MH Chapter 13
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28 terms
Terms | Definitions |
|---|---|
 basso continuo | (Italian, 'continuous bass') (1) System of NOTATION and performance practice, used in the BAROQUE PERIOD, in which an instrumental BASS line is written out and one or more players of keyboard, LUTE, or similar instruments fill in the HARMONY with appropriate CHORDS or IMPROVISED MELODIC lines. (2) The bass line itself. |
| monody | (1) An accompanied solo song. (2) The musical TEXTURE of solo singing accompanied by one or more instruments. |
| recitative | A passage or section in an OPERA, ORATORIO, CANTATA, or other vocal work in RECITATIVE STYLE |
| opera | (Italian, 'work') Drama with continuous or nearly continuous music, staged with scenery, costumes, and action. |
| Baroque | (from Portuguese barroco, 'a misshapen pearl') PERIOD of music history from about 1600 to about 1750, overlapping the late RENAISSANCE and early CLASSIC periods. |
| affections | Objectified or archetypal emotions or states of mind, such as sadness, joy, fear, or wonder; one goal of much BAROQUE music was to arouse the affections. |
| prima pratica | (Italian, 'first practice') Claudio Monteverdi's term for the style and practice of sixteenth-century POLYPHONY, in contradistinction to the SECONDA PRATICA. |
| first practice | (Italian, 'first practice') Claudio Monteverdi's term for the style and practice of sixteenth-century POLYPHONY, in contradistinction to the SECONDA PRATICA. |
| seconda pratica | Monteverdi's term for a practice of COUNTERPOINT and COMPOSITION that allows the rules of sixteenth-century counterpoint (the PRIMA PRATICA) to be broken in order to express the feelings of a text. Also called stile moderno. |
| second practice | Monteverdi's term for a practice of COUNTERPOINT and COMPOSITION that allows the rules of sixteenth-century counterpoint (the PRIMA PRATICA) to be broken in order to express the feelings of a text. Also called stile moderno. |
| thoroughbass | (Italian, 'continuous bass') (1) System of NOTATION and performance practice, used in the BAROQUE PERIOD, in which an instrumental BASS line is written out and one or more players of keyboard, LUTE, or similar instruments fill in the HARMONY with appropriate CHORDS or IMPROVISED MELODIC lines. (2) The bass line itself. |
| continuo instruments | Instruments used to REALIZE a BASSO CONTINUO, such as HARPSICHORD, organ, LUTE, or THEORBO. |
| theorbo | Large LUTE with extra BASS strings, used especially in the seventeenth century for performing BASSO CONTINUO as accompaniment to singers or instruments. |
| figured bass | A form of BASSO CONTINUO in which the BASS line is supplied with numbers or flat or sharp signs to indicate the appropriate CHORDS to be played. |
| realization | Performing (or creating a performable edition of) music whose NOTATION is incomplete, as in playing a BASSO CONTINUO or completing a piece left unfinished by its composer. |
| concertato medium | (from Italian concertare, "to reach agreement") In seventeenth-century music, the combination of voices with one or more instruments, where the instruments do not simply double the voices but play independent parts. |
| concerto | (from Italian concertare, "to reach agreement") (1) In the seventeenth century, ENSEMBLE of instruments or of voices with one or more instruments, or a work for such an ensemble. (2) COMPOSITION in which one or more solo instruments (or instrumental group) contrasts with an ORCHESTRAL ENSEMBLE. See also SOLO CONCERTO, CONCERTO GROSS, and ORCHESTRAL CONCERTO. |
| concerted madrigal | Early-seventeenth-century type of MADRIGAL for one or more voices accompanied by BASSO CONTINUO and in some cases by other instruments. |
| sacred concerto | In the seventeenth century, a COMPOSITION on a sacred text for one or more singers and instrumental accompaniment. |
| measure | (1) A unit of musical time consisting of a given number of beats; the basic unit of METER. (2) Metrical unit set off by barlines. |
| ornamentation | The addition of embellishments to a given MELODY, either during performance or as part of the act of COMPOSITION. |
| ornament | A brief, conventional formula, such as a TRILL or turn, written or IMPROVISED, that adds expression or charm to a MELODIC line. |
| division | Type of IMPROVISED ORNAMENTATION in the sixteenth and seventeenth centuries, in which relatively long notes are replaced with SCALES or other FIGURES composed of short notes. |
| diminution | (1) Uniform reduction of NOTE values in a MELODY or PHRASE. (2) Type of IMPROVISED ORNAMENTATION in the sixteenth and seventeenth centuries, in which relatively long notes are replaced with SCALES or other FIGURES composed of short notes. |
| figuration | MELODIC pattern made of commonplace materials such as SCALES or ARPEGGIOS, usually not distinctive enough to be considered a MOTIVE or THEME. |
| cadenza | (Italian, 'cadence') Highly embellished passage, often IMPROVISED, at an important CADENCE, usually occurring just before the end of a piece or section. |
| tonal | Operating within the system of TONALITY. |
| tonality | The system, common since the late seventeenth century, by which a piece of music is organized around a TONIC NOTE, CHORD, and KEY, to which all the other notes and keys in the piece are subordinate. |
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