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| a bass line that insistently repeats, note for note |
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| “something sung” as opposed to a sonata, which was “something sounded” on an instrument |
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| vocal chamber music of early Baroque; select private audiences; solo voice alternating recitative and aria with basso continuo and a few instruments |
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| originally separate and distinct bass melodies; during the 17th c. came to mean almost any repeating bass pattern of short duration |
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| madrigal in the early Baroque concertato style with strong contrasts in textures and timbres involving voices and instruments |
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| motet in the early Baroque concertato style with strong contrasts in textures and timbres involving voices and instruments |
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| music for two, three, or four choirs placed in different parts of a building |
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| chief of music at court; the German equivalent of maestro di cappella (chapel master) in Italy |
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| a descending tetrachordal basso ostinato employed during the Baroque era as a musical signifier of grief |
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| Baroque music of grand scale and strong contrasts between voices and instruments, instrumental ensembles, choral groups, or soloist(s) and choir |
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| “agitated style” particularly suited to warlike music; Monteverdi used term for a style he created; more direct and insistent than previous martial music |
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| early Baroque composer at St. Mark’s in Venice; polychoral, concerted, “surround-sound” compostitions; first to indicate dynamics in a score |
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| early 17th c. Venetian composer of early chamber cantatas; over 100 works mostly for solo sporano (or castrato) and basso continuo |
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| early 17th c. German composer; helped bring Italian innovations (stile concertato, stile rappresentativo, etc.) to Germany; Kapellmeister at Dresden |
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| the “birthplace” of a sacred polychoral, surround-sound compositional style made possible through presence of multiple choir lofts |
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| cappella pontificia sistina |
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| the pope’s private vocal ensemble as it came to be called in the early seventeenth century and that sang in the Sistine Chapel |
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| style of large-scale sacred music employing multiple choirs of voices and instruments; sung in largest churches in Rome, Venice, Vienna, and Salzburg |
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| vocal piece with two sections; repeat of the first (ABA); reprise not written out; inscription meaning “take it from the head;” reprise more ornamented |
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| improvisatory technique used by church singers resulting in series of root position chords; originated in Spain and Italy around 1480 |
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| musical setting of a dramatic text; originally in Latin or Italian; often stories from Old Testament; in essence an unstaged sacred opera |
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| a prayer hall set aside just for praying, preaching, and devotional singing |
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| a Mass in which an organ alternates with, or entirely replaces, the choir |
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| an independent organ section in an alternatim organ Mass; a short piece that replaces a liturgical item otherwise sung by the choir |
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| a tightly organized, monothematic organ composition perfected by Frescobaldi that influenced the later fugal writing of J.S. Bach |
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| a distinctive musical theme, most often instrumental, which repeatedly returns during a composition (somewhat similar to a refrain) |
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| the name given to the conservative music emanating from the papal chapel in the seventeenth century |
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| a following voice that imitates the subject at the interval of a fifth above or fourth below; modifies the subject so as to keep the music in the home tonality |
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| foremost organist in Rome during first half of the 17th c.; 1635 collection of organ Mass music entitled “Fiori musicali” (Musical Flowers) |
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| prolific Italian Baroque composer of 600 cantatas, 100 operas, and 30 oratorios; helped develop and standardize the da-capo aria form |
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| 17th c. Italian composer known best for his Old Testament oratorios (Jonah, David & Goliath, Jephte); director of music at the German College in Rome |
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| a structure consisting of two parts, the first moving to a closely related key and the second beginning in that new key but soon returning to the tonic |
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| a technically demanding, rhapsodic, improvisatory passage for a soloist near the end of a movement |
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| the very high register of the trumpet; playing in this register was a special technique of Baroque trumpeters that was exploited by Baroque composers |
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| the small group of solo performers in a concerto grosso |
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| a purely instrumental piece for ensemble in which one or more soloists both complement and compete with a full orchestra |
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| a concerto in which a larger body of performers, the full orchestr, contrasts with a smaller group of soloists |
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| (of the chamber) a seventeenth-century designation for music that was not intended primarily for the church |
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| (of the church) a seventeenth century designation for music that was intended primarily for the church |
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| on a violin (or other bowed string instruments) playing two or more notes simultaneously as chords |
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| the larger ensemble (full orchestra) in a concerto grosso |
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| a carefully worked out structure for a concerto grosso, which employs regular reappearances of a recurring melody or refrain |
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| three-section or three-movement instrumental work (generally fast-slow-fast); might preface an opera or stand alone as an independent composition |
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| a concerto composed for only one solo instrument |
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| played by a single melody instrument such as a violin, flute or oboe; usually accompanied in the Baroque era by a basso continuo |
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| originally “something sounded” on an instrument; opposed to something sung (a “cantata”); later a multimovement work for solo instrument or ensemble |
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| instrumental composition for two treble instruments (usually two violins) and basso continuo |
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| early Baroque Italian (and Jewish) composer; wrote single movement, multi-sectional trio sonatas as well as religious music for use in ghetto synagogues |
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| Baroque composer/violinist; worked primarily in Rome; standardized mutli-movement trio sonata & binary form; early use of circle of 5ths progressions |
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| late Baroque composer/violinist; worked primarily at a girls school (La Pieta) in Venice; wrote over 400 solo and concerto grossos |
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| Baroque composer/violinist; worked primarily in Bologna and known today primarily for his trumpet compositions |
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| usually the first dance in a Baroque suite; a stately dance in 4/4 meter at a moderate tempo with upbeat and gracefully interweaving lines |
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| lengthy composition for organ that takes a chorale tune as a point of departure but increasingly gives free rein to the composer’s imagination |
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| ornamental setting of a pre-existing chorale tune intended to be played on the organ before the singing of the chorale by the full congregation |
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| lively dance in triple meter characterized by metrical ambiguity created by hemiola; one of the four dances typically making up a Baroque dance suite |
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| an ordered set of dances for solo instrument or ensemble, all written in the same key and intended to be performed in a single sitting |
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| fast dance in 6/8 or 12/8; constant eighth-note pulse; galloping sound; sometimes lightly imitative; often used to conclude a suite in the Baroque |
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| triple-meter dance that was often added movement toward the end of the Baroque dance suite |
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| instrumental music that explicitly embodies extra-musical content |
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| slow, stately dance in 3/4 with a strong accent on the second beat; one of four dances typically found within a Baroque dance suite |
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| tuning a string instrument to something other than standard tuning |
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| Austrian keyboard performer/composer; standardized Baroque dance suite using four principal dances; penchant for composing expressive “laments” |
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| Bohemian-born virtuoso violinist; Kapellmeister in Salzburg; wrote programmatic violin “Rosary” or “Mystery” sonatas with alternative string tunings |
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| North German organist; associated with Abendmusik concerts in Lubeck; hundreds of organ compositions; JS Bach walked 280 miles to hear him play |
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| 17th c. South German composer trained in Catholic church tradition style; vocal and instrumental music; most famous today for his three-voice canon |
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| French term for a simple, strophic song for a single voice or a small group of soloists; used in French Baroque “operas” |
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| elaborate ballet with songs and choruses at French royal court from the late 16th to 17th c.; court members appeared alongside professional dancers |
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| virtually identical to the late seventeenth-century Italian chamber cantata except that it set a French rather than an Italian text |
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| lavishly choreographed interlude with occasional singing set within French ballet de cour; “entertainment” in an opera or ballet loosely to plot |
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| instrumental prelude created by Lully in two sections; first slow in duple meter with dotted note values; second fast in triple meter and with light imitation |
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| style of recitative, developed by French composer Jean- Baptiste Lully, noteworthy for its length, vocal range, and generally dramatic quality |
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| French opera in the late seventeenth and eighteenth centuries, which was a fusion of classical French tragedy with traditional French ballet |
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| group of instrumentalists of the violin family that formed the string core of the French court orchestra under Louis XIV |
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| the principlal royal composer to Louis XIV; held virtual musical monopoly during lifetime; developed “tragedie lyrique” and French overture |
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| French Baroque composer especially known for “cantate francaise” compositions; synthesized both French and Italian styles – “les gouts reunis” |
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