Experiencing Music Mid-Term 1 Terms
Terms in this set (75)
Emotional state like joy, grief, and education represented in baroque music through special musical languages.
Abrupt alternation between loud and soft dynamic levels; characteristic of baroque music
Baroque keyboard instrument in which sound is produced by means of brass blades striking strings, capable of making gradual dynamic changes, but within a narrow volume range.
Baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument.
Bass part of a baroque accompaniment with figures(numbers) above it indicating the chords to be played
Piece that sounds fairly complete and independent but is part of a larger composition
In Italian, all; the full orchestra; or a large group of musicians contrasted with a smaller group; often heard in baroque music.
Compositional form usually used in the baroque concerto grosso, in which the tutti plays a ritornello, or refrain, alternating with one or more soloists playing new material.
In Italian, refrain; a repeated section of music usually played by the full orchestra, or tutti, in baroque compositions
Theme of a fugue.
Second presentation of the subject in a fugue, usually in the dominant scale
In a fugue, a melodic idea that accompanies the subject fairly constantly.
Transitional section in a fugue between presentations of subject, which offers either new material or fragments of the subject or countersubject
Short piece usually serving to introduce a fugue or other composition
Variation of a fugue subject in which the original time values of the subject are shortened.
Variation of a fugue subject in which the original time values of the subject are lengthened.
Variation of the fugue subject in which the subject is presented by beginning with its last note and proceeding backward to the first.
Compositional procedure used in fugues, in which a subject is imitated before it is completed; one voice tries to catch the other.
Variation of a fugue subject in which each interval of the subject is reversed in direction.
Single tone, usually in the bass, which is held while the other voices produce a series of changing harmonies against it; often found in fugues.
Long, sustained tone or tones accompanying a melody.
Scales containing seven tones with an eighth tone duplicating the first an octave higher, but with different patterns of whole and half steps from major and minor scales; used in medieval, Renaissance, and twentiethcentury music and in folk music.
Melody, often a Gregorian chant, used as the basis of a polyphonic composition.
A term used by musical theorists to describe the profound stylistic changes of Italian and French music in the fourteenth century.
Roman Catholic Church texts which remain the same from day to day throughout most of the year: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei.
Melodies set to sacred Latin texts, sung without accompaniment; was the official music of the Roman Catholic Church.
Sacred choral composition and ritual reenactment of the Last Supper. Made up of five consistent sections(Ordinary): Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. Other sections change with seasons(Proper).
A medieval dance that is one of the earliest surviving forms of instrumental music.
Medieval polyphony that consists of Gregorian chant and one or more additional melodic lines.
In medieval music, an Italian poetic and musical form with the structure A BB AA.
One of the main poetic musical forms the 14 th and 15 th century France.
Term used to describe the 15 th and 16 th century Europe, a period of geographic exploration and adventure as well as intellectual curiosity individualism
Musical representation of specific poetic images — for example, a falling melodic line to accompany the word descending — often found in Renaissance and baroque music.
Choral music without instrumental accompaniment
Plucked string instrument shaped like half a pear; used in Renaissance and baroque music.
The dominant intellectual movement of the Renaissance, focusing on the human life and its accomplishments.
Motet for two or more choirs, often including groups of instruments.
Composers of the sixteenth and early seventeenth century who, inspired by the two widely separated choir lofts of St. Mark's cathedral, often wrote music for several choruses and groups of instruments.
choral work set to a sacred Latin text other than that of the mass: one of the two main forms of sacred Renaissance music.
for several voices set to a short secular poem, usually about love, combining homophonic and polyphonic textures and often using word painting: common in renaissance music.
Music played with instruments.
A secular song, simpler than the madrigal, for voice and lute.
Text of an opera.
Male singer castrated before puberty to retain a high voice range; the most important category of vocal soloists in opera during the baroque period.
In Italian, fellowship or society; a group of nobles, poets, and composers who began to meet regularly in Florence around 1575 and whose musical discussions prepared the way for the beginning of opera.
Short musical composition, purely orchestral, which opens an opera and sets the overall dramatic mood. Orchestral introductions to later acts of an opera are called preludes
Dramatist who writes the text of an opera. Voice categories of opera Voice ranges which include coloratura soprano, lyric soprano, dynamic soprano, lyric tenor, dramatic tenor, basso buffo, and basso profundo, among others.
Song for solo voice with orchestral accompaniment, usually expressing an emotional state through its outpouring of melody; found in operas, oratorios, and cantatas.
Vocal line in an opera, oratorio, or cantata that imitates the rhythms and pitch fluctuations of speech, often serving to lead into an aria.
In opera, a piece performed by three or more solo singers.
A group of singers performing together, generally with more than one to a apart.
Person who gives cues and reminds singers of their words or pitches during an opera performance. The prompter is located in a box just over the edge of center stage, which conceals him or her from the audience.
Speech like melody that is sung by a solo voice accompanied only by a basso continuo.
Speech like melody that is sung by a solo voice accompanied by the orchestra.
Male who sings female pitch range using a special kind voice production.
Da capo aria
Aria in A B A form; after the B section, the term da capo is written; this means from the beginning and indicates a repetition of the opening A section.
From the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section.
Variation form in which a musical idea in the bass is repeated over and over while the melodies above it constantly change; common in baroque music.
Musical ornament consisting of the rapid alternation of two tones that are a whole or half step apart.
In baroque music, a set of danceinspired movements all written in the same key but differing in tempo, meter, and character.
Hymn tune song to a German religious text
Short composition for organs, based on a hymn tune and often used to remind the congregation of the melody before the hymn is sung.
Vocal solo more lyrical than a recitative and less elaborate than an aria.
Common opening piece in baroque suites, oratorios, and operas; usually in two parts: the first slow, with characteristic dotted rhythms, full of dignity and grandeur; the second quick and lighter in mood, often starting like a fugue.
Composition for several instrumental soloists and small orchestra; common in late baroque music.
Polyphonic composition based on one main theme, or subject.
Drama that is sung to orchestral accompaniment, usually a largescale composition employing vocal soloists, chorus, orchestra, costumes, and scenery.
In baroque music, an instrumental composition in several movements for one to eight players.
Baroque composition which has three melodic lines: two high ones, each played by one instrument; and a basso continuo, played by two instruments.
A piece for single soloist and an orchestra.
Composition in several movements, usually written for chorus, one or more vocal soloists, and instrumental ensemble. The church cantata for the Lutheran service in Germany during the baroque period often includes chorales.
Large scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, but without acting, scenery, or costumes.
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