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large body of unaccompanied vocal music, setting sacred lain texts, written for the Western Church over the course of 15 centuries
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chants with unvarying texts that were sung virtually every day
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texts changed to suit the feast day in question
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only 1 or 2 notes for each syllable of text
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many notes for 1 syllable
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early church polyphony, new lines atop old chants as base
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northern France troubadours
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people have the capacity to shape their world, to create many things good and beautiful, that they are something more than a mere conduit for gifts descending from heaven.
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composition for a choir, setting a lain text on a scared subject, and intended to be sung in a church or chapel, or at home in private devotion
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distinctive motive that is sung or played in turn by each voice or instrumental line
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process of depicting the text in music, be it subtly, overtly, or even jokingly, by means of expressive musical devices
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unaccompanied vocal music, originated in the expression a cappella sistina, in the Sistine chapel of the pope, where instruments were forbidden to accompany singers
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popular genre of secular vocal music that originated in Italy during the renaissance, in which usually four or five voices sing love poems
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device, originating in the madrigal, by w which key words in a text spark a particularly expressive musical setting
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small ensemble of at least two instrumentalists who provide a foundation for the melody or melodies above, heard almost exclusively in baroque music
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3 movement concerto of the baroque era that pits sound of a small group of soloists again that of the full orchestra
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full orchestra in concerto grosso
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group of instruments that function as soloists in a concerto grosso
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Italian word for return or refrain a short musical passage in a baroque concerto grosso invariably played by the tutti
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no style just singing your heart out and showing off in opera
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Gregorian chant, sung during the proper of the mass, in which a chorus and a soloist alternate
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composition of 3, 4, 5 parts played or sung by voices or instruments, which begins with a presentation of a subject in imitation in each part and continues with modulating passages of free counterpoint and further appearances of the subject
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principle theme in a fugue
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in a fugue, opening section in which each voice in turn has the opportunity to present the subject, in sonata allegro form, the principal section , in which all thematic material is presented
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passage of free, non imitative counterpoint found in a fugue
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German word for the hymn of the Lutheran church, hence a simple religious melody to be sung by the congregation
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“something sung” in its mature state it consists of several movements including one o more arias, ariosos, and recitatives, cantatas can be on secular subjects, but those of JS Bach are primarily sacred in content
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term adopted by composers to enumerate and identify their compositions
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large, independent section of a major instrumental work, such as sonata, dance suite, symphony, quartet, or concerto
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