Navedtra 12013 Appendix D List Of Terms

Front 1

Allemande

Back 1

A classic dance in 4/4 measure, moderately fast, usually with an eighth-note upbeat. The name means “German dance.”

Front 2

Anthem

Back 2

A piece of sacred choral music used in the service of Protestant churches, sung by the choir, rather than by the congregation.

Front 3

Aria

Back 3

A solo song, occurring in an opera, oratorio, or cantata, which develops a dramatic, lyrics or emotional high point the work.

Front 4

Arioso

Back 4

A style of solo song in opera or oratorio, resembling both the recitative and the aria.

Front 5

Bagatelle

Back 5

Literally, a trifle. The name was applied by Beethoven and others to short piano pieces, usually in song form.

Front 6

Ballad, ballade

Back 6

(1) A simple song
(2) A narrative poem, set to music, such as Schubert’s “Erl-King.”
(3) A piano piece, orchestral work, or choral work, which is patterned after the above definition.

Front 7

Basso ostinato

Back 7

Literally, an obstinate bass. A variation form in which a bass-line of 1, 2, or 4 bars is repeated over and over, with changing harmonies and melodies above.

Front 8

Cadence

Back 8

An interruption to the movement of music, usually at the end of a phrase.

Front 9

Perfect authentic cadence

Back 9

V-I or V7-I, both chords in root position, with the root of 1 in the highest voice.

Front 10

Perfect plagal cadence

Back 10

IV-I, sometimes used independently, but most frequent as the “Amen” sung after the last verse of a hymn.

Front 11

Imperfect cadence

Back 11

A weak form of the perfect authentic cadence. The chord progression is V-I or V7-I, but one or the other of the chords is inverted, or the soprano note of the last chord is not the root.

Front 12

Half cadence

Back 12

A cadence ending on V, or on III of minor keys. Half cadences may also end on other degrees, but not the tonic.

Front 13

Deceptive (or interrupted) cadence

Back 13

A special kind of half-cadence, in which the listeners ear is prepared for a perfect authentic cadence, but the final chord turns out to be some chord other than the tonic.

Front 14

Canon

Back 14

A composition for two or more voice-parts, in which each of the parts in turn presents the identical melody (called the subject) in a way dictated by the first voice, and by the conventions adopted for the canon.

Front 15

Cantata

Back 15

Originally, a piece of music for singing, as contrasted to a piece to be played on instruments (sonata.)

Front 16

Caprice, capriccio:

Back 16

A fanciful and irregular sort of composition written in free style, resembling the fantasia.

Front 17

Cassation

Back 17

A name applied by Mozart and others to some serenades, or suites, for various instrumentations, probably intended for outdoor performance.

Front 18

Chaconne or passacaglia

Back 18

A composition consisting of a set of variations derived from a ground bass 4 or 8 measures long, usually in triple meter.

Front 19

Chorale

Back 19

The German hymn developed by Martin Luther. It is of great musical importance because it became the basis of much German music up to the middle of the 18th century, especially in the chorale prelude for organ, and in the cantata.

Front 20

Chorale Prelude

Back 20

An elaboration of a chorale melody for the organ, used in the Lutheran service as a prelude to the singing of the chorale by the congregation.

Front 21

Concerto

Back 21

A large work for soloist with orchestra, in the form of a sonata or symphony. It ordinarily consists of three movements, the first being in sonata-allegro form with adouble exposition (a
ritornello for orchestra and a second statement of the themes by the solo instrument), a slow second movement, and a rapid and brilliant third movement, usually a rondo.

Front 22

Concerto grosso

Back 22

gArosfsoorm: originating in the late 17th century, in which a small group of solo instruments (the concertino) is set against a larger body of accompanying instruments (the concerto grosso, sometimes called the ripieno).

Front 23

Courante

Back 23

A classic dance in rapid tempo, usually with 3/4 or 6/4 measure, with an upbeat of one quarter-note or three eighth notes. The name means “running dance.”

Front 24

Descant:

Back 24

(1) A term used after the 12th century to denote any kind of polyphony. (2) In modern usage, a countermelody, usually florid, superimposed above the principal melody of a chorale.

Front 25

Development

Back 25

In the sonata allegro, the section between the exposition and the recapitulation, consisting of a working out of fragments of the themes presented in the exposition, frequently using modulation

Front 26

Divertimento:

Back 26

A type of suite typical of the late 18th century, written for various small instrumental combinations and intended for outdoor performance.

Front 27

Double fugue

Back 27

A fugue with two subjects.

Front 28

Duo, trio, quartet, sextet, etc

Back 28

Specific names, depending upon the number of participating musicians, for classical sonatas for instrumental ensembles.

Front 29

Episode

Back 29

In a fugal work, an interlude between statements of the subject.

Front 30

Etude

Back 30

Basically, a piece written for the practice of some particular technical difficulty. As such, the etude is likely to have a repeated figure which contains the technical difficulty occurring throughout the composition.

Front 31

Exposition

Back 31

(1) In fugal works, the first section of the work.
(2) The first large section of a sonata-allegro, in which the main theme and subordinate theme are presented in contrast with each other.

Front 32

Fantasia

Back 32

A name given to various kinds of composition which agree in being free in style, not restricted to any definite form.

Front 33

The figure

Back 33

resembles the motive to the extent that it is a short group of notes.

Front 34

Fugato

Back 34

A passage in fugal style appearing in a non-fugal composition.

Front 35

Fughetta

Back 35

A short fugue.

Front 36

Fugue

Back 36

a composition, usually for a fixed number of voices, either vocal or instrumental, in which a melodic idea, or subject, is treated by imitation in all the voices, and in which the imitative sections are separated by episodes.

Front 37

Galop:

Back 37

A lively dance in 2/4 measure.

Front 38

Gavotte

Back 38

A dance consisting of two lively strains in 4/4 time, usually with an upbeat of two quarter-notes.

Front 39

Gigue

Back 39

a classic dance in 6/8 or 12/8 measure, in rapid tempo.

Front 40

Impromptu

Back 40

A piece in free style, as though improvised

Front 41

Intermezzo

Back 41

An interlude; a piece of instrumental music between the acts of an opera

Front 42

Invention

Back 42

A name used by Bach to describe a set of fifteen keyboard pieces in two parts, written for the training of his sons in composition as well as in performance.

Front 43

Latin American dance form

Back 43

characterized by the use of a host of unusual percussion instruments each of which has its particular assigned part.

Front 44

Rhumba

Back 44

originated in Cuba; also Guaracha

Front 45

Bolero

Back 45

danced to in modern ballroom in Cuban style.

Front 46

Samba

Back 46

A characteristic Brazilian dance form with rolling rhythm and a strong feeling of two to the bar.

Front 47

Tango

Back 47

A widely popular dance from Argentina. Main characteristic is the heavy accent on the fourth beat or after-beat of four.

Front 48

Mambo

Back 48

strong accent on two and four in a two-bar pattern

Front 49

Lied

Back 49

German art-song

Front 50

Madrigal

Back 50

secular polyphonic vocal composition which flourished in Italy and England during the last part of the 16th century and well into the 17th century

Front 51

March

Back 51

A musical composition designed to produce orderliness and spirit in the movement of troops, or to provide music for the accompaniment of processions.

Front 52

Mass

Back 52

The observance of the Eucharist in certain churches

Front 53

Mazurka

Back 53

A lively Polish dance in 3/4 or 3/8 meter, with emphasis on the second or third beat of the measure.

Front 54

Minuet

Back 54

A dance popular in Europe from about 1650 to the beginning of the 19th century, particularly valued as it was considered to be the best training in genteel deportment.

Front 55

Motet

Back 55

A polyphonic choral composition setting Latin religious words other than those of the mass.

Front 56

Opera

Back 56

One of the most important of musical forms, uniting at the same time the efforts of the poet (librettist), the actor, the
stage-crafter, and the costumer with that of the composer.

Front 57

Oratorio

Back 57

A dramatic work for soloists, chorus, and orchestra, the libretto of which concerns a sacred subject.

Front 58

Overture

Back 58

(1) The orchestral introduction to an opera, oratorio, or cantata
(2) A piece of keyboard or orchestral music patterned after the overture iin the first sense, but intended for independent performance.

Front 59

Partita

Back 59

Another name for suite (1), but usually referring to a rather elaborate suite, introduced by a movement not in dance rhythm

Front 60

Passacaglia

Back 60

Chaconne

Front 61

Passage

Back 61

When a motive is used sequentially in a florid manner, or
dissolves into a scale or arpeggio figure for the sake of brilliance, it is known as a passage.

Front 62

Passepied

Back 62

A rapid dance, three beats to the measure, with an upbeat of one beat. It was occasionally used as an optional movement in a suite.

Front 63

Passion

Back 63

A piece of sacred music, resembling an oratorio, based on the last events in the life of Christ, and derived from the custom in some churches of devoting four days of Holy Week to the reading of the story of Christ's life from the various gospels.

Front 64

Polka

Back 64

A lively Bohemian or Polish dance in 2 meter, with the first
4 three eighth-notes accented , and the fourth unaccented.

Front 65

Polonaise

Back 65

A stately Polish dance in 3/4 meter, with each of the beats
normally divided into two eighth-notes, but with the last half of the first beat divided into two sixteenth notes.

Front 66

Prelude

Back 66

(1) A piece played as an introduction to another, as a
prelude and fugue.
(2) Any short piece in rather free style is likely to be called a prelude by its composer

Front 67

Recapitulation

Back 67

(1) In fugues, the section which prepares for the close of the work.
(2) In the sonata form, the section which follows the development and brings the movement to a close.

Front 68

Recitative:

Back 68

It is used for narrative, dialogue, or for situations unsuited to lyric expression in opera

Front 69

Retransition

Back 69

A transition, bridge passage, or extension which occurs as the final event in a development section.

Front 70

Rigaudon

Back 70

An old dance in duple meter originating in southern France and occasionally used in the suite, or as an independent number.

Front 71

Rondo

Back 71

A large form made by the contrast of a main theme with one or more contrasting subordinate themes

Front 72

Sarabande

Back 72

A classic dance of Spanish origin in slow 3/4 or 3/2 measure, with the second beat accented or lengthened.

Front 73

Scherzo

Back 73

The word is the Italian word for joke, and this is typical of many specimens of the musical scherzo

Front 74

Sonata-allegro

Back 74

A large form used as a the first movement of sonatas, symphonies, quartets, and the like, and separately as the overture.

Front 75

Sonata

Back 75

A large form in several movements, each of which is also likely to be a large form

Front 76

Sonatina

Back 76

A small sonata, with less elaborate treatment of thematic
material than in the sonata.

Front 77

Song

Back 77

In its broadest sense, vocal music, uniting words with melody.

Front 78

Stretto

Back 78

A type of imitation, frequent in fugues, in which the
follower begins the imitation while the first statement is in progress. Contra IX!

Front 79

Suite

Back 79

(1) A set of dances frequently having an introductory movement, and interpolating other dances
(2) A set of pieces for open-air performance.
(3) A set of pieces made up of theatrical music

Front 80

Symphonice Poem

Back 80

A romantic variant of the symphony, breaking down the separation into movements, and incorporating elements of descriptive music (or program music.

Front 81

Symphony

Back 81

As used today, the name refers to an extended sonata for
full orchestra.

Front 82

Terantelle

Back 82

A rapid Italian dance in $meter, so called either because it originated in the region of Taranto, or because the dance was long regarded as a specific remedy for the bite of the tarantula.

Front 83

Tocata

Back 83

Usually, a piece written to display rapidity of execution on
a keyboard instrument.

Front 84

Trio

Back 84

(1) A sonata for three instruments
(2) The second large division of a minuet, scherzo, or march, after which the first part is repeated

Front 85

Variation forms

Back 85

pieces of music constructed by presenting the
same musical idea in several successive treatments, preserving the outlines of the original idea.

Front 86

Waltz

Back 86

A dance In triple meter which developed from a German peasant dance, the Ländler.