Music History 11-14
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| Choralis Constantinus | sets in polyphony chants from German diocese of Constance
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| Geistliche Gesangbuchlein | “Little Book of Spiritual Songs” published by Johann Walter – 38 Protestant hymns and 5 Latin motets
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| The Augsburg Confession | definitive doctrinal statement of the Lutheran faith
Psalter
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| The Geneva Psalter | published by Calvin; translation of all 150 psalms into metrical and rhyming French
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| Counter-Reformation | movement that fostered reform within the established Roman Church
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| Council of Trent (1545-1563) | congress of bishops and cardinals held at the small town of Trento in the Italian Alps; started the Counter-Reformation
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| Sistine Chapel | pope’s private chapel within his apartments
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| A cappella | singing without instrumental accompaniment
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| Point of imitation | motive used where each phrase of text assigned its own motive which appears in each voice
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| Prima pratica | first practice; traditional style for church music in contrast to the freer writing found in some madrigals of the late 16th C
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| St. Peter’s Basilica | largest church in the world; a Renaissance replacement for Constantine’s Roman church designed in part by Michelangelo
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| Virginal | diminutive harpsichord possessing a single keyboard with the strings placed at right angles to the keys
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| Fitzwilliam Virginal Book (1615) | large collection of keyboard music
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| Variation technique | procedure in which successive statements of a theme are changed or presented in altered surroundings
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| Musica transalpina (music across the Alps) | 33 madrigals by Italian composers but texts were translated into English
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| Consort song | voice accompanied by a group of independent instruments, usually of viols
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| Lute ayre | soloist accompanied by a lute and possibly a bass instrument such as viola da gamba
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| Seconda pratica | Monteverdi’s term for the new text-driven approach to composition
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| Doctrine of Affections | different musical moods could and should be used to influence emotions of the listeners
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| Monody | means “to sing alone” – continuation of the attempts of poets, scholars, and musicians to emulate the music of ancient Greece by making words intelligible and enhancing their effect
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| Basso continuo | bass line that provided a never-ending foundation for the melody
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| Figured bass | numerical shorthand placed with the bass line that tells the player which unwritten notes to fill in above the written bass note
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| Libretto | the text that conveys the story of the opera; written in poetic verse
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| Le nuove musiche (1602) | The New Music; anthology of solo madrigals and strophic solo songs gathered over time
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| Simple recitative | musically heightened speech accompanied only by basso continuo
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| Arioso style | manner of singing halfway between a recitative and a full-blown aria
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| Aria | Italian for “song”; more florid, expansive, and melodious than a recitative or arioso
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| Strophic variation aria | same melodic and harmonic plan appears, with slight variation, in each successive strophe
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| Cori spezzati | “broken choirs” which was music for 2, 3, or 4 choirs placed in different parts of a building
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| Stile concertato | Baroque music marked by grand scale and strong contrast, either between voices and instruments, between separate instrumental ensembles, between separate choral groups, or between soloist and choir
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| Concerted motet | concerato style evident in motet
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| Concerted madrigal | instruments appear, contrasting textures and timbres
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| Basso ostinato | bass line that insistently repeats, note for note
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| Ciaconna (chaconne) | indicates repeating bass pattern of short duration
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| Passacaglia | indicates repeating bass pattern of short duration (used to be diff than ciaconna)
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| Kapellmeister | chief of music at court in Germany
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| Da chiesa | of the church
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| Da camera | of the chamber
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| Trio sonata | comprised line for 2 treble instruments and basso continuo
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| Binary form | 2 complementary parts – 1st moving to a closely related key and 2nd beginning in that key but soon returning to the tonic
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| Walking bass | bass moving in steady pace
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| Solo concerto | instrumental piece for solo and orchestra
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| Cadenza | technically demanding, rhapsodic, improve passage near the end of a movement
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| Concerto grosso | larger body of performers (orchestra) contrasts w/ smaller group of soloists
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| Ripieno | “full” – larger ensemble in concerto grosso
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| Concertino | smaller group of soloists in concerto grosso
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| Ritornello form | uses refrain
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