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| French word for ornaments, or embellishments |
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| French word for harpsichord; the favorite chamber keyboard instrument in the late seventeenth and early eighteenth centuries |
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| a term used in the rondo form of the 17th and 18th centuries to indicate an intermediate section (episode) distinctly different from the refrain |
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| a succession of equal notes moving rapidly up or down the scale are played somewhat unequally, such as "long-short, longshort" |
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| term used by Couperin to designate a group of pieces loosely associated by feeling and key; similar to the Baroque era dance suite |
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| practice in which a dotted note is made longer than written, while its complementary short note(s) is made shorter |
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| term used to describe the decorative arts and the music of mid eighteenth-century France, with all their lightness, grace and highly ornate surfaces |
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| refrain (A) set against contrasting material (B, C, or D) to create a pattern such as ABACA, ABACABA, or even ABACADA; usually playful, exuberant mood |
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| discontinuous texture in which chords are broken apart and notes enter one by one; such a style is inherent in lute music |
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| an instrumental piece commemorating someone's death |
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| an opening piece without specific indications for rhythmic duration or metrical organization |
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| the leading and most famous17th c. French lutenist; one of first composers to use the genre known as a "tombeau" |
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| Baroque composer/harpsichordist associated with court of Louis XIV; developed genre known as "ordre'; treatise explaining Baroque ornamentation |
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| early 18th c. composer/theorist who codified the new Baroque era compositional practices known today as "functional tonal harmony" |
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| a male performer who sings in the alto or soprano range in falsetto voice |
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| characteristic musical figure assigned to horns in which the instruments progress through 6ths, 5ths, and 3rds, sometimes ornamenting along the way |
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| heroic, fully sung Italian opera that dominated the stage at the courts of Europe during the eighteenth century |
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| slow-tempo aria employing parallel thirds in step-wise motion, lilting compound meter, slow harmonic change and many subdominant chords |
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| Handel's London opera company started in 1719; a publicly held stock company, its principal investor being the king |
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| late Baroque German composer; learned Italian opera style while studying in Italy; associated with and employed primarily in London |
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| Bach Work List; an identifying system for the works of Johann Sebastian Bach |
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| in a fugue, a unit of thematically distinctive material that serves as a counterpoint to the subject |
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| in a fugue, a section full of modulation and free counterpoint that is based on motives derived from the subject |
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| division of the octave into twelve equal half-steps, each with the ratio of approximately 18:17; first advocated by some musicians in the early 16th c. |
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| in a fugue, an opening section in which each voice presents the subject in turn |
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| written so that the vertical position of two or more voices can be switched without violating the rules of counterpoint or creating undue dissonance |
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| indication that a composer has written a specific part for an instrument and intends it to be played as written |
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| term used by J.S. Bach as a synonym for a dance suite |
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| on the organ, a sustained or continually repeated pitch, usually placed in the bass and sounding while the harmonies change around it |
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| a shift from minor to major in the final chord of a piece |
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| each group of similar sounding pipes in an organ |
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| a small wooden knob on an organ that activates a rank of pipes when pulled out |
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| taking the primary musical idea and "spinning" it out in a seemingly endless melodic strand with uniform rhythmand often deceptive cadences |
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| a recitative that features a full orchestral accompaniment; it appears occasionally in the sacred vocal music of Bach |
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| technique in which all the instrumental parts double the vocal lines |
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| association of musicians in eighteenth-century Germany, consisting usually of university students, who came together voluntarily to play the latest music |
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| a large-scale oratorio-like musical depiction of Christ's crucifixion as recorded in the Gospels |
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| a small violin usually tuned a minor third higher than the normal violin |
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| genre of sacred vocal music that employs the text and tune of a pre-existing Lutheran chorale in all or several of its movements |
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| late Baroque German composer; worked and lived exclusively in several central German cities; music "forgotten" for more than 75 years |
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