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| The term “—” became common as preference changes from preferring castrati to the virtuoso female voice |
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| A new form of opera set to familiar, cateny tunes of the days, and were very funny |
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| Main developer of the oratorio |
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| Multi-movement dramatic vocal work on a religious subject; similar to opera but based on religious story |
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| Handel’s — is the most famous oratorio and was composed in about three weeks |
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| Bach was a man of the —, while Handel was a man of the — |
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| Composed nearly 200 dramatic vocal works (many were cantatas), had 20 children, and lived from 1685-1750 |
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| The — and — were the most popular instruments in the Baroque era |
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| Abrupt dynamic change introduced during the Baroque |
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| Brief keyboard piece that may be either independent composition or an intro to another piece |
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Melody that is close to spoken inflection; usually narrow range of pitch
(Recitative/Aria) |
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Melody designed to express emotion and display the singing voice
(Recitative/Aria) |
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Rhythm that is usually free and flexible
(Recitative/Aria) |
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Metered rhythm
(Recitative/Aria) |
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Form that is flexible, and adapted to text
(Recitative/Aria) |
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Form that follows a formal design
(Recitative/Aria) |
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Homophonic texture
(Recitative/Aria) |
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Keyboard or orchestra accompaniment
(Recitative/Aria) |
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Orchestra Accompaniment
(Recitative/Aria) |
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| Short and spectocular dramas that were used to entertain the audience between acts of plays |
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| — showed that a soloist could express text clearly and dramatically while singing beautiful music |
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| The early operas (c.1600) were (more/less) elaborate that the intermedii |
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