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| (German, “singing play”) German genre of opera, featuring spoken dialogue interspersed with songs, choruses, and instrumental music. |
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| aria form with two sections. The first section is repeated after the second section’s close, which carries the instruction “from the head”, creating an ABA form. |
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| In musical form, especially since the eighteenth century, a complete musical thought concluded by a cadence and normally containing at least two phrases. |
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| Organized in discrete phrases or periods. |
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| The quality of being periodic, especially when this is emphasized through frequent resting points and articulations between phrases and periods. |
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| A unit of melody or of an entire musical texture that has a distinct beginning and ending and is followed by a pause or other articulation but does not express a complete musical thought. |
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| Broken-chord accompaniment common in the second half of the eighteenth century named after its creator, who used the figuration frequently. |
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| genre of eighteenth-century English comic play featuring songs in which new words are set to borrowed tunes. |
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| Eighteenth-century genre of Italian opera, on a serious subject but normally with a happy ending, usually without comic characters and scenes. |
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| War of the Buffooons- Argument over the best language for opera–French or Italian |
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| In sonata form, the third main section, which restates the material from the exposition, normally all in the tonic. |
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| A supplementary ending to a composition or movement; a concluding section that lies outside the form as usually described. |
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| Keyboard instrument popular between the fifteenth and eighteenth centuries. The loudness, which depends on the force with which a brass blade strikes the strings, is under the direct control of the player. |
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