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| Lutheran reform of Roman Catholic practice; combined choir and clergy with congregational participation instead of keeping them separate as in the Catholic liturgy |
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| Musical foundation of the Lutheran liturgy; originally unison melodies sung by the congregation; sung in German; adaption of Gregorian chant/existing German devotional songs, contrafactum and entirely new compositions; became the basis for Lutheran polyphonic composition |
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| secular songs with new sacred words; one of the chorale music sources |
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| chorale used as a cantus-firmus; chorale in the tenor line with polyphony in the surrounding voices |
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| altered strophic and rhymed translations of psalms in the vernacular; monophonic according to Calvanism, it was the only acceptable music amongst all "mystical" elements of Roman Catholic ritual, including polyphony. |
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| Anglican motet; music of the Elizabethan church of England during the Protestant Reformation; Byrd's anthem featured "constant" imitation with very few homophonic passages as well and imitative polyphony. |
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| most widely printed secular music genre of the 16th century; included music with text; erotic themes focused on love,sex, humor, violence; through-composed music; text painting dominates - ascending scales, half-steps/minor thirds, solo texture, dramatic key shifts, stretto entrances; Gesualdo introduced intense musical expression of text through chromaticism and texture in his madrigals |
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| blank verse; found in Peri's recitar cantando "L'Euridice" in 1600 and in Strozzi's cantata "Largime mie" in 1650 in the recitatice and ariosos |
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| Italian homophonic songs; strophic with simple harmonies; among the first printed secular vocal compositions; published 1504 |
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| meter with 8 syllables or lines; lends itself to hemiola; characteristic of Cara's frottola and Monteverdi's opera Orfeo |
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| arrangements of vocal pieces using tablature (notatino of hand and finger placement) one of the first instrumental music publicatinos; by Petrucci for the lute in Venice, 1507 |
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| Functional v. Stylized dances |
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| F: ensemble dances suitible for socail dancing S: solo dances, emjoyment often in binary or ternary form. (AABB or AABBCC) |
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| ensemble dance of Italian origin in 3 part form. stately duple meter |
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| Ensemble dance of Italian origin in 3 part form, lively and in triple meter. |
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| Italian pholyphonic instrumental work; considered an abstract/ independent work int he 16th century |
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| Single-impression pringing |
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| music printing by attaingnant; 3 steps in 1- typeset includes staff, notation, and syllables; cheaper and not as fancy as petrucci's prints |
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| triple-impression printing |
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| music printing by Petrucci the first printed polyphonic moveable type; step 1 - staff, step 2 - notation, step 3 - words; expensive |
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| divided choirs; often placed at various places in the church; features echo effects, call and answer, dialogue; found in Gabrielli's canzona |
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| music follows rules; features voice leading, controlled dissonance |
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| music follows text; features rule-defying dissonance, chromaticism |
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| part of the New Music, bass is written, but harmony is to be improvised; bass line produced and repeated continuously |
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| provided by caccini in the New music type of musical shorthand; a given bass line with accompanying numbers, which stand for intervals found above the written bass note |
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| accompanied solo singing in Music Drama, introduced by Peri and Caccini; aria, solo madrigal, reticular cantando |
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| part of the New Music, a type of monody in Music Drama; strophic song; tuneful with moving basses |
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| part of the New Music a type of monody in Music Drama a mixture of reciative and aria style |
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| sung speech; imitating the inflection and rhythm of speech; Peri's contribution to New Music a type of monody in Music Drama |
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| refrains; present in Monteverdi's aria where verse were interspersed with instrumental ritornelli; Vivaldi concerto |
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| repeating the bass of a popular dance while the melody aboce changes found in 17th century Italian popular style |
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| a common ostinato bass that includes a descending tetrachord; major-love, minor-pain and suffering |
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| a common ostinato bass with Spanish or New World origins |
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| secular composition for solo voice and basso continuo with alternation sections of aria, arioso and recitative; a predominant genre of mid-17th century Italian vocal music; a mixture of lyric and narrative text; text painting still dominates |
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| 1650 with Carrismi; sacred Italian vocal music; denotes a dramatic religious piece; similar to opera - it contains recitative, aria/duet, chorus, instrumental, unlie opera - it has no staging, often includes a narrator and a greater role of chorus |
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| I:music that fits an instrument E:music that emulates another instrument; musical styles that combined to form Italian instrumental music |
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| to touch, common 17th century instrumental genre; sectional improvisatory piece for keyboard; each section based on a new motive |
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| "to search for"; common 17th century instrumental genre; imitative piece for keyboard; based on a single theme |
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| to sound or play; common 17th century instrumental genre; generic instrumental piece; often for 1-2 melody instruments and Basso Continuo sectional |
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| Jean-Baptiste Lully's development of a uniquely French opera style; hybrid of drmam, music and ballet, sund in French; 5 acts; often adaptations of classical mythology |
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| music of the tragedie en musique tradition; grand music accompany the king entering the theatre before the opera |
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| music of the tragedie en musique traditionl french recit is simpler measured and more tuneful than Itlaian |
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| music of the tragedie en musique tradition |
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| Trio sonata da camera/chiesa |
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| common instrumental music genre in Italy after 1660 two insturments and basso continue |
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| common instrumental music genre in Italy after 1690 orchestra v. solosist |
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| common insturmental music genre in Italy after 1680 orchestra v. soloists |
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| full orchestra plays ritornelli (thematically-related passages) soloist plays episodes. Pillars of the form |
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