connects sound and visual

the way we connect music to the art/makes a quick and strong association 

Music festival

example

multi-day even, usually for charity. 

Messiah was frequently performed at these events

Fugue

example

phrase introduced, picked up by others. A type of immitative counterpoint 

Prelude and Fugue in A minor by Bach

Opera Seria 

Example

18th c. genre of italian Opera, on a serious subject but Normally with a happy ending usually without comic characters or scenes

Giulio Cesare 1724

Vordersatz 

Fotrspinniung 

Epilog 

2nd part of ritornello 

series of sequences or gestures, usually the longest part of the ritornello 

3rd and final part of the ritornello form 

end with a cadence 

Conata 

Example 

in 17th and 18th c. a vocal chamber work with continuo, usually for solo voice, consisting of several sections or movements that include recit and arias and settling a lyrical or quasi dramatic text 

62 Nun komm, der Heiden Heiland Bach

Texts of the mass that are assigned to a particular day in the church calendar 

(2) Chants/prayers said/sung every day with different texts and different music 

Opera Buffa

Example 

18th c. genre of italian opera sung throughout, usually includes comic characters and/or plots taken from more recent history, including domestic comedies and comedies of manners. Had a message for every single class in society

Don Giovanni 

Intermezzo

Example

Revolves around fewer characters, smaller orchestra, shorter in length, wasn't expected to be special or nice 

La Serva Padrone 

Opera seria

Example

18th c. opera on a serious subject but normally with a happy ending, usually without comic characters and scenes. PLots were taken from greek or roman mythology, meant to be moral guide to the aristocratic audience 

Cleofide by Hasse 1731 

take on serious and comic aspects 

leporello 

Baron Gottfried von Swieten  (1733-1803)

-Founder of Gesellschaft für Associerten (1785/6)

-Diplomat, Impreial librarian, imperial physician

Taught Mozart about Bach

Darkness to light

Example

Character piece

Example 

A form comprised of two complementary sections, each of which is repeated. The first section usually ends on the dominant or the relative major, although it may end of the tonic or other key; the second section returns to the tonic.

(Corelli trio sonata op. 3 no.2 1st movement.)

Binary form in which the latter part of the first section returns at the end of the second section in the tonic. 

Aria form with two sections. The first section is repeated after the second section’s close, which carries the instruction da capo (Italian, “ from the head), creating an ABA form. (Sections tend to differ in modality and textual mood) 

Multi movement work in which the first movement is in sonata form, a second movement with a usually slow tempo in another key and in one of a variety of forms such as theme and variations. A third movement in the home key, usually in Minuet [or Scherzo] and trio form; and a fourth movement in the home key and in rondo sonata or theme and variations form. 

Form typically used in the first movements of Sonatas, instrumental chamber works, and symphonies during the Classic and romantic periods. An expansion of rounded binary form, it was described in the nineteenth century as consisting of an exposition, development and recapitulation based on a limited number of themes.

A form in three main sections, in which the first and third are identical or closely related and the middle section is contracting creating an ABA pattern.

Composed throughout, as when each stanza or other unit of a poem is set to new music rather than in a Strophic manner to a single melody.

Of a poem, consisting of two or more stanzas that are equivalent in form and can each be sung to the same melody; of a vocal work, consisting of a strophic poem set to the same music for each stanza.

(Italian, “refrain”) (2) In sixteenth and seventeenth century vocal music, the instrumental introduction or interlude between sung stanzas. (3) In an aria or similar piece, an instrumental passage that recurs several times, like a refrain. Typically, it is played at the beginning, as interludes (often in a modified form), and again at the end, and it states the main theme. (4) In a fast movement of a concerto, the recurring thematic material plated at the beginning by the full orchestra and repeated, usually played at the beginning by the full orchestra and repeated, usually in varied form, throughout the movement and at the end.

            Vordersatz- The antecedent or exposition of the motif

            Fortspinnung- Where the motif is developed

            Epilog-The epilogue or cadence section