a set of terms for the RCM Music History 2 exam
Quiz yourself by thinking what should be in
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| Monody | show 🗑
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| trouveres/troubadours | show 🗑
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| show | a hymn of the Lutheran church, usually written for four part harmony; in part developed by Martin Luther during the Renaissance.
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| piano trio | show 🗑
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| word painting | show 🗑
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| drone | show 🗑
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| show | An orchestral ensemble that consists of piano, violin, viola, cello, double bass. The term also refers to music written for this instrumentation.
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| show | A short, repeating phrase played by the lower instrumental voice(s) while the upper voices remain independent. The technique was popular during the Baroque period.
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| show | comes from Latin meaning "flight"; refers to a passage in a composition that features independent melodic lines. There are entrances by the subject followed by an answer.
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| bas | show 🗑
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| haut | show 🗑
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| cadenza | show 🗑
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| show | this Italian word refers to an orchestral interlude that was used between the scenes in early Baroque operas; were not recurring, but rather short pieces of unique music.
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| show | Originated from the Old French word meaning "to turn or twist". One of three fixed poetic forms frequently used by Ars nova composers, including Machaut. The form consists of ABBA and generally featured a secular text.
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| opera buffa | show 🗑
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| sonata cycle | show 🗑
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| show | meaning "theatrical style" in Italian, it is a dramatic recitative style developed in the 16th century in which the melody moves freely over a foundation of simple chords.
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| show | Latin for "ending", a clearly defined section of music that was frequently used in polyphonic music of the late 12th and early 13th centuries. It is similar to a phrase in Classical music.
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| string trio | show 🗑
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| show | a vocal genre that first developed in Italy during the Renaissance. They are generally written for four to six voices that may or may not have instrumental accompaniment.
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| double exposition | show 🗑
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| show | meaning "Lamb of God" in Latin, it is the fifth and final part of the Ordinary Mass of the Roman Catholic Church. The text is usually from the book of John (in the New Testament section of the Bible).
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| nonsense syllables | show 🗑
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| show | Italian for "sound", it is a Classical instrumental genre in several movements to be performed by a soloist or an ensemble. As it developed, it became longer and adopted the sonata-allegro form for the first movement.
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| Gloria | show 🗑
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| show | The form generally used for the opening movement of the Classical sonata, consisting of three sections: the exposition, development, and recapitulation, with a coda at the end.
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| aria | show 🗑
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| show | The third from lowest part, or voice, in a motet. By the late 13th century, it was often written in quicker time values than the other voices.
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| pavane | show 🗑
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| string quartet | show 🗑
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| show | A short Baroque organ composition in which a traditional chorale melody was embellished. It was usually intended as an introduction before the congregation would begin to sing a hymn(or chorale).
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| show | a recitative with the lyrical quality of an aria but usually without the same structure (ternary). This form of singing has existed since the Baroque era.
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| empfindsamkeit | show 🗑
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| ronde | show 🗑
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| show | A version of binary form with a restatement of the "A" section which ends on a harmony other than tonic, requiring the "B" section to return the music back to the tonic. The difference between this and ternary is the treatment of the cadences.
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| melismatic | show 🗑
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| chorus | show 🗑
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| show | A form which uses a stately triple meter and is often the third movement in the Classical sonata cycle.
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| show | A Medieval concept which led to rhythmic patterns being regulated by approximately 1250. This system is essentially the first stage of the history of rhythm.
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| show | Music that is written for a single melodic line-the music may have different voices and/or instruments, but they all perform the same music at the same time. Typical of early chants.
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| consorts of instruments | show 🗑
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| responsorial singing | show 🗑
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| show | Any music or chord that contains notes that do not belong to the diatonic scale.
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| bridge | show 🗑
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| show | A type of recitative which features sparse accompaniment and moves with great freedom, reflecting the natural cadence of speech. Means "dry" in Italian.
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| show | The type of text setting which was common in Gregorian chants.
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| show | French for "a dancing song" and generally contains three stanzas.It is a poetic style and chanson genre from the Middle Ages and Renaissance, usually with a text related to courtly love.
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| show | The spontaneous performance of music without previous preparation or written notes.
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| duplum | show 🗑
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| show | A composition that shows off a specific instrument (or instruments), with the orchestra used as accompaniment. Popular instruments were the violin and piano.
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| opera seria | show 🗑
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| polyphonic texture | show 🗑
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| ripieno | show 🗑
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| show | The celebration of the Roman Catholic Mass in which the items are sung, distinguishing it from the low Mass, in which all the prayers are read or recited without music.
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| show | Italian for "unceasing" and refers to a short melodic, rhythmic, or harmonic pattern that is repeated throughout an entire composition or some portion of a composition.
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| strophic form | show 🗑
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| show | A symbol that specified the pitch during the Middle Ages before notation became standardized.
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| Rococo | show 🗑
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| show | Greek for "sounding together". By the Classical era, the term applied to a large composition for orchestra, generally in three or four movements.
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| show | Italian for "little book", a printed copy of the words to a large-scale vocal work.
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| show | Italian for "jest", a composition in A-B-A form, usually in triple meter. In the early 17th century, it was a piece of playful character, with animated rhythm. During the Classical era, Beethoven used this in the third movement of his sonata cycle.
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| da capo aria | show 🗑
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| English Madrigal | show 🗑
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| Credo | show 🗑
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| stile concitato | show 🗑
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| show | From an Old French word, meaning "to shake". It is a country dance that was popular during the Renaissance. Danced by a group of couples, some dancing in a line and some in a circle.
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| Ars nova | show 🗑
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| show | An ornamentation: notes, usually of short duration, are added to the main melody of a composition to decorate or ornament the melody. These notes may be either written down by the composer, or improvised by the performer.
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| show | Latin for "fixed melody"; the basis of polyphonic compositions during the Middle Ages and Renaissance. The tune was taken from a Gregorian chant and would move very slowly underneath more rapid vocal or instrumental lines above it.
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| oratorio | show 🗑
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| Motetus | show 🗑
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| show | An accompanied vocal solo found in large scale vocal genres such as opera, cantatas, and oratorios.
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| show | A style of composition that first presents a basic theme and then develops and alters that theme in successive statements, using techniques such as varied instrumentation, tempo, register and rhythm. The second movement of the Classical sonata cycle.
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| toccata | show 🗑
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| saltarello | show 🗑
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| Baroque dance suite | show 🗑
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| musica ficta | show 🗑
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| show | A musical drama complete with libretto and usually sung throughout. It is a combination of music, drama, scenery, costumes, dance, etc., which creates a complete art form.
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| show | An old name for a variation used mainly by Baroque composers including Handel.
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| show | The fourth item of the Proper Mass. The text comes primarily from the Psalms and melodies are generally melismatic and responsorial.
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| show | Two-part(A-B) structure of music; usually each part is repeated.
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| show | One of the oldest surviving purely instrumental forms from the 13th and 14th centuries. Constructed in three to seven separate sections called puncta, each repeated immediately with two closes, the first called ouvert, and the second called clos.
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| show | A short recurring instrumental passage in a Baroque concerto, particularly in a tutti section.
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| monothematic | show 🗑
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| solo concerto | show 🗑
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| galliard | show 🗑
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| neumatic | show 🗑
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| show | Refers to the repetition in a second voice or part of a theme, motif, or phrase presented by a first voice or part.
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| rondeau | show 🗑
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| chordal declamation | show 🗑
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| Mass proper | show 🗑
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| Mass Ordinary | show 🗑
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| show | A technique developed by the Mannheim orchestra in Germany during the 18th century. A rapid upward arpeggio over a large range, combined with a crescendo, which became popular during the Classical era.
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| show | A series of notes into which the octave is divided according to specific systems. These evolved by the 11th century. Early examples include Ionian, Dorian, Aeolian, etc (The major and minor scales are also types of these).
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| show | A chamber group which usually consists of a piano, violin, viola, cello, and double bass.
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| plainchant (or plainsong) | show 🗑
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| show | When several texts are used simultaneously in a piece; can also mean several parts singing different words at the same time in the same language.
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| organum | show 🗑
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| tenor | show 🗑
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| show | A French Renaissance court dance that was graceful and stately, without rapid steps and leaps of other dances from that era. A dance that proceeded around a hall in a gentle, dignified manner, led by the highest ranking couple.
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| canon | show 🗑
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| show | Refers to a Baroque dance suite, which had a fixed set of four dances and several dances.
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| prelude | show 🗑
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| ornamentation | show 🗑
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| show | Refers to an instrumental composition in which a composer allows his imagination to dictate the form and organization of a composition.
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| Kyrie | show 🗑
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| show | A Baroque organ composition wherein a congregational hymn is the basis for a set of variations.
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| show | Italian for "large ensemble", it refers to a Baroque style of music in which a small group of solo instruments plays in opposition to a larger ensemble.
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| show | Italian for "in the chapel style", it refers to choral or vocal music performed without instrumental accompaniment.
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| concertino | show 🗑
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| show | Latin for "Holy", this is the oldest item for the Ordinary Mass following the Offertory.
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| rondo | show 🗑
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| cornetto | show 🗑
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| show | A stringed instrument consisting of a wooden frame over which several strings are stretched. The strings are then struck with hammers.
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| vielle | show 🗑
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| show | A stringed musical instrument, pre-violin but larger with six strings that are struck with a bow. The neck has frets, used for stopping the strings. The word also refers in general to any bowed stringed instruments that preceded the modern violin family.
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| oboe d'amore | show 🗑
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| show | An older term which refers to the tenor part, usually performed by the viola.
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| show | An indoor (Bas) wind instrument that was popular from the Middle Ages to the Baroque era. It is a simple instrument related to the flute sounded by blowing into one end and the pitch is adjusted by covering finger holes.
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| harpsichord | show 🗑
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| viola da gamba | show 🗑
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| show | The third lowest member of the stringed instruments. It is as expressive but with a richer, deeper, tone.
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| clavier | show 🗑
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| nakers | show 🗑
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| show | One of the ancestors of the dulcimer. A Medieval instrument, consisting of a soundbox over which a varying number of strings were stretched-these strings were plucked or bowed; similar to a zither and classified as a Haut instrument.
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| show | Italian for "hunting horn", a Baroque instrument from the oboe family. It has an alto/tenor range pitched a fifth below the oboe.
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| show | A small keyboard instrument popular in the Renaissance and with J.S. Bach during the Baroque era. Strings are struck on this instrument therefore the volume of the clavichord is very soft.
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| show | An early English brass instrument used during the Renaissance. It is the predecessor to the trombone, and is classified as a Haut ("outdoor") instrument.
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| show | Refers to a portable organ popular during the Medieval and Renaissance eras in Germany, England and Italy. Sound is produced by reeds, and it was often small enough to be folded up like a book and carried.
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| lute | show 🗑
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| cembalo | show 🗑
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| show | A small drum that has strap by which it is suspended from the players shoulders. Played with the pipe by one performer since the pipe has only three holes and can be played with one hand, leaving the other hand available to play a drum.
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| clavecin | show 🗑
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| show | A popular Middle Ages and Renaissance instrument that was used from the 13th to 17th centuries. It has a double reed and a particularly loud, rough, nasal tone. It was made in seven sizes, preceded the oboe, classified as an outdoor (haut) instrument.
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| show | A keyboard instrument related to the harpsichord, popular during the 16th and 17th centuries in England. It has one set of strings and jacks and one keyboard.
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| show | A Medieval and Renaissance wind instrument related to the recorder, but with an encased double reed. It is sounded by blowing into a mouthpiece, not by placing the lips directly on the reeds.
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| show | From the Latin "ponere", meaning "to place". A small, single manual (or keyboard) organ which was popular in the 16th and 17th centuries though developed much earlier. Consists of a keyboard, bellows and stops with short legs for a table top.
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| show | A Medieval and Renaissance bowed string instrument (originating in Arabia), either pear shaped or long and narrow and usually three strings. It was used mainly in secular and dance music from the 13th century onwards and is classified as a Bas instrument.
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| show | A small Medieval organ operated by only one person and small enough to be carried or set on a table. It usually had one set of pipes and was often used for processional music. It was strapped over the performer's shoulder.
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| Franco-Flemish school | show 🗑
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| Christoph Willibald Gluck | show 🗑
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| show | The largest manuscript collection of English keyboard music surviving form the 16th to 17th centuries. It contains repertoire of an early 17th century amateur virginal player. Musical forms range from contrapuntal to spontaneous character pieces.
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| Pope Gregory I | show 🗑
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| show | A collection of compositions modified by Tylman Susato most likely published for wealthy amateur musicians rather than professional dance musicians.
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| Martin Luther | show 🗑
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| Hildegard of Bingen | show 🗑
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| Sturm und drang | show 🗑
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| Musica enchiriadis | show 🗑
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| show | Meaning "the new music", it was a musical collection written by Italian composer (and Florentine Camerata member) Giulio Caccini in 1602. The book contained solo songs using monody.
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| Protestant Reformation | show 🗑
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| Mannheim school | show 🗑
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| show | A group of artists, writers, and musicians who sought to revive Greek drama, which developed into the birth of opera.
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| Counter-Reformation | show 🗑
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| Musica Transalpina | show 🗑
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| show | This organum music was at its height during the 12th and 13th centuries. The musicians here were the first to solve the problem of notating more than two voices by fixing a definite rhythm.
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| Phillipe De Vitry | show 🗑
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| Council of Trent | show 🗑
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| show | A repeating rhythmic pattern in one or more of the voices in a Medieval motet. First developed by Phillipe de Vitry.
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| show | A style of music where the tenor sings the original chant melody in very long notes while the upper voices move freely and rapidly above it.
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| discant (or descant) | show 🗑
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| show | Refers to a performance style in which an ensemble is divided into two or more groups, performing alternately as separate groups and in unison.
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| show | A man's or boy's Baroque (or Classical) operatic part sung by a woman. It is also known as a "Breeches Part". The woman singing a man's part can be found in Mozart's and Handel's best known operas.
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| motet | show 🗑
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| show | A male singer who was castrated during boyhood to preserve the soprano or alto vocal register. This practice was sanctioned by the Catholic church because women were not permitted to sing in the church.
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| treatise | show 🗑
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| show | Refers to the standard written forms of services in churches such as the Roman Catholic church.
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| show | In an opera, oratorio, cantata, or other multi-movement vocal composition, it is a narrative song that describes an action, thought, or emotion. It follows the natural flow of the language, and is more a speaking composition than a singing composition.
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