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GLOSSARY the Following Terms and Concepts Are Studied in Analytical Techniques I and II. in General, the Items in Bold Typeset

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GLOSSARY the Following Terms and Concepts Are Studied in Analytical Techniques I and II. in General, the Items in Bold Typeset GLOSSARY The following terms and concepts are studied in Analytical Techniques I and II. In general, the items in bold typeset are discussed in Analytical Techniques II, while the items in regular typeset are studied in Analytical Techniques I. Aggregates (in 12-tone technique) Allen Forte’s List (set-theory) Altered dominant chords Altered predominant chords Altered transition (in sonata form) Answers: real vs. tonal (in fugue) Ars Antiqua Ars Nova Augmentation (rhythmic) Augmented dominant chords Augmented-sixth chords: 3 types Augmented-sixth chords: voice leading Axis System Baroque period Basso continuo Binary form Bitonality Cadences (in Medieval and Renaissance music) Cadences (in tonal music) Cadence rhyme (in binary form) Cadential episode (in fugue) Cadenza (in classical concerto) Caesura Canon vs. imitation Cantus firmus Cantus firmus mass Centric vs. Tonal music Chaconne Change of mode Changing meter Character pieces (Romantic period) Chorale prelude Chords of addition Chords of omission Chromatic mediants: 3 types Chromatic modulation Chromatic scale Church modes Circle-of-fifths progression Closely related keys Closing (in sonata form) Coda Codetta Color (in isorhythmic technique) Combinatoriality (12-tone) Common-tone augmented chord Common-tone diminished chord Common-tone dominant chord Common-tone modulation Compound melody Compound ternary form Concertato Concerto form Concerto grosso Continuous variation Counter-exposition (in fugue) Counterpoint Counter-reformation Crab canon Cross rhythm Da capo Dance suite (Baroque period) Derived series (set-theory) Development (in sonata form) Developmental episode (in fugue) Diminution (rhythmic) Dominant prolongation Double Double counterpoint Dual modality Dyad Eingang Elastic notation Enharmonic equivalence Enharmonicism Episode (in fugue) Exposition (in fugue) Exposition (in sonata form) Expressionism Extended techniques (modern music) Extended tertian chords Figured bass First Viennese School Free atonality Free tonality Fugato Fughetta Fugue Golden mean (Golden section) Golden ratio Graphic notation Hauptstimme (Hauptsatz) Hemiola Homophonic vs. contrapuntal texture Hypermeasures Impressionism (music) Indeterminacy (aleatory, chance music) Integer notation Intermedi, intermezzi, intermedio Internal exposition Interval vector (set-theory) Interval-class content (set-theory) Inversion (set-theory): TnI Inversional symmetry (set-theory) Invertible counterpoint Irregular (asymmetrical) meter Isorhythm L’homme armé Leitmotif Linear cadences Linear chromaticism (chromatic voice leading, late Romantic) Madrigal Madrigal cycle Magic square matrix (12-tone) Mass (the Ordinary) Medial caesura (in sonata form) Medieval period Mensuration Metric modulation Metric strata Minimalism Mixed-interval chords Modal borrowing (mode mixture) Modes (in Medieval church music) Modulation Modulo-12 system Monophonic vs. polyphonic texture Motet Music Drama Musica ficta Musique concrete Nationalism Neapolitan-sixth chord Nebenstimme Neoclassicism Neoromanticism Nonaccentual meter Nonfunctional harmony Nonharmonic tones Normal form (set-theory) Nota cambiata Octatonic scale Octave equivalence Odd meter Open-fifth chords Optional dances (in Baroque suite) Ordered pitch-class intervals (set-theory) Organum (duplum, triplum, quadruplum) Ostinato Ostinatos Palindrome Pandiatonicism Parallel chords (chord planing) Parsimonious voice leading Passacaglia Pedal point (in fugue) Pedal tone Pentatonic scale Period vs. double period Phrase/direct modulation Phrygian-half cadence Pitch class (set-theory) Pitch interval (set-theory) Pitch-class intervals (set-theory) Pitch-class sets (set-theory) Pivot/common chord modulation Pointillistic texture (modern music) Polychords Polymeter Polyrhythm Polytonality Post-Romantic period Prima pratica vs. Seconda pratica Prime form (set-theory) Primitivism Progressive aspects of Brahms Prolongation (of a harmony) Protestant Reformation Quartal chords Quintal chords Recapitulation (in sonata form) Recitative Re-exposition (in fugue) Refrain Regression vs. progression Renaissance period Retransition (in sonata form) Ripieno Ritornello Ritornello form Romantic period Rondo (3-, 5-, 7-part) Rounded binary Scale degree names Second Viennese School Second Viennese School composers Sectional variations Secundal chords Segmentation (set-theory) Sequence Serialism Set-class (set-theory) Seven modes (twentieth century practice) Shifted accents Solmization Solo, soli Sonata form Sonata-rondo form Sonatina (sonatine) Sound mass Sprechstimme Stock bass, ground bass Stretto (in fugue) Strophic (vocal music form) Subject (in fugue) Symmetrical chords Symmetrical scales Symphonic poems Synthetic scales Talea (in isorhythmic technique) Tenor (in Medieval/Renaissance music) Ternary form Tertian chords with added notes Text painting Text setting (3 types) Third-relationship cadences Third-relationship chords TOARB (form) Tonally closed vs. open (in binary) Total serialism Transition (in rondo form) Transition (in sonata form) Transposition: Tn (set-theory) Transpositional symmetry (set-theory) Trio sonata Triple counterpoint Trough-composed (vocal music form) Tutti Twelve-tone rows (4 types) Twelve-tone technique Unordered pitch-class intervals ( in set-theory) Well-Tempered Clavier Whole-tone chords Whole-tone scale X-section Z-relation (set-theory) .
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