List of Terms:

- Anthem –
- Aria – translates to man “a song on air”, and is more passionate, expansive and
tuneful than a recitative
- Baroque – refers to music of a certain style and with certain characteristics coming
from a period of time ranging 1600-1750. The word “Baroque” is derived from the
Portugese word barrco, referring to a pearl of irregular then used in jewellery and in
fine decorations.
- Basso continuo – a small ensemble of at least two instrumentalists who provide a
foundation for the melody of melodies above.
- Basso ostinato – A melody, harmony or rhythm that repeats continually through a
musical composition
- Cadenza – a showy passage for the soloist appearing near the end of the movement in
a concerto
- Cantata –
- Carol – a song in the local language that is used for Christmas, Easter or a military
victory
- Castrato – a male adult singer who had been castrated as a boy to keep his voice from
changing so that it would remain in the soprano or alto range
- Chanson – the French translation of the word “song”
- Chorale
- Church cantata
- Concerto
- Da capo aria form – an aria form where in the first and second sections contrast in
musical key, texture and mood; and the third section is a repeat of the first section,
with improvisations and ornaments being expected from the singer.
- Dies irae – the part of a Requiem whose text reflect the last judgement. Literally
translated as “day of wrath”
- Doctrine of Affections – states that different musical moods could and should be used
to influence the emotions, and affections of the listener. It was an elaborate theory
based on the idea that the passions could be represented by their outward visible or
audible signs. It is also called the doctrine of affects, doctrine of passions, theory of
the affects, or the German term Affektenlehre. The six basic affects are:
o Admiration (admiration)
o Amour (love)
o Haine (hate)
o Désir (desire)
o Joie (joy)
o Tristesse (sorrow)
- Galliard – a fast, leaping dance of the Renaissance
- Gothic style – pointed arches, high ceiling vaults, flying buttresses and colouring
stained glass
- Gregorian chant –
- Humanism – the belief that people are more than mere puppets dangling from a divine
string and having the capacity to shape their wn world and create things that are both
good and beautiful.
- Imitation – a polyphonic procedure whereby one or more voices duplicate in turn the
notes of a melody for a short period of time
- Libretto – the text of an opera. Derived from the Italian word “libro”, the word
libretto translates to mean booklet. It comprises of not only the text for the work it is
intended, but as includes stage directions and is the base on which the composer
writes music for the opera.
- Lute – a six stringed musical instrument appearing in the West in the late middle ages
- Madrigal – a piece for several solo voices (usually four or five) that sets a vernacular
poem, most often about love, to music
- Mass –
- Melismatic singing
- Melodic sequence
- Motet – composition for a polyphonic choir, setting a Latin text on a sacred subject
and intended to be sung either at a religious service in a church or in a private
devotion at home.
- Opera – a staged play (a drama) expressed through music. A dramatic work set to
music. Opera brings together the expression of various art forms including orchestral
music, vocal music, acting, text writing (in the libretto) and presents these as a
completed product.
- Oratorio
- Ordinary of the Mass
- Organum – early church polyphony
- Overture
- Pavane
- Recitative
- Recorder
- Renaissance
- Ritornello
- Shawm
- Sistine chapel
- Stropic variation
- Syllabic singing
- Toccata –
- Troubadour
- Trouvere
- Vielle
- Viola da gamba
- Word painting - depicting the text by means of a descriptive musical gesture, whether
subtly or jokingly as a musical pun
Composers:

G.F. Handel

Antonio Vivaldi

Henry Purcell

Claudio Monteverdi

Josquin Desprez

Thomas Weekles

Hildegard of Bingen

Essay Questions:

1.) A recit flows in a similar manner as regular speech would. The word “recit” translates
to mean something recited. The accompanying music is simplified and provides a
base for the vocal line. The meter is not strictly kept and the value of notes is often
changed to match speech patterns, as a recit is musically heightened speech. During
an opera, a recit occurs in real time, meaning that time flows and the storyline
continues. In an aria however, we get a pause in time and the singer(s) express their
thoughts, feelings and emotions. It is more passionate, expansive and tuneful than a
recit, and the word “aria” translates to mean “song on air”. The music in the
accompaniment also plays a major role in the story telling and helps present the
emotions and feelings of the singer. Because of this, there is a lot more musical depth
in the accompaniment of an aria, even though the vocal line still leads out. My
favourite recit & aria would most likely be “e strano….Sempre Libera” from Act 1 of
La Traviata.
2.)