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| Baroque term for human emotions or states of the soul. |
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| Music for two or more choirs, vocal, instrumental, or both, performed antiphonally. A characteristic feature of music of the Venetian school. |
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| Principle of contrasting the sonorities of different performing ensembles |
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| In the 15th and 16th centuries, an instrumental composition to be “sounded” on instruments rather than sung. |
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| Music for one voice with a simple accompaniment, introduced by the Florentine Camerata. |
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| Term originally meaning irregular, now applies to the dramatic, emotional style of 17th & early 18th century art. |
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| Section of a complete work that has its own formal design and a degree of independence but is conceived as a part of the whole; usually separated from other movements by a pause. |
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| System of harmony based on the major and the minor scales. |
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| Composed by Giovanni Gabrieli |
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| first practice or stile antico |
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| Polyphonic, conservative style of the late Renaissance. |
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| second practice or stile moderno |
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| Homophonic expressive style introduced by Monteverdi. |
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| Use of tones not in the key on which a composition is based. |
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| Dramatic vocal form blending visual, literary, and musical arts, performed in a theater or opera house. |
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| Text of a dramatic vocal work |
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| Speechlike setting of a text, with a homophonic accompaniment by a keyboard (dry recitative) or an orchestra (accompanied recitative). |
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| Songlike setting of a text, muscally expressive, accompanied by an orchestra; generally homophonic in texture. |
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| An aria with an ABA design |
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| 18th century Italian singing style that emphasized the beauty and virtuosity of the voice. |
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| castrato (plural=castrati) |
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| English dramatic form in which comedy and satire were set to popular tunes |
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| Dramatic vocal work on a religious subject, performed in a concert hall or church |
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| Oratorio based on the events leading to the crucifixion of Christ. |
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| Multimovement dramatic vocal work on a religious or secular subject, performed in concert style. |
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| Prelude based on a Lutheran chorale melody. |
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| Imitative polyphonic composition |
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| Phapsodic, virtuosic keyboard form. |
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| Collection of stylized dance pieces |
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| Group of instruments, including a lute or a keyboard instrument and one or more sustaining bass instruments, that accompanied Baroque ensemble compositions. |
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| System of musical shorthand by which composers indicated intervals above the bass line with numbers (figures) rather than with notated pitches. |
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| Music for a small instrumental ensemble with one instrument per line of music. |
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| In the Baroque, a multimovement composition for one ore more solo instruments, a ccompanied by continuo. |
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| A sonata for two solo instruments and continiuo |
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| Mixed ensemble of string and wind instruments, conceived during the Baroque. |
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| Multimovement composition for orchestra and one solo instrument. |
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| A multimovement composition for orchestra plus a small group of solo instruments. |
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| “Hallelujah” Chorus from Messiah |
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| “Tu se ‘ morta” from L’Orfeo
(guy singing opera about dead wife) |
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Composed by Monteverdi.
;
Homophonic.
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