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| “tail” final and concluding section of a musical composition |
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| in a fugue, the opening section, in which each voice in turn has the opportunity to present the subject; in sonata-allegro form, the principal section, in which all thematic material is presented |
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| music, usually instrumental music, performed in a small concert hall or private residence with just one performer on each part |
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| in sonata-allegro form, the return to the first theme and the tonic key following the development |
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| instead of having the pitches of a chord sound all together, the notes are played in succession to provide a continual stream of sound |
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| a genre of opera that dominated the stage during the baroque era, making use of serious historical or mythological subjects, de capo arias, and a lengthy overture |
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| a musical form in which a theme continually returns but is varied by changing the notes of the melody, the harmony, the rhythm, or some other feature of the music |
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| an elaborate lyrical song for solo voice |
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| “comic opera” an opera on a light, often domestic subject, with tuneful melodies, comic situations, and a happy ending |
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| a dramatic musical form of the classical and romantic period involving an exposition, development, and recapitulation, with optional introduction and coda |
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| genre of instrumental music for orchestra consisting of several movements; also the orchestral ensemble that plays this genre |
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| an ensemble, vocal or instrumental, with three performers, also, a brief, self contained composition contrasting with a previous piece, such a a minuet or a polonaise; originally the trio was performed by only three instruments |
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| the center most portion of sonata-allegro form, in which the thematic material of the exposition is developed and extended, transformed, or reduced to its essence; it is often the most confrontational and unstable section of the movement |
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| in opera, a group of four or more solo singers, usually the principles |
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| a standard instrumental ensemble for chamber music consisting of a first and second violin, a viola, and a cello; also the genre of music, usually in three or four movements, composed for this ensemble |
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| in sonata-allegro form the unstable section in which the tonality changes from tonic to dominant, or relative major, in preparation for the appearance of the second theme |
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| an instrumental work for a small ensemble originally intended as a light entertainment in the evening |
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| a showy passage for the soloist appearing near the end of the movement in a concerto; it usually incorporates rapid runs, arpeggios, and snippets of previously heard themes into a fantasy like improvisation |
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| “work” term adopted by composers to enumerate and identify their compositions |
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| compositional form with two sections, in which the second ends with a return to material from the first, each section is usually repeated |
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| ancient musical form, surviving into the 20th century, in which a refrain alternates with contrasting material |
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| musically heightened speech, often used in an opera, oratorio, or cantata to report dramatic action and advance the plot |
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| introductory movement, usually for orchestra, that precedes an opera, oratorio, or dance suite |
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