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Baroque Music
| Term | Definition |
|---|---|
| acciaccatura | a keyboard ornament formed by simultaneously striking neighboring harmonic and nonharmonic tones, immediately releasing the latter |
| agréments | melodic ornaments, generally indicated by signs or abbreviations |
| allemande | a stylized dance movement in moderate quadruple time, generally the first movement (after the overture) in a Baroque suite |
| appoggiatura | a nonharmonic or embellishing tone (normally preceded by a leap) that occurs on a strong beat and usually resolves downward by step |
| aria | a formal song used in opera, oratorio, and cantata; generally distinguished from ordinary song by its greater length and its emphasis upon musical rather than textual factors |
| arioso | a type of solo vocal writing, more songlike than recitative and less formal than aria |
| arpeggio | a chord whose tons are sounded separately; a broken chord |
| bariolage | shifting back and forth quickly between two or more violin strings while playing a repeated tone |
| basso continuo | a continuing bass part indigenous to Baroque music and requiring realization by a keyboard instrument and, usually, a low string instrument; it may be figured (with numbers and accidentals) or it may not |
| bel canto | "beautiful singing," as exemplified in Italian vocal music and vocal technique of the seventeenth and eighteenth centuries, including the works of Carissimi, A. Scarlatti, Hasse & Mozart |
| binary form | a two-part form (with each part repeated) having one main theme or motive, the first part moving from tonic to dominant and the second from dominant back to tonic (or, in minor, from tonic to relative major and then back to tonic) |
| bourrée | a dance movement, usually duple and rather fast; optional in the Baroque suite |
| cadenza | an improvised or improvisatory passage, normally a decoration of the final cadence (before the coda) in a solo concert; _______s frequently provide the soloist an opportunity for viftuosic display |
| camerata | a small Renaissance academy, the most famous of which met in Florence about 1580 at the palace of Count Giovanni de' Bardi; seeking to rediscover the expressive power of Greek music led the group to experiment with Baroque monody |
| castrato | a male soprano or contralto whose vocal quality was the result of early castration; an exotic manifestation of Baroque opera |
| chaconne | a set of variations based upon a repeated harmonic scheme |
| circle of fifths progression | harmonic movement in a sequence of descending fifths, a common scheme in Baroque and Classical music |
| claveçin | a harpsichord |
| clavier | French or German term for the keyboard or keyboard instruments |
| collegium musicum | originally a music society formed by a group of amateurs for the performance of art music; now usually connected with a university and playing music composed before the Classical period upon appropriate instruments |
| comédie-ballet | a form created in 1664 by Lully and the playwright Moliere in order to fuse their musical and dramatic talents |
| concertato | a term derived from concerto and used as an adjective to mean concerto-like with reference to the contrasting instrumental and/or vocal groups in music of the late sixteenth and seventeenth centuries (as in works by G. Gabrieli, Monteverdi, and Schütz) |
| courante | a "running" dance normally in triple time; it follows the allemande in the standard Baroque suite |
| da capo aria | an aria at whose close is placed the term 'da capo' (meaning to repeat the movement from the beginning to the place marked 'fine', which is the end); thus, a ternary aria with an exact but unwritten repeat |
| dialogue | a form that preceded oratorio and cantata in which two singers (or two small groups of singers) exchange conversation in music |
| doctrine of affections | an attempt by Baroque theorists and composers to codify the means of expressing emotions in music by imparting conventional meanings to certain keys, tempi, rhythmic patterns, and even to intervals |
| double | an ornamented repetition of a Baroque dance movement |
| French overture | a standard type of Baroque opera overture consisting of a slow section in dotted rhythms followed by an allegro in imitative skyle; if such a movement precedes a suite instead, the entire suite may be titled a French overture |
| fugue | three basic terms are required to study the ____: subject, countersubjects and episodes |
| subject | the main theme of the fugue and might well consist of a head, middle and tail |
| countersubjects | lines sung against the subject |
| episodes | take place between entries of the subject, and their thematic material may either be new or drawn from the subject or the countersubject |
| gavotte | a popular dance type of the Baroque period, usually in a moderate quadruple meter; an optional movement in the Baroque suite |
| gigue | a dance movement, the last in a typical Baroque suite; characterized by a lively compound duple meter and, often, an imitative texture |
| ground bass | a concise theme heard over and over in the bass part against a melody that often does not repeat |
| harmonic rhythm | the rate or pattern of harmonic change |
| harpsichord | a keyboard instrument whose strings are plucked; it became the leading continuo instrument of the Baroque period, taking the name of cembalo in Italy, clavecin in France, and virginal or spinet in England |
| hemiola | a rhythmic device found in all periods of Western music; alternation of triple meter at two different metrical levels; as in juxtaposition or coincidence of 6/8 and 3/4 |
| libretto | the text (or book) of an opera or oratorio |
| masque | an English form of staged entertainment of the late sixteenth and seventeenth centuries, employing poetry, dancing, and music, as well as scenery and costumes |
| monody | expressive accompanied solo song of the early Baroque period |
| number opera | an opera made up of relatively independent individual "numbers" (arias, duets, ensembles), generally separated by recitatives |
| obbligato | reference to the fact that a certain instrumental part is necessary (obligatory); often used in connection with Bach arias in which a solo instrument is obliged to play in counterpoint with the voice |
| opéra-ballet | a hybrid form of opera in which the dramatic portion was greatly reduced to permit emphasis on dancing, choral, and scenic elements; it was created very late in the seventeenth century by André Campra, a successor to Lully |
| opus | a term given by composers to their published works along with a number indicating the order of publication; normally abbreviated as Op. (singular) and Opp. (plural) |
| ordre | a suitelike collection of dance movements from which the performer selects several for a given performance |
| ornamentation | addition of mostly stereotyped melodic figures (such as trill & appoggiatura) to a line of music, either during the performance by way of improvisation or by the composer or an editor |
| ostinato | a melodic motive or phrase that is persistently (obstinately) repeated by the composer; it is a favorite technique of Baroque and 20th C. composers |
| overture | properly, an introductory instrumental movement played at the beginning of an opera, stage play, oratorio, or suite; a concert overture, on the other hand, is an independent composition |
| partita | in early terminology, a set of variations; in modern usage, a suite |
| passacaglia | a variation form based upon an ostinato theme usually heard in the bass |
| pastorale | either an idyllic nature piece, usually instrumental and invoking idealized shepherds (with reference to the Nativity), or a dramatic scene composed in the Renaissance or early Baroque (a forerunner of opera) |
| recitative | a stylized kind of solo vocal writing that aims at imitating the inflections and rhythms of speech; found in opera, oratorio, and cantata; in a rapid, nonmelodic style accompanied by continuo (secco) or in an orchestrally-accompanied style (accompagnato) |
| ritornello | a recurring instrumental theme that serves to unify a composition, whether instrumental or vocal |
| sarabande | a dance type characterized by a slow triple meter with stress on the second beat; the third movement in the standard Baroque suite |
| scordatura | any non-standard tuning of a stringed instrument |
| serenata | a short Baroque dramatic composition performed in the usual setting of a secular Italian cantata, but having costumes and some scenery |
| sinfonia | an instrumental piece that serves to introduce an opera (or operatic scene), cantata, or orchestral suite |
| stile concitato | a style of dramatic expression in which excitement is conveyed by rapid reiteration of single notes, generally in string tremolos |
| stretto | overlapping of subject entries in a fugue |
| ternary form | three-part form, normally ABA |
| throughbass | a system whereby a keyboard play improvises chords over a given bass line by means of symbols (numbers for intervals or accidentals for altered notes) placed beneath the staff |
| tonality | a system of pitch organization that -- in common practice -- emphasizes one central tone and chord and gives functional importance to the subdominant (IV) and dominant (V) |
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mehrivnak
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