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| title given to the three prominent composers of the Classical era: Haydn, Mozart, and Beethoven |
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| instruments such as a flute, whistle, or horn that produce sound by using air as the primary vibrating means |
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| performance style in which an ensemble is divided into two or more groups, performing in alternation and then together |
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| Lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio |
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| Polyphonic musical style, usually French, from the period 1160-1320 |
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| 14th century French polyphonic musical style whose themes moved increasingly from religious to secular |
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| applied to various ensembles, most of which refer to percussions and winds at their core. (concert, jazz, rock, marching, military) |
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| Italian for “continuous bass”; also refers to performance group with a bass, chordal instrument, and one bass melody instrument |
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| regular pulsation; a basic unit of length in musical time |
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| resting place in a musical phrase; music punctuation |
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| virtuosic solo passage in the manner of improvisation, performed near the end of an aria or a movement of a concerto |
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| “Fixed Melody”, usually of very long notes, often based on a fragment of Gregorian chant that served as the structural basis for a polyphonic composition, particularly in the Renaissance |
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| Male singer who was castrated during boyhood to preserve the soprano or alto vocal register, prominent in 17th and early 18th century opera |
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| ensemble music for up about ten players, with one player to a part |
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| French monophonic or polyphonic song, especially of the Middle Ages and Renaissance, set to either courtly or popular poetry |
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| simultaneous combination of three or more tones that constitute a single block of harmony |
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| instrument that produces sound from a vibrating string stretched between two points |
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| (Italian for “tail”) part that brings a piece to an end, an extension of the closing idea that leads us to the final cadence in the home key |
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| solo group of instruments in the Baroque concerto grasso |
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| Baroque concerto type based on the opposition between a small group of solo instruments |
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| concordant or harmonious combination of tones that provides a sense of relaxation and stability of music |
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| a type of solo or trio sonata intended for secular performances; the designation is usually found in the late 17th cent., especially in the works of Corelli; begins with a prelude or a small sonata, acting as an introduction for the following movements |
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| lyric song in ternary, or A-B-A form, commonly found in operas, cantatas, and ovatorios |
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| an instrumental musical form, common in the Baroque period, usually consists of four movements alternating between slow and fast (sonata) |
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| structural reshaping of thematic material. Second section of sonata-allegro form; it moves through a series of foreign keys while themes from the exposition are manipulated |
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| combination of tones that sounds discordant and unstable, in need of resolution |
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| Doctrine of the Affections |
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| Baroque doctrine of the union of text and music |
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| element of musical expression relating to the degree of loudness or softness, or volume, of a sound |
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| any instrument whose sounds is produced by the oscillation of an electric current, such as the electric organ |
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| opening section. In the fugue, the first section in which the voices enter in turn with the subject. |
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| group of forms, especially in medieval France, in which the poetic structure determines musical repetitions |
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| the principle of organization around a central tone, the tonic; the two main scale types (MAJOR and MINOR) function within the system of tonality |
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| inflammation of the joints |
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| cresendo and diminuendo gradually change |
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| Monophonic melody with a freely flowing, unmeasured vocal line; liturgical chant of the Roman Catholic Church |
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| a repeating melody, usually in the bass throughout a vocal or instrumental composition |
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| the simultaneous combination of notes and the ensuring relationships of intervals and chords |
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| instrument that produces sound from the substance of the instrument itself by being struck, blown, shaken, scraped, or rubbed |
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| Melodic idea presented in one voice and then restated in another, each part continuing as others enter |
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| a musical composition, often using a sacred text, comprising recitatives, arias and choruses, often involving a choir; a vocal composition with an instrumental accompaniment |
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| text or script of an opera, oratorio, cantata, or musical |
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| German for “song”; most commonly associated with the solo art song of the 19th century, usually accompanied by piano |
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| used in liturgy services; many written by Bach; generally unified by a chorale, or hymn tune, sung in the four-part harmony |
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| CONGREGATIONAL SINGING IN German rather than latin; adapted melodies from Gregorian chant, secular art music, and even pop. Tunes. Originally sung in unison, these hymns soon were written in four-part harmony and sung by the choir, melody in soprano; clear-cut melody supported by chords |
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| Renaissance secular work originating in Italy for voices, with or without instruments, set to a short, lyric love poem; also popular in England |
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| succession of single tones or pitches perceived by the mind as unity |
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| any instrument that produces sound from tightly stretched membranes that can be struck, plucked, rubbed, or sung into |
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| organization of rhythm in time; the grouping of beats into large, regular patterns, notated as measures |
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| Acceptance of the Roman Catholic Church; music was predominantly religious |
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| an A-B-A form (A = minuet; B = trio) is a moderate triple meter; often the third movement of the Classical multi-movement cycle |
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| the process of changing from one key to another |
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| vocal style established in the Baroque, with a solo singer(s) and instrumental accompaniment |
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| Polyphonic vocal genre, secular in the Middle Ages but sacred or devotional thereafter |
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| Musica transalpina was a collection of Italian madrigals, mostly by Ferrabosco and Marenzio, fitted with English words. They were well-loved, and several similar anthologies followed immediately after the success of the first. Yonge himself published a second Musica transalpina in 1597, hoping to duplicate the success of the first collection. |
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| began the change in polyphonic music |
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| Music drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and pantomime, scenery and costumes |
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| Large-scale dramatic genre originating in the Baroque, based on a text of religious or serious character, performed by solo voices, chorus, and orchestra; similar to opera but without scenery, costumes or action |
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| performing group of diverse instruments in various cultures; in Western art music, an ensemble of multiple strings with various woodwind, brass, and percussion instruments |
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| a short melodic, rhythmic, or harmonic pattern that is repeated throughout a work or a section of one |
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| an introductory movement, as in an opera or oratorio, often presenting melodies from arias to come; also an orchestral work for concert performance |
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| sponsorship of an artist or a musician, historically by a member of the wealthy or ruling classes |
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| musical unit; often a competent of a melody |
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| third section of sonata-allegro form, in which the thematic material of the exposition is restated, generally in the tonic |
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| marked the passing of European society froma predominantly religious orientation to a more secular one, and from an age of unquestioning faith and mysticism to one of reason and scientific inquiry; focus on human fulfillment |
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| a compositional technique whereby a passage or section is restated |
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| Singing, in which a soloist or a group soloist alternates with the choir; “call and response” |
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| the controlled movement of music in time |
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| the larger or the two ensembles in the Baroque concerto grasso |
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| short, recurring instrumental passage found in both the aria and the Baroque concerto |
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| Musical form in which the first section recurs, usually in the tonic; it appears as the last movement in various forms |
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| series of tones in ascending or descending order; may present the notes of a key |
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| composition in A-B-A form, usually in triple meter, replaced the minuet and trio in the 19th century |
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| restatement of an idea or motive at a different pitch level |
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| one instrument set against the orchestra |
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| a sonata for one instrument with continuo accompaniment |
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| A movement in sonata-allegro form establishes a home key, then moves or modulates to another key and ultimately returns to the home key; a drama between two contrasting key areas |
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| Baroque style developed by Monteverdi, which introduced novel effects such as rapid repeated notes as symbols of passion |
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| A style used in operas, oratorios, and cantatas in which the text is declaimed in the rhythm of natural speech with slight melodic variation and little orchestral accompaniment. |
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| Chamber music ensemble consisting of two violins, viola, and cello. Also a multi-movement composition for this ensemble |
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| multi-movement work made up of a series of contrasting dance movements, generally all in the same key |
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| large work for orchestra, generally in three or four movements |
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| deliberate upsetting of the meter or pulse through a temporary shifting of the accent to a weak beat or an off beat |
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| rate of speed or pace of the music |
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| describes how music keeps the attention of the listener; tension = dominant chord; Release = tonic chord |
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| dynamic changes that occur suddenly without general transition; used in Baroque style music |
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| the interweaving of melodic (horizontal) and harmonic (vertical) elements in the musical fabric |
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| musical expansion of a theme by varying its melodic outline, harmony, or rhythm |
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| compositional procedure in which a theme is stated and then altered in successive statements; occurs as an independent piece or as a movement of a multi-movement cycle |
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| the quality of a sound that distinguishes one voice or instrument from another |
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| principle of organization around a tonic, or home, pitch, based on a major or minor scale |
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| the first note of the scale or key |
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| common chord type, consisting of three pitches built on alternate tones of the scale |
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| Baroque chamber sonata type written in three parts: two melody lines and the basso continuo; requires a total of four players to perform |
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| a repetition of a musical theme in which the rhythm, harmony, or melody is altered or embellished |
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| Venetian Polychoral Motet |
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| two or more choirs of singers alternated |
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| musical pictorialization of words from the text as an expressive device; a prominent feature of the Renaissance madrigal |
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| legendary emperor of the Franks |
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| was one of the wealthiest and most powerful women in Western Europe during the High Middle Ages |
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| was a poet-composer of the French Ars Nova (new art) who wrote sacred music and polyphonic chansons set to fixed text forms |
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| Giovanni Pierluigi da Palestrina |
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| worked as an organist and choirmaster at various Italian churches; wrote over 100 Masses |
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| a German, wrote Italian opera for English audiences and gave England the oratorio |
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| German religious reformer |
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| Italian composer, most remembered for his contributions to the development of the instrumental concerto |
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| Christoph Willibald Gluck |
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| a German-born and Italian-trained composer who was able to liberate serious opera from its outmoded conventions |
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| German composer; nine-symphonies |
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| Pope Gregory I (the Great) |
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| codifying melodies of the mass |
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| head of a monastery in a small town in western Germany; remembered for her writings on natural history and medicine |
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| Franco-Flemish composer of the early Renaissance; most famous and influential composer in Europe in the mid 15th century |
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| early Baroque master who wrote operas based on mythology and Roman history |
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| an Italian composer and organist; one of the most influential musicians of his time, and represents the culmination of the style of Venetian School |
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| German composer; as one of the main composers of the Baroque style, and as one of the greatest composers of all time |
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| one of the most prolific composers of his era, is best remembered for his more than 500 concertos |
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| was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers. |
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| a family of enormously wealthy Hungarian princes famous for their patronage of the arts |
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| leader of the Cathedral of Notre Dame; the first composer of the polyphonic music |
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| successor of Leonin, expanded the dimensions of organum by increasing the number of voice parts first to three and then to four |
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| Franco-Flemish composer of the Renaissance; first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime |
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| English madrigal composer; wrote Fair Phyllis |
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| wrote Dido and Aeneas, based on The Aeneid, a Roman epic by Virgil |
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| Italian composer of Baroque music |
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| fifth child of Johann Sebastian Bach; influential composer working at time of transition between his father’s baroque style and the classical and romantic styles that followed |
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| was one of the most prolific composers of the Classical period; chamber music |
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