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| Process of simultatneously composing and performing music. |
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| Moral and ethical qualities of music |
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| Seven-note scales within the range of an octave |
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| Restrained, objective style of art |
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| Emotional, subjective style of art |
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| The period from about 500 to 1450 CE |
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| Polyphonic music conceived without an intention that the combined melody lnes should form chordal or harmonic combinations |
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| Production of music by several voices or instruments at the same pitch, performed at the same octave or at different octaves. |
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| Unaccompanied group singing |
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| music to which portions of the Catholic service are sung. The texture is monophonic, the timbre that of unaccompanied voices. |
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| A sustained or repeated tone |
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| Earliest form of polyphony |
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| A polyphonic composition in which all the voices perform the same melody, beginning at different times. |
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| A persistently repeated melodic or rhythmic pattern. |
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| A period, characterized by a new optimism, that began in fourteenth-century Italy and spread throughout western Euripe during the Renaissance. |
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| Roman Catholic worship service. |
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| The text and formal arrangement of a religious service |
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| Means “rebirth.” It refers to the period of renewed interest in the classical arts of ancient Greece and Rome that began in the early fifteenth century and dominated the styles of Western music from 1450 to 1600. |
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| Protestant movement, led by Martin Luther, against certain tenets of the Catholic church. |
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| Catholic response to the Protestant Reformation; it proposed certain reforms, including some related to church music. |
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| Area of northern Europe where the musical Renaissance began. |
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| Term for the Renaissance, when polyphonic texture was prevalent and particularly beautiful. |
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| Religious vocal composition that is through-composed, polyphonic in texture, sung in Latin, and invariably serene and worshipful. |
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| Musical illustrations of verbal concepts. |
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| A form containing new music throughout |
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| Technique in which each phrase of a composition is addressed by all the voices, which enter successively in imitation of each other. |
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| Religious song, strophic in form, with freely written text, approporate for congregational singing. |
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| Characteristic hymn introduced by Martin Luther. |
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| The most popular song form, having two or more stanzas all set to the same music. |
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| Tuneful setting for the 150 psalms in versions suitable for congregational singing. |
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| Secular song introduced in Italy that became popular in England as well. Polyphonic in texture and expressive in mood, madrigals are written in the vernacular. |
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| Plucked string instrument; the instrument most widely used in the sixteenth century. |
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| Most popular bowed string instrument of the Renaissance. |
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| Keyboard instrument capable of producing subtle changes of volume and even a slight vibrato. |
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| Rapid variation of pitch lending warmth to the tone of a voice or instrument. |
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| End-blown wind instrument, sometimes called a whistle flute, developed in the Middle Ages and very popular in the Renaissance. |
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| Ensemble of several members of the same instrument family. |
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