musikübergreifende Begriffe                Idealismus
                                                         Impressionismus
                                                         Realismus
                                                         präraffaelitisch

 Wort- Ton -Verfahren                        Programmusik
                                                         Tonmalerei
                                                        Rezitativ
                                                        deklamatorisch

 Tonsysteme                                      Kirchentonarten     (engl)
                                                         Pentatonik            (engl)
                                                         Ganztonreihen
                                                          Melodik
                                                          fernöstliche Idiome

Harmonie -Behandlung                         Parallelakkordik
                                                          Funktionsharmonik
                                                          Klangflächen
                                                          Klangfarbenexperimente
                                                          Bitonalität (engl)

Formale Kompositionsprinzipe              Sonatenhauptsatzform
                                                           rationale Verarbeitung
                                                          stilistische Hetereogenität
                                                           sparsame Linienführung
                                                           Leitmotiv
                                                           ostinat

 sonstige Fachwörter                            Parsifal
                                                           aesthetische Maximen
                                                           javanisches Gamelang-Orchester
                                                          Partitur
                                                           praeraffaelitisch
                                                           metaphysisch
 
 
 

Oper von Wagner

Partitur :  (ital.: partitura;  frz.: partition [ d'orchestre];  engl.: score)
                      ist eine notenschriftliche Aufzeichnung mehrstimmiger Musik, in der die einzelnen Stimmen so übereinander angeordnet und mit senkrecht durchlaufenden oder unterbrochenen Taktstrichen verbunden sind, dass der Verlauf der Einzelstimmen, ihre Koordination und die Zusammenklänge abgelesen werden können. Die Partitur dient in erster Linie der Niederschrift der Komposition durch den Komponisten, in zweiter Linie dem Studium und der Aufführung.

Kirchentonarten: (lat.: modi, toni, tropi)
                                    auch Kirchentöne genannt, bilden das tonale Ordnungsprinzip, die Art der Tonalität der Musik vom frühen Mittelalter bis ins 16. Jh., mit unmittelbaren Nachwirkungen bis ins 17. und 18. Jh.
 

Pentatonik: ( fünfstufige Tonreihe)
                         gehört fraglos sehr alten Kulturgeschichten an. Vielfach scheint sie den Beginn klar ausgeprägter Tonordnung ( der späteren Leiterbildung) dazustellen, beruhend auf einer Quint-Quart-Kette, z.B. c-g-d-a-e, die über dem fünften Ton nicht hinausgeht, Halbtonbildung also vermeident ( anhemitonische Pentatonik).
 

Ganztonreihen:
                                   auch Ganztonleiter genannt, ist Debussiy's Tonsystem. Es hat keinen Grundton und keine Leittonbeziehungen, z.B.  d-e-fis-gis-ais-c . Sie bekommt damit einen schwebenden und egalen Charakter.

präraffaelitischen Kantate :
 
 

Sonatenhauptsatzform:
                                              auch Sonatenform oder Sonatensatzform genannt,ist eine Bezeichnung der musikalischen Formenlehre für den formalen Verlauf eines einzelnen, meist des ersten Satzes im Sonaten-Satzzyklus der Solosonate, des Quartetts, der Symphonie, des Instrumentalkonzerts usw.
 

Heterogenität:         Verschiedenartikeit, Eigenständigkeit der einzelnen Stimmen
 
 
 
 
 
 

metaphysisch:
 

rezitativisch:  (ital. recitativo, von ital. recitare, vortragen, aufführen) sub. Rezitativ;

heißt der nach 1600 in Italien entstandene Typus des solistischen, instrumental begleitenden Sprechgesangs, der die gesprochene Rede musikalisch-deklamatorisch zu verwirklichen sucht.
 

deklamatorisch:  (von lat. declamare, laut reden, vortragen)
                                sub. Deklamation; im allgemeinen in der lateinischen Antike wie auch im Humanismus die Redeübung, dann der Vortrag einer Rede überhaupt, seit dem 18. Jh. auch die Vortragsweise.
 

• Bitonality: The simultaneous use of two tonalities or keys. This device was widely used in the first half of the 20th century by composers such as Igor Stravinsky, Sergei Prokofiev, Darius Milhaud, etc. Richard Strauss was among many other composers who disapproved of the device, arguing that the simultaneous presence of two tonalities is not easily perceived and that one tonality necessarily subordinates the other.

 
• Church Modes: The term "mode" refers to the arrangement of whole steps and half steps to form a scale. There are eight church modes which were formulated by ca. 1000 and were defined, each according to final (the pitch on which melodies in that mode end), the intervallic relationship of other pitches to the final (the scale type). There are four finals -- d, e, f, g -- and for each final there is a high ambitus, termed authentic, and a low one, termed plagal, thus yielding the total of eight modes. Pre-seventeenth century music was largely based on the church modes. Although the church modes were neglected by composers of the subsequent centuries, they have found favor again in the twentieth century by composers of both serious and popular music.

 
• Extended Tertian Chords (9th, 11th, 13th): Extended tertian chords are built using diatonic tones and are normally used in root position only. The ideal voicing places the tone that names the chord (9th, 11th, 13th) in the uppermost voice, but this is not always possible. The rule of thumb is: try to place the dissonances as high in the chord as possible. The 9th, 11th, and 13th all resolve down by step. When this is not possible, they should stay on the same note. Doubling rules: Always keep the 7th of the chord and the note that forms an interval of the 7th below the "naming tone." In the 9th chord, keep the 3rd; in the 11th chord, keep the 5th; and in the 13th chord, keep the 7th.

 
• Pedal Point: Also called pedal or organ point. It is a sustained tone in the lowest register, occurring under changing harmonies in the upper parts. In tonal music, pedal points often occur on either the dominant, preparing a climatic return to the tonic, or on the tonic, as the final statement of the tonic at the conclusion of a work.

 
• Pentatonic Scale: It is a scale consisting of five pitches: scale degrees 1, 2, 3, 5, and 6. Treated as a source of pitches for chords, it produces only two triads (for a scale, C-D-E-G-A, these are C major and A minor), which tend to compete for tonal focus. Other chords include C add6 (C-E-G-A), A minor minor 7th, quartal and quintal chords, and chords which sound like fragments of C9 and A minor 11th. The pentatonic scale contains no minor 2nds, major 7ths, or tritones.

 
• Quartal and Quintal Chords: They are chords formed by stacking perfect 4ths or 5ths on one another. Because the content of these chords is close to some extended tertian chords, we use the term "quartal" and "quintal" only when the display emphasizes them. The famous "Viennese trichord" or "Viennese quartal chord" is related to the quartal chord for it consists of a perfect 4th plus a tritone.

 
• Whole-Tone Scale: It is a scale consisting only of whole tones. It has six pitches in each octave and lacks all intervals consisting of an odd number of semitones, such as the minor 3rd and perfect 5th. The whole-tone scale has often been used to represent the sensation of floating or drifting. Tritone is associated with the whole-tone scale.