Musicianship 2A Glossary of Terms Revision

Vocabulary flashcards for Musicianship 2A Exam Revision

Dissonance

Intervals of 2nds, 7ths, augmented and diminished intervals; Perfect 4th when above the bass

Fugue

Contrapuntal composition with a single theme (subject) introduced by one voice and successively imitated by others.

Cantus firmus

'Fixed song'; a pre-existing melody forming the basis of a polyphonic composition.

1st species counterpoint

Counterpoint where there is one note for every cantus firmus note.

Figured bass

Shorthand notation used in the Baroque era; numbers under the bass line indicate intervals to be played above the bass.

Antecedent

The first phrase used in a period, often ending in a half cadence.

Common ornaments

Trill, Mordent, Appoggiatura, Turn (Gruppen)

Mensuration

System of rhythmic notation using note shapes and signs to indicate durations and meter; a precursor to modern time signatures.

Gruppen

Turn-like, short figures, often improvisatory, that embellish or transition between notes.

Episode

A passage in a fugue that does not contain the full subject but often develops motives from it, providing contrast or transition.

Type 3 sonata

Standard sonata form: Exposition-Development-Recapitulation

Thematische Arbeit

Thematic development used in sonata development section involving fragmentation, sequence, modulation, and transformation.

Period

A larger unit consisting of an antecedent and a consequent phrase.

Comes

Latin for 'follower'; the second voice that states the answer the first time in a fugue.

Type 1 sonata

Sonata form without development (Sonatina form/Slow movement form/Exposition-recapitulation form); often used in slow movements and fast overtures with no repeats. Recap: Primary theme in tonic, Transition and subordinate theme rewritten in tonic.

Theme

Main melodic idea.

Canon

A strict form where one voice exactly imitates another at a fixed distance and interval.

Essential Structural Closure (ESC)

Cadence in tonic key confirming end of recapitulation.

2nd species counterpoint

Counterpoint where there are 2 notes for every cantus firmus note.

Link

Short connective passage between entries of the subject and answer in a fugue; often used to modulate or transition smoothly.

Affectenlehre

Theory that music should evoke specific emotional states ('affections'); often uses standardised musical gestures (e.g., 'sighing', joy, sorrow, anger, etc.).

Dux

Latin for 'leader'; the first voice to state the subject in a fugue.

Consequent

Second phrase in a period; typically resolves with a full cadence.

Type 4 sonata

Sonata-rondo form: ABACABA

Answer

Second entry of the subject in a different voice in a fugue, usually transposed (often to the dominant). Real - exact transposition. Tonal - slightly altered to fit the key.

Organum

Early polyphony where a plainchant melody is combined with one or more additional voices in harmony, often at a fixed interval.

Type 2 sonata

Two-part form with developmental space but no full thematic recapitulation; often used in finales.

Essential Expositional Closure (EEC)

Full cadence in the new key in a sonata.

Chant

Monophonic, unaccompanied sacred song of the Roman Catholic Church. Syllabic - 1 note per syllable. Melismatic - Multiple notes per syllable.

Fortspinnung

Baroque melodic process where a short motive is spun out through sequences, fragmentation, and modulations, often leading to a cadence.

Type 5 sonata

Concert-sonata form: Double exposition (tutti-solo)-Development-Recap

Sequences

Repetition of a musical idea at different pitches, ascending or descending.

Consonance

Perfect: 1, 5, 8 Imperfect: 3, 6

Sonata exposition

Primary theme (P); Transition (Tr) - V of maj keys, relative maj of min keys; Medial caesura?; Subordinate theme (S) - EEC; Closing zone (C)

Expanded Type 1 sonata

Recapitulation is expanded with variations in Primary theme

Sentence

Phrase structure built from a short idea. Repeated or varied. Followed by a continuation and cadence.

Ground bass

Repeated bass pattern over which changing harmonies and variations are played. Unchanging bass pattern

Motives

Short, identifiable musical ideas. Melodic, rhythmic, harmonic

Baroque dance types

Allemande - slow, 4/4 or 2/2; Courante - lively, triple meter; Sarabande - slow, triple meter, emphasis on 2nd beat; Gigue - fast, compound meter, imitative/fugal texture

Empfindsamkeit

'Sensitive style'; Style emphasising expressive and sensitive music. Aimed for deep emotional contrast

Stretto

Entries of the subject overlap more closely than the exposition.

Pedal point

Sustained note (typically in bass) over which harmonies change.

PAC attenuation

Used at EEC. Cadence is achieved by texture is reduced to reduce stability or finality.

Counterpoint

Combining distinct melodic lines in a harmonious and structural manner. Polyphony

Medial caesura

Rhetorical stop - middle stop. Half cadence to V

Imitation

Melodic line is echoed/repeated in another voice. Often at a different pitch or time interval.

3rd species counterpoint

Counterpoint where there are 4 notes for every cantus firmus note.

Parageneric spaces

Sections not involved in the sonata process. Introductions. Codas

Fauxbourdon

Parallel first inversion chords. Created by writing only two voices with a third implied voice a 4th below the upper voice

5th species counterpoint

All species combined. Florid species

Diminution

Note values of the subject in a fugue are shortened.

Basso continuo

Continuous bass line that provides harmonic support.

4th species counterpoint

2nd species and ties notes over the bar line

Neumes

Graphic signs indicating musical contours. Beginning of musical notation.

Invertible counterpoint

Positions of two or more voices can be reversed (eg bottom becomes top, vice versa) without violating harmonic norms

Allemande

A dance in moderate duple time, often opening a baroque suite

Gigue

a lively Baroque dance in compound time, typically the final movement of a suite

Sarabande

A slow, stately dance in triple time