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| ABA, polyphonic, monody, baroque, opera, madrigals, dance numbers, arias, trillos, passagios; drama served the music |
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| Barbara Strozzi: “Lagrime mie” |
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| vocal cantata, baroque, secular |
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| Handel: Messiah, “There were shepherds” |
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| oratorio, baroque, recitative |
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| Handel: Messiah, “Halleluiah” Chorus |
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| oratorio, baroque, recitative, ABA? |
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| Vivaldi: The Four Seasons, la primavera |
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| program music, ritornello, theme and variations, baroque, among the first successful examples of program music |
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| Bach: The Art of the Fugue, Contrapunctus III |
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| homophonic, classical, opera, AB structure for drama; music served the drama |
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| Mozart: Piano Concerto Number 17 in G, K. 453 |
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| speech-like singing used to convey conversational dialogue |
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| has no staging, not part of Sunday church service; large scale composition for chorus, vocal soloists, and orchestra; substitute for opera |
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| when the music directly portrays the feeling of the music, so as to invoke dramatic imagery |
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| shows music was treated as more of a craft than an art |
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| artificially created male soprano who dominated the Italian opera stage in the 17th century |
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| the first section of a fugue |
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| a large, self-contained section within a larger work, such as a symphony |
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| music for a small ensemble of two to about ten players, with one player to a part |
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| short passages of other music which provide contrast to later subject entries in a fugue |
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| an instrumental work for solo instrument and orchestra |
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| serves to bridge between other numbers, where the text keeps the story going |
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| known as the “King of the Instruments” |
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| notion that an artist must select a desired affect, an emotional state that his or her work will achieve in the viewer or listener, which evokes a single, unadulterated emotional state |
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| 1600-1750, word baroque comes from Portuguese “barroco” |
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| describes the use of dynamics in the baroque period |
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| new keyboard instrument in the classical period that meant “soft-loud” |
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| orchestral music that begins a movement; means return, which is appropriate as the opening music returns in various keys and fragments until the end |
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| simple style of music during the classical period |
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| Vocal genres in the Baroque period |
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| vocal cantata, opera, oratorio |
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| in baroque music, almost always consists of a bass line instrument and a keyboard instrument |
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| became one of the main music centers in Europe during the classical period |
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| instrumental music associated with a story, poem, or other extra-musical idea |
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| Enlightenment impact on music |
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| artists began to serve themselves as the relationship between composer and powerful consumer was broken |
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| Sources of instrumental music in the baroque period |
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| dance numbers, virtuosos, vocal styling |
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| for a group of soloists and a small orchestra |
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| Fortspinnung (forward spinning) |
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| just as one instrument’s melodic phrase is coming to an end, another instrument enters with a fresh melodic idea |
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| referred to as the “father of the Western style of harmonization” |
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| sizable work for small orchestra, chorus, and vocal soloists. could be religious or secular |
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| a tuneful section in which the singer reflects upon the action that has just taken place |
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| polyphonic composition built on a single principled theme called the subject |
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| distinctive polyphonic line that recurrently accompanies the subject in another voice in a fugue |
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| universal language; noble and entertaining; expressive but in good taste; sound natural |
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| solo singer accompanied by basso continuo |
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| places in songs where performers are expected to improvise |
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