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38 Cards in this Set
- Front
- Back
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answer |
The second statement of the main theme in a fugue |
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baroque |
art, architecture, and music of the 17th and early 18th century |
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basso continuo |
generally involves two performers, one playing the noted bass line, one realizing the harmonies as indicated by the figured bass |
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binary form |
two-part form (AB). Section A generally ends with open cadence |
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counterpoint |
combination of two or more melodic lines |
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countersubject |
a recurring counter-melody |
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da capo aria |
three-part structure (ternary form): ABA In the performance the return of section A is generally ornamented |
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drone |
a sustained bass note that provides a rudimentary harmonic foundation |
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episode |
a passage within a fugue in which neither subject nor answer is present |
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equal temperament |
all semitones within the octave are divided equally; created enharmonic equivalents. Allowed music to be performed "in tune" in all keys. |
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figured bass |
numbers are placed below the bass line to show harmonic progression. provides the structure for guided improvisation |
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french overture |
Two parts First part: slow tempo, homophonic texture, features dotted figures Second part: fast tempo, imitative texture |
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fugue |
A highly structured, imitative contrapuntal composition. A single theme to subject prevails |
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homophonic texture |
single line of melody supported by a harmonic accompaniment |
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homorhythmic texture |
all voices sing the same rhythm |
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libretto |
the text of an opera, oratorio, or cantata |
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melisma |
a group of notes sing on a single syllable/ vowel |
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monophonic texture |
single line of unaccompanied melody |
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oratorio |
A large scale work for soloists, chorus, and orchestra. Consists of recitatives, arias, ensembles, and choruses |
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ostinato |
a rhythmic or melodic pattern repeated for an extended period |
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pedal point |
a sustained note over which harmonies change |
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polyphonic texture |
combination of two or more melodic lines, also referred to as counterpoints |
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prelude |
a short keyboard work in improvisatory style |
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real answer |
an exact transposition of the subject |
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recitativo accompagnato |
a speech-like, declamatory style of singing. Supported by instrumental ensemble or orchestra |
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recitativo secco |
a speech-like, declamatory style of singing. Supported only by continuo |
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ripieno |
a term used to denote the use of the full orchestra in the Baroque concerto |
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ritornello form |
a structure employed in the first and third movements of the Baroque concerto. The opening passage (ritornello) is re-stated throughout the movement |
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stretto |
overlapping subject entries in close succession |
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subject |
the initial statement of the main theme of a fugue. In the tonic key |
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ternary form |
three-part form (ABA). Section B generally creates contrast in key and / or material |
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terraced dynamics |
Baroque practice of changing dynamics abruptly. Results in stark contrast rather than gradual change |
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the "Affection" |
In Baroque music, a single "affection" (one clear emotion) is usually projected through an entire composition or movement. |
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tierce de Picardie |
a work in a minor key ends in the tonic major (raised 3rd) |
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tonal answer |
a statement of the subject in which one or more intervals is adjusted to accommodate the harmony |
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word painting |
musical pictorialization. Music mirrors the literal meaning of the words. |
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solo concerto |
popular instrument genre of the Baroque era for soloist and orchestra. Generally in three movements: fast-slow-fast. Frequently employed ritornello form. Intended to showcase the virtuosity of the soloist |
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recitative |
a speech-like style of singing used in operas, oratorios, cantatas. Follows inflections of the text, resulting in rhythmic flexibility |
