Written music instructions {canon, music}| began in 14th century.
Classical music uses harmonic, melodic, rhythmic, and contrapuntal melody variations {theme and variations}.
The 13th century began love poetry with music {troubadour music}| {trouvere}.
Musical lines or phrases have formal arrangement {music composition forms}.
Songs {anthem}| can be hymns about praise, patriotism, or loyalty.
Venetian gondoliers sing folk songs {barcarolle} {barcarole}.
Sonatas {Baroque sonata} can be contrapuntal.
Baroque madrigals {cantata}| used unstaged operatic form.
Hymns {canticle} can be from the Bible, but not be psalms.
Baroque motets {canzona} used polyphony, often on organ.
Songs {carol} can be about joy or praise something.
Passacaglia {chaconne, music} can begin without unaccompanied theme.
Music forms {chaisson} evolved from Mannerism.
Fugues {chorale}| can be variations on hymns.
Baroque fugues {concerto}| can have dialogue {ripieno} between solo instrument {concertino} and orchestra {tutti}. Tutti had five string parts: first violin, second violin, viola, cello, and double bass.
Instruments can replace the solo instrument in concertos {concerto grosso}.
Romantic piano music {etude}| can depend on dances.
14th century poetic forms {formes fixe} were for songs.
Mannerist Italian songs used poetic forms {strambotto} {capitolo} {oda} {frottola} and used refrain {reprisa} {frottole}.
Baroque music forms {fugue, music}| used polyphony with changing key relations. Three or four voices stated theme and modulated key, then stated counter theme, and then varied theme. Variations included imitation, canon, inversion, augmentation, and diminution.
Romantic piano music {impromptu} can depend on dances.
Romantic music {lied} {song} can restate melody but not develop theme.
Mannerist polyphonic form {madrigal}| {ballade, music} had lines of 7 or 11 syllables in varied rhyme scheme, had fugue form, was secular, and had no accompaniment. 14th-century madrigal poetic form had three stanzas, each ending with refrain.
A 14th century troubadour love song {minstrel song}| used polyphony, at royal courts.
Mannerist form {motet} was sacred fugue with voices but no accompaniment. Later secular motets used different texts in melody and harmony, were in local language, rather than Latin, and had freer rhythm.
Medieval music {musica humana} can be about soul and its relation to body.
Medieval music {musica instrumentalis} can use instrumental or voice sounds.
Medieval music {musica mandana} can be about harmony of universe or about angels.
Mannerist masses {parody mass} can paraphrase existing polyphonic works.
Baroque lyric poem or drama {pastorale}| was about shepherds and nymphs.
Romantic piano compositions {piano concerto}| have three movements: fast sonata with refrain in tonic key, slow lyric andante movement, and fast sonata or rondo. Piano plays cadenzas with trills at movement ends. Orchestra joins piano at finish.
Music {program music} can evoke ideas, events, or images.
Baroque music forms {recercar} can use one melody and theme variations.
Instrumental compositions {rhapsody}| can have free form and have joy and feeling.
Sonatas {rococo sonata} had one melody and its harmony and often used violins.
14th century poetic form {rondeau, music} used one stanza and refrain.
Fast sonatas or refrains {rondo}| can repeat new theme three times and end with a refrain. Music can use sonata form: abacada.
In 13th century, melodies can repeat at phrase ends {round, music}|, as in Sumer Is Icumen In.
Baroque music {sinfonia} can have three movements, each with different tempo.
Enlightenment and Romantic operas {singspiel} can have songs or folk songs between dialogues.
Compositions {sonata}| can have tonic-theme exposition, dominant-theme exposition, optional second dominant-theme exposition, theme development in other keys, tonic-theme recapitulation, optional second development, and final recapitulation. Sonata form has three movements: fast-slow-fast. Instrumental sonatas can have four movements: fast-fast-slow-fast. Sonata form came from sinfonia form. Sonatas, symphonies, string quartets, and concertos can use sonata form.
A 20th century music form {sprechgesang} used spoken melody with rhythm that followed instrumental music. Word notes were only approximately same as instrumental notes.
Compositions {string quartet} for first and second violin, viola, and cello can have four movements: allegro, lyrical, minuet, and allegro.
Songs can be about Latin poems, which have several stanzas {strophe, stanza}. The same music repeats for each stanza {strophic composition}, like most hymns today.
Baroque melody series {suite, music} can use one theme.
Classical compositions {symphony} have parts {movement, symphony}. Movements begin with presentation {exposition, symphony} of contrasting melodies {theme, symphony}. First theme is in tonic key. A bridge is between themes. Second theme is in dominant key. After exposition, themes expand {development, symphony}. Symphonies end with theme restatements {recapitulation, symphony}. Symphonies developed from sinfonia forms. Symphonies use fourth, fifth, octave, octave-and-fourth, octave-and-fifth, and double-octave intervals.
Musical forms {three-part form} can use sequence aba, as in minuet, scherzo, nocturne, ballade, reverie, elegy, waltz, etude, capriccio, impromptu, intermezzo, mazurka, and polonaise.
Baroque music {toccata}| can use rapid running phrases, often on organ.
Stories or descriptions {tone poem} {symphonic poem} can use nature imitation or human emotion and be romantic, descriptive, and freeform.
Musical forms {two-part form} can use sequence ab or aab, as in allemande, courante, saraband, gigue, gavotte, passpied, bourée, and loure.
14th-century poetic forms {virelai} {ballato} can have three stanzas and refrain at beginning and end.
Starting in the 12th century, music {conductus} can accompany priest movements.
Mannerist masses {cyclic mass} can use repeating parts.
Biblical passages were official late-Middle-Ages Catholic Church music {Gregorian chant}|. Gregorian chants use one note per syllable {syllabic style} and one of eight key modes. Modes have different intervals between tones and so have different moods. Modes have a central tone {reciting tone} for melody, a tone {ambitus} one octave above central tone, and a tone {final tone} on which music ends.
Catholic Church music {mass, music} {missa} can be for communion thanksgiving service {Eucharistic Service} {Liturgy of the Faithful}, held daily between terce and sept.
parts
Mass starts with preparation {Preface, mass} followed by main events {Sacrifice, mass}. The Sacrifice has three parts: offering {Offertory, mass}, blessing {Consecration}, and partaking {Communion}. Congregations or priests sing mass parts that stay the same {ordinary, mass}. Parts that change daily {proper, mass} are refrains or chants.
Singers can read or intone the lessons using mainly one pitch {lection tone}. Psalms use music phrases in which pitch {psalm tone} rises, plateaus, and then falls.
Preface
First part {Introit} is the entrance and has an antiphon refrain. Next comes the psalm verse, different for different days of year. Next comes the doxology. Next comes Kyrie Eleison (Lord have mercy). Next comes the optional gloria: "Glory to the Father, and to the Son, and to the Holy Ghost" (Gloria Patri) or "Glory to God in the highest" (Gloria in Excelsis Deo). Next comes Te Deum Laudamus (We praise thee God). After the prayers and the lesson, a song {gradual, mass} precedes a rejoicing song {alleluia}, on regular days, or a sad song {tractus, mass}, for penitence or mourning days. Gloria, gradual, and alleluia or tractus change daily. After the Bible lesson comes a song {credo, mass} (creed).
Sacrifice
The Sacrifice has five steps {Sequentia}. First is the Offertory refrain, different every day. During Consecration, a song {sanctus} (holy) accompanies canon prayers, and a priest sings the Lord's prayer. During Communion, a choir sings Agnus Dei (Lamb of God). After Communion, a choir sings a refrain, and mass ends with a song {dismissal, mass}.
Renaissance
Renaissance masses used same phrase at ordinary-part beginnings {head-motif} or same melody for all mass parts {cantus firmus}.
prayers
Dominus Vobiscum (The Lord be with you) can precede formal prayers. Ave Maria (Hail Mary) is a three-part prayer but is not in the mass.
Baroque devotional songs {oratorio}| can use dialogue form.
After church service, organ plays hymn or hymn-like music {postlude}.
Baroque and Romantic free music form {prelude}| was fantasy, elegy, impromptu, or aria.
Music {processional}| can accompany entrance to ceremony.
Music {recessional}| can accompany exit from ceremony.
Catholic-Church choir sings response {refrain, music}. Choir typically divides into two halves that alternately sing parts.
Masses {requiem}| for resting of the dead omit regular alleluias, doxologies, and blessings. Parts are Requiem (rest), Kyrie Eleison (Lord have mercy), Sequentia Dies Irae (day of wrath), Sequentia Tuba Mirum (wondrous trumpet), Sequentia Rex Tremendae (majestic king), Sequentia Recordare (remember), Sequentia Confutatis (confounded), Sequentia Lacrimosa (mournful), Offertorium Domine Jesu (Lord Jesus), Offertorium Domine Hostias (Lord of hosts), Sanctus (holy), Benedictus (blessed), Agnus Dei (Lamb of God), and Communion.
Catholic Church music {responsorial chant} can use soloist and choir singing alternately. Responsorial chants can use melisma. Chants can add troping.
Conductus used Latin poems with several stanzas {strophe, music}. Singers sang harmonic parts together, but long melisma can extend syllables.
Each stanza can have different music {through-composition}.
Chants can add personal non-Biblical words and music {trope, chant} {troping}. Tropes can follow chant {sequence, trope}. The first harmony started at end of 9th century, when singers sang trope and chant end simultaneously.
Baroque dances {allemande} can be slow and in 4/4 time.
Baroque dances {bourée} can be in 3/4 time.
Fast Baroque dances {courante} can be in 4/4 time.
Baroque dances {gavotte, music} can be in 3/4 time.
Fast Baroque dances {gigue, dance} can be in 4/4 time.
Romantic piano music {mazurka, music}| can depend on a dance.
Baroque dances {minuet, music}| can be in 3/4 time.
Romantic piano music {nocturne}| can depend on dances.
Romantic piano music {polonaise, music} can depend on dances in 3/4 time.
Slow Baroque dances {sarabande} can be in 4/4 time.
Romantic piano music {scherzo} can depend on dances.
Romantic piano music {waltz, music} can depend on dances in 3/4 time.
Musical plays {opera} can use music in speaking parts as well as songs.
Opera songs {aria}| have one {soloist}, two {duet}, three {trio}, four {quartet}, five {quintet}, six {sextet, music}, or more singers.
Baroque arias {da capo aria} can use two stanzas, with first stanza repeated.
First operas {French opera} used Enlightenment and Romantic ideals.
Operas {grand opera} can be about historical themes, religion, and passion.
Baroque overtures {Italian overture} can have distinctive style.
Operas have text {libretto, opera} without written music, which singers can say melodiously or with no melody.
Comic operas {opera buffa} can have no spoken dialogue. Acts end with finales.
Operas {opera comique} can have spoken dialogue between aria and ensemble singing.
Baroque three-act operas {opera seria} had tragic theme and no comic scenes.
Operas {operetta}| {light opera} can be about humorous or personal themes.
Instruments play musical themes {overture} from opera before it starts.
Musical dialogue {recitativa} separates opera songs. Operas can have quick recitatives {secco, recitativa}. Accompanied dialogue {recitativa accompagnato} is for dramatic climaxes.
Singers sing in different ranges {choral music}. Renaissance choral singing used four singing voices that imitated melody: lowest {contratenor bassus}, tenor, second highest {contratenor altus}, and highest {cantus}.
very high {soprano}|.
middle high {mezzo-soprano}|.
higher than alto {contralto}|.
high {alto}|.
higher than tenor {countertenor}|.
middle {tenor}|.
low {baritone}|.
lower {bass, singing}.
very low {basso profundo}.
Starting in 8th century, priests and/or choirs sang Catholic-Church services daily at regular hours {daily hour} {daily offices}.
morning {matins}.
later morning {lauds}.
first {prime, daily hour}.
third {terce}.
seventh {sept, seventh}.
ninth {none, ninth}.
evening {vespers}|.
night {complise}.
20th-century music styles {tone row} {twelve-tone technique}| {12-tone technique} {basic series} can place the twelve octave tones and half tones in sequence, with no repetition, so all twelve notes have equal representation. The same intervals separate the twelve tones. The twelve tones have no special relations, and so no dissonance, consonance, or tonality. Tone rows can be original series, its inversion, its reverse, or inversion of reverse. Whole tone row can rise or fall by any pitch amount {transposition, tone row}. Tone-row notes can change to octave higher or lower. Tone-row tones can simultaneously sound in chords or counterpoint.
Renaissance choral singing {a capella}| can use no instruments except voices.
Musicians can play antiphon parts simultaneously {a tutti}.
Baroque recitation style {arioso} used more melody than before.
The twelve octave tones can have no dissonance, consonance, or tonality {atonal}|.
Repeated figures {basso ostinado} can have ground bass.
Baroque style can use extended melodic periods {bel canto}|.
Renaissance choral singing {bicinium} can use paired voices.
13th=century music {chase, music} {cacia} can repeat melody in phrase middle or use incomplete repeated phrases.
Works can have end sections {cadenza}| {cadence}. Common cadenzas are progressions from dominant or dominant seventh chord to tonic chord.
Dissonance between notes causes beat frequency {chromaticism}|. In chromaticism, leading tones point toward tonic. Chromaticism began with Bach. Mozart, Beethoven, and Chopin used it. Wagner's Tristan und Isolde uses chromaticism.
Long melisma {coda}| {caudae} can extend syllables.
Sopranos began singing without words in 17th century Italy {coloratura}|.
Harmony rose as melody fell or harmony fell as melody rose, until they met at same tone {contrary organum}.
Melody and harmony can have equal loudness {counterpoint}|.
Mannerist phrases {cross-relation} can use two tones, separated by a halftone, sung one after the other, while instruments play antiphon parts simultaneously {a tutti, Mannerism}.
Gregorian chants can have a second part above {descant}.
12th century Catholic Church music {descant style} {modified counterpoint style} {organum purum} used one, two, or three harmony notes {duplum} for each melody note. Melody was in range lower middle. A 12th century French style used two independent melodies, one moving up and the other down, with fourth, fifth, or octave intervals between simultaneous notes.
Chords can sound tense or harsh {dissonance, chord}, such as intervals major second, minor seventh, minor second, major seventh, diminished fifth, and augmented fourth. In dissonance, interval root becomes unstable. Dissonance decreases at higher frequencies, because critical bands are smaller.
In 14th and 15th century music, highest voice can sing melody, one voice can sing sixth below, and one voice can sing fourth below, so bottom two voices have third between them {faux bourdon} {false bass}. Instrument can be a voice.
In Baroque period, one bass line accompanied voice {basso continuo} {thorough bass} {figured bass}. Accompanist improvised triad above bass. Bass note can be harmony fundamental note {fundamental note}, with other notes a third above each other: fundamental, third, fifth, seventh, ninth, eleventh, thirteenth, and so on.
Chords {figured chord} can have harmonic tones.
Music can use chord series {harmony}.
In polyphony, two parts can sing alternate notes {hocket}.
Chordal accompaniment to melody can move in same direction and time as melody {homophony}, as in early Italian opera.
Successive chord, harmony, or melody tones {leitmotif}| can recall past or future emotions, as in Wagner.
Music can have many notes per syllable {melisma}| {melismatic style}. Notes typically join.
Baroque music {monodic composition} {monody, music} can use one melody, which can imitate human-voice inflections.
Music {monophony} can use only one voice, which sings or plays melody. Oriental, Greek, and Gregorian monophony used complex percussion.
Mannerist music used diatonic scale and musical phrases. Mannerist and 19th century music used key to indicate mood and key changes {motif}| to indicate emotion changes. Musical phrases represented emotions. Grief and sadness used small melodic intervals. Harshness and anger used large intervals. Slow notes were for sorrow, and fast notes were for happiness. Long notes were for accented syllables, and short notes were for unaccented syllables. Minor intervals were for grief, and major intervals were for aggression. Dissonance and clashes in harmony were for harshness or bitterness. Ascending melodies denoted height, and descending melodies denoted depth. Short rapid notes were for laughter, and rests were for sighs.
First melody-phrase note can substitute for sharp or flat notes {oblique organum}.
Medieval Catholic Church music used one soloist who sang trope at constant fourth below, fifth above, or octave below melody sung by choir {organum} {parallel organum}. In England and France, trope in parallel organum was always in counterpoint.
Slow, repeated bass theme was in 3/4 time {passacaglia}.
In 13th century, Catholic-Church music and secular music began to have four independent parts {polyphony}|. Soprano soloist sang one octave above melody. Soloist sang one-fifth above melody {captus}. Choir sang melody as tenor part. Bass soloist sang one octave below melody.
organum
To maintain parallel organum, singers used occasional sharp or flat notes or substituted first melody-phrase notes for sharp or flat notes. Harmony rose as melody fell, or harmony fell as melody rose, until they met at same tone.
instruments
Instruments played tenor, contratenor, and highest part {triplum, music part}.
endings
Harmonic cadences in stanza middle {open ending} or end {closed ending} divided music into phrases.
Romantic music styles {serial technique} can use tone sequences. One note sequence follows regular time and emphasizes unity and harmony. Another note sequence contrasts with regular time and emphasizes variety and discord, making irregular rhythm and dissonance.
Baroque bass instruments were for harmony and contrasted with melody {stile concertato} {concerted style}.
Baroque music used rapid succession of 16th notes to express wrath and indignation {stile concitato} {excited style}.
Camerota groups staged Baroque plays with singing and invented musical recitation style {stile recitativa}.
In 14th century, music started to combine perfect and imperfect time. Tenor voice used one rhythmic pattern {tolca} and one style {isorhythm} {syncopation}|.
Number of chord notes {texture, chord} can be several tones {thin texture} or many tones {rich texture}.
Bells {tocsin} can warn or sound alarms.
Tonic note can be central note {tonality} {tonal music}. Chord inversion relates each note to tonic note.
Three tones or halftones {triad, music} can have thirds between them.
types
Minor third can follow major third {major triad}, so triad can have fundamental, major third, and perfect fifth tones. Major third can follow minor third {minor triad}, so triad can have fundamental, minor third, and perfect fifth tones. These two triads are the most-consonant chords.
Major third can follow major third {augmented triad}. Minor third can follow minor third {diminished triad}.
dominance
Triad can use the fundamental as dominant tone {dominant triad}. Triad can use tonic as fundamental tone {tonic triad} {tonic chord}. Triad can use fundamental as subdominant tone {subdominant triad}. Triad lowest tone can be not the fundamental {inverted triad}.
Organ stop {voix celeste} {celeste} uses pipes tuned sharp or flat to produce beats when used with main pipes.
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Date Modified: 2022.0225