Gregorian Chant
A form of plainchant named after Pope Gregory the Great, who is associated with organizing the chant repertory and standardizing the liturgy. It was the music of the services of the Roman Catholic Church during the Middle Ages, consisting of a monophonic, modal melody of Latin texts. E.g Anonymous: Haec Dies (Gregorian Chant)
Plainchant
Sometimes called plainsong. It roots in Judaic tradition, consisting of a monophonic, modal melody, relatively narrow dynamic range, unmeasured prose rhythm, no wide leaps or contrasts. E.g Anonymous: Haec Dies (Gregorian Chant)
Monophonic Texture
Mono" means one. Music consisting of a single line of melody, with no harmony or accompaniment. E.g Anonymous: Haec Dies (Gregorian Chant) or Moniot D'Arras: Ce Fut en Mai
Syllabic Text Setting
One note for each syllable of text. The text can be heard very clearly. E.g Anonymous: Haec Dies (Gregorian Chant)
Neumatic Text Setting
Two to four notes sung to a syllable. E.g Anonymous: Haec Dies (Gregorian Chant)
Melismatic Text Setting
A large group of notes for each syllable of text. The most elaborate and florid form of text setting. E.g Anonymous: Haec Dies (Gregorian Chant)
Neumes
The earliest form of musical notation in Western art music, consisting of little ascending and descending signs written above the words to suggest the contour of the melody. It later developed into square notes on a 4-line staff representing pitches. E.g Anonymous: Haec Dies (Gregorian Chant)
Modes
Scale patterns distinguished by their unique order of tones and semitones, used in the music of Ancient Greece. They served as the source of melodies in the Middle Ages and Renaissance, and are generally referred to by their Greek names (Dorian, Phrygian etc.) E.g Anonymous: Haec Dies (Gregorian Chant)
Mass
The most important service in the liturgy of the Roman Catholic Church. It includes prayers, reading from the Bible, and a re-enactment of the Last Supper. E.g Palestrina: Pope Marcellus Mass
Mass Ordinary
Sections of the Mass that remain the same from day to day throughout the church year. Its five sections are Kyrie, Gloria, Credo, Sanctus and Agnus Dei. E.g Palestrina: Pope Marcellus Mass
Mass Proper
Sections of the Mass that vary from day to day throughout the church, according to the particular liturgical occasion, such as Easter or Christmas. Some of the sections of the Mass Proper are Collect, Alleluia, Gradual, Gospel, Secret, Canon and Preface. E.g Palestrina: Pope Marcellus Mass
Gradual
The fourth item of the Proper of the Mass. The texts derive primarily from the Psalms. Chants sung in this section of the Mass are generally melismatic and sung in responsorial style. E.g Anonymous: Haec Dies (Gregorian Chant)
Responsorial Singing
A method of performance (especially Gregorian chants) in which a solo voice alternates with the chorus. The solo is known as the verse and the choral answer the response. The singing therefore involves contrast between 2 dissimilar bodies of sound. E.g Anonymous: Haec Dies (Gregorian Chant)
Polyphonic Texture
Poly" means many. Two or more independent lines heard simultaneously. Also referred to contrapuntal texture or counterpoint. E.g Anonymous (In the style of Leonin) Haec Dies (organum) or Anonymous: O mitosis/Virgo/Haec Dies
Organum
The earliest kind of polyphonic vocal music (9th to 13th centuries) in which new melodic line(s) are added to existing Gregorian chants (cantus firmus), running parallel to it at intervals of a perfect fourth, fifth or octave. Later styles featured more independent parts.
Countertenor
A high male voice with a strong pure tone, usually through the use of falsetto (out of normal male range) was often heard in the performance of early music. E.g Anonymous: O mitissima/Virgo/Haec Dies
Ostinato
Italian for "persistent". A short harmonic, melodic or rhythmic pattern that is repeated throughout a piece or a section of a piece. E.g Anonymous: O mitissima/Virgo/Haec Dies
Bas
French for "low", indicating a low level of volume (soft). Medieval designation for indoor instruments including vielle, lute, recorder, rebec and psaltery. E.g Anonymous: Royal Estampie No. 4
Cantus Firmus
Latin for "fixed song". Borrowed material, often from a Gregorian chant that served as the basis for a polyphonic composition, such as a mass or a motet. Originally found in the lowest voice, usually of very long notes. E.g Anonymous (in the style of Leonin) Haec Dies (Organum) OR Anonymous: O mitissima/Virgo/Haec Dies
Cornetto
Medieval outdoor instrument. Ancestor of the trumpet, developed from the cow horn, later made of wood. Anonymous: Royal Estampie No. 4
Crumhorn
Medieval outdoor double-reed wind instrument. The sound is produced by blowing through an enclosed double reed, usually j-shaped. E.g Anonymous: Royal Estampie No. 4
Drone
A sustained sounding of one or more tones. Usually in the bass for harmonic support (a pedal point), a common feature of some folk music. E.g Anonymous: Royal Estampie No. 4
Dulcimer
Medieval indoor instrument. A string instrument consisting of a wooden soundbox and gut strings, strings are struck with small hammers. E.g Moniot d'Arras: Ce Fut en Mai
Estampie
One of the earliest Medieval dances, characterized by elaborate body movements. in a stately triple meter, probably for couples. It consists of 4-7 sections, each of which is repeated. The first ending is called "open", and the second is known as "closed". E.g Anonymous: Royal Estampie No. 4
Guitarra Moresca
Medieval indoor instrument. Guitar of Moorish (North Africa) origin. E.g Raimbaut de Vaqueiras: Kalenda Maya
Haut
French for "high" indicating a high level of volume (loud). Medieval designation for outdoor instruments including shawm, sackbut, crumhorn and cornetto. E.g Anonymous: Royal Estampie No. 4
Lute
Medieval indoor instrument. Ancestor of the guitar, middle-Eastern origin. A plucked, fretted, string instrument frequently used to accompany singers. E.g Anonymous: Royal Estampie No. 4
Heterophonic Texture
The same melody is played in more than one way at the same time (simultaneous variation). It involves two or more voices, one playing the original melody while another plays an ornamented or embellished version. The added voices are often improvised. E.g Anonymous: Royal Estampie No. 4
Medieval Pipe
Medieval indoor instrument. The ancestor of the flute. A wind instrument with 3 holes, the sound is produced by blowing through a mouthpiece. E.g Anonymous: Royal Estampie No. 4
Melismatic Text Setting
Many notes for each syllable of text. The most elaborate and florid form of text setting. E.g Anonymous: Haec Dies (Gregorian Chant)
Mass Proper
Sections of the Roman Catholic Mass that vary day to day throughout the church year according to the particular liturgical occasion, such as Christmas or Easter. Some of the sections of the Mass Proper are Collect, Gradual, alleluia, Gospel, Secret, Preface and Canon. E.g Anonymous: Haec Dies (Gregorian chant)
Modes
Scale patterns distinguished by their unique order of tones and semitones, used in the music of Ancient Greece, and served as the source for melodies in the Middle Ages and Renaissance. They are generally referred to by their Greek names (Dorian, Phrygian etc.). E.g Anonymous: Haec Dies (Gregorian chant)
Monophonic Chanson
Chanson is French for "song". In the 12th and 13th centuries, aristocratic poet-musicians (trouveres and troubadours) composed French secular songs/chansons (trouvere songs or troubadour songs) consisting of monophonic melodies, usually in strophic form, set to courtly or popular poetry, sometimes performed with improvised accompaniment. E.g Moniot d'Arras: Ce Fut en Mai
Motet
A vocal composition with or without instrumental accompaniment, can be sacred or secular, usually anonymous. It is polytextual in the 13th century Middle Ages but had a single text in the 15th century Renaissance
Musica Ficta
Latin for "feigned music". Performance practice applied in modal music of the late Middle Ages and Renaissance. Performers raised or lowered pitches by chromatic semitone to avoid undesirable intervals, much like modern day accidentals. The term used to describe accidentals (sharps, flats) that need to be added, in performance or editing to the texts written in the music of the late Middle Ages and Renaissance. E.g Machaut: Puis Qu'en Oubli
Nakers
Medieval percussion instruments of middle-Eastern origin. They are played in pairs, resembling small kettle drums. E.g Anonymous: Royal Estampie No. 4
Neumes
The earliest form of musical notation in Western art music that consisted of little ascending and descending signs written above the words to suggest the contour of the melody, later developed into square notes on a four line staff representing specific pitches. E.g Anonymous: Haec Dies (Gregorian Chant)
Organum
The earliest kind of polyphonic vocal music (9th to 13th centuries) in which new melodic line(s) are added to an existing Gregorian chant (cantus firmus), running parallel to it at the interval of a perfect 4th, 5th and octave. Later styles featured more independent parts. E.g Anonymous (in the style of Leonin) Haec Dies (Organum)
Polytextural Motet
A motet is a vocal composition with or without instrumental accompaniment, can be sacred or secular. A polytextural motet is a motet with 2 or more texts performed simultaneously. As a result, the words can sometimes be hard to distinguish, a characteristic feature of the 13th century motet. E.g Anonymous: O mitissima/Virgo/Haec Dies
Portative Organ
Medieval portable keyboard instrument, sometimes called organetto. A small keyboard activates high-pitched pipes, the sound is generated through pumping bellows. The player has to pump the bellows with the left hand while playing on the keyboard with the right hand. E.g Susato: Pavane "Mille Regretz
Positive Organ
Originated in the 14th century, but remained popular through the Renaissance. It had small pipes, one keyboard and no pedals. It is slightly larger than the portative organ, but still portable, like a piece of furniture. E.g Susato: Pavene "Mille Regretz
Psaltery
Medieval indoor instrument. A string instrument consisting of a trapezoidal wooden soundbox with gut strings that are plucked with the fingers or with a plectrum. E.g Moniot d'Arras: Ce Fut en Mai
Rebec
Medieval indoor instrument. Pear shaped, bowed, string instrument that has three strings, played on the arm or under the chin. E.g Anonymous: Royal Estampie No. 4
Recorder
Medieval indoor instrument. End-blown wind instrument that had finger holes came in different lengths, remained popular in the Baroque period. E.g Anonymous: Royal Estampie No. 4
Regal
14-th century portable organ in different sizes, the ancestor of the modern harmonium. It had a small keyboard and reeds instead of pipes. E.g Susato: Pavane "Mille Regretz
Rondeau
A popular French fixed poetic form used in the polyphonic chanson of the Ars nova. It consists of four verses with a refrain, the text of the first stanza is repeated partially in the second verse and repeated fully in the fourth verse that can be represented as A-B-a-A-a-b-A-B. E.g Machaut: Puis Qu'en Oubli
Sackbut
From the Old French, "pull-push". Medieval outdoor instrument, the ancestor of the trombone. E.g Anonymous: Royal Estampie No. 4
Shawm
Ancestor of the oboe, of middle-Eastern origin. Medieval outdoor double reed instrument that produces a harsh nasal tone. E.g Anonymous: Royal Estampie No. 4
Strophic Form
A song structure where the same melody is performed for each verse of the poem, as a result, little connection can be achieved between the words and music. E.g Moniot d'Arras: Ce Fut en Mai
Tabor
Medieval percussion instrument. A large cylindrical drum. E.g Anonymous: Royal Estampie No. 4
Tambourine
Percussion instrument, consists of a wooden frame with small metal disks inserted, may or may have a drum skin, it is played by striking or shaking. E.g Anonymous: Royal Estampie No. 4
Tenor
From Latin tenere, "to hold". In a polyphonic work from the Middle Ages (such as organum, motet), it refers to the bottom most voice that contains the cantus firmus. So called because this vocal part "holds" or "sustains" the notes of the cantus firmus chant melody. E.g Anonymous: O mitissima/Virgo/Haec Dies
Troubadours
French for "inventors" or "finders". Aristocratic poet musicians in the Middle Ages who lived and worked in the southern region of France known as Provence. They presented original material (poems and songs) in their chansons that sang of courtly love as distinguished from the Church musicians who based their art on past melodies. E.g Raimbaut de Vaqueiras: Kalenda Maya
Trouveres
French for "inventors" or "finders". Aristocratic poet musicians in the Middle Ages who lived and worked in northern France. They presented original material (poems and songs) that snag of courtly love as distinguished form the Church musicians who based their art on past melodies. E.g Moniot d'Arras: Ce Fut en Mai
Vielle
Medieval indoor instrument. The ancestor of the violin. The body of the instrument had a figure eight shape, it is played with the bow. E.g Moniot d'Arras: Ce Fut en Mai
A Cappella
Latin for "in the chapel". It is vocal music without instrumental accompaniment. A characteristic feature of music in the Middle Ages and Renaissance. 16th century Renaissance was the golden age of this style. E.g Palestrina: Pope Marcellus Mass
Chromaticism
From the Greek "khroma" for colour. Melodies/harmonies that include many if not 12 semitones of the octave. The Renaissance composer Gesualdo used advanced chromaticism in his madrigals. E.g Gesualdo: Moro lasso, al mio duolo
Consort of instruments
Renaissance term for instrumental ensemble. A "whole consort' consisted of different-sized instruments from the same family, such as a consort of viol; a "broken or mixed consort" comprised of instruments of various families, such as viol, lute and recorder. E.g Susato: Pavane "Mille Regretz
Continuous imitation
Renaissance polyphonic style in which the motives move from line to line within the texture, the overlapping voices imitating one another so that the same theme or motive is heard now in the soprano or alto, now in the tenor or bass, resulting in a seamless texture. E.g Joaquin: Ave Maria... Virgo Serena
Franco-Flemish School
A group of composers (Ockeghem, Josquin des Prez, Lassus) who flourished in the 15th and 16th centuries Renaissance. They came from present-day Netherlands, Belgium and northern France. Their contributions were the establishment of a new vocal polyphonic style characterized by the equality of all the four parts, and the use of continuous imitation to achieve a seamless structure, particularly in the motet and mass. Their style influenced composers throughout Europe. E.g Josquin: Ave Maria... Virgo Serena
Homorhythmic Texture
Texture in which all voices, or lines move together in the same rhythm, in chords, resulting in a chordal texture (homophonic). When coupled with syllabic text setting, this technique delivers the text clearly, the listener's attention is drawn to the top voice. E.g Josquin: Ave Maria... Virgo Serena OR Palestrina: Pope Marcellus Mass OR Gesualdo: Moro Lasso, Al Mio Duolo OR Farmer: Fair Phyllis
Madrigal (Italian and English)
Renaissance secular work originating in Italy for voices, usually without instruments (but sometimes with instruments by the end of the Renaissance), set to a short, usually love, poem and words were often set with word painting techniques. It is an aristocratic form of poetry-and-music that flourished at the Italian courts where it was a favourite recreation of cultivated amateurs. Popular in England in the late 16th century, English madrigals are humorous and cheerful, they used simpler pastoral texts, word painting techniques and refrains of nonsense syllables. Eg Italian madrigal- Gesualdo: Moro Lasso, Al Mio Duolo, English madrigal- Farmer: Fair Phyllis
Modal Counterpoint
Polyphonic texture based on modes. Counterpoint - from Latin punctus contra punctus (note against note). Modal counterpoint is used to indicate 16th century Renaissance counterpoint, and Palestrina counterpoint in particular. E,g Palestrina: Pope Marcellus Mass
Viola da Gamba
The Italian term meaning "leg viol". An instrument in the viol family (had 6 strings and fretted like a guitar), it was held between the legs when played, like a modern cello. E.g Susato: Pavane "Mille Regretz
Viols
Renaissance family of six string bowed instruments fretted like guitars of varying size - soprano, alto, tenor and bass. E.g Susato: Pavane "Mille Regretz
Virginal
A smaller and simpler type of harpsichord whose strings run parallel to the keyboard and has a soft tone. It was popular during the Renaissance period, the smaller ones could be placed on a tabletop or held in the player's lap. Italian virginals came in many shapes; English versions were always rectangular. In England the virginal was also a generic term used for all plucked keyboard instruments.
Word Painting
Musical pictorialization. The music mirrors the literal meaning of the words as an expressive device. It is achieved through melody, rhythm, or harmony. It is used in opera, oratorio and a prominent feature of Renaissance madrigal. E.g Gesualdo: Moro Lasso, Al Mio Duolo OR Farmer: Fair Phyllis OR Haydn: Die Schopfung
Baroque
The term Baroque was derived from the Portuguese "barroco", a pearl of irregular shape, much used in the jewelry of the time, first used to describe the overly ornate art of the era, now applied to architecture, and music of the period c. 1600-1750. E.g Bach: Cantata No. 80 A Mighty Fortress is Our God
Basso Continuo
Italian for "continuous bass". Baroque performance practice that provides the harmonic framework. It generally involves 2 instruments and 2 performers -one (such as a cello player) playing the notated bass line, one ( usually a harpsichord or organ player) realizing the harmonies as indicated by the figured bass. E.g Monteverdi: The Coronation of Poppea
Binary Form
Two-part form (AB) based on a statement and a departure, without a return to the opening, section A generally ends with an open cadence. Frequently used in Baroque dances and keyboard pieces, and also Classical orchestral music. E.g Purcell: Dido and Aeneas OR Scarlatti: Sonata in D Major K 430
Canon
From the Greek for "law". A strict type of polyphonic composition in which each voice enters in succession with the same melody. Canons in which each voice enters on the same pitch (for example, at the unison) are referred to as rounds. E.g Bach: Cantata No. 80 A Mighty Fortress is Our God
Cantata
A Baroque multi-movement choral work, sacred or secular, for soloists, chorus and orchestra. It consists of recitatives, arias, ensembles and choruses. E.g Bach: Cantata No. 80 A Mighty Fortress is Our God
Castrato
Male singer who was castrated during his boyhood to preserve the soprano or alto vocal register, usually used in heroic roles, prominent in 17th and early 18th century opera. E.g Monteverdi: The Coronation of Poppea
Chorale
A hymn tune associated with the German Lutheran church (Protestantism) intended for congregational singing, therefore moved mostly by steps or narrow leap. Luther and his fellow reformers created the first chorales by adapting tunes from Gregorian chant, and other popular sources. Originally sung in union, they were soon harmonized for four voices (SATB) by composers including J.S Bach to be sung by the choir. E.g Bach: Cantata No. 80 A Mighty Fortress is Our God
Clavichord
A small rectangular keyboard instrument in the Baroque period. The sound is generated by small tangents that strike the strings inside the instrument. The application of vibrato to the key produced an expressive sound.
Clavier
Clavier (klavier) is the German word for any keyboard instrument such as harpsichord, clavichord other than the organ. E.g Scarlatti: Sonata in D major, K. 430
Concertino
The small group of solo instruments featured in a concerto grosso of the Baroque era. E.g Bach: Brandenburg Concerto No. 2 in F Major
Doctrine of the Affections
A Baroque philosophy inspired by ancient Greek and Roman writers refers to the emotional state of the soul - joy, anger, love, hate or fear, and in the use of vocal music to depict the emotions of the text of dramatic situation. In the Baroque era, an entire piece or movement, vocal or instrumental music, was usually built on a single affection (one clear emotion). It was a reaction against the complex polyphony of the Renaissance music. E.g Bach: Cantata No. 80 A Mighty Fortress is Our God OR Bach: Brandenburg Concerto No. 2 in F Major OR Handel: Water Music
Figured Bass
A type of musical shorthand developed in the Baroque era. Numbers are placed below the bass line to show the harmonic progression performed or "realized" by the basso continuo. Figured bass provides the structure for guided improvisation. Also known as thorough-bass. E.g Monteverdi: The Coronation of Poppea
Fugal Texture
A contrapuntal composition based on the principle of imitation in which a theme (referred to as the subject) pervades the entire work (instrumental or choral), entering in one voice and then another (usually 3 or all 4 voices (SATB), creating a complex structure in which each voice is sounded by a different performer or group of performer. E.g Bach: Cantata No. 80 A Mighty Fortress is Our God
Gravicembalo
Italian name for harpsichord in the 17th and 18th centuries. Scarlatti published 30 of his sonatas for solo harpsichord under the title Esercizi per gravicembalo. E.g Scarlatti: Sonata in D Major, K 430
Ground Bass
Baroque compositional device, often it provided the basic structure of an aria. It consists of a repeating short melody, usually in the bass, throughout a vocal or instrumental composition while upper parts proceed and vary. E.g Monteverdi: The Coronation of Poppea
Harpsichord
A keyboard instrument widely used in Baroque music. The sound is generated by small quills inside the instrument that plucked the strings, it often had two manuals (set of keys) E.g Scarlatti: Sonata in D Major, K 430
Hornpipe
A lively dance in triple meter of English origin, originally associated with sailors. It was popular from the 16th to 19th centuries. E.g Handel: Water Music
Libretto
The text of an opera, oratorio, or cantata, usually written by a librettist other than the composer. E.g Monteverdi: The Coronation of Poppea OR Purcell: Dido and Aeneas OR Haydn: The Creation OR Mozart: The Marriage of Figaro OR Bach: Cantata No. 80 A Mighty Fortress is Our God
Monody
Literally "one sec". A new style which was developed in the late 16th century. The use of a single vocal melody with simple instrumental accompaniment to allow for greater expression of emotion and clarity of text.
Opera
Italian for "work". A drama that is sung. It combines vocal and instrumental music with drama (staging and acting), visual arts (costumes and scenery), and often dance. Its components include recitatives, arias, ensembles and choruses. It was created in Italy around 1600 and remains one of the most popular forms of musical entertainment. E.g Monteverdi: The Coronation of Poppea OR Purcell: Dido and Aeneas
Opera Seria
Italian for "serious opera". It is sung throughout, generally based on historical and mythological subjects. Most popular in Baroque, its main features included a strict division between recitative and aria, an emphasis on virtuouso singing, particularly in da capo arias, and the use of castrati.
Recitativo Secco
Recitativo is a speech-like, declamatory style of singing that allows for greater connection with the text. It is usually used in opera, oratorio, and cantata to advance the plot or action. Recitativo secco (Italian for "dry recitative") is supported by continuo (cello, harpsichord) and moves with great freedom. E.g Purcell: Dido and Aeneas OR Haydn: The Creation OR Mozart: The Marriage of Figaro
Ripieno
Italian for "full". A term used to denote the full orchestra in a Baroque concerto. Also called "tutti". E.g Bach: Brandenburg Concerto No. 2 in F Major
Ritornello Form
Ritornello means "return". A structure employed in the first and third movements of the Baroque concerto. The opening passage (ritornello) played by the full orchestra is restated throughout the movement, alternating with one or more soloists playing the new material. E.g Bach: Brandenburg Concerto No. 2 in F Major
Ritornello
Ritornello means "return". A recurring theme that functions as a refrain in Baroque works. It can serve as introduction and postlude in arias pr choruses or as a unifying thread in concertos. E.g Bach: Cantata No. 80 A Mighty Fortress is Our God
Rounded Binary Form
A binary (or 2 part) form (||:A:||B A:||) in which the material from section A returns within section B, with each section (A and B) normally repeated (AABB). E.g Scarlatti: Sonata in D Major
Stile Concitato
Italian for "agitated style". The term was used by Monteverdi to express the "hidden tremors of the soul". It was achieved through the use of tremolo and pizzicato (instrumental), and ornamentation and rapid repeated notes (vocal). E.g Monteverdi: The Coronation of Poppea
Stile Rappresentativo
Italian for "representational style". The term was used by the Florentine Camerata musicians to describe the monodic style, a recitative like melody moving freely over a foundation of simple chords. The music was meant to heighten the emotional power of the text.
Cadenza
A fanciful solo passage that displays the virtuosity of the soloist found in concertos and arias. In the 18th century, it was generally improvised by the soloist. E.g Mozart: Piano Concerto in G Major, K. 453
Chamber Music
Chamber music is music for small ensembles (about 2-10 players), with one player to a part, usually performed without a conductor. The Classical era was the golden age of chamber music such as the string quartet, trio sonata and quintet. E.g Schubert: Trout Quintet
Coda
Latin for "tail". A concluding section usually added to the sonata form to reaffirm the tonic key and bring the movement to a close. E.g Haydn: London Symphony OR Beethoven: Pathetique Sonata OR Schubert: Trout Quintet
Development
The second main section of the sonata-allegro form in which themes from the exposition are manipulated through fragmentation, sequential treatment, or changes to orchestration. Increased harmonic tension is created through modulations. New themes may also be introduced. E.g Haydn: London Symphony OR Mozart: Piano Concerto in G Major, K. 453 OR Beethoven: Pathetique Sonata OR Schubert: Trout Quintet
Double Exposition
It is used in the first movement of a Classical concerto: orchestral exposition introduces the principal themes and establishes the tonic key, solo exposition follows, during which the soloist supported by the orchestra restates the first theme and initiates the modulation away from the tonic key. E.g Mozart: Piano Concerto in G Major, K. 453
Exposition
The first main section of the sonata-allegro form in which two contrasting themes are presented - one rhythmic, one lyrical. There is a transition or bridge that leads from the first theme in tonic to the second, usually in dominant or relative major. Haydn: London Symphony OR Mozart: Piano Concerto in G Major, K. 453 OR Beethoven: Pathetique Sonata OR Schubert: Trout Quintet
Modified Sonata Form
An abbreviated sonata form that was developed by the composers in the 18th century. It contains an exposition and recapitulation, but no development. E.g Mozart: The Marriage of Figaro
Monothematic Exposition
In the sonata form, theme 2 is a transposed version of theme 1, frequently employed by Haydn. E.g Haydn: London Symphony
Opera Buffa
Italian comic opera, sung throughout with no spoken dialogue. It presented lively, down-to-earth plots related to the life of the time and farce. it featured popular tunes and exciting ensembles, and the funny remarks of the buffo character. E.g Mozart: The Marriage of Figaro
Oratorio
Large-scale dramatic choral genre developed in the Baroque, based on a serious subject, generally biblical story, performed in a concert setting without scenery, costumes or acting. The action takes place by means of series of recitatives, arias, ensembles and choruses. The performing forces include vocal soloists, chorus and orchestra. E.g Haydn: The Creation
Recapitulation
The third section of the sonata-allegro form in which the first and second themes of the exposition are now played in tonic. There follows the coda, whose function is to bring the movement to a close. E.g Haydn: London Symphony OR Mozart: Piano Concerto in G Major, K.453 OR Beethoven: Pathetique Sonata OR Schubert: Trout Quintet
Piano Quintet
Chamber ensemble consisting of piano and four other instruments. Most common grouping is piano with string quartet, though other combinations are possible. Also refers to a composition written for 5 instruments. E.g Schubert: Trout Quintet
Recitativo Accompagnato
Recitativo is a speech-like, declamatory style of singing that allows for greater connection with the text. It is usually in opera, oratorio and cantata to advance the plot or action. Recitativo accompagnato (Italian for "accompanied recitative") is accompanied by the orchestra. E.g Haydn: The Creation
Rondo Form
Classical formal structure in ABACA form, or similar pattern, often used in sonata cycle. The first A section in tonic key is heard usually three times or more, alternating with the other contrasting (in key and thematic material) sections. E.g Beethoven: Pathetique Sonata
Sonata Cycle
A multi-movement structure, emerged in the Classical era, occurs in symphony, sonata, concerto and string quartet. The sonata form is used as the opening movement of the sonata cycle and usually returns in the finale or other movements. E.g Haydn: London Symphony OR Beethoven: Pathetique Sonata OR Schubert: Trout Quintet OR Mozart: Piano Concerto in G Major, K. 453
Sonata Form
Also known as sonata-allegro form, Classical formal structure often used in the first movement of the sonata cycle and usually returns in the finale and other movements. It consists of an exposition, (statement of two or more contrasting themes), development (Departure) and recapitulation (return). E.g Haydn: London Symphony OR Beethoven: Pathetique Sonata OR Schubert: Trout Quintet
String Quartet
The most popular chamber ensemble of the Classical era: 2 violins, viola, and cello. As a genre, also refers to a composition written for this ensemble. The first movement is usually in sonata form and the whole work follows the 4-movement scheme of the sonata cycle: fast slow medium fast.
Terzetto
Italian for "trio". A musical umber for three voices (characters), The terzetto with orchestral accompaniment became a standard ensemble type in opera of the Classical period. A work for three instruments being a trio. E.g Mozart: The Marriage of Figaro
Theme and Variations
A work featuring a statement of a melody (theme) that is followed by a series of transformations (variations), changes can be made to melody, rhythm,, or orchestration. It is often used in the slow movement of a sonata cycle. E.g Schubert: Trout Quintet
Tremolo
A rapid alternation between 2 notes (or between notes of a chord), or a rapid repetition of a single note. It can be achieved instrumentally or vocally. E.g Beethoven: Pathetique Sonata
Trouser Role
In Classical opera, a male (usually young man) character is performed by a soprano or mezzo soprano. Roles originally created for male castrati are frequently turned into trouser roles in modern performances. E.g Mozart: The Marriage of Figaro
Viennese School
Refers to the musical style (Classical features such as absolute music, sonata cycle, Alberti bass, symmetrical phrases, rocket theme) of Haydn, Mozart, Beethoven and their contemporaries in the late 18th century in Vienna. None of them were born in Vienna but they all spent their careers there and died there. Their successor Schubert may also be included. E.g Haydn: London Symphony OR Mozart: The Marriage of Figaro OR Beethoven: Pathetique Sonata
Sturm und Drang
German for "storm and stress". Term applied to period, roughly 1760-1780 in German literature and music that expressed the emotional attack of the younger generation on social and artistic conventions. Its aim was to surprise, to frighten to overcome with emotion. It emphasized an anti-rational subjective approach to the arts. In music these words are marked by the use of minor key, agitated moods, restless melodies, abrupt dynamic changes, and sudden shifts in rhythmic patterns and accents.