the stave. There are three clef symbols, the G-clef, C-clef and F-clef. These can be placed on nine different positions on the stave, although only four are used regularly: the treble clef, the bass clef, the alto clef and the tenor clef. coda Final part of a piece, intended to round it off in a satisfying manner. See also conclusion. conclusion A section that ends a piece or movement, not seldom a coda. See also recapitulation under sonata form. counterpoint, contrapuntal A composing technique with music combining two or more melodies that are harmonically interdependent (polyphonic) but independent in rhythm, forming specific harmonies. Notable composers include Palestrina and Bach. countermelody A subordinate melody of a work, to be played in counterpoint to the lead melody. Often heard in a texture consisting of a melody plus accompaniment. cyclic form Formula for composition involving a musical theme that occurs in two or more movements or parts, as a unifying component for the whole work. Not seldom used in symphonies. diatonic scale Either of the two scales (major and minor) of conventional classical music. The diatonic scale is defined as a seven note scale comprising five whole steps and two half steps for each octave, in which the half steps are separated by at least two whole steps. See also chromatic scale. discant, descant 1) A style of organum that either includes a plainchant tenor part, or is used without a plainchant basis in conductus, in either case with a 'note against note' upper voice, moving in contrary motion to the lower. It's not a musical form, rather a technique.
2) By extension of the above it became the name of a part that is added above the tenor, and later as the name of the highest part in a polyphonic setting, the equivalent of 'cantus', 'superius', and 'soprano'.
3) The name of the highest register of instruments such as recorders, cornets, viols, and organ stops. dodecaphony See twelve-tone. drone A harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece. duple time Music piece with a rhythm of two beats per measure. dynamics Variations in loudness and softness in a music piece. crescendo Dynamic indication for the music to grow louder. decrescendo Dynamic indication for the music to grow loud, but less so than a crescendo. diminuendo Dynamic indication for the music to become softer. forte & fortissimo Dynamic indication for the music to become loud or very loud, respectively. mezzo-forte Dynamic indication for the music to become medium-loud. mezzo-piano Dynamic indication for the music to become medium-soft. piano & pianissimo Dynamic indication for the music to become soft or very soft, respectively. sempre Additional dynamic indication meaning 'always', e.g. sempre piano, always soft. enharmonic intervals Two notes that occupy the same position in notations and differ only by name, e.g. C sharp and D flat. fach The Fach system is a method of classifying opera singers, according to the range, weight, and color of their voices. Fach makes it easier to cast roles in opera productions. flat 1) Musical sound that is half a step (semitone) lower in pitch than the regular tone. See also sharp.
2) Symbol in notations (♭) placed before a note to indicate flat, or in the key signature to indicate a flat tonic. formes fixes Three 14th and 15th century French poetic forms and chansons: the ballade, rondeau, and virelai. All consisted of a complex pattern of repetition of verses and a refrain with musical content in two main sections. Forms from other countries and periods are also referred to as formes fixes. These include the Italian 14th century madrigal and later ballata and barzelletta, plus the German bar form. fugato A fugue-like section that may appear in non-fugal works, especially Classical period symphonies. hocket A rhythmic linear technique using the alternation of notes, pitches, or chords. In medieval practice of hocket, a single melody is shared between two (or more) voices such that alternately one voice sounds while the other rests. homophony 1) Music form in which two ore more parts move together in unison harmony, thus creating chords.
2) Music form in which a dominant part does the melody and other parts add supportive harmony. The opposite is polyphony. See also monophony. imitation A repetition of a theme or phrase in a different pitch or key, usually contrapuntal and mainly used in canons and fugues. Not to be confused with variation. interval The difference/distance in pitch between two notes. Intervals are named after their types, such as semitone, whole tone, major or minor third, an so on. They are also classified with regards to consonance and dissonance. intonation Exactness of a pitch, or lack of it, when playing or singing. introduction Section which opens a piece or movement, establishing melody, harmony and rhythm, i.e. the theme. See also exposition under sonata form. inversion Turning a melody line 'upside down' thus creating a mirrored version. key The tonal disposition of a piece or work, gravitating around one of the twelve major or twelve minor scales of tonal music: If the named key is C major the composition will use notes close to the C major scale; the first movement of a larger work is usually in the named key, while other movements may explore other keys, to achieve contrast. keynote The first note of a scale, giving the scale its name, e.g. A major. See also tonic. key signature In notations, the sharps and flats placed after the clef, or the absence of them, to indicate the dominant key. parallel key The major and minor scales that have the same keynote, albeit different modes, for example A minor and A major. relative key The major and minor scales that have the same key signatures but a different keynote, for example A minor and C major. Relative keys are closely related keys, i.e. sharing many common traits with an original key, thus useful in modulations to achieve harmony. legato Musical notes that are played or sung smoothly and connected, with no intervening silence. The opposite is staccato. slur Symbol in notations indicating that the notes it embraces are to be played legato. leitmotif Leading theme throughout a work, a musical tag usually associated with a character, but also with an idea, event or situation. Wagner used it in many of his operas. ligature Symbol in notations representing two or more notes performed in a single gesture, and on a single syllable. Used in Early Music. major One of the two groups of keys of the tonal modes, the other one is minor. Major is viewed as the 'brighter' of the two. See also tonality. major scale Diatonic scale of seven notes, i.e. five whole steps (intervals of a tone) and two half steps (intervals of a semitone). measure See meter. messa di voce Musical technique that involves a gradual crescendo and diminuendo while sustaining a single pitch. Mostly used by singers. metamorphosis Music theme changing it's shape; the transformation of thematic elements in a composition. meter, metre The regular succession/pattern of pulses (beats) in music, i.e. measured rhythm. Some genres have characteristic meters, such as the three-beat meter of the waltz. bar, measure The smallest metrical unit in notations, marked by vertical lines, i.e. a measure of time. Called bar in Europe and measure in America. beat The regular rhythmic pattern in music. A single group of beats form a so called measure, or bar, in notations. time signature A numeric symbol in notations determining the number of beats to a measure. minor One of the two groups of keys of the tonal modes, the other one is major. Minor is viewed as the 'darker' of the two. See also tonality. minor scale A variation of the dominant major scale. This variation offers nine notes, as compared to the major's seven. There are three kinds of minor scales, the natural minor, harmonic minor and melodic minor, whereas the major scale come in one version only. minuet and trio Following the so called trio form, this has the aristocratic dance minuet in its two outer sections, with a 'trio' in the middle. The minuet and trio is used as the third movement in most if not all Classical symphonies. In symphonies of the Romantic period the minuet was replaced by the heavier scherzo, hence becoming 'scherzo and trio'. See also compound ternary form under ternary form. mode & modality Complex music concept that generally refers to a type of scale, coupled with a set of characteristic melodic behaviors: Mode involves pitches and scales, octave range, melodic organization, placement of cadences and emotional character of a piece. There are many modes, the Major and Minor of Western tonality dominating classical music. Other modes, including the so called church modes, are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. modulation To shift to another key. monody In general synonymous with monophony, however and more specifically the style of early Baroque vocal music as defined by Monteverdi; see stile moderno. monophony Music having one melody line (part) thus without harmonic accompaniment. Significant of the Medieval plainchant. The opposite is polyphony. See also homophony. motif, motive (and figure) Music's shortest element, carrying the basic musical idea, i.e. having a recognizable thematic character. Somewhat synonymous with 'figure' (also called music's shortest element) the difference between the two described as motif being the content and figure being the form. The further development of a motif leads to a phrase. A famous motif is the opening da-da-da-dum of Beethoven's 5th symphony. natural Note that is a whole tone, never a semitone such as sharp or flat. neotonality Inclusive term referring to music of the mid-twentieth century in which traditional tonality is replaced or combined with one or more nontraditional tonal conceptions, e.g. features of atonality. It's usually associated with the neoclassicism of Stravinsky, Les Six, and Hindemith. However, neotonality is a broader concept than that, encompassing most composers of the 1930s and 40s. notations System for writing down music, using a stave with specific symbols for different notes and/or chords, also including many other symbols such as the clef. There are also written tempo, dynamics, and mood indications. See tempo for the tempo indications, dynamics for dynamic indications, and below for mood and other indications. agitato Mood indication to play agitated, with implied quickness. cantabile Mood indication to play in singing style i.e. lyrical and flowing, e.g. andante cantabile. con brio Mood indication meaning 'with vigor and spirit, vivacity, fire or energy' and used together with tempo indications, e.g. allegro con brio, fast with brilliance and fire. energico Mood indication to play more energetically. espressivo Mood indication to play expressively. giocoso Mood indication to play cheerful, e.g. allegro giocoso, fast and cheerful. grandioso Mood indication to play in a grand fashion. grazioso Mood indication to play gracefully. maestoso Mood indication that a piece is to be played majestic, at a solemn, slow speed. mesto Mood indication to play sad and mournful, e.g. adagio mesto, slow and sad. molto Mood indication meaning 'much, very' and found in combinations with tempo indications, such as molto allegro, very quick, or molto piano, very soft. poco Mood indication meaning little and used together with tempo indications, e.g. poco adagio, little slow. scherzando Mood indication to play joyfully. sostenuto Mood indication with a direction to play smoothly with sustained tempo, e.g. andante sostenuto. da capo Indication in notations meaning that a specific piece or part of piece is to be played or sung again. fermata Indication in notations that a note should be sustained for longer than its note value would indicate. senza Indication in notations meaning 'without', e.g. senza interruzione, without interruption. tutti Indication in notations suggesting a passage for the entire ensemble or orchestra, i.e. without a soloist. note 1) Single music sound with specific pitch and duration. (In America and Germany tone is synonymous with note, but not in the UK.)
2) A symbol for the former in notations and scores. note value In music notation, a note value indicates the relative duration of a note. octave The interval of eighth whole notes/tones. The first note has a pitch frequency double to that of the eighth. A regular octave is C to C, but from D to D is also an octave, or from a half-note such as C sharp to C sharp (see tonic). Different octaves have different pitches but the same notes: If a note is an 'atom' then the octave is a 'molecule'. Differently pitched versions of the octave are always that same molecule, however 'vibrating' with higher or lower intensity. ornaments Added notes used to embellish the principal melodic tone, to make the music more appealing. grace notes A rapid note, or notes, that precede a principal note in a melody, creating an ornamental effect. tremolo Quick repetition of the same note or the rapid alternation between two notes. trill Rapid alternation between notes that are a half tone or whole tone apart. ostinato Short repeated pattern of a rhythm or melody, around which a part of or the whole piece is centered. Most often in the bass. ground bass A bass line repeated over and over. passage See section. period Group of at least and usually two contrasting or complementary phrases; the two are called antecedent and consequent. Shorter periods can be combined into longer ones. Compared to language the phrase is a clause and the period a sentence, either a short one or a longer and more complex. phrase A recognizable and fundamental musical unit generally marked of by a strong cadence and/or brief pause. The phrase is built up by repetition and variation of motifs, forming part of a period and thus contributing to the melody of a piece. A phrase is roughly equivalent to the amount one can sing in a breathe. phrasing Imprecise term referring to the expressive shaping of music, the art of timing in music, taking into account rhythm etc. a piacere Means 'at pleasure' and indicates that a piece can be played with any tempo and rhythm, at the discretion of the performer.
rubato An indication referring to expressive and rhythmic freedom, at the discretion of a soloist or conductor. pitch The specific auditory quality of a sound/tone/note, measured by frequency. The pitch determines the position of the note in the octave. polychord The combination of two or more chords being superimposed, i.e. played at the same time and thus creating the polychord. polyrhythm The combination of two or more rhythms played simultaneously. Two techniques exist; the first with superimposed and different meters, with varying measure lengths and number of beats; the second with equal measures but varied beats, thus having the same downbeat. polyphony, polyphonic Music in which two or more independent melody lines (parts) create complexity in a composition. The opposite is monophony, which it succeeded. See also homophony. polytonality The combination of two (bitonality) or more (polytonality) keys being superimposed, i.e. played at the same time. portamento Musical term that describes pitch sliding from one note to another, for an expressive effect. quarter-tone Tone smaller that the semitone, e.g. a tone between B and B-flat, found in Indian music and in 20th century classical music. register Term for a given range of a voice or instrument, e.g. bass. rhythm Organization of notes in relation to time. Notes are grouped in measures and the rhythm is based on the number of beats (notes) in a measure added with the duration of those beats, creating perceived 'rhythm'. Rhythm is one of three core elements of music, the other two being harmony and melody. ritornello Recurrent section or phrase used during the Baroque, punctuating arias in operatic works or used in solo concertos, notably by Vivaldi. root The root of a chord is the note or pitch upon which a chord may be built by stacking thirds. A triadic chord using C as a root would be C-E-G. rubato See phrasing. scale A series of notes that are ascending or descending in a determined, linear fashion, centered around their tonic. There are different scales, depending on the musical system in use; see chromatic, diatonic, major and minor scales. Also see mode. pentatonic scale Musical scale with five notes per octave in contrast to a heptatonic (seven-note) scale such as the diatonic scale. Common in folk and ethnic music. whole tone scale A scale in which each note is separated from its neighbors by the interval of a whole tone, making it a hexatonic (six-note) scale. scherzo and trio See minuet and trio. scordatura An alternative tuning used for the open strings of a string instrument, in order to play notes below the ordinary range of the instrument. Also called cross-tuning. score Enhanced notation showing all parts of a composition, aligned vertically with staves for all instruments or groups thereof. Used by the conductor of an orchestra. A so called vocal score is a simplified version with two staves. When a composer orchestrates a work, he or she is said to 'score' it. section Part of a music piece, also called 'passage', that is 'a complete, but not independent musical idea' such as an introduction, exposition, development, conclusion, recapitulation, coda, verse, chorus, interlude, etc. A section is longer than a period, but shorter than a movement. Many of these are parts of the various forms of compositions, such as the sonata form, and thus explained either separately or in conjunction with said forms in this glossary. semitone Half a tone, known as the smallest interval in conventional classical music, although 20th century composers also use quarter-tones. sentence Imprecise term usually encountered in discussions of thematic construction. More or less synonymous with period. sequence A successive transposition and repetition of a phrase at different pitches. serialism & total serialism Serialism is an extension of twelve-tone music, or rather the twelve-tone composing technique. Both are based on atonalism, using all twelve notes of the chromatic scale in a composition without repeating any note and without having anyone dominating the music. The difference it that serialism extend the technique to include also aspects such as rhythm, dynamics, and timbre, while twelve-tone focuses mainly on pitch. sharp 1) Musical sound that is half a step (semitone) higher in pitch than the regular tone. See also flat.
2) Symbol in notations (♯) placed before a note to indicate sharp, or in the key signature to indicate a sharp tonic. sight-reading The ability to play or sing a piece upon seeing the printed music for the first time. Highly skilled musicians can sight-read silently; that is, they can look at the printed music and hear it in their heads without playing or singing. Also called sight-singing. slide A glissando or portamento. sonata form Invented by Haydn in the Classical period, this is a formula for composition based on a triple division of a piece or a movement into exposition, development and recapitulation, with an introduction and a coda ad lib. That's the basics of the sonata form; beneath this surface the sonata form is a rather complex concept. It's used in the first movement and not seldom also in the last of sonatas, symphonies, concertos etc. The binary form is close in relation hence the sonata form is also referred to as 'compound binary form'. It is also close to the ternary form in that it's being divided into three sections. exposition Occasionally preceded by a short introduction, the exposition is the first section of a piece or movement in sonata form, announcing the principal theme. development The middle section of a piece or movement composed using the sonata form. In the Classical period relatively short but in the Romantic period long and dominant, this section usually begins in the key that ended the exposition and then varies the theme, juxtaposed for contrast, sometimes adding new themes. It usually returns to the starting key during the ending 'retransition' phase. recapitulation The section that ends the sonata form returns to the theme of the exposition, in an altered repeat of it. This can also be part of a larger conclusion, including a coda ad lib. sonority A vague concept for the general quality of sound, as in 'the rich sonority of the cello' or 'the characteristic sonority of a piece'. It's resembles timbre and 'tone color' but is more of a subjective opinion than an objective observation. spinto A versatile soprano or tenor voice of a weight between lyric and dramatic. A spinto voice type has fine squillo qualities and is thus suitable in a wide variety of roles. sprechgesang & sprechstimme An expressionist vocal technique between singing and speaking. Sprechgesang is closer to singing while Sprechstimme is closer to speech. squillo A quality in a singer's voice. The purpose of the squillo is to enable an essentially lyric tone to be heard over thick orchestrations. See also spinto. staccato A note of shortened duration, separated from the note that may follow by a brief silence. The opposite is legato. stave, staff Notation with five parallel lines and the space between them on which notes are written, their position determining their pitch. Plainchant uses a four-line stave. stretto In a fugue, a second subject slightly overlapping a first one. strophic form Music in a series of repeated sections, often setting a strophic poem. Each section usually has the same length, the same meter. subject Theme or group of themes. tablature A system of notation for stringed instruments of the lute/guitar family. The notes are indicated by the finger positions. temperaments System for tuning an instrument in such a way it slightly compromises the pure intervals of strict tuning. Most instruments nowadays are tuned in 'twelve tone equal temperament', dividing the octave into twelve equal semitones. Predecessors such as the Renaissance 'meantone temperament' are not as accurate. Bach's famous The Well-Tempered Clavier is an example of 'well temperament', a Baroque breakthrough in tuning leading up to the modern equal temperament. tempo The speed or 'pulse' at which a music piece is played. In classical music the tempo is indicated in notations by Italian terms such as adagio, moderato, and so on, or by metronome markings such as 80 bpm (beats per minute). Larghissimo Tempo indication to play at a very, very slow pace (this is the slowest tempo). Grave Tempo indication to play at a slow and solemn pace (faster than larghissimo but slower than lento). Lento Tempo indication to play in slow pace (faster than grave but slower than largo). Largo Tempo indication to play at slow pace (faster than lento but slower than larghetto). Larghetto Tempo indication to play at rather slowish pace (faster than largo but slower than adagio). Adagio Tempo indication to play at a slow and stately pace (faster than larghetto but slower than adagietto). Adagietto Tempo indication to play at a rather slow pace (faster than adagio but slower than andante moderato). Andante moderato Tempo indication to play at a slow walking pace (faster than adagietto but slower than andante). Andante Tempo indication to play at a walking pace (faster than andante moderato and the slightly faster andantino). Andantino Tempo indication to play at a fast walking pace (between the slightly slower andante but slower than moderato). Moderato Tempo indication to play at a moderate pace (faster than andantino but slower than allegretto). Allegretto Tempo indication to play at a moderately fast pace (faster than moderato but slower than allegro moderato). Allegro moderato Tempo indication to play at a moderately quick pace (faster than allegretto but slower than allegro). Allegro Tempo indication to play at a fast, quick and bright pace (faster than allegro moderato but slower than vivace). Vivace Tempo indication to play at a lively and fast pace (faster than allegro but slower than vivacissimo). Vivacissimo Tempo indication to play at a very fast and lively pace (faster than vivace but slower than allegrissimo). Allegrissimo Tempo indication to play at a very fast pace (faster than vivacissimo but slower than presto). Presto Tempo indication to play at a very, very fast pace (faster than allegrissimo but slower than prestissimo). Prestissimo Tempo indication to play at a extremely fast pace (this is the fastest tempo). accelerando Additional tempo indication stating that a music piece is to be played at increasing speed. alla breve Additional tempo indication meaning 'in short style', i.e. that a piece is to be played in duple time. assai Additional tempo indication meaning 'very much' and used together with other tempo indications, e.g. allegro assai, very fast. con moto Additional tempo indication meaning 'with motion, fast'. giusto Additional tempo indication meaning to play at exact and strict speed, e.g. allegro giusto. mosso Additional tempo indication to play at changed speed. Generally found as either più mosso, faster, or meno mosso, slower. l'istesso, lo stesso Additional tempo indication requesting a return to the previous speed of the music. non tanto, ma non tanto Additional tempo indication meaning 'not so much', e.g. allegro ma non tanto, fast but not so much. Slightly weaker than the more common non troppo. non troppo, ma non troppo Additional tempo indication meaning 'not too much', e.g. allegro ma non troppo, fast but not too much. Slightly stronger than the much less common non tanto. poco Additional tempo indication meaning little and used together with other tempo indications, e.g. poco adagio, little slow. ralletando Additional tempo indication referring to a gradual slowing down of a piece's speed. ritardando Additional tempo indication referring to a less gradual slowing down of a piece's speed than the ralletando. ritueno Additional tempo indication meaning the music is to become slightly slower, often only temporarily. stretto Additional tempo indication suggesting a faster speed near the conclusion of a section. ternary form A very common three-part composition formula, reminiscent of the sonata form although less complex; the first sections sets the theme and main key, which is repeated slightly modified, perhaps with ornamentation, in the third section. The middle section is freer in this aspect, with independent material. The ternary form can actually be found in Medieval music, in the common arrangement antiphon-verse-antiphon in Gregorian chant. compound ternary form Also known as trio form, in this one each section is a dance piece in binary form, the first and last highly similar, and the middle an independent 'trio' also binary i structure, but noticeably lighter and sweeter than the outer sections. See also minuet and trio. tessitura 1) The most musically acceptable and comfortable range for a given singer.
2) In musical notation, tessitura is used to refer to the compass in which a piece of music lies for a particular vocal part. texture Term synonymous with structure, for example 'contrapuntal texture'. Also used in a quasi-clever fashion, when a piece is described as having a 'rich texture' or such. theme A synonym to tune or melody, which is of fundamental importance to a piece of music. through-composed form A piece without any strophic patterns or recapitulations or repeating sections, with new music for each part of the work. timbre The individual audio quality of the sound, the 'tone color', that distinguishes a particular voice or instrument from another. See also sonority. time Measure of the momentum in music referring to its rhythm, meter and tempo. tonality The use of a number of keys, one of which is dominant, to compose harmonic music, with reference to consonance and dissonance. Tonality is the organization principle of conventional classical music. The opposite is atonality. tone The sound (pitch) that occurs when a string, membrane, air moving in a pipe or such is vibrating at a certain frequency. In America and Germany tone is synonymous with note, but not in the UK. tone clusters Dissonant effects made up of adjacent notes by, for example, hitting a piano's keys with the hole hand or arm. Used by 20th century composers. tonic The tonic is the first note and the tonal center of a diatonic scale. Scales are named after their tonics, thus the tonic of the scale of C is the note C. The tonic is considered to be the first 'degree' of the scale, from which each octave is assumed to begin. The concepts 'tonic' and 'degree' are meaningful in diatonic scales, but futile in chromatic ones. Tonic is also called keynote. transposition Shifting of the overall pitch of a music piece, making it possible to play the piece in a higher or lower key than the original. In tonal music, that is. In chromatic and atonal music the pitch of the intervals is changed. triad A set of three notes, i.e. a chord, that can be stacked in thirds. A basic harmonic unit of tonal music. triadic Chord based on the triad, i.e. made up of the first, third and fifth notes in a scale. trio form See compound ternary form under ternary form. triple time Music piece with a rhythm of three beats per measure. tuning The raising and lowering of a pitch on an instrument to produce the correct tone of a note. twelve-tone, twelve-note Music not composed in keys, instead using the chromatic scale, i.e. all twelve notes (naturals, sharps, flats) in an octave and without any note dominating the music. This is the simplest form of serialism. See also atonality. unison Simultaneous sounding of the same note, sung or played. Unison songs are in one part. variation In music a repetition of a theme or phrase in an altered form. Not to be confused with imitation. Venetian polychoral style The music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation. This is one of the major stylistic developments which led to the formation of what we now know as the Baroque style. vibrato Pulsating effect in an instrumental or vocal tone produced by slight and rapid variations in pitch, designed to enhance the beauty of the sound. voice One of two or more parts in polyphonic music, referring to instrumental parts as well as the singing voice.

Comments

The Modern Period
From the Glossary Female voice types A voice type is a particular human singing voice identified as having certain qualities or characteristics of vocal range, vocal weight, tessitura, vocal timbre, and so on. soprano 1) The highest of the three female voices, the other two are mezzo-soprano and contralto. Soprano is also the highest choral music voice, where mezzo-soprano and contralto are grouped together as 'alto' voices. The soprano often does the leading, heroine role in operas.
2) Description of an instrument with the same range. mezzo-soprano Female voice with a range between the higher soprano and lower contralto, often abbreviated 'mezzo'. The mezzo-soprano often does the secondary role in operas. contralto The lowest of the three female voices. Very rare, present in only one percent of the female population. The contralto often does the female villains or assume trouser roles in operas. alto 1) The two lower female voices - mezzo-soprano and contralto - as grouped together in choral music.
2) Description of an instrument with the same range.