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| Variations of a fugue subject in which each interval of the subject is reversed in direction |
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| Dramatist who writes the libretto, or text, of an opera |
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| Piece that sounds fairly complete and independent but is part of a large composition |
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| Short musical composition, purely orchestral, which opens an opera and ses the overall dramatic mood. Orchestral introductions to later ats of an opera are called preludes |
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| Single tone, usually in the bas, which is held while the other voices produce a series of changing harmonies against it; often found in fugues |
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| Short piece usually serving to introduce a fugue or another composition; a short piece for piano |
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| Person who gives cues and reminds singers of their words or pitches during an opera performance. The prompter is located in a box just over the edge of senter stage, which conceals him or her from the audienceVocal line in an opera, oratorio, or cantata That imitates the rhythms and pitch fluctuations of speech, often serving to lead into an aria |
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| Variation of a fugue subject in which the subject is Presented by beginning with its last note and proceeding backward to the first |
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| “Refrain” a repeated section of music usually played by the full orchestra, or tutti, in baroque compositions |
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| Compositional form usually employed in the baroque concerto grosso, in which the tutti plays a ritornello, or regraid, alternating with one or more soloists playing new material |
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| Speechlike melody that is sung by a solo voice accompanied only by basso continuo |
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| Compositional procedure used fugues, in which a subject is imitated before it is completed; one voice tries to catch the other |
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| In baroque music, a set of dance-inspired movements all written in the same key but differing in tempo, meter, and character. |
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| Alternation between loud and soft |
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| Musical ornament consisting of the rapid alternation of two tones that a whole or half step apart |
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| The full orchestra, or a large group of musicians contrasted with a smaller group |
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| Voice categories of opera |
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| Voice ranges which include coloratura soprano, lyric soprano, dramatic soprano, lyric tenor, dramatic tenor, basso buffo, and basso profundo, among others |
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| Variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change; common in baroque music |
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| Speechlike melody that is sung by a solo voice accompanied by the orchestra |
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| The basic mood expressed in a baroque piece |
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| Second presentation of a fugue, usually in the dominant scale |
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| Song for solo voice with orchestral accompaniment, usually expressing an emotional state through its outpouring of melody; found in operas, oratorios, and cantatas. |
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| Vocal solo more lyrical than a recitative and less elaborate than an aria |
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| Variation of a fugue subject in which the original time values of the subject are legnthened |
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| Accompaniment made up of a bass part, usually played by two instruments: a keyboard plus a low melodic instrument |
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| Variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change; common in baroque music. |
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| In Italian, fellowship or society; a group of nobles, poets, and composers who began to meet regularly in Florence around 1575 and whose musical discussion prepared the way for the beginning of opera |
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| Male singer castrated before puberty toretain a high voice range; the most important category of vocal soloists in opera during the baroque period |
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| Hymn tune sung to a German religious text |
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| Short composition for organ, based on a humn tune and often used to remind the congregation of the melody before the humn is sung |
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| A group of singers performing together, generally with more than one to a part |
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| A keyboard instrument that can make gradual dynamic changes |
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| In a fugue, a melodic idea that accompanies the subject fairly constantly |
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| From the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section |
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| 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 |
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| In opera, a piece performed by three or more solo singers |
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| Transitional section in a fugue between presentations of the subject which offers either new material or gradments of the subject or countersubject |
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| Bass part of a baroque accompaniment with figure (numbers) bove it indicating the chords to be played |
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| Common opening piece in baroque suites, oratorios, 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 |
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| Variation of a fugue subject in which the original time values of the subject are shortened |
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| compositional form usually employed in the baroque concerto grosso, in which the tutti plays a ritornello, or regraid, alternating with one or more soloists playing new material |
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