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| In a sonata form movement, a concluding section following the recapitulation and rounding off of the movement by repeating themes or developing further |
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| first section of a sonata form movement, which sets up a strong conflict between the tonic key and the new key; and between the first theme and next theme |
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| second section of a sonata form movement, in which themes from the exposition are developed and the music moves through several different keys |
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| third section in a sonata form movement in which the first theme, bridge, second theme, and concluding section are presented more or less as they were in the exposition but all the principle material is now in the tonic key |
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| short musical idea that is developed within a composition |
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| in a melody, the immediate repitition of a melodic pattern on a higher or lower pitch |
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Kochel catalogue
chronological and thematic register of the works of Mozart. arranged into 24 categories |
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| Completed Mozarts Requiem |
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| composition for several instrumental soloists and a small orchestra; common in late baroque |
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| Group of castrated boy singers to retain high voice range, most important category of vocal soloist of opera in baroque period |
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| hungarian prince with close ties to Joseph Haydn. Patron to Haydn |
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| in baroque music, a set of dance-inspired movements all written in the same key but differing in tempo, meter, and character |
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| Composition in several movements, usually written for chorus, one or more vocal soloists, and instrumental ensemble. The church cantata for the Lutheran service in Germany during the baroque period often includes chorales. |
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| : Extended composition for instrumental soloist and orchestra, usually in three movements: (1) fast, (2) slow, (3) fast. |
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| Emotional states like joy, grief, and agitation represented in baroque music through specific musical languages. |
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| In Italian, refrain; a repeated section of music usually played by the full orchestra, or tutti, in baroque compositions. |
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ABA
Form that can be represented as statement (A); contrast (B); return of statement (A). |
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| In baroque music, an instrumental composition in several movements for one to eight players. In music after the baroque period, an instrumental composition usually in several movements for one or two players. |
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| Compositional form—derived from a dance—in three parts: minuet (A), trio (B), minuet (A). Often used as the third movement of classical symphonies, string quartets, and other works, it is in triple meter and usually in a moderate tempo. |
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| Compositional form featuring a main theme (A) that returns several times in alternation with other themes, such as A B A C A and A B A C A B A. Rondo is often the form of the last movement in classical symphonies, string quartets, and sonatas. |
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| order string quartet movements |
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Fast movement
Slow movement
Dance-related movement
Fast movement |
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| Baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument. |
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| Common opening piece in baroque suites, oratorios, and operas; usually in two parts: the first slow, with characteristic dotted rhythms, full of dignity and grandeur; the second quick and lighter in mood, often starting like a fugue. |
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| Variation of a fugue subject in which the subject is presented by beginning with its last note and proceeding backward to the first |
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| Compositional procedure used in fugues, in which a subject is imitated before it is completed; one voice tries to catch the other. |
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| Bach explored with unprecedented thoroughness systems of tuning instruments that enabled a composer to write in all twenty-four keys, even keys with many sharps or flats. |
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| is a collection which displays all the resources of fugue writing. |
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| how many vivaldi concertos |
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Well over 500
claimed 107533? |
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| Wrote Orpheus, earliest operatic masterpiece and received very little pay |
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| the singing of a single syllable of text while moving between several different notes in succession |
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| the basic element of Western and Eastern systems of musical notation prior to the invention of five-line staff notation |
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| each syllable of text is matched to a single note |
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