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MUS 165 - Part III
Part III - Chapters 10-14
| Question | Answer |
|---|---|
| The style of music that prevailed from 1600 to 1750 | Baroque |
| A vocal composition in several movements for solo voices, instruments, and usually a chorus; it is usually based on a religious text. | Cantata |
| A stately hymn tune used in German Lutheran Church | Chorale |
| Continuo (Basso Continuo) | A bass line for keyboard and other instruments in which the player is given only a succession of single notes and other symbols from which to fill out the remainder of the harmony. Also, the instruments that play the continuo part. |
| Doctrine of affections | The Baroque practice of attempting to project states of feeling and ideas in music. |
| Equal Temperament | A system of tuning, in which the intervals are adjusted to divide the octave into twelve equal parts. |
| Figured Bass | A shorthand system of numbers and accidentals used by keyboard players in Baroque music for indicating chords. |
| Improvisation | Music that is made up on the spot, usually according to stylistic guidelines. |
| Modes | As used today, scale patterns containing seven pitches other than major or minor. |
| Modulation | Changing the tonal center as the music progresses, usually without a break. |
| Realization | A keyboard player performing the music indicated by the figured bass. |
| Recitative | A style of singing that covers its text expressively, usually in an economical and direct way. |
| Terraced Dynamics | Abrupt changes in levels of loudness. |
| Tonic (tonal or key center) | The specific pitch around which a piece of music is centered. |
| George Frideric Handel (1685-1759) | A German composer who spent most of his adult life in England. He was best known for his oratorios but also wrote instrumental music and operas. |
| Aria | An accompanied solo song, usually some length and complexity, in a opera, oratorio, or cantata. |
| Chorus | (1) A sizable group of singers that sings choral music. (2) A section of opera, oratorio, or cantata sung by a chorus. |
| Oratorio | A sizable work for chorus, soloists, and orchestra, usually on a religious topic, that is performed without scenery, costumes, or acting. |
| Passion | An oratorio based on the suffering of Jesus on Good Friday, according to one of the four Gospels. |
| Run | A series of rapidly moving, scalewise notes. |
| Virtuoso | A very technically skilled performer. |
| Claudio Monteverdi (1567-1643) | Italian composer who became music master at St. Mark's Cathedral in Venice. He wrote the first operatic masterpieces. |
| Henry Purcell (1659-1643) | English composer who wrote the only performed English opera prior to the 20th century. |
| Ensemble | An instrumental or vocal performing group. |
| Libretto | The text of an opera or oratorio. |
| Opera | A drama set to music in which the lines of text are sung with orchestral accompaniment. |
| Ostinato | A short, persistently repeated melodic, rhythmic, or harmonic pattern. |
| Tremolo | A very rapid alternation between or repeating of pitches. |
| John Pachelbel (1653-1706) | A German composer who wrote mostly religious choral music and organ music. |
| Arcangelo Corelli (1653-1713) | Italian composer who is known mostly for his role in the development of the sonata along with his string playing and teaching. |
| Op. Opus | Meaning "work" in Latin, it usually appears with a number to indicate the order in which the composer's work were written. |
| Sonata | A Baroque multimovement work for solo instrument. |
| Suite | Used in music is a series or set of musical works that belong together. During the Baroque period a suite referred to a collection of dances that were intended for performance as a group. |
| Antonio Vivaldi (1685-1741) | Italian composer who composed over 450 concerti. He wrote most of them for the Pieta, a school for abandoned girls in Venice. |
| Johann Sebastian Bach (1685-1741) | German composer who wrote masterpieces in every Baroque for except Opera. |
| Concerted Style | Music in which one section of a performing group contrasts with another section or a soloist. |
| Concerto Grosso | A multimovement work contrasting a small instrumental group with a large group. |
| Countersubject | The secondary theme in a fugue. |
| Development | The manipulation of themes in a musical work. |
| Episode | Section of a fugue in which the subject is not present. |
| Exposition | The opening section of a fugue. |
| Fugue | A composition in which the main theme (subject) is not present. |
| Passacaglia | A repeated set of variations based on a melodic ostinato in the lowest-pitched part. |
| Prelude | A short instrumental work. |
| Program Music | Instrumental works associated by the composer with an extramusical idea or object. |
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