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part music 1
| Question | Answer |
|---|---|
| In Italian, all; the full orchestra. Often heard in baroque music. | Tutti |
| song for solo voice with orchestral accompaniment, usually expressing an emotional state through its outpouring of melody; found in operas, oratorios, and cantats | aria |
| : unaccompanied section of virtuoso display for the soloist in a concerto, usually appearing near the end of the first movement and sometimes in the last movement. | Cadenza |
| combo of three or more tones sounded at once | Chord |
| In Italian, fellowship. 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 beginning of opera. | The Camerata |
| Male singer castrated before puberty to retain a high voice range; most important category of vocal soloists in opera during the baroque period. | Castrato/castrat |
| hymn tune sung to a german religious text | Chorale |
| musical representation of specific poetic images – often found in Renaissance and baroque music | Word/text painting |
| composition for several instrumental soloist and small orchestra; common in late baroque music. | Concerto grosso |
| common opening piece in baroque suites, oratorios, and operas. Usually in two parts: 1st slow, with characteristic dotted rhythms, full of dignity and grandeur; the 2nd quick and lighter in mood, often starting life a fugue. | French overture |
| large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, but w/o acting, scenery, or costumes; often based on biblical stories | Oratorio |
| Text of opera/writer of text | Libretto/librettist |
| plucked string instrument shaped life half a pear; used in renaissance and baroque music. | Lute |
| polyphonic composition based on one main theme or subject. | Fugue |
| choral music w/o instrumental accompaniment. | a cappella |
| melodies set to sacred latin texts, sung w/o accompaniment; official music of catholic church. | Gregorian Chant |
| Composition in several movements, usually written for chorus, one or more vocal soloists, and instrumental ensemble. The church cantata for the Lutheran service in Germany during the baroque period often includes chorales. | Cantata |
| vocal form in which the same music is repeated for each stanza of a poem. | strophic form |
| variation form in which a musical idea in the bass is repeated over and over while the melodies above it constantly change; common in baroque music. | basso ostinato |
| In Italian, refain, A repeated section of music usually played by the full orchestra, or tutti, in baroque compositions. | ritornello/ritornelli |
| 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. | Ritornello form |
| vocal line in an opera, oratorio, or cantat that imitates the rhythms and pitch fluctuations of speech, often serving to lead into an aria. | Recitative |
| performance of two or more melodic lines of relatively equal interest but independent and weaving one, then the other one…e.g. row row row your boat. | Polyphony |
| single melodic line w/o accompaniment e.g. happy b-day | Monophony |
| term describing music in which one main melody is accompanied by chords. | Homophony |
| degrees of loudness or softness in music | Dynamics |
| system of writing down music so that specific pitches and rhythms can be communicated. | Notation |
| composition for several voices set to a short secular poem, usually about love, combining homophonic and polyphonic textures and often using word painting; common in renaissance music. | Renaissance madrigal |
| how chords are constructed and how they follow each other | Harmony |
| abrupt alternation between loud and soft dynamic levels. Characteristics of baroque music. | Terraced dynamics: |
| keyboard instrument widely used from about 1500 to 1775, whose sound is produced by plectra which pluck its wire strings. The harpsichord was revived during the twentieth century. | Harpsichord |
| a set of beliefs about human emotions that informed musical composition | The Doctrine of the Affections |
| female rock star w/lots of power. | diva/divas |
| 1 singer only with accompaniment. | monody |
| were interludes performed between acts of a Renaissance comedy or tragedy | intermedio/Intermedi |
| main characters of opera hierarchy. | solo concerto |
| character that addresses the audience | prologue |
| a polyphonic form based on 1 main theme called the subject. Then the response is called the answer. | Fugue |
| an instrumental core found in all stles of baroque music. provides the foundation of a bass line and chords that function as support for melodic content. | continuo |
| dramatic contrast of musical forces and stylistic elements | stile concertato |
Created by:
S3th