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| a hymn that celebrated deeds of primary gods |
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| wild choral song-honored dionysus |
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| was a tightly nit social gathering among adult men where they came together for conversation/entertainment |
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| a song setting of a brief lyrical poem |
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| basic unit of time in ancient greek notation - eighth note |
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| wind instrument; round single reed or flat double reed; two parts - mouthpiece and resonator |
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| 6th century astronomer/mathematician |
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| mythology that stars and planets rotated in balanced proportions - harmonious |
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| single string stretched over a wooden block |
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| low A. lowest sounding pitch |
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| framework of the greek two octave system |
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| basic genus in greek system - primary tetrachord spanning intervals STT |
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| aka aulos (wind instrument that looks like a bone) |
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TRIVIUM = grammar, logic, rhetoric
QUADRIVIUM = arithmetic, geometry, astronomy, and music |
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| c. 480-524ce - roman senator, wrote a treatise on each quadrivium including Fundamentals of Music which became the required school text for music theory tenets of greek music theory: |
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written by Boethius; said 1. Music is a science and numeral ratios determined scale intervals and consonance/dissonance
2. Entire universe can be divided into 3 types of music: musica mundane, humana and instrumentalis
3. Musicus/Cantor definitions |
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| earthly vocal and instrumental music |
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| musicologist who studies and understands music |
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| the one who performs the music (in english)- the person who is specially trained to lead the music of the church community |
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| collection of prayers, chants, readings and ritual acts that are practiced |
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| monophonic religious music sung in a house of worship |
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| church in egypt that developed own chant - own liturgy too from coptic church |
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| byzantine church [ split from the roman church] - own liturgy and special dilect of chant- became notated and music theory developed to explain it |
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| early churches of rome - source of gregorian chant |
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| christians living under muslim rule in spain - notated but the notation doesn't specify distance between pitches |
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| christian music of early medieval Gaul (France/Switzerland) - mostly improvised - some copied into books of gregorian chant. Longer, flowery, exuberant. |
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| monk or nun - solitary religious person |
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| code of conduct to regulate daily life in a monastic community - applied = to both men and women |
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| canonical hours/ liturgical offices |
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| set of eight periods of worship occurring throughout the day |
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| work of the lord - the canonical hours were the work of the lord |
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| a service that required much singing and lasted forever |
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| late afternoon service - most important of the 8 canonical hours - included magnificat |
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| gregorian chant/plain song |
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| music sung daily at the 8 canonical hours; almost entirely monophonic and sung in unison; named after pope gregory though he didn't write any; remained official music of roman catholic church until 2nd vatican council; created north of the alps during the 9th - 10th centuries; mixed italian, french and german music |
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| most gregorian chant written during this time; started in 800ce |
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| first holy roman emperor crowned by pope (leo 3) - resuscitate old roman empire but w/God instead of paganism |
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| book of 150 psalms in the old testament being sung; all 150 had to be sung to God each week |
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| act or process of singing the psalms |
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| chief musician leading the singing |
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| divided choir alternately sings back and forth |
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| closing like the "gloria patri" - praise to the holy trinity |
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| a short chant specific to the day came before the psalm and was repeated after it (after the doxology) |
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| simple recitation formulas - intonation, recitation, mediation, recitation, termination |
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| simple recitation formulas - intonation, recitation, mediation, recitation, termination |
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| most important religious service each day in the monastery - includes the eucharist |
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| chants who's texts change each day to suit the religious theme or to honor a particular saint on that one day - Introit, Gradual, Alleluia/tract, sequence, offertory, communion |
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| chants with unvarying texts that are sung/can be sung every day of the year: kyrie, gloria, credo, sanctus, agnus dei, ite, missa est |
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| chant that accompanies the entry of the priests and abbot or bishop into the church and up the high altar |
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| only one note for each syllable of text |
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| multiple notes for each syllable of text (3-5) |
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| chant that employs melismas; found in more important services such as matins, vespers, and the mass |
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| ancient greek text asking for mercy |
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| profession of faith formulated at the council of nicea in 325 - syllabic - usually just the one melody |
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| long and wide; originally sung from an elevated position; has an antiphon and a psalm verse (not sung by the chorus antiphonally) instead it is a respond |
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| where the chorus prefaces then responds to the psalm sung by the soloist |
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| choral respond, solo verse, choral respond (GRADUAL) |
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| cry of joy; responsorial and melismatic; melisma on the final "a"; respond - verse - respond; alleluia - verse - alleluia; both alleluia and gradual are reflective chants - no "action" in the service |
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| the melisma on the final "a" of the alleluia; called jubilus because the choir/community celebrates the redemption given by jesus |
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| wrote De Musica (on music); Set forth 8 church modes in a system with numbers - essentially defined modes |
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| dorian, hypodorian, phrygian, hypophrygian, lydian, hypolydian, mixolydian, hypomixolydian |
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| first mode of each pair in the 8 church modes |
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| second move of the pair; "Derived" mode from authentic mode - a 4th below the authentic mode - but are the same sequence of notes, just different pitch levels |
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| signs for single pitches as well as groups; several pitches could be indicated with one neume; suggested direction of music (up or down) but didn't necessarily indicate how far it went |
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| a symbol on a line or space representing a single, precise pitch - established by 1000ce |
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| italian monk who spearheaded the musical staff and creation of note names |
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| written by guido of arezzo (little essay) c1030; indicated everything a musician needed to know - scale intervals, church modes, transposition and even about singing in polyphony |
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| different pitches to different syllables; set forth by Guido in Letter to Brother Michael - derived from a church hymn - able to isolate the semi-tone |
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| 6 note pattern, placed on C - TTSTT |
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| a staff on the hand - mnemonic aid...no books to read |
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| an addition of music/text/both to a preexisting chant inserted into liturgy to elaborate the theme of a preexisting chant which was not changed - usually added to the proper of the mass, at the beginning before the introit |
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| composed the trope Hodie Cantandus est nobis in 900. Monk |
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| began as a trope addition of music/text to preexisting chant - followed another chant instead of beginning or alternating with it |
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| at st. gall; the "toothless stammerer" who wrote book of sequences called Natus Ante Saecula (born before the ages); possesses double verse structure |
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| each musical phrase is sung twice to accommodate a pair of verses- exemplifies antiphonal singing |
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| day of wrath- written during 13th century- is the sequence for the Reqieum Mass (mass of the dead). Talks about hellfire on judgment day. Macabre and spooky |
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| celibate Christian women lived there |
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| main female singer that directed the choir |
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| 1098-1170- nun- became mother superior in 1136- composed 77 chants and liturgical drama. |
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| Scivias (Know you the ways) |
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| visions from Hildegard- compiled into a book of revelations. Text finds way into chants |
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| music from hildegard that was compiled at the end of her life |
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| devil in music- dissonant tritone |
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| Ordo virtutum (play of the virtues) |
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| collection of some 80 chants that form a full length music drama- it is a liturgical drama |
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| religious play with music intended to be inserted into the liturgy, before the mass- plot confrontation between soul and the devil- virtues win out |
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| poet- musicians who traveled- flourished with new courtly art in the south of france |
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| language of southern france- tongue of the troubadours |
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| poet/musician in the north |
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| northern french poet/musican language |
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| book of songs in the north |
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| ideal love applied to chivalric society |
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| wrote the sole extant song by a trobairitz- wrote I must sing laments failure in love strophic- has repetitive formal plan ABABCDB |
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| court where troubadors flourished |
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| scotland/england/normamdy/aquitane - much music and art |
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| troubadour at Chinon (fav castelf oe Eleanor of Aquitaine)- foremost- we have a biography (vida) of him. Left 45 poems 18 with melodies. Including “when I see the lark” |
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| King Richard I of England- fav son of Eleanor- set poetry to music- was a trouvere (language of the north)- wrote “truly a captive doesn’t speak his mind” when held captive from 1192-1194. AAB form |
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| german poet musician writing a minnesang |
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| song of love in old high german |
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| 400 songs surviving- collected in 1270 by Alfonso the Wise (also might have written some of them)- honor the Virgin Mary/miracles but secular music style. AAB form which is used by most troubadourians |
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| collected the songs for the cantigas de santa maria manuscripts (may have wrote some) |
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| musica enchiriadis (music handbook) |
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| music theory treatise- first documented appearance of polyphonic music. From a Benedictine abbey in NW Germany dating from 890s. Author- Abbot Hoger- taught musicians a technique for improvising music extempore- NOT intended to teach theory. |
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| became term to connotate polyphony (matches the sound generated by the organ)<---- Oh? |
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Term
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| an organum where all the voices move in lockstep up or down with the intervals between the voices staying the same - basic form with 2 parts |
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| a principal voice that is a preeexisting chant that is enhanced |
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| organal voice; a newly created line that is added to the chant, typically primary consonances (8, 5, 4); the 4th and 5th would sometimes create a tritone, thus it used oblique motion to prevent the tritone |
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| one line moves and the other stays the same |
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| essentially a cadence; “a running together”- Guido discusses in Micrologus |
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| earliest text of written polyphony- comes from a Benedictine monastery at Winchester- 1000ce.- contains mainly tropes (see chapter 5)- not fully notated- a memory aid not for sight reading |
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| from southern france; 65 pieces of 2part organum; has clarity but no rythmic distinction; easily readable |
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| the bottom voice holds a note while the faster moving top voice embellishes it |
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| santiago (st. james) de compostela |
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| after rome, 2nd most important pilgrimage site. Found in spain. It has a manuscript called Codex Calixtinus- written 1150- has a service for st. james with 20 polyphonic pieces for mass and vespers- no rhyhtmss only relative pitches- first manuscript to ascribe composer’s names to particular pieces- Master Albertus of Paris – earliest 3voice composition in western music “congaudeant catholici” |
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| written 1150; has a service for st james with 20 polyphonic pieces for mass and vespers; no rhythms only relative pitches; first manuscript to ascribe composer's names to particular pieces (master albertus of paris) |
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| earliest 3 voice composition in western music: "congaudeant catholici" |
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| "opus francigenum" - replaced romanseque; emerged in the 12th century |
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| western end of the church; public part |
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| east end of the church; included the high altar; group of singers performed there |
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| wrote about the notre dame school; said leonin wrote Magner Liber Organi to make mass/canonical hours more "splendid," that leoninus was succeeded by perotinus who edited it and made it more splendid, and that gothic polyphony was sung in notre dame since 1280 |
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| lenonius adorned thess parts of the mass b/c they were lengthy florid chants- solos and choral response. Pg 55- explains layout of the chant |
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| 2-voice pieces by Leoninus- older sustained tone organum (pure organum) |
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| style of music where both voices move at roughly the same rate and written in clearly defined rythms |
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| section, phrase or musical clause |
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| new type of notation- began 1150-1170 evolved by 13th century to rhythmic modes- 6 different ones- six patterns of repeating rhythms (separate pattern for each) |
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| inserted into a preexisting organum by leoninus - a clausula written in discant style intended to replace another |
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| 1160 - 1236; took rythmic innovations of leoninus and used them to create long, complex polyphonic works; 4 parts |
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| cantor of reims - important dude; wrote very advanced motets despite being a medieval composer |
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| bubonic plague - hit in 1348 |
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| 1337-1453; france vs england |
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| contrapuntal technique/musical genre; voices staggered by rests |
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| "fixed forms"; secular songs and dances settings texts in french...preset styles, such as ballade, rondeau, virelai |
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| song setting poem with 1-3 stanzas. AAB |
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| treble voice sings text, while other tenor/countertenor provide harmonic support; melody voice called CANTUS |
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| two musical selections - ABaAabAB |
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| AbbAbba - 2 sections plus textual refrain |
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| all of the movements of mass are linked together by common musical theme |
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| renaissance Italy; center of music in Italy; not a republic, but ruled by despots from the d'Este family |
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| 1450 - 1521; high-renaissance style of composing, and a master of it; used sogetto cavato in Missa Hercules Dux Ferrariae |
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| "cut out" subject; cantus firmus extracted from the vowels of a name |
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| 7 psalms among the 150 that are super remorseful and sung in the rites for death/burial |
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| constantly repeating pitch followed by a meditation |
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| diminutive harpsichord possessing a single keyboard with the strings placed ar right angles to the keys- rested on table- modest size and sound—mostly played by young girls |
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| Fitzwilliam Virginal Book |
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Definition
| c. 1615 - collection of keyboard music |
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Definition
| a procedure in which successive statements of a theme are changed or presented in altered surroundings |
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| 25 pieces written by thomas morley and 23 other madrigal composers - 1601 |
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Definition
| byrd, morley, weelkes, wilbye, gibbons - 1588-1627- the glory of the english renaissance (dumb) |
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| voice accompanied by a group of independent instruments; usually a consort of viols; strophic |
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Definition
| soloist accompanied by a lute and a bass instrument like the viola da gamba; strophic |
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Definition
| ensemble of ladies; trio of singers, minor nobility originally but then replaced with middle-class cause nobility sucked |
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| musica secreta (musica reservata) |
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Definition
| concerts performed for duke/duchess; small number of guests; concerto delle donne; exclusive chamber music |
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| 1474-1539- daughter of duke of ferrara- married son of Mantua in 1490- proficient musician and studied visual arts |
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Term
| Artusi-Monteverdi controversy |
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Definition
| artusi didn’t like the counterpoint of monteverdi’s cruda amarilli and other madrigals. Wrote on the imperfections of modern music, going measure by measure pointing out proelms. In response, Monteverdi wrote in the preface of his 5th book of madrigals- says “harmony must be the servant of the words” called new text driven approach the seconda practica- distinguished from the prima practica (where composers follow rules of counterpoint regardless of the text)- big deal- unprepared dissonances (2nds, 4ths, tritons, and sevenths- w/o proper preparation) |
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Definition
| comes from portugese (meaning ‘pearl’)- rough, bold sound in music- often excessive ornamentation |
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| king enjoys absolute power by reason of divine right |
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Definition
| different music moods can/should be used to influence emotions of listener |
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Definition
| singing alone with accompaniment; opera |
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Definition
| through bass- played by theorbo/lute or harpsichord |
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Term
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Definition
| numerical shorthand placed with bass line to tell the player which unwritten notes to fill in above the bass note |
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Definition
| "work" - dramatic play set to music |
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Definition
| text that conveys the story of opera- written in poetic verse |
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Definition
| society that gathered in home of count bardi- 1570s- prominent Florentines discussing lit, sci and arts. “Florentine club/circle” |
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Definition
dramatic or theater style- vocal expression somewhere between song and speech.. i.e. beginnings of recitative
First true opera- Dafne- 1598
First completely preserved opera- Euridice- 1600 |
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Definition
| tale of orfeo and euridice- powers of musical persuasion |
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Definition
| the new music, 1602. A book published by caccini- explain a new method for singing ornaments- describes the vocal techniques that grace the monodiesle |
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Term
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Definition
| “touched thing”- an instrumental piece, for keyboard or other instruments, requiring the perform to touch the instrument with a great technical dexterity |
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Term
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Definition
| simple recitative (onlyl accompanied by basso continuo) |
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Term
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Definition
| manner of singing halfway between recitative and full blown aria- fewer repeating pitches- more rhthmyically elastic than purely declarmatory recitative—but not song like and expansive as an aria |
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Term
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Definition
| song- florid, expansive, melodious- rapid fire delivery with melismas |
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Term
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Definition
| an aria in which the same melodic/harmonic plan appears, with slight variation in each successive style |
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Term
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Definition
| focus of spiritual and civic life- where the bones of Evangelist Mark are said to be buried |
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Term
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Definition
| “broken choirs” 2-4 choirs split and and placed in different parts of the building |
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Term
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Definition
| concerted style- baroque music marked by a grand scale and strong contrast either between voices and instruments, separate music esembles, separate choral groups or even between soloist and choir |
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Term
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Definition
| concerted style evident everywhere in the motet. Ex. In ecclesiis by gabrieli |
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Definition
| concerted style - monteverdi |
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Term
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Definition
| the agitated style- created by Monteverdi- “warlike music”- |
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Definition
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Term
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Definition
| something sung for a select group of listeners in a private residence |
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Term
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Definition
| base line that insistenly repeats, obstinate stubborn and pigheaded |
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Term
| Ciaconna(chaconne)/passacaglia |
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Definition
| originally separate and distinct bass melodies- came to indiscrimnantly indicate almost any repreating bass pattern of short duration |
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Term
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Definition
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Term
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Definition
| chief of music at court- german equivalent of maestro di cappella (chapel master) – supervised selection and performance of singrs/instrumentalist- oversee the education and musical prep of the choir boys. Ex. Schutz 1615 |
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Definition
| 1618-1648- protestant v catholic |
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Term
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Definition
| the Church;s aggressive response to the Protestant Reformation- purified the sanctuary by banning scular tunes and covering up nudity etc… |
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Definition
| new religious order- established colleges to impart a sense of a true catholic life by means of edcatiion |
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Term
| Cappella pontificia sistina |
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Definition
| papal Sistine chapel- home of this group is the Sistine chapel. The pope’s private vocal ensemble 17th century. Sang in stile antico. |
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Term
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Definition
| stile antico- ancient style- conservative music focused on prima practica |
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Term
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Definition
| darkness; singing of misrere |
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Term
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Definition
| originated in spain and italy around 1480- at first an improvisatory technique used by church singers.. chanted along with the psalm tone to produce 4voice, root position chords—by the 17th century, psalm tone and root chords gone—now was a newly composed piece for 4-5 voices. Ex. Allegri’s Miserere |
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Definition
| special, grand church that isn’t a cathedral (seat of a bishop). |
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Definition
| idio of large sclae multiple choir music for voices and instruments- concerted music but on crack |
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Term
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Definition
| time it took the sound to die—large churches had long reverb time- so colossal baroque style music avoided quick harmonic changes |
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Term
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Definition
| solo in place of the choral chant or polyphony- when the organ played alternate verses of the kyrie or Gloria |
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| musical flowers- published by Frescobaldi in 1635- includes organ music for mass for most of the Sundays and feast days of the church year |
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| a mass where an organ alternates w/ or entirely replaces the choir |
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| instrumental work designed to show off the creative spirit of the composer as well as the technical skill of the performer |
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| each independent organ section in an alternatim organ mass- a short piece that replaces a liturgical item otherwise sung by the choir |
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| instrumental piece, usually for lute or keyboard, that is similar in style to the 16th c imitative motet- except sometimes monothematic |
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| when introducing theme a 5th higher, changing the subject to keep it in home tonality |
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| dramatic text- not opera b/c not in costume/sets- but the concept of recitiatve arioso and aria |
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| prayer hall set aside just for praying preaching and devoational singing- where an oratorio was performed |
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| fraternal order emphasizing erligious devotion and charity- each one supported an orartory |
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| cantata was performed for a select audience in a private residence |
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| a formal arrangement- ABA form. Reprise of A not written out. |
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| refrain- distinctive musical phrase that comes at the beginning of the aria and returns frequently thereafter |
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| northern Italian town- crucial for the development of the violin. It is where Monteverdi is from. And born/lived great violin makers like Stradivari |
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| c.1644-1737- great violin maker. Lived in Cremona. “Stradivarius” |
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| of church- composers identified music as such |
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| something to be sounded; piece for a single instrument or small instrumental |
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| playing two or more notes simultaneously |
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| comprised a line for a single melody instrument |
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| two treble instruments (usually 2 violins) and a continuo |
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| structure consisting of two or more complementary parts |
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| bass moving in a pace up and down |
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| by 1700; used to designate a 3 movement instrumental overture; might preface an opera or mass |
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| "sharp" - requires the performers to play in a detached fashion |
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| playing in the high register; a special technique of baroque trumpeters |
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| during the last two decades of the 17th century- came to denote a purely instrumental piece for an ensemble in which one more soloists both complemented and competed with the orchestra |
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| concerto for one solo instrument |
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| a technically demanding, rhapsodic, improvisatory passage near the end of the movement- entered into the concerto in the early 18th century (see Vivaldi) |
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| larger body of performers, like the full orchestra, contrasts with a smaller group of soloists - large group is the ripieno and the small group of soloists is the concertino |
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| ordered set of dances for a solo instrument or ensemble - all written in the same key and intended to be performed in a single sitting |
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| german; 4/4; stately moderate temp upbeat gracefully interweaving lines |
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| lively dance; French metrical ambiguity; use of hemiola |
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| slow stately dance in 3/4 with strong accent on the 2nd beat |
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| fast dance in 6/8 or 12/8 with 8th note pulse - galloping sound; imitative; generally closed the suite |
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| french dance; elegant; triple meter; moderate tempo; |
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| fast dance in 4/4 or cut time- quarter note upbeat- usually followed a slow dance like the sarabande |
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| French- moderate tempo, duple meter, 4 bar phrases |
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| energetic dance. English origin. Derived form the country jig in either ¾ or 2/4 |
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| some external influence/non musical event affects the composition |
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| “mystery” or “rosary” sonatas |
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| 15 sonatas for solo violin and continuo that project through music the sacred devotion of the rosary |
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| Italian meaning mistuning- tuning to something other than the standard tuning |
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| hour long concert of sacred music w/ arias and reciatives- like an oratorio. A single religious theme |
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| work for organ that sets a Lutheran chorale tune, surrounging it w/ counterpoint and florid embellishment |
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| ultimate power in the state rested in the hands of a king who claimed to rule by divine right |
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| court of French king. Louis 14th |
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| court ballet- type of ballet dance at French court- roots of modern ballet- |
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| french solo song; simple strophic song for single voice or small group of solists |
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| vingt-quatre violins du roi |
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| 24 instruments of the violin family- 6 violins, 12 violas, and six basse de violins (oversized cellos)- played 5 part music consisting of treble and bass as well as 3 middle parts played by the 12 violas split into groups of 4- other things could be added like harpsichords,trumpets, drums, and 12 great oboes |
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| Academie roylae de musique |
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| opera company directly licensed and indirectly financed by the king- performed at palais royal |
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| distinctly French style of opera- Lully |
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| lavishly choreographed diversionary interlude with occasional singing |
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| distinctive type of instrumental prelude created by lully. Slow section in duple marked by dotted rhthyms- then fast triple meter in imitative counterpoint and a return to the slow stately beginning- eventually dropped the third to be only slow and dotted, then fast and fugal |
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| ordinary recitative- accompanied by continuo- noteworthy for length, vocal range and general dramatic quality |
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| set a French text- but a cantata |
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| broken style; discontinuous |
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| opening piece w/o indications for rhythmic duraion or metrical organization- no barlines rhtmucally free |
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| the art of playing the harpsichord |
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| a pedagogical manual inw chi Couperin leads the clavecin student through a discussion of fingering, ornamentation and other aspects of performance |
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| when a succession of equal notes move rapidly up and down sclae are played somewhat unequally long short long short |
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| a dotted note is made longer than written, while cheating the complementary note |
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| term used to describe the decorative arts and the music mid18th c france- lightness, grace and highly ornate |
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| group of pieces loosely associated by feeling and key- like a suite |
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| alternation of main thme w/ subsidiary sections(couplets)- to create AVACADAEAFA |
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| Benedictine monastery- provide venue for ceremonies of the state |
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| elaborate courtly entertainment using music, dance and drama to portray an allegorical story that shed a favorable light on the royal family- similar to the ballet de cour |
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| spoken play in which the more exotic, amorous or even supernatural moments in the story were sung or danced |
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| basso ostinato of purcell’s day- provided solid founation on which an entire composition could be built or grounded- repeating pattern- stubborn/pigheaded |
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| multimovement composition usually lating about 20 minutes, containing an instrumental introduction, chrosuses, duets and a solo arias. No recitatitve because there is no drama/action to narrate- instead the movements offer successive lyrical praise to a member of the royal family |
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| slide trumpet- an early trombone- that played purcell’s funeral march for queen mary |
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| collection of dances all in a single key for one instrument or another-typically binary AB form |
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| actually created in germany and bohemia (Czech republic)- but associated with the court of Louis XIV- no valves ,smaller bell=smaller sound |
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| characterist musical figure where instruments slide back and forth through 6ths, 5ths, and 3rds- sometimes ornamenting along the way |
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| handel’s opera company- publicly held stock company for the production of Italian opera- 1719. Went bankrup twice |
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| serious opera- fully sung Italian opera- super elaborate and expensive- little action/drama on stafe and is reported by 3rd parties.. its all reaction- needed virtuosic singers= expensive |
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| born in 17th century italy- large scale multimovement composition setting of a sacred text |
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| slow aria, with distinctive characteristics: parallel thirds in stepwise motion, lilthing rhythm in compound meter, and harmony that changes slowly that employs subdominant chords |
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| collection of 46 pieces written mostly between 1708-1713- little organ book |
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| ornamental setting of a pre-existing chorale tune intended to be played on the organ before the singing of the choral by the full congregation |
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| group of similar sounding pipes on organ |
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| wooden knob that activates a certain group of pipes |
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| continually repeated pitch, usually placed in the bass and sounding while the harmonies change around it |
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| chief musician in the baroque/classical periods- not just of the chapel but of the entire court |
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| two and part three inventions |
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| 1723- two sets of contrapuntal pieces- simple fugues |
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| The Well-Tempered Clavier |
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| collection of preludes and fugues by bach in 2 books- one from cothen 1720-1722 ad he other from Leipzig in the 1730s- each volume has 24 preludes and fugues arranged by key in ascending order |
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| division of the octave into 12 equal half steps |
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| shift from minor to major using a bright sounding major triad |
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| each theme presents the subject |
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| thematically distinctive material- moves in counterpoint to the bass |
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| free section- based on motives derived from the subject |
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| contrapuntal composition for 2,34,5 voices which begins with a presentation of a subject in imitatation- exposiche, followed by free eupsides and a strong affirmation in thetonic key |
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| obliged or mandatory- indicates that a composer has written a specific part for an instument and intens it to be played at written |
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| director of church music- bach was cantor in Leipzig |
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| sacred vocal genre that employs the text/tune of a pre-existing Lutheran choral in all or several of its movemnts |
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| small violin usually tuned a minor third higher than the normal violin |
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| recitative that’s accompanied. Duh. |
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| with the part- instrumental parts double the vocal lines |
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| musical depiction of christ’s crucifixion as recoreded in the gospels- performed on good Friday |
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| association of musicians (university students) – came together voluntarily to play the latest music before the public in a large café or beer hall |
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| virtuoisc set of 30 variationspreceded and concluded by a simple air- the air and each variation is based on the same 32 br harmonic pattern |
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| trio sonata, 2 fufues and 10 puzzle canons- written in berlin |
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| collection of fugues and canons, all derived from the same subject- intended for keyboard- has every contrapuntal technique EVER |
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