Da Capo aria: A lyric song in ternary or A-B-A form commonly found in operas, cantatas and oratorios. a lyric song in ternary or A (the theme) - B (a more tranquil, richly harmonised second section) - A (a repeat or da capo of the original theme often decorated) form commonly found in operas, cantatas and oratorios
Invention: Term used, mostly in reference to Baroque music, to denote a short, contrapuntal composition, usually implying an originality of idea, yet in a contrapuntal style and similar to a prelude or fantasia.
1. A short, contrapuntal piece.
2. a two-art contrapuntal work for keyboard, the term originally applied by Bach; today, Bach's three part contrapuntal keyboard works are also called inventions although he originally called them sinfonie
Fugue: A form of composition popular in, but not restricted to, the Baroque era, in which a theme or subject is introduced by one voice, and is imitated by other voices in succession. Usually only the first few notes of the subject are imitated exactly, then each voice deviates slightly until the next time it enters again with the subject. Generally the voices overlap and weave in and out of each other forming a continuous, tapestry-like texture. (English, French), fuga (Spanish, Italian), Fuge (German). (French f., English) a contrapuntal form that is built from a single subject and has an exposition where all voices state the subject in turn, alternating tonic and dominant entrances. The fugue continues with various contrapuntal artifices which may include restatement of the subject, stretto, subject manipulations (fragmentation, inversion, retrograde, augmentation, etc). The fugue usually has several sections that are a combination of subject-sections, episodes, counterexpositions, stretti, etc. in the early 17th-century, there was no clear definition for the word 'fugue'. The word fuga first appeared as another word for a 'canon' with works by Oswald von Wolkenstein (1377-1445). It then changed its meaning to 'freely imitative paraphrases of another vocal work' in pieces by Leonhard Kleber (1490-1556) and Bernhard Schmid the Younger (1555-1625) defined the 'fugue' as canzona alla francese. Gabrieli and Maschera (late 16th century) both called their instrumental canzonas 'fugues'. It was the 'fugues' in the Woltz tablature in 1617 by Simon Lohet (1550-1611) that follow the meaning that we use today
1. Flight." A contrapuntal piece, in which two or more parts are built or "layered" on a recurring subject that is introduced alone, and followed by an answer, which is the subject (or theme) at a different pitch, usually the fifth.
Prelude:
1. An instrumental composition intended to introduce a larger composition or a set of compositions.
2. A short composition for piano.
3. A composition which establishes the key for a composition that immediately follows.
4. "Play-before". An introductory movement or work.
5. from the Latin praeludium, literally 'a piece played before another') a piece that is played before another piece or group of pieces, serving as an introduction
6. in the 16th-century, the prelude became more improvisatory, more like a toccata, fantasia, anabole, ricercar, preambulum and prooemium
Fantasy: An instrumental composition in which a composer yields to his imagination in regard to form and organization of the composition. A fantasia follows no particular pattern or form, and is generally of fairly large dimensions. In the Baroque era it often served as an introductory composition to a fugue.
The fantasia (also English: fantasy, German: fantasie, French: fantaisie) is a musical composition with its roots in the art of improvisation. Because of this, it seldom approximates the textbook rules of any strict musical form.
In the Baroque and Classical music eras, a fantasia was typically a piece for keyboard instruments with alternating sections of rapid passagework and fugal texture. From the Baroque period, J. S. Bach's Chromatic Fantasia and Fugue, BWV 903, for harpsichord; Fantasia and Fugue in G minor, BWV 542, for organ; and Fantasia and Fugue in C minor, BWV 537, for organ are examples. For an example from the Classical period, see Mozart's Fantasia in D minor, K. 397 (see Köchel) for fortepiano. In contemporary music, Busoni's Fantasia Contrappuntistica or Corigliano's Fantasia on an ostinato are examples of a fantasia.
The term also referred in the Baroque era (more specifically British Tudor music) to pieces for viols, characteristically- though not always- alternating, in this case rapid fugal sections with slower sections in slow notes and sometimes clashing harmonies. According to the Oxford Concise Dictionary of Music's entry the instrumental fantasia was closely related in its history and form to the motet. Henry Purcell's fantasias are the last Baroque representatives of the breed, although Walter Willson Cobbett, in the opening decades of the 20th century, attempted to resurrect something of this style via a competition, to which works like John Ireland's and Frank Bridge's phantasie-trios, Benjamin Britten's phantasie-quartet (for oboe and strings) and other music owe their existence.
In the Romantic period, two contradictory trends greatly affected the fantasia: one was the decline of formal improvisation as a test of the compositional technique; the other was the move by composers toward freer forms. Chopin's Fantasy in F minor op. 49, combines various keyboard textures of the stile brillante with the classical sonata paradigm, resulting in a work of unorthodox but sophisticated form. Schumann's numerous 'fantasy pieces' are character works on a smaller scale, often bearing descriptive titles.
1. Fantasy, Fantasia, Fantaisie: A piece in free style and form.
2. a piece with an improvisatory feel to it
3. a consort piece for viols, recorders, etc. with a strongly contrapuntal flavour
4. a 'paraphrase' or potpourri
Toccata: A fantasia-like composition for a keyboard instrument that displayed virtuosity in the art of "touching" the keyboard. In the Baroque era the toccata often served as an introduction to a fugue.
1. from the Italian toccare meaning 'to touch') a piece of music for keyboard intended as a virtuosic display. A toccata is often the prelude to a fugue
2. in the 16th-century, synonymous with anabole, fantasia, ricercar, prelude, preambulum and prooemium
Researched by Sein Thein
Invention: Term used, mostly in reference to Baroque music, to denote a short, contrapuntal composition, usually implying an originality of idea, yet in a contrapuntal style and similar to a prelude or fantasia.
1. A short, contrapuntal piece.
2. a two-art contrapuntal work for keyboard, the term originally applied by Bach; today, Bach's three part contrapuntal keyboard works are also called inventions although he originally called them sinfonie
Fugue: A form of composition popular in, but not restricted to, the Baroque era, in which a theme or subject is introduced by one voice, and is imitated by other voices in succession. Usually only the first few notes of the subject are imitated exactly, then each voice deviates slightly until the next time it enters again with the subject. Generally the voices overlap and weave in and out of each other forming a continuous, tapestry-like texture. (English, French), fuga (Spanish, Italian), Fuge (German). (French f., English) a contrapuntal form that is built from a single subject and has an exposition where all voices state the subject in turn, alternating tonic and dominant entrances. The fugue continues with various contrapuntal artifices which may include restatement of the subject, stretto, subject manipulations (fragmentation, inversion, retrograde, augmentation, etc). The fugue usually has several sections that are a combination of subject-sections, episodes, counterexpositions, stretti, etc. in the early 17th-century, there was no clear definition for the word 'fugue'. The word fuga first appeared as another word for a 'canon' with works by Oswald von Wolkenstein (1377-1445). It then changed its meaning to 'freely imitative paraphrases of another vocal work' in pieces by Leonhard Kleber (1490-1556) and Bernhard Schmid the Younger (1555-1625) defined the 'fugue' as canzona alla francese. Gabrieli and Maschera (late 16th century) both called their instrumental canzonas 'fugues'. It was the 'fugues' in the Woltz tablature in 1617 by Simon Lohet (1550-1611) that follow the meaning that we use today
1. Flight." A contrapuntal piece, in which two or more parts are built or "layered" on a recurring subject that is introduced alone, and followed by an answer, which is the subject (or theme) at a different pitch, usually the fifth.
Prelude:
1. An instrumental composition intended to introduce a larger composition or a set of compositions.
2. A short composition for piano.
3. A composition which establishes the key for a composition that immediately follows.
4. "Play-before". An introductory movement or work.
5. from the Latin praeludium, literally 'a piece played before another') a piece that is played before another piece or group of pieces, serving as an introduction
6. in the 16th-century, the prelude became more improvisatory, more like a toccata, fantasia, anabole, ricercar, preambulum and prooemium
Fantasy: An instrumental composition in which a composer yields to his imagination in regard to form and organization of the composition. A fantasia follows no particular pattern or form, and is generally of fairly large dimensions. In the Baroque era it often served as an introductory composition to a fugue.
The fantasia (also English: fantasy, German: fantasie, French: fantaisie) is a musical composition with its roots in the art of improvisation. Because of this, it seldom approximates the textbook rules of any strict musical form.
In the Baroque and Classical music eras, a fantasia was typically a piece for keyboard instruments with alternating sections of rapid passagework and fugal texture. From the Baroque period, J. S. Bach's Chromatic Fantasia and Fugue, BWV 903, for harpsichord; Fantasia and Fugue in G minor, BWV 542, for organ; and Fantasia and Fugue in C minor, BWV 537, for organ are examples. For an example from the Classical period, see Mozart's Fantasia in D minor, K. 397 (see Köchel) for fortepiano. In contemporary music, Busoni's Fantasia Contrappuntistica or Corigliano's Fantasia on an ostinato are examples of a fantasia.
The term also referred in the Baroque era (more specifically British Tudor music) to pieces for viols, characteristically- though not always- alternating, in this case rapid fugal sections with slower sections in slow notes and sometimes clashing harmonies. According to the Oxford Concise Dictionary of Music's entry the instrumental fantasia was closely related in its history and form to the motet. Henry Purcell's fantasias are the last Baroque representatives of the breed, although Walter Willson Cobbett, in the opening decades of the 20th century, attempted to resurrect something of this style via a competition, to which works like John Ireland's and Frank Bridge's phantasie-trios, Benjamin Britten's phantasie-quartet (for oboe and strings) and other music owe their existence.
In the Romantic period, two contradictory trends greatly affected the fantasia: one was the decline of formal improvisation as a test of the compositional technique; the other was the move by composers toward freer forms. Chopin's Fantasy in F minor op. 49, combines various keyboard textures of the stile brillante with the classical sonata paradigm, resulting in a work of unorthodox but sophisticated form. Schumann's numerous 'fantasy pieces' are character works on a smaller scale, often bearing descriptive titles.
1. Fantasy, Fantasia, Fantaisie: A piece in free style and form.
2. a piece with an improvisatory feel to it
3. a consort piece for viols, recorders, etc. with a strongly contrapuntal flavour
4. a 'paraphrase' or potpourri
Toccata: A fantasia-like composition for a keyboard instrument that displayed virtuosity in the art of "touching" the keyboard. In the Baroque era the toccata often served as an introduction to a fugue.
1. from the Italian toccare meaning 'to touch') a piece of music for keyboard intended as a virtuosic display. A toccata is often the prelude to a fugue
2. in the 16th-century, synonymous with anabole, fantasia, ricercar, prelude, preambulum and prooemium
Researched by Sein Thein
Date: April 24th, 2007
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