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| wrote O mangnum mysterium the men’s choir one. It’s awesome. |
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| wrote The coronation of Poppea, the weird lady one had arias in it and recitative |
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| wrote Dido and Aeneas the depressing one |
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| wrote Suite (Canzona, Balletto, Corrente and Passacaglia) |
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| wrote Brandenburg Concerto No. 5 and Art of Fugue |
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| wrote the Messiah “Hallelujah Chorus” and “Ceaser” |
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| drama presented in music, with the characters singing instead of speaking |
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| A composition in several movements for solo voices, instruments and perhaps also chorus. Depending on the text cantatas are categorized as secular or church cantatas |
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| Long semi-dramatic piece on a religious subject for soloists, chorus and orchestra |
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| groups of dances put together |
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| A Baroque sonata for three main instruments plus the continuo chord instrument |
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| The main early Baroque type of concerto, for a group of solo instruments and a small orchestra |
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| A composition written systematically in imitative polyphony, usually with a single main theme, the fugue subject |
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| An organ composition based on a chorale tune |
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| An ostinato( or A motive, phrase or theme repeated over and over again) in the bass |
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| An aria in ABA form on in which that A section is sung da capo at the end |
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| a set of variations on a short theme in the bass |
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| A musical form having two different section A B that are repeated twice. |
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| The orchestral material at the beginning of a concerto grosso, etc which always returns later in the piece; ritornello form focuses on the contrast between two musical ideas |
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| City of art and colorful music |
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| Where O magnum mysterium was written. The Gabrielis’ used these acoustics to astound their audiences |
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| the kings had the divine right to be on the throne. What they did was acceptable because they were chosen by God. |
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| home of King Louis XIV who was a great advocate for music. |
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| the bass line that is usually played by an organ, harpsichord or other chord instrument |
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| A system of notating the continuo chords in baroque music, by means of figures; sometimes also used to mean continuo |
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| From the baroque period on the system whereby all chords have a specific interrelation and function in relation to the tonic |
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| A half singing half-reciting style of presenting words in opera, cantata, oratorio, etc following speech accents and speech rhythms closely. Secco recitative is accompanied only by continuo accompanied recitative is accompanied by orchestra |
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| A vocal number for solo singer and orchestra generally in an opera, cantata, or oratorio |
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| the complete book of words for an opera, oratorio, cantata, etc |
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| A popular 17th and 18th century dance in moderate triple meter; also a movement in a sonata, symphony, etc, based on this dance |
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| A baroque dance in duple meter |
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| a baroque dance in fast duple meter |
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| The orchestral material at the beginning of a concerto grosso, etc which always returns later in the peice |
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| In a fugue, a passage that does not contain any complete appearances of the fugue subject. |
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| the term for the principal theme of a fugue |
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| In a fugue, a subsidiary melodic line that appears regularly in counterpoint with the subject. |
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| the melody of a baroque hymn |
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| St. Thomas’s Church in Leipzig |
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| the church in which Bach was the cantor or music director. |
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| sections of the voices in the choir singing a different portion of the peice |
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| group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de’ Bardi |
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| music for one melodic voice with accompaniment, characteristic of the early 17th century, especially in Italy |
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| the development section of the fuge |
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