Term
|
Definition
| French form of opera in 17th and 18th C.; pioneered by Jean-Baptiste Lully; combined French classical drama and ballet with music, dances, and spectacles; literally means lyric tragedy. |
|
|
Term
|
Definition
| a slow opening, majestic, homophonic overture that is followed by a faster section that begins with imitation. |
|
|
Term
|
Definition
| an ornament in French music usually indicated by a sign; used to ornament a cadence or other important part; literally means charm. |
|
|
Term
|
Definition
| broken or arpeggiated texture in keyboard and lute music from 17th C. France; originated with the lute; later transferred to the keyboard; literally means broken style. |
|
|
Term
|
Definition
| 17th and 18th C. works for vocal chamber with continuo; usually for solo voice with several movements including recitatives and arias and dramatic text; literally means to be sung. |
|
|
Term
|
Definition
| aria form with two sections; the first is repeated and the second’s close; there is an instruction to the performer, which indicates this repeat of the first section; creates an ABA form. |
|
|
Term
|
Definition
| also known as a chamber sonata; usually a suite of stylized dances; scored for one or more treble instruments and continuo. |
|
|
Term
|
Definition
| a dance in binary form; written in triple meter at a moderate tempo and with an upbeat; featured as a standard movement of the Baroque dance suite. |
|
|
Term
|
Definition
| stylized dance movement of a standard Baroque suite; written in binary form and known for fast compound meter; also has widemelodic leaps; the two sections both begin with imitation; literally means jig. |
|
|
Term
|
Definition
| instrumental genre of Baroque period; written for two treble instruments (usually violins) above a basso continuo; performance might require four or more players if more than one was used for the continuo part. |
|
|
Term
|
Definition
| in 16th and 17th C. vocal music this was an instrumental interlude between sung stanzas; in an aria this is a similar passage that recurs several times, like a refrain; typically played at the beginning, between stanzas, and at the end; states the main theme. |
|
|
Term
|
Definition
| short setting for organ of a chorale melody; used in an introduction for congregational singing or as an interlude. |
|
|
Term
|
Definition
| (Treatise on Harmony) influential writings on theory by Rameau; approached music as a source of empirical data that could be explained on rational principles; focused on the fundamental bass idea; coined the terms “tonic,” “subdominant,” and “dominant.” |
|
|
Term
|
Definition
| form of music in the 18th C. that combined poetic texts with the texts drawn from chorales or the Bible; this included arias, recitatives, and usually one or more choruses. |
|
|
Term
|
Definition
| (church sonata) Baroque instrumental work intended for performance in a church; usually four movements (slow-fast-slow-fast); scored for one or more treble instruments and continuo.15. Sonata da chiesa |
|
|
Term
|
Definition
| (French for “German”) highly stylized dance in binary form; moderately fast quadruple meter with almost continuous movement beginning at the upbeat; usually appears as the first dance in a suite; popular in Renaissance and Baroque. |
|
|
Term
|
Definition
| in French Baroque music, a slow moving dance in binary form and triple meter; emphasizing the second beat; standard movement of a suite. |
|
|
