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| choral music without instrumental accompaniment |
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| a term used by musical theorists to describe the profound stylistic changes of italian and french music in the 14th century |
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| Scales containing 7 tones with an 8th tone duplicating the first octave higher, but with patterns of whole and half steps different from major and minor scales; used in medieval, Renaissance, and twentieth-century music and in folk |
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| long, sustained tone or tones accompanying a melody |
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| a medieval dance that is one of the earliest surviving forms of instrumental music |
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| melodies set to sacred Latin texts, sung without accompaniment; Gregorian chant was the official music of the Roman Catholic Church |
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| the dominant intellectual movement of the Renaissance, focusing on human life and its accomplishments |
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| consisted of recorders, shawms, cornetts, sackbuts, lutes, viols, organs, regals, and harpsichords |
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| Plucked string instrument shaped like half a pear; used in Renaissance and baroque music |
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| A simpler type of secular music, has a solo voice usually accompanied by a lute. Mostly homophonic texture |
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| Sacred choral composition made up of five sections: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei |
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| Roman Catholic Church texts that remain the same from day to day throughout most of the year: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei |
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| Composition 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 |
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| polyphonic choral work set to a sacred Latin text other than that of the mass; one of the two main forms of sacred Renaissance music |
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| Medieval polyphony that consists of Gregorian chant and one or more additional melodic lines |
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| (1450-1600) term used to describe the fifteenth and sixteenth centuries in Europe, a period of geographic exploration and adventure as well as intellectual curiosity and individualism |
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| One of the main poetic and musical forms in fourteenth- and fifteenth-century France |
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| musical representation of specific poetic images- ex. running might be heard as rapid notes-often heard in Renaissance or Baroque |
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| emotional states like joy, grief, and agitation represented in baroque music through specific musical languages |
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| abrupt alteration between loud and soft dynamic levels; characteristic of baroque music |
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| 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 |
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| baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument |
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| Bass part of a baroque accompaniment with figures (numbers) above it indicating the chords to be played. |
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| Piece that sounds fairly complete and independent but is part of a larger composition |
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| In italian, all; the full orchestra, or a large group of musicians contrasted with a smaller group; often heard in baroque music |
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| in italian, refrain; a repeated section of music usually played by the full orchestra, or tutti, in baroque compositions |
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| compositional form usually employed in the baroque concerto grosso, in which the tutti plays a ritornello, or refrain, alternating with one or more soloists playing new material |
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| second presentation of the subject in a fugue, usually in the dominant scale |
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| in a fugue, a melodic idea that accompanies the subject fairly constantly |
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| transitional section in a fugue between presentations of the subject, which offers either new material or fragments of the subject or countersubject |
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| compositional procedure used in fugues, in which a subject is imitated before it is completed; one voice tries to catch the other |
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| Pedal Point (organ point) |
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| 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 |
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| variation of a fugue subject in which each interval of the subject is reversed in direction |
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| variation of a fugue subject in which the subject is presented by beginning with its last note and proceeding backward to the first |
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| variation of a fugue subject in which the original time values of the subject are lengthened |
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| polyphonic composition based on one main theme, or subject |
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| variation of a fugue subject in which the original time values of the subject are shortened |
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| short piece usually serving to introduce a fugue or another composition; a short piece for a piano |
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| 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 for opera |
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| male singer castrated before puberty to retain a high voice range; the most important category of vocal soloists in opera during the baroque period |
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| speechlike melody that is sung by a solo voice accompanied only by a basso cantinuo |
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| speechlike melody that is sung by a solo voice accompanied by the orchestra |
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| from the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section |
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| 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 |
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| Ground Bass (basso ostinato) |
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| variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change; common in baroque music |
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| another term for ground base |
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| musical ornament consisting of the rapid alternation of two tones that are a whole or half step apart |
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| in baroque music, a set of dance-inspired movements all written in the same key but differing in tempo, meter and character |
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| common opening piece in baroque suites, oratorios, and opera; 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 |
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| Hymn tune sung to a German religious text |
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| short composition for organ, based on a hymn tune and often used to remind the congregation of the melody before the hymn is sung |
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