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| “Beautiful singing” 18th century singing style that emphasized the beauty and virtuosity of the voice. |
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| Setting of a well known poet’s work to music by a serious composer. |
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| Setting of a well known poet’s work to music by a serious composer. |
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| A virtuosic singing style, including rapid runs, elaborate ornamentation and extremely high pitches. |
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| Studies or “exercises” based on specific pianistic techniques |
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| The term Belioz used for the melody representing the loved one in his Symphonie fantastique. |
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| Character pieces of an improvisatory character |
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| Reccuring melodic fragment or chord bearing dramatic or emotional significance, introduced by Wagner in dramas. |
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| Piece expressing the “character” of night. |
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| Instrumental music that purports to tell a story or describe a scene, idea or event. |
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| Multimovement orchestral work whose form is based on programmatic concepts. |
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| Romantic technique of “robbing” from tempo at some points and “paying back” at others. |
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| “Joke” A movement, often the third, of a multimovement piece. The form is ABA, with a trio inserted between the scherzo and its repeat. |
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| Set of songs by one composer, often using texts all by the same poet. |
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| One-movement orchestral piece whose form is based on programmatic principles. |
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| Variation of thematic or melodic material for programmatic purposes. Sometimes called metamorphisis. |
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| Containing new music throughout |
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| Arrangement of a piece so that it may be played by a different instrument or ensemble from that which it was written. |
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