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28 Cards in this Set

  • Front
  • Back
The orchestral compositions built upon literary or other extra-musical ideas used by Romantics were called
A new symphonic form that mated literary and musical concepts was called the
concert overture
__________, a Russian composer who studied law as a young man, became a cosmopolitan composer more influenced by the West than by his native land.
Peter Tchaikovsky
Romantic multimovement symphonic compositions which had literary and programmatic orientations were called __________ symphonies.
__________, who originally studied to become a doctor, later entered the Paris Conservatory and won the Prix de Rome, whereupon he left Paris for a year of study in Italy.
Hector Berlioz
Each of the following was a feature of Berlioz's Symphonie Fantastique except
-the symphony quotes a plainchant called the Dies irae.
-it is a program symphony.
X the music closely follows the forms of the Classical symphony.
-he used a melody called the idée fixe to represent his beloved.
The program (storyline) of the Fantastic Symphony includes all of the following except
-the Artist sees his beloved at a ball.
-the Artist eventually kills his beloved.
X the Artist witnesses a Witches' Sabbath.
-the Artist finally kills himself.
Berlioz had an enormous influence on orchestral music, due to all of the following except
X he had a long career as a composition teacher at the Paris Conservatory.
-he wrote the first important book on orchestration.
-he expanded the size of the orchestra and the variety of instrumental sonorities within it.
A one-movement orchestral work conceived as a kind of "poem without words" was called
symphonic poem
Examples of symphonic or tone poems are Liszt's "Les Preludes" and Smetana's "The Moldau."
Franz Liszt created the __________, a major innovation in the field of Romantic orchestral music.
symphonic poem
All of the following were ardent musical nationalists except
X Brahms
Instrumental music based upon abstract principles of music rather than upon a text or program is called __________ music.
All of the following were characteristic of the nineteenth-century concerto except
X like other forms of symphonic music, the concerto reflected the change from the Classical to the Romantic style.
-more lyrical melodies and colorful orchestration were evident.
-nineteenth-century composers continued to leave their cadenzas to the improvisation of the performer.
-virtuosity of the performer was emphasized.
__________ was born in Hamburg, Germany, in the same year that Abraham Lincoln was born in Hardin, Kentucky, but had every advantage of education and experience his wealthy family could offer.
Felix Mendelssohn
When Mendelssohn was only twenty years old, he organized and conducted J. S. Bach's __________ in its first performance in a hundred years.
St. Matthew Passion
(T/F) Felix Mendelssohn wrote a set of piano pieces called Songs without Words.
__________ was an outstanding pianist and composer, as was her more famous brother.
Fanny Mendelssohn
All of the following composers continued to compose in the Classical symphonic form except
X Liszt.
(T/F) Although Brahms was a conservative composer who admired the style of Bach and Mozart, he disdained the emotionalism of Beethoven.
one movement orchestral composition, often inspired by literature and dramatic expression, yet generally subject to analysis according to Classical principles of form
concert overture
several sections of varying character drawn from a larger work, such as ballet
orchestral suite
multimovement orchestral work whose form is based on programmatic concepts
program symphony
The term Berlioz used for the melody representing the loved one in his "Symphnie fantastique."
idee fixe
variation of thematic or melodic material for programmatic purposes
-sometimes called metamorphosis
thematic transformation
-Gregorian chant for the dead
-the words are a part of the Requiem Mass.
-the Gregorian melody is frequently used, or parodied, for programmatic purposes
Dies irae
rythmic technique in which note values are halved, doubling the tempo
one-movement orchestral piece whose form is based on programmatic principles
symphonic poem, tone poem