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| a plagal cadence that Renaissance English composers in particular employed giving a piece an emphatic conclusion |
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| sacred vocal composition like a motet but sung in English, in honor of the Lord or invoking the Lord to preserve and protect the English king or queen |
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| Eng. cross/false relation |
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| the simultaneous or adjacent appearance in different voices of two conflicting notes with the same letter name |
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| the final service of the day in the Anglican religion, an amalgam of Vespers and Compline |
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| the first service of the day in the Anglican religion, an amalgam of Matins and Lauds |
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| a strophic song with English text intended to be sung by three or four voices in a predominantly homophonic musical style |
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| 16th c. English composer; Catholic, Anglican and Puritan sacred music; eight compositions which accomodate most of Parker’s 150 psalm translations |
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| late 16th/early 17th c. English composer; preeminent composer for Queen Elizabeth until her death; also composed music for secret Catholic services |
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| one of two forms of solo art song in England around 1600; voice is accompanied by a group of independent instruments, usually a consort of viols |
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| name given to the composers who fashioned the outpouring of English secular music vocal music, mostly madrigals, in London between 1588 and 1627 |
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| one of two forms of solo art song in England around 1600; accompanied by lute and possibly bass instrument; strophic with vocal expressive nuances |
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| procedure in which successive statements of a theme are changed or presented in altered musical surroundings; common in Fitzwilliam Virginal Book |
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| a 1588 collection of thirty-three Italian madrigals published and translated into English; impetus for the explosion of English madrigal compositions |
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| Renaissance English composer; the moving force behind “The Triumphs of Oriana” (collection of madrigals in honor of an aging Queen Elizabeth) |
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| Renaissance English composer; principal composer of lute ayres; signature composition “Flow My Tears” led him to add “de Lacrimosa” to his signature |
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| conservative music theorist; advocated older style with traditional harmony & counterpoint rules; called Monteverdi’s music harsh & offensive to the ear |
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| three female singers employed by duke of Ferrara at the end of the 16th c.; constituted the first professional ensemble of women employed by a court |
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| progressive chamber music reserved for a small, elite audience; describes the performances by the concerto delle donne for the ducal family in Ferrara |
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| Monteverdi’s term for new text-driven approach to composition; allowed for “deviations” from conventional counterpoint if inspired by an expressive text |
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| late Itallian Renaissance aristocrat/composer; famous for his highly chromatic, non-traditional madrigals (and for stabbing his wife and her lover) |
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| transitional Mantuan/Venetian composer; interest in dramatictext settings; seen in his late chromatic Renaissance madrigals and early Baroque operas |
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| bass line that provides a cotinuous foundation for the melody above; a small ensemble of usually two instruments that played this support |
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| a theory of the Baroque era that held that different musical moods could and should be used to influence the emotions of the listeners |
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| a numerical shorthand placed with the bass line that tells the player which unwritten notes to fill in above the written bass note |
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| the overarching term for solo madrigals, solo arias, and solo recitatives written during the early Baroque era |
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| a large lute-like instrument with a full octave of additional bass strings descending in a diatonic pattern |
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| elaborate, lyrical song for solo voice; more florid, expansive and melodious than recitative; often sets a short poem made up of one or more stanzas |
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| an expressive manner of singing somewhere between a recitative and a full-blown aria |
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| the text of an opera or an oratorio written in poetic verse |
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| a musically heightened speech, often used in an opera, oratorio, or cantata to report dramatic action and advance the plot |
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| operatic vocal technique; narrative in text and speech-like in melody; accompanied by keyboard, minimal number of instruments or basso continuo only |
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| (dramatic or theater style) a type of vocal expression somewhere between song and declaimed speech; first developed in Northern Italy in late 16th c. |
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| an aria in which the same melodic and harmonic plan appears, with slight variations, in each successive verse |
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| instrumental piece (usually keyboard) requiring the performer to “touch” instrument with great technical skill; improvisatory and virtuosic in character |
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| late 16th/early 17th c. Italian composer-singer; used new “dramatic style” singing; composed first two operas: Daphne (1598) and Euridice (1600) |
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| late 16th/early 17th c. Italian composer-singer; early opera composer: Orpheus (1602); explained vocal ornamentation in anthology “Le nuove musiche” |
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