Ch 17 18 19 20

Front 1

chorales

Back 1

luther and his followers created weekly hymns

Front 2

collegium musicum

Back 2

a group of university students and musicians have regular concerts

Front 3

A-A-B

Back 3

A is repeated with new words B is rounded off with the same closing phrase, the fourth movement presents a unison chorale sung by tenors aganist a memorable countermelody representing the song the watchmen

Front 4

oratorio

Back 4

one of the great Baroque scared vocal descended from religious play music of the counter deformation, its a large scale dramatic genre with a sacred text performed by solo voices chours and orchestra

Front 5

A-B-A

Back 5

is in three part

Front 6

da capo aria

Back 6

the composer usually did not write out the thrid part A' since its duplicated the first allowing the star singer the opportunity to ornament or elaborate the third party on fly

Front 7

ritornellos

Back 7

instrumental refrains

Front 8

suite

Back 8

collection of short dances by diverse array of instruments, each piece in binary form AABB ABA, one of the most important instrumental genres of the Baroque

Front 9

string instruments

Back 9

strings were made of gut rather than the steel, gut by animal instenses

Front 10

binary

Back 10

consisting of two sections of approximately equal length, each rounded off a cadence and each repeated AABB

Front 11

ternary

Back 11

form ABA, the A part usually moves from the home key, tonic, to a contrasting key, domainant while the B part makes the cooresponding move back

Front 12

concerto

Back 12

baroque musicians, a genre that generally featured either a solo instrument or a small group of soloist set against a larger ensemble

Front 13

ritornello form

Back 13

the first and last movements tended to follow a loosely structured form based on the alternation between orchestral refrains and virtuosic outburst by the soloist which has taken on the Italian name for refrain

Front 14

flexible form

Back 14

prepared the way for the more systematic structures in the concerto of the classical and romantic periods

Front 15

three movement sequence

Back 15

a concerto usually consisted of three movement in the sequence allegro adagio allegro

Front 16

program music

Back 16

each line of the poem is printed above a certain passage in the score the music at that point mirrors graphically the action described. the literally link is called program music

Front 17

episodes

Back 17

throughout an orchestral ritornello, refrain, returns again and again in alternation with the episodes which often feature the solo violin

Front 18

harpsichord

Back 18

differs from the modern piano in two important ways, its strings are plucked by quills rather than struck with hammers and its tone cannot sustain like that of a piano. the pressure of fingers on the keys can produce subtle dynamic naunces but not the pianos extreme of loud and soft

Front 19

bach

Back 19

renowned as an extraordinary keyboard player he was also famous for his ability to improvise at the organ or harpsichord ranging from relatively free form approaches with highly contrasting musical ideas and tempos, often called TOCCATA or PRELUDE

Front 20

toccata and PRELUDE

Back 20

designed to show case performer's dexterity and were often paired with more systematically organized forms

Front 21

fugue

Back 21

a contrapuntal composition in which single theme pervades the entire fabric entering in one voice and then another

Front 22

subject

Back 22

of the fugue js stated alone at the beginning in one voices soprano alto tenor or basss then imitated in another voice

Front 23

answer

Back 23

the imitation of the subject

Front 24

countersubject

Back 24

a different theme heard against the subject or new material

Front 25

subject more

Back 25

the subject is presented in each voicdw

Front 26

exposition

Back 26

the first section of the fugue and its usually at the end

Front 27

episodes

Back 27

interludes, after the exposition the fugue alternates between sections of episodes and subjects

Front 28

contraputal writing

Back 28

a subjecy can be presented in longer time values often twice as slow as the original called AUGMENTATION, or shorter time values that go faster called DIMINUTION

Front 29

retrograde

Back 29

pitches stated backwards

Front 30

inversion

Back 30

turned upside down, moving by small intervals but in the opposite direction

Front 31

stretto

Back 31

overlapping statements of the subject that heighten the tension