Terms in Baroque Era

Question 1

Baroque

Answer 1

from the Portuguese meaning “irregularly shaped or misshapen pearl”
first used as a derogatory term in reference to the overly ornate art of the era
now applied to art, architecture, and music of the 17th and early 18th centuries

Question 2

figured bass

Answer 2

a musical shorthand developed in the Baroque era
numbers are placed below the bass line to show harmonic progression
performed or realised by the basso continuo
provides the structure for guided improvisation

Question 3

basso continuo

Answer 3

baroque performance practice
generally involves to performers – one playing the notated bass line, one realising the harmonies as indicated by the figured bass
harmonies usually played on harpsichord or organ
provides harmonic framework

Question 4

the Affections

Answer 4

also referred to as the “Doctrine of Affections” or “the effects”
a Baroque philosophy inspired by ancient Greek and Roman writers and orators
refers to emotional stated of the soul
in Baroque music, a single “affection” or “affect”(one clear motion) is usually projected through an entire composition or movement

Question 5

ornamentation

Answer 5

musical embellishment to decorate a melodic line

either represented with symbols or improvised

Question 6

concerto

Answer 6

a popular instrumental genre of the Baroque era for soloists and orchestra
generally in three movements: fast-slow-fast
frequently employed ritornello form
intended to showcase the virtuosity of the soloist

Question 7

ritornello form

Answer 7

a structure employed in the first and third movements of the Baroque concerto
the opening passage (ritornello) is re-stated throughout the movement, serving as a refrain

Question 8

ripieno

Answer 8

Italian for “full” or “complete”

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

Question 9

ostinato

Answer 9

Italian for “obstinate” or “persistent”

a rhythmic or melodic pattern repeated for an extended period

Question 10

pedal point

Answer 10

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

Question 11

idiomatic writing

Answer 11

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

Question 12

programmatic writing

Answer 12

music with a descriptive element, inspired by extramusical associations, like a story or painting
evolved into a significant feature of 19th-century instrumental writing

Question 13

equal temperament

Answer 13

a method of tuning keyboard instruments
the octave is divided into twelve equal half steps
facilitated the composition and performance of music in all keys

Question 14

clavier

Answer 14

a german ford for keyboard instruments other than the organ

Question 15

prelude

Answer 15

a short keyboard work in improvisatory style

often paired with fugue

Question 16

fugue

Answer 16

a highly structured, imitative contrapuntal composition

a single theme or subject prevails

Question 17

counterpoint

Answer 17

combination of two or more independent melodic lines

also referred to as “polyphonic texture”

Question 18

subject

Answer 18

the initial statement of the main theme of a fugue

in the tonic key

Question 19

answer

Answer 19

the second statement of the main theme in a fugue

usually in the dominant key

Question 20

real answer

Answer 20

an exact transposition of the subject

Question 21

tonal answer

Answer 21

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

Question 22

countersubject

Answer 22

a recurring countermelody

accompanied entries of the subject and answer

Question 23

episode

Answer 23

a passage within a fugue in which neither subject nor answer is present
frequently sequential

Question 24

oratorio

Answer 24

a large-scale work for soloists, chorus and orchestra
serious subject, generally based on biblical texts
consists of recitatives, arias, ensembles and choruses
developed in Baroque era

Question 25

French overture

Answer 25

a Baroque orchestral genre
first developed at court of Louis XIV by Jean-Baptiste Lully
generally in two parts
first part – slow tempo, homophonic texture, features dotted figures
second part – fast tempo, imitative texture

Question 26

libretto

Answer 26

the text of an opera, oratorio, or cantata

usually written by someone other than the composer

Question 27

recitative

Answer 27

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

Question 28

recitativo secco

Answer 28

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

Question 29

recitativo accompagnato

Answer 29

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

Question 30

aria

Answer 30

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

Question 31

da capo aria

Answer 31

an aria (solo song) employing a ternary structure
in performance, the return of Section A is generally ornamented
the most common type of aria in Baroque opera and oratorio

Question 32

word painting

Answer 32

music pictorialization
the music mirror the literal meaning of the words
achieved through melody, harmony, or rhythm

Question 33

melisma

Answer 33

a group of notes sung on a single syllable/vowel

demonstrates vocal virtuosity and often serves to highlight key words