Musical Elements Glossary (GSMIRTH)

www.alevelmusic.com © Tom Pankhurst, King Edward VI, Stourbridge Musical Elements Glossary (GSMIRTH) Genre Genre Genre refers to general types of composition such as string quartet, sonata, symphony or madrigal. It is sometimes used to refer to styles of music (see below), but it is best reserved for more general categories. This is because a single genre might include music written in a number of different styles; a string quartet, for example, could be Neo-Classical or Modernist in style. Genre is used in a slightly different way when talking about pop music – it is often used to refer to different styles such as Britpop or Reggae. Be careful in exams not to confuse genre and period – Classical is not a genre. Period Period refers to the rough divisions of musical history into eras such as Renaissance, Baroque, Classical, Romantic and Twentieth Century. However, these periods were invented by historians long after they had finished, so individual composers and pieces do not necessarily fit into them neatly. Pieces of music that sound obviously Classical were written before the ‘Classical Period’ started and persisted into the Romantic era (e.g. in Brahms and Schubert). More detailed information on the main historical periods can be found in the Short History of Music section of this course book starting on page 47. Style Style refers to music written in a smaller time-span, location or by a particular group of composers. One example is the early Classical Sturm und Drang style (a stormy and turbulent style found in the Haydn Symphony in the anthology); another example is the early twentieth century Impressionist style, which is used to describe the music of French composers such as Ravel and Debussy. Writers sometimes use style to refer to the way music was written in a particular period (e.g. the piece is very Classical in style). Some key instrumental genres Orchestral (see notes under Instrumentation for more details of the orchestra in different eras) Concerto grosso – usually solo group plus strings & continuo (Baroque, 1680 ono.) Suite – collection of dance movements often with an overture or prelude, more often for smaller ensemble but occasionally for larger groups (e.g. Bach and Handel) Solo concerto – solo instrument and orchestra (mostly Classical onwards) Symphony – large-scale orchestral work for strings plus variety of wind, brass and percussion (Classical onwards) Overture/tone poem – as symphony but a single-movement work (there are also overtures in the Baroque suite) Chamber Trio sonata – continuo plus two melody instruments (Baroque) Solo sonata – solo instrument plus piano (Classical onwards) String quartet – two violins, viola and cello (Classical onwards) Piano trio/quartet – piano, violin and cello plus viola for quartet (Classical onwards) Wind quintet – flute, oboe, clarinet, horn and bassoon (late Classical onwards) Brass quintet – two trumpets, horn, trombone and tuba (twentieth century) 33 www.alevelmusic.com © Tom Pankhurst, King Edward VI, Stourbridge Keyboard/solo Solo harpsichord or organ (late Renaissance or Baroque): • prelude, toccata, canzona – highly embellished with an improvisatory feel • fugue – a movement with a series of imitative fugal expositions alternating with episodes (Baroque) • dance-like movements from a partita or suite (Baroque) • variations on a theme or basic harmonic progression Solo piano (Classical onwards) • sonata – three or four movement work • variations on a theme • character piece – shorter expressive pieces such as the bagatelle, impromptu, prelude and nocturne (Romantic) Solo violin/cello/flute suite or partita (mostly Baroque) Some key vocal genres (A2: see more detailed breakdown with composers on page 69) Solo songs (accompanied by lute or piano) • Air – English songs most often accompanied by lute (Renaissance) • Lied – German songs accompanied by piano (late Classical/Romantic onwards) • Chanson – French songs accompanied by lute/keyboard (Renaissance) or piano (Romantic onwards) Secular vocal/choral • Madrigal – most likely a cappella and largely polyphonic in Italian or English (Renaissance/early Baroque) • Opera (Baroque onwards – always accompanied at least by continuo and usually by orchestra) o Baroque – mostly Italian (opera seria) and French with quite dry recitative and more elaborate arias (French have more chorus and dance numbers) o Classical – dominated by the more light-hearted opera buffa (Italian) with similar comic genres in France (Opera comique) and Germany (Singspiel) styles. o Romantic – Bel canto (virtuosic early Romantic Italian opera) eventually gave way to a wider range of operatic styles. The most famous are Verdi’s more forceful and direct way of writing, Puccini’s more dramatic and obviously Romantic style, and the works of Wagner, who placed more emphasis on the orchestra and used both motivic devices and chromatic harmony to achieve a distinctive and expressive way of creating operatic drama. Sacred vocal/choral • Cantata (late Baroque German) – solo, chorus, chorale with an instrumental accompaniment & continuo; German text; non-liturgical (it is hard to tell between a short extract from Cantata and one from an Oratorio – an oratorio would usually be an acceptable answer in an exam) • Mass – in Latin; liturgical (Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei) o Late Renaissance – a cappella; refined polyphonic style o Baroque – as cantata above but liturgical Latin o Classical – choir and Classical orchestra plus soloists o Romantic onwards – more operatic or in any C20 style • Oratorio – as opera above but with sacred, vernacular, non-liturgical texts • Motet (mostly Renaissance) – Latin, non-liturgical, usually a cappella and polyphonic (occasional Romantic and C20 examples are usually a cappella; Gabrieli wrote antiphonal motets with instruments as well) • Anthem – English, in the Renaissance this would usually be a cappella (with the exception of the verse anthem below) but from the nineteenth century often accompanied by organ • Verse anthem – English, accompanied, alternating solo and chorus (late Renaissance) 34 www.alevelmusic.com © Tom Pankhurst, King Edward VI, Stourbridge Structure and form Identification of sections In order to identify a musical form, you need first to divide a piece into broad sections that are either the same (e.g. A, A), similar (e.g. A, A’) or contrasting (e.g. A, B). Breaks between sections are often articulated by devices such cadences, rests and repeats. One of the most common ways of creating contrast between sections is to have different melodic material, but many pieces rely on other types of contrast instead. It is common, particularly in the Baroque era, for the main contrast between two sections to be their tonal shape (e.g. I-V and V-I). Type of musical form used • Binary (||: A :||: B :||) – two sections; often repeated; in tonal music it is common for the A section to modulate from the tonic to the dominant or relative major with the B section returning to the tonic • Rounded Binary (||: A :||: BA’ :||) – as binary, but the B section is rounded off with a repeat of the A section modified to return to the tonic • Ternary (ABA) – three sections in which each section is typically closed (i.e. tonic to tonic) but with the B section in a contrasting key • Ritornello (Ritornello 1 Episode 1 Rit. 2 Ep. 2 etc.) – a Baroque form in which contrasting material is interspersed with repeating ritornello sections, that are often abbreviated and in a range of closely related keys • Rondo (ABACADA) – a Classical form in which contrasting sections are interspersed with repeats of the A section, which usually remains in the tonic • Sonata form – a Classical form in which an exposition sets out two main groups of ideas (usually in the tonic and a contrasting key) which are repeated in a recapitulation, everything is repeated but transposed to the tonic. There is usually a development section in between, where the material is reworked in a range of contrasting keys before returning to the dominant in order to prepare for the recapitulation. It is common for introductions, codettas and codas to be added to this scheme (see below) • Sonata-Rondo (ABACAB) – a mixture of sonata and rondo form in which the initial AB corresponds to the exposition, AC corresponds to the development and the final AB to the recapitulation • Strophic – a setting of a poem in which the same music is repeated for each stanza (or verse) • Through-composed – a setting of a poem in which new music is composed for each section Parts of a musical form • Introduction – an extra section added onto the beginning of a structure • Exposition – section in a sonata form in which the main themes are introduced, usually in the tonic and a contrasting key • Recapitulation – section in a sonata form in which the main themes return transposed to the tonic • Development – section in a sonata form in which the music modulates through a variety of keys, usually reworking some or all of the material from the exposition • Coda – a closing section added to the end of a piece which emphasizes the sense of arrival at the end (and in a tonal piece re-emphasizes the tonic) • Codetta – like a coda, but at the end of a section such as the exposition (in a tonal piece re- emphasizing the contrasting key) • Intro / outro – the usual terms for the introduction and closing section of a pop song • Break – a solo instrumental section in a pop song • Turnaround – a progression that ends on V in preparation for the return of the chorus • Bridge – an extra section that connects a verse to a chorus in a pop song • Middle eight – a section with contrasting harmony in between a verse and a chorus in a pop or jazz number 35 www.alevelmusic.com © Tom Pankhurst, King Edward VI, Stourbridge Tonal structure In tonal music, the keys of the main sections of a piece and the modulations between them are a vital part of the structure. In some forms, the tonal structure of the piece is the most important aspect of its construction.

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