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| large body of unaccompanied vocal music, setting sacred lain texts, written for the Western Church over the course of 15 centuries |
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| chants with unvarying texts that were sung virtually every day |
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| texts changed to suit the feast day in question |
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| only 1 or 2 notes for each syllable of text |
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| many notes for 1 syllable |
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| early church polyphony, new lines atop old chants as base |
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| northern France troubadours |
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| people have the capacity to shape their world, to create many things good and beautiful, that they are something more than a mere conduit for gifts descending from heaven. |
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| composition for a choir, setting a lain text on a scared subject, and intended to be sung in a church or chapel, or at home in private devotion |
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| distinctive motive that is sung or played in turn by each voice or instrumental line |
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| process of depicting the text in music, be it subtly, overtly, or even jokingly, by means of expressive musical devices |
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| unaccompanied vocal music, originated in the expression a cappella sistina, in the Sistine chapel of the pope, where instruments were forbidden to accompany singers |
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| popular genre of secular vocal music that originated in Italy during the renaissance, in which usually four or five voices sing love poems |
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| device, originating in the madrigal, by w which key words in a text spark a particularly expressive musical setting |
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| small ensemble of at least two instrumentalists who provide a foundation for the melody or melodies above, heard almost exclusively in baroque music |
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| 3 movement concerto of the baroque era that pits sound of a small group of soloists again that of the full orchestra |
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| full orchestra in concerto grosso |
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| group of instruments that function as soloists in a concerto grosso |
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| Italian word for return or refrain a short musical passage in a baroque concerto grosso invariably played by the tutti |
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| no style just singing your heart out and showing off in opera |
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| Gregorian chant, sung during the proper of the mass, in which a chorus and a soloist alternate |
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| composition of 3, 4, 5 parts played or sung by voices or instruments, which begins with a presentation of a subject in imitation in each part and continues with modulating passages of free counterpoint and further appearances of the subject |
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| principle theme in a fugue |
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| in a fugue, opening section in which each voice in turn has the opportunity to present the subject, in sonata allegro form, the principal section , in which all thematic material is presented |
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| passage of free, non imitative counterpoint found in a fugue |
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| German word for the hymn of the Lutheran church, hence a simple religious melody to be sung by the congregation |
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| “something sung” in its mature state it consists of several movements including one o more arias, ariosos, and recitatives, cantatas can be on secular subjects, but those of JS Bach are primarily sacred in content |
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| term adopted by composers to enumerate and identify their compositions |
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| large, independent section of a major instrumental work, such as sonata, dance suite, symphony, quartet, or concerto |
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