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| 17th century compositions combining voices with instruments that play different parts. |
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| contrasting forces brought together in a harmonious ensemble; broader than the definition of just a soloist with the orchestra |
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| an instance of text painting |
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| polyphonic setting of a poem |
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| french recitative that followed the general contours of spoken French while shifting the metric notation between duple and triple to allow the most natural declamation of the words. |
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| a more songlike, uniformly measured style |
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| piece for keyboard instrument or lute resembling an improvisation that may include imitative sections or may serve as a prelude to an independent fugue; used as a tuning mechanism at the start of a piece |
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| a toccata, then a long fugue |
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| toccata, then fugue, then toccata |
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| from the late sixteenth century on, an instrumental piece that treats one or more subjects in imitation |
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| broadly, any piece for instruments; often scored for one or two melody instruments with basso continuo. idiomatic. |
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| relatively short setting for organ of a chorale melody, used as an intro for congregational singing or as an interlude in a Luther church service. |
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| form that presents an uninterrupted series of variants; theme may be a melody, a bass line, a harmonic plan, or other musical subject |
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| variations over a basso continuo |
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| variations over a repeated bass line or harmonic progression; in triple meter |
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| imitative piece for keyboard or ensemble in several contrasting sections, played either as chamber music or in church. Markedly rhythmic themes; more lively than ricerecares |
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| 2 sections, each plaued twice. First: homophonic and majestic, marked by dotted rhythms and figures rushing toward the downbeats. The second section is faster and begins with a semblance of fugal imitation, sometimes returning at the end to the tempo and figuration of the first section. |
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| moderately fast 4/4, beginning on upbeat; all voices participate in almost continuous movement |
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| a dance in a moderate triple or compound meter; french for "flowing" |
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| slow, dignified dance in triple meter, with an emphasis on the 2nd beat |
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| a movement in fast compound meter, such as 6/4 or 12/8, with continuous lively triplets. Often begins fugally. |
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| an elegant dance in moderate triple meter |
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| Composer, Stammitz: 1750s |
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| Sammartini (only strings); wrote in 1760s |
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| early leader for oratorios in Italy; 1650s |
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| instrumental work that exploits the contrast in sonority between a small ensemble of small instruments and a large ensemble |
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| AABB, in which the first section usually ends on the dominant or the relative major, although it may end in the tonic or another key; the second section returns to the tonic |
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| binary form in which the latter part of the first section returns at the end of the seciton, but in the tonic |
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| technically not galant; lots of figuration |
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| two sections, an ABA form. First section is repeated after the 2nd section's close. |
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| Agitation, counterpoint, chromaticism, dramatic surprises; quick changes of harmony |
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| freer, more song-like; homophonic; light accompaniment; simple harmony, frequent cadences, slow harmonic rhythm |
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| the system, common since the late 17th century, by which a piece of music is organized around a tonic note, chord, and key, to which all the other notes and keys in the piece are subordinate. |
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| a form for 2 melodic instruments and usually 2 basso continuo instruments; instrumental |
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