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| church was center of musical life; woman not allowed; no instruments; Gregorian Chant |
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| official music of the Roman Catholic Church; monophonic, set to Latin; flexible rhythm |
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| secular music in the Middle Ages |
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| Troubadors/ Trouveres; performed by jonglers; instrumental dances; about love and crusades |
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| 2+ melodies playing together; initially parallel to chant, then developed its own melodic curve |
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| word painting & unusual harmonies; several solo voices set to a short love poem; combined homo & polyphonic |
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| song for solo voice and lute; popular instrument in the Renaissance home; homophonic |
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| 1600-1750; flamboyant; visual arts; fills the space |
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| 1680-1750; dominant chord to the tonic |
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| one mood; repeated rhythms; constant volumes with abrupt changes; mostly polyphonic; bass; extended words |
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| sideways ‘S’, turn back on the note and go to the next one |
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| superscripted note, go to the note above and back; can com in 2s or 3s |
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| cornerstones of Baroque music; polyphonic composition based on one theme; sang in a round |
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| Late Baroque; sacred and secular vocal and instrumentational music; Il Prete Rosso; La Primavera |
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| late Baroque; organist & violinist; wrote everything but opera |
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| instrumental, multi-movement work; written for listening, based on dance; binary; often began w/ French overture |
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| like opera- large scale work with scales and ensembles; unlike opera- based on Bible w/o acting, scenery, or costumes |
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| England’s most important composer; had own opera company; buried at Westminster Abbey |
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