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Grade 9 RCM History > Baroque Era > Flashcards

Baroque Era Flashcards

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1
Q

First used as a derogatory term in reference to the overly ornate art of the era

A

Baroque

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2
Q

Now applied to art, architecture and music of the 17th and early 18th centuries

A

Baroque

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3
Q

From the Portuguese barroco meaning “irregularly shaped or misshapen pearl”

A

Baroque

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4
Q

A musical shorthand developed in the Baroque era

A

Figured bass

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5
Q

In this musical shorthand, numbers are placed below the bass line to show harmonic progression

A

Figured bass

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6
Q

This is performed or realized by the basso continuo

A

Figured bass

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7
Q

This provides structure for guided improvisation

A

Figured bass

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8
Q

Baroque performance practice that generally involves 2 performers - one playing the notated bass line, one realizing the harmonies as indicated by the figured bass

A

basso continuo

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9
Q

This Baroque performance practice provides harmonic framework. Harmonies are usually played on harpsichord or organ

A

basso continuo

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10
Q

Also referred to as the “Doctrine of Affections” or “the affects”. In Baroque music, a single “affection” or “affect” (one clear emotion) is usually projected through an entire composition or movement.”

A

The Affections

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11
Q

A Baroque philosophy inspired by ancient Greek and Roman writers and orators

A

The Affections

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12
Q

Refers to emotional states of the soul

A

The Affections

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13
Q

Musical embellishment to decorate a melodic line. Either represented with symbols or improvised.

A

Ornamentation

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14
Q

A popular instrumental genre of the Baroque era for soloists and orchestra. Generally in three movements: fast - slow - fast

A

concerto

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15
Q

A genre that frequently employed ritornello form and intended to showcase the virtuosity of the soloist(s)

A

concerto

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16
Q

A structure employed in the first and third movements of the Baroque concerto

A

ritornello form

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17
Q

In this structure, the opening passage (ritornello) is restated throughout the movement, serving as a refrain

A

ritornello form

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18
Q

Italian for “full” or “complete”

A

ripieno

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19
Q

A term used to denote the use of the full orchestra in the Baroque concerto

A

ripieno

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20
Q

Italian for “obstinate” or persistent”

A

Ostinato

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21
Q

A rhythmic or melodic pattern repeated for an extended period

A

Ostinato

22
Q

A note, or a series of notes, sustained through harmony changes in other parts

A

pedal point

23
Q

Music with a descriptive element, inspired by extramusical associations, like a story or painting

A

programmatic writing

24
Q

evolved into a significant feature of 19th century instrumental writing (program music)

A

programmatic writing

25
Q

Polyphonic texture

A

a combination of two or more melodic lines

26
Q

homophonic texture

A

a single line of melody supported by a harmonic accompaniment

27
Q

Highlights the unique technical capabilities of an instrument in the style of writing; opposite of “generic”; developed in the Baroque era

A

Idiomatic writing

28
Q

In what time period did the Baroque Era take place?

A

1600-1750

29
Q
  • A large scale work for soloists, chorus, and orchestra

- Serious subject, generally based on biblical texts

A

Oratorio

30
Q
  • Consists of recitatives, arias, ensembles, and choruses

- Developed in Baroque era

A

Oratorio

31
Q
  • A Baroque orchestral genre, often the orchestral introduction to an opera or oratorio
  • First developed at the court of Louis XIV by Jean-Baptiste Lully
A

French overture

32
Q
  • generally in 2 parts
  • first part - slow tempo, homophonic texture, features dotted figures
  • second part - fast tempo, imitative texture
A

French Overture

33
Q
  • the text of an opera, oratorio, or cantata

- usually written by someone other than the composer

A

libretto

34
Q
  • A speech-like style of singing used in operas, oratorios, and cantatas
  • follows inflections of the text, resulting in rhythmic flexibility
  • usually used to advance the plot or storyline; moves through text quickly
A

recitative

35
Q
  • supported only by continuo
  • Italian for “dry recitative’
  • a speech- like, declamatory style of singing
  • employed in opera, oratorio, and cantata
A

recitativo secco

36
Q
  • supported by instrumental ensemble or orchestra
  • allows for greater connection with the text
  • Italian for “accompanied recitative”
  • a speech-like, declamatory style of singing
  • employed in opera, oratorio, and cantata
A

recitativo accompagnato

37
Q
  • Italian for “air”
  • A solo song with accompaniment, heard in an opera, oratorio, or cantata
  • highly emotional and often virtuosic
  • may have lyrical or dramatic qualities; often serves to reveal the characters’ most intimate emotions
A

Aria

38
Q
  • An aria (solo song) employing a ternary (ABA) structure
  • In performance, the return of section A is generally ornamented.
  • The most common type of aria in Baroque opera and oratorio
A

Da capo Aria

39
Q
  • Musical pictorialization
  • The music mirrors the literal meaning of the words
  • achieved through melody, harmony, or rhythm
A

word painting

40
Q
  • a group of notes sung on a single syllable/vowel

- demonstrates vocal virtuosity and often serves to highlight key words

A

melisma

41
Q
  • a method of tuning keyboard instruments
  • the octave is divided into 12 equal half steps
  • facilitated the composition and performance of music in all keys
A

equal temperament

42
Q

Clavier

A

a german word for keyboard instruments other than the organ

43
Q

Prelude

A
  • a short keyboard work in improvisatory style

- often paired with a fugue

44
Q

Fugue

A
  • a highly structured, imitative contrapuntal composition

- a single theme or subject prevails

45
Q

Counterpoint

A
  • a combination of 2 or more independent melodic lines

- also referred to as “polyphonic texture”

46
Q

Subject

A
  • the initial statement of the main theme of a fugue

- in the tonic key

47
Q

answer

A
  • the second statement of the main theme in a fugue

- usually in the dominant key

48
Q

real answer

A
  • an exact transposition of the subject
49
Q

tonal answer

A
  • a statement of the subject in which one or more intervals is adjusted to accommodate the harmony
50
Q

countersubject

A
  • a recurring countermelody

- accompanies entries of the subject and answer

Grade 9 RCM History (2 decks)

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