Monody
Vocal style established in the Baroque, with a solo singer(s) and instrumental accompaniment. Not to be confused with monophony, which is a single unaccompanied line.Page 108
Camerata
Literally, Italian for salon; a gathering for literary, artistic, musical, or philosophical discussion
Figured bass
Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer. Also thorough-bass.Page 109
Basso continuo
Italian for 'continuous bass.' See figured bass. Also refers to performance group with bass, chordal instrument (harpsichord, organ), and one bass melody instrument (cello, bassoon).Page 109
Major-minor tonailty
A harmonic system based on the use of major and minor scales, widely practiced from the seventeenth to the late nineteenth century. See also tonality.Page 109
Equal temperament
Tuning system based on the division of the octave into twelve equal half steps; the system used today.Page 109
Doctrine of the affections
Baroque doctrine of the union of text and music.Page 110
Castrato
Male singer who was castrated during boyhood to preserve the soprano or alto vocal register, prominent in seventeenth- and early-eighteenth-century opera.Page 110
Opera
Musical drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and pantomime, scenery and costumes.Page 113
Recitative
Solo vocal declamation that follows the inflection of the text, often resulting in a disjunct vocal style; found in opera, cantata, and oratoria. Can be secco or accompagnato.Page 113
Secco
Recitative singing style that features a sparse accompaniment and moves with great freedom.Page 113
Accompagnato
Accompanied; also a recitative that is accompanied by orchestra.Page 113
Aria
Lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio.Page 113
Da capo aria
Lyric song in ternary, or A-B-A, form, commonly found in operas, cantatas, and oratorios.Page 113
Overture
An introductory movement, as in opera or oratorio, often presenting melodies from arias to come. Also an orchestral work for concert performance.Page 114
Sinfonias
Short orchestral work, found in Baroque opera, to facilitate scene changes.Page 114
Librettist
The author of a libretto.Page 114
Libretto
Text or script of an opera, oratorio, cantata, or musical (also call the 'book' in a musical), written by a librettist.Page 114
Masque
English genre of aristocratic entertainment that combined vocal and instrumental music with poetry and dance, developed during the sixteenth and seventeenth centuries.Page 115
Hornpipe
Country dance of British Isles, often in a lively triple meter; optional dance movement of solo and orchestral Baroque suite; a type of duple meter hornpipe is still popular in Irish traditional dance music.Page 117
Ground bass
A repeating melody, usually in the bass, throughout a vocal or instrumental compoisition.Page 118
Cantata
Vocal genre for solo singers, chorus, and instrumentalists based on a lyric or dramatic poetic narrative. It generally consists of several movements, including recitatives, arias, and ensemble numbers.Page 120
Oratorio
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.Page 120
Chorale
Congregational hymn of the German Lutheran church.Page 121
Bar form
Three-part A-B-A form, frequently used in music and poetry, particularly in Germany.Page 121
Collegium musicum
An association of amateur musicians, popular in the Baroque era. Also a modern university ensemble dedicated to the performance of early music.Page 122
Ritornello
Short, recurring instrumental passage found in both the aria and the Baroque concerto.Page 122
Opera seria
Tragic Italian opera.Page 126
Ballad
A form of English street song, popular from the sixteenth through the eighteenth centuries. Ballads are characterized by narrative content and strophic form.Page 126
Ballad opera/dialogue opera
English comic opera, usually featuring spoken dialogue alternating with songs set to popular tunes.Page 126
Courante
French Baroque dance, a standard movement of the suite, in triple meter at a moderate tempo.Page 131
Sarabande
Stately Spanish Baroque dance type in triple meter, a standard movement of the Baroque suite.Page 131
Jig
A vigorous dance developed in the British Isles, usually in compound meter; became fashionable on the Continent as the gigue; still popular as an Irish traditional dance genre.Page 131
Gigue
Popular English Baroque dance type, a standard movement of the Baroque suite, in a lively compound meter.Page 131
Minuet
An elegant triple-meter dance type popular in the seventeenth and eighteenth centuries; usually in binary form. See also minuet and trio.Page 131
Gavotte
Duple-meter Franch Baroque dance type with a moderate to quick tempo.Page 132
Bourree
Lively French Baroque dance type in duple meter.Page 132
Passepied
French Baroque court dance type; a faster version of the minuet.Page 132
Rondo
Musical form in which the first section recurs, usually in the tonic. In the Classical multimovement cycle, it appears as the last movement in various forms, including A-B-A-B-A, A-B-A-C-A, and A-B-A-C-A-B-A.Page 134
Concerto
Instrumental genre in several movements of concertos that combines elements of Baroque ritornello.Page 136
Concerto grosso
Baroque concerto type based on the opposition between a small group of solo instruments (the concertino) and orchestra (the ripieno).Page 136
Concertino
Solo group of instruments in the Baroque concerto grosso.Page 136
Tutti
All'; the opposite of solo. See also ripieo.Page 136
Ripieno
The larger of the two ensembles in the Baroque concerto grosso. Also tutti.Page 136
Program music
Instrumental music endowed with literary or pictorial associations, especially popular in the nineteenth century.Page 137
Passacaglia
Baroque form (similar to the chaconne) in moderately slow triple meter, based on a short, repeated base-line melody that serves as the basis for continuous variation in other voices.Page 141
Chaconne
Baroque form similar to the passacaglia, in which the variations are based on a repeated chord progression.Page 141
Prelude
Instrumental work preceding a larger work.Page 141
Toccata
Virtuoso composition, generally for organ or harpsichord, in a free and rhapsodic style; in the Baroque, it often served as the introduction to a fugue.Page 141
Fugue
Polyphonic form popular in the Baroque era in which one or more themes are developed by imitative counterpoint.Page 141
Subject
Main idea or theme of a work, as in a fugue.Page 141
Answer
Second entry of the subject in a fugue, usually pitched a fourth below or a fifth above the subject.Page 142
Exposition
Opening section. In the fugue, the first section in which the voices enter in turn with the subject. In sonata-allegro form, the first section in which the major thematic material is stated. Also statement.Page 142
Episode
Interlude or intermediate section in the Baroque fugue that serves as an area of relaxation between statements of the subject.Page 142
Augmentation
Statement of a melody in longer note values, often twice as slow as the original.Page 142
Diminuition
Statement of a melody in shorter note values, often twice as fast the original.Page 142
Retrograde
Backward statement of a melody.Page 142
Inversion
Mirror or upside-down image of a melody pattern, found in fugues and twelve-tone compositions.Page 142
Stretto
In a fugue, when entries of the subject occur at faster intervals of time, so that they overlap forming dense, imitative counterpoint. Stretto usually occurs at the climactic moment near the end.Page 142
Means exaggerated, abnormal, or even bizarre. Page. 106
Baroque (Meaning)
Peter Paul Rubens. Page 107
Who's voluptuous nudes established the 17th century ideal of feminine beauty?
Opera - Royal Wedding
Dance Suite - Court Festivity
Cantata - Religious Service - and for immediate use
Page 108
Many musical works were created for specific occasions; give examples of where you would typically see/hear an Opera, Dance Suite, Cantata
The Expressive Style." Page 109
The Camerata's members - including Giulio Caccini - engaged in exciting discussions about "the new music," which they proudly named what?
Major-Minor-Tonality. Page. 109
The shift to a simpler style based on a single-line melody and less complex harmonies led to one of the most significant changes in all music history: the establishment of what?
What two early 17th centure women stand out for thier talents as solo performers?
Francesca Caccine (Daughter of Gulio Caccine - one of the creaters of "new music") and Barbara Strozzi. Page 111
The establishment of Opera Houses. Page. 111
What greatly increased the opportunity for women to enter the ranks of professional performers in Europe?
Court ballet and Classical Tragedy. Page 114
Only in France was the Italian genre rejected; here composers set out to fashion a French national style, drawn from what strong traditions?
Jean-Baptiste Lully. Page 114
Who was the most important composer of French Baroque opera? His operas won him favor with the French royal court under King Louis XIV. He was the first to succeed in adapting recitative to the inflections of the French language.
Frequently heard in English stage works, the hornpipe is characterized by a reverst dotted figure called this. (Short-long rythem) Page 117
Scotch Snap
The Christmas Section, The Easter Section, The Redemption of the World Through Faith. Page 127
What were the three parts of Messiah?
The Overture: Solemn, slow section in which the strings project and intense drama followed by a sturdy fugue in three instrumental voices. Page 127
What opens the Christmas section of the Messiah?
Allemande
German dance in quadruple meter at a moderate tempo. Page 131
Solo Concerto
A concerto for solo instrument and an accompanying instrumental group. Page 136
How many concertos did Antonio Vivaldi compose?
500 - some 230 of which are for solo violin. Page 137
Organ
Wind instrument in which air is fed to the pipes by mechanical means; the pipes are controlled by two or more keyboards and a set of pedals. Used both in Church and at home, had a pure, transparent Timbre. The colors produced by the various sets of pipes
Harpsichord
Early Baroque Keyboard instrument. Differed from the modern piano in two important ways. First, its strings were plucked by quills rather than struck with hammers, and its tone could not be sustained like that of a piano. Second, the pressure of the finge