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)