affections
emotional states like joy, grief, and agitation represented in baroque music through specific musical languages
terraced dynamics
the sudden shift of dynamics characteristic of Baroque music
clavichord
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
basso continuo
Baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument
figured bass
bass part of a baroque accompaniment with figures (numbers) above it indicating the chords to be played
movement
piece that sounds fairly complete and independent but is part of a larger composition
tutti
in Italian: all; the full orchestra, or a large group of musicians contrasted with a smaller group
ritornello form
compositional form usually employed in the baroque concerto grosso, in which the tutti plays a refrain, alternating with one or more soloists playing new material
ritornello
a repeated section of music usually played by the full orchestra, or tutti
subject
theme of a fugue
answer
second presentation of the subject in a fugue, usually in the dominant scale
countersubject
in a fugue, a melodic idea that accompanies the subject fairly constantly
episode
transitional section in a fugue between presentations of the subject, which offers either new material or fragments of the subject or countersubject
stretto
compositional procedure used in fugues, in which a subject is imitated before it is completed; one voice tries to catch the other
pedal point
a single tone, usually in the bass, which is held while the other voices produce a series of changing harmonies against it
inversion
variation of a fugue subject in which each interval of the subject is reversed in direction
retrograde
variation of a fugue subject in which the subject is presented by beginning with its last note and proceeding backward to the first
augmentation
variation of a fugue subject in which the original time values of the subject are lengthened
diminution
variation of fugue subject in which the original times values of the subject are shortened
prelude
short piece usually serving to introduce a fugue or another composition
libretto
text of an opera
librettist
dramatist who writes the libretto of an opera
aria
song for solo voice with orchestral accompaniment, usually expressing an emotional state through its outpouring of melody
recitative
vocal line in an opera, oratorio, or cantata that imitates the rhythms and pitch fluctuations of speech, often serving to lead into an aria
ensemble
in opera, a piece performed by three or more solo singers
chorus
a group of singers performing together, generally with more than one to a part
prompter
person who gives cues and reminds singers of their words or pitches during an opera performance
overture
short musical composition, purely orchestral, which opens an opera and sets the overall dramatic mood
camerata
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
castrato
male singer castrated before puberty to retain a high voice range; the most important category of vocal soloists in opera during the baroque period
countertenor
male who sings in a female pitch range using a special kind of voice production
secco recitative
speech-like melody that is sung by a solo voice accompanied only by a basso continuo
accompanied recitative
speech-like melody that is sung by a solo voice accompanied by the orchestra
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
da capo
from the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section
ground bass
variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change (basso obstinato)
trill
musical ornament consisting of the rapid alternation of two tones that are a whole or half step apart
suite
a set of dance-inspired movements all written in the same key but differing in tempo, meter, and character
french overture
common opening piece in baroque suites, oratories, 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
chorale
hymn tune sung to a German religious text
chorale prelude
short composition for organ, based on a hymn tune and often used to remind the congregation of the melody before the hymn is sung
arioso
vocal solo more lyrical than a recitative and less elaborate than an aria