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| consists of a single line melody; monophonic, lacks harmony and texture |
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| ascending and descending symbols written above the words of Georgian chants that suggested the contours of the melody |
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| addition of a second voice to a Gregorian melody at the interval of a fifth or a fourth; earliest form of polyphonic music |
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| making music reflect the meaning of words |
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| a fixed melody in polyphonic music around which other eloborate voices can revolve |
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| two or three choruses that answer each other antiphonally |
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| groups singing in alternation and then together |
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| a solo song with an instrumental accompaniment |
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| aristocratic humanists who aimed to resurrect the musical-dramatic art of ancient Greece |
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| continuous bass; system in which one musician performs a bass line while the other fills in harmonies |
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| return to the dominant home key in a restatement of the first and second themes |
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| extension of the closing idea that leads to the final cadence in the home key |
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| changes depending on time in Church calendar |
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| unchanging: kyrie (mercy), gloria (praise), credo (belief), sanctus (praise), agnus dei (mercy) |
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| basically a step up from organum – serene worship (religious) piece in Latin utilizing word painting |
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| A sustained bottom voice over which different notes are sung to create polyphony |
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| Short melodic pattern which is repeated in a work |
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| A motet with a fixed pattern of pitches and a repeating rhythmic pattern |
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| Literally means “as in the chapel” ; music without instruments |
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| imitation (continuous imitation) |
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| When one voice repeats what is sung by another voice |
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| The Church’s response to Protestant Reformation, they reviewed themselves and their practices, took secular elements out of Church music |
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| Basically the secular version of a motet, written in vernacular language |
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| Dramatic, recitative style; more expressive than speech, but not as melodious as song |
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| Notation in which the composer puts a number above or below the bass note, indicating a specific chord |
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| Dynamic contrast (terrace dynamics) |
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| The mixing of loud and soft sounds to create polyphonic music |
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| Rise of the Virtuoso Musician |
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| Development of advanced playing techniques, broader vocal range; virtuoso – root: true (veritas) musician |
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| The idea of using opposing emotions to create affect
love/hate, joy/sorrow, wonder/desire |
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| Musical speech, moves forward the plot |
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| Duet, trio, quartet featured in an opera |
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| Instrumental piece played before opera, conveys theme |
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| Portrayed heroic adventure and love through colorful dance scenes and choruses |
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| Consists of a movement in sections contrasted by contradictory harmonies and tempos |
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| Chamber sonata – had stylized dances |
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| Church sonata – more serious in tone |
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| One prominent instrument (often violin) with other instruments supporting |
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| Opposition of a small group of instruments and a large group of instruments |
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| Imitation in which one voice after another enters in |
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| The form of a first movement of a symphony |
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| exposition (in sonata-allegro form) |
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| Presents two opposing keys, each with its own theme |
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| development (in sonata-allegro form) |
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| Conflict and action, builds tension |
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| Very clear melodies through methods of symmetry, repetition, and sequence |
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| Melody with an accompanying harmony |
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| Use of one of the four basic meters – 2/4, 3/4. 4/4, 6/8 |
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| Extensive use of rocket theme (quick rise from low to high) and crescendo; use of an ensemble with all four instrumental families |
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| Musical setting of Mass for the dead |
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| the Romantic song (2 different forms?) |
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| 1) strophic, same melody repeated each stanza, 2) through-composed, which uses different music in each section or is not broken into sections |
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| Music performed in between the acts of plays or in important scenes |
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| portrays literary or patriotic idea |
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| recurrent theme of a symphony |
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| Amateur musicians formed choirs as a musical outlet in lieu of purchasing expensive instruments |
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| Serious historical opera with dramatic effects |
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| Light, comic opera with spoken dialogue |
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| Realistic opera, a corollary to naturalistic writers |
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