Music Final

Musical representation of specific poetic images.

Choral music without instrumental accompaniment.

Polyphonic choral work set to a sacred Latin text other than that of the mass

Sacred choral composition made up of five sections: Kyrie, Gloria, Credo, Sanctus and Agnus Dei.

Dancelike song for several voices, mostly homophonice in texture, with the melody in the highest voice and the syllables fa-la occuring as a refrain after each stanza.

Composition for several voices set to a short secular poem, usually about love, combining homophonic and polyphonic textures and often using word painting.

Plucked string instrument shaped like half a pear.

Composers of the 16th and early 17th century Venice who- inspired by the two widely separated choir lofts of St. Mark's Cathedral- often wrote music for several chourses and groups of instruments.

Motet for two or more choirs, often including groups of instruments.

Abrupt alernation between loud and soft dynamics levels.

Baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument.

Baroque keyboard instrument in which sound is produced by means of brass blades striking string, capable of making gradual dynamic changes, but within a narrow volume range.

Piece that sounds fairly complete and independent but is part if a larger composition.

Bass part of a Baroque accompaniment with figures about it indicating the chords to be played.

Compostion for several instrumental soloists and small orchestra.

In Italian, all; the full orchestra, or a large group of musicians contrasted with a smaller group.

Compositional form usually used in the Baroque concerto grosso, in which the tutti plays a ritornello, or refrain, alternating with one or more soloists playing new material.

In Italian, refrain; a repeated section of music usually played by the full orchestra.

Polyphonic composition based on one main theme.

Theme of a fugue

Second presentation of the subject in a fugue, usually in the dominate scale.

In a fugue, a melodic idea that accompanies the subject fairly consistantly.

transitional section in a fugue between presentations of the subject, which offers either new material or fragments of the subject or countersubject.

Compositional procedure used in fugues, in which a subject is imitated before it is completed; one voice tries to catch the other.

Single tone, usually in the bass, which is held while the other voices produce a series of changing harmonies against it.

Variation of a fugue subject in which each interval of the subject is reversed in direction.

Variation of a fugue subject in which the subject is presented by beginning with its last note and proceeding backward to the first.

Variation of a fugue subject in which the original time values of the subject are lengthened.

Variation of a fugue subject in which the original time values of the subject are shortened.

Short piece usually serving to introduce a fugue or another composition.

Text of an opera

Vocal line in an opera, oratorio, or contana that imitates the rhythms and pitch fluctuations of speech, often leading into a aria.

In opera, a piece performed by three or more solo singers.

Song for solo voice with orchestral accompaniment; usually expressing an emotional state through its outpouring of melody.

Person who gives cues and reminds singers of their words or pitches during an opera perfomance.

A group of singers performing together, generally more than one to a part.

Short musical composition, purely orchestrial, which opens an opera and sets the overall dramatic mood.

Male singer castrated before puberty to retain a high voice range.

Speechlike melody that is sung by a solo voice accompanied only by a basso continuo.

Speechlike melody that is sung by a solo voice accompanied by the orchestra.

In italian, fellowship or society; a group of nobles, poets, and composers who began to meet regularly in Florence around 1575 and whose musical discussions prepared the way for the beggining of opera.

From the beginning; an idication usually meaning that the opening section of a piece is to be repeated after the middle section.

Variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change.

Baroque composition that has three melodic lines: two high ones, each played by one instrument ; and a basso continuo, played by two instuments.

Form of a single movement, consisting of three main sections: the exposition, where the themes are presented; the development, where themes are treated in new ways; and the recapitulation, where the themes returns, A conclusion section, the coda, often follows the recapitulation.

Musical ornament consisting of the rapid alterate tones of the scale.

Common opening piece in Baroque suites, oratorios, and operas; usually in two parts: the first slow, with characteristic dotted ryhthms, full of dignity and grandeur; the second quick and lighter in mood, often staring like a fugue.

In Baroque music, a set of dance-inspired movements all writen in the same key but differing in tempo.

Hymn tune sung to a German religious text.

Short composition for organ, based on a hymn tune and often used to rtemind the congregation of the melody before the hymn is sung.

Large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, but without acting, scenery, or costimes; often based on biblical stories.

In Baroque music, an instrumental composition in several movements for one to eight players.

Vocal solo more lyrical than a recitative and less elaborate than an aria.