|
|
| Instrumental composition that resembles an improvisation or lacks a strict form. Imitative instrumental piece on a single subject. *Complex counterpoint, grand scale |
|
|
|
| Sixteenth-century Italian genre, an instrumental work adapted from a chanson or composed in a similar style. In the late sixteenth and early seventeenth centuries, an instrumental work in several contrasting sections, of which the first and some of the others are in imitative counterpoint. |
|
|
|
| Aria form with two sections. The first section is repeated after the second section’s close, creating an ABA form |
|
|
|
| Type of overture used in tragedie en musique and other genres, that opens with a slow, homophonic, and majestic section, followed by a faster second section that begins with imitation |
|
|
|
| In French baroque opera, recitative that shifts frequently between duple and triple meter to allow the natural speechlike declamation of the words. |
|
|
|
| In French Baroque opera, recitative in a songlike, measured style, in a uniform meter, and with relatively steady motion in the accompaniment. |
|
|
|
| English or French song for solo voice with instrumental accompaniment, setting rhymed poetry, often strophic, and usually in the meter of a dance. |
|
|
|
| sacred concerto for few voices with continuo |
|
|
|
| multi-section work corresponding to the large-scale concertos of Gabrieli and Schutz |
|
|
|
| Sketches of different composers multiple scene changes, Seventeenth-century English entertainment involving poetry, music, dance, costumes, choruses, and elaborate sets, akin to the French court ballet. |
|
|
|
| Speechlike music, molded to the accents, pace, and emotions of the English text. |
|
|
|
| Modern term for dramatic opera. Seventeenth-century English mixed genre of musical theater, a spoken play with an overture and four or more masques or long musical interludes. |
|