Baroque Era

Question 1

First used as a derogatory term in reference to the overly ornate art of the era

Answer 1

Baroque

Question 2

Now applied to art, architecture and music of the 17th and early 18th centuries

Answer 2

Baroque

Question 3

From the Portuguese barroco meaning “irregularly shaped or misshapen pearl”

Answer 3

Baroque

Question 4

A musical shorthand developed in the Baroque era

Answer 4

Figured bass

Question 5

In this musical shorthand, numbers are placed below the bass line to show harmonic progression

Answer 5

Figured bass

Question 6

This is performed or realized by the basso continuo

Answer 6

Figured bass

Question 7

This provides structure for guided improvisation

Answer 7

Figured bass

Question 8

Baroque performance practice that generally involves 2 performers - one playing the notated bass line, one realizing the harmonies as indicated by the figured bass

Answer 8

basso continuo

Question 9

This Baroque performance practice provides harmonic framework. Harmonies are usually played on harpsichord or organ

Answer 9

basso continuo

Question 10

Also referred to as the “Doctrine of Affections” or “the affects”. In Baroque music, a single “affection” or “affect” (one clear emotion) is usually projected through an entire composition or movement.”

Answer 10

The Affections

Question 11

A Baroque philosophy inspired by ancient Greek and Roman writers and orators

Answer 11

The Affections

Question 12

Refers to emotional states of the soul

Answer 12

The Affections

Question 13

Musical embellishment to decorate a melodic line. Either represented with symbols or improvised.

Answer 13

Ornamentation

Question 14

A popular instrumental genre of the Baroque era for soloists and orchestra. Generally in three movements: fast - slow - fast

Answer 14

concerto

Question 15

A genre that frequently employed ritornello form and intended to showcase the virtuosity of the soloist(s)

Answer 15

concerto

Question 16

A structure employed in the first and third movements of the Baroque concerto

Answer 16

ritornello form

Question 17

In this structure, the opening passage (ritornello) is restated throughout the movement, serving as a refrain

Answer 17

ritornello form

Question 18

Italian for “full” or “complete”

Answer 18

ripieno

Question 19

A term used to denote the use of the full orchestra in the Baroque concerto

Answer 19

ripieno

Question 20

Italian for “obstinate” or persistent”

Answer 20

Ostinato

Question 21

A rhythmic or melodic pattern repeated for an extended period

Answer 21

Ostinato

Question 22

A note, or a series of notes, sustained through harmony changes in other parts

Answer 22

pedal point

Question 23

Music with a descriptive element, inspired by extramusical associations, like a story or painting

Answer 23

programmatic writing

Question 24

evolved into a significant feature of 19th century instrumental writing (program music)

Answer 24

programmatic writing

Question 25

Polyphonic texture

Answer 25

a combination of two or more melodic lines

Question 26

homophonic texture

Answer 26

a single line of melody supported by a harmonic accompaniment

Question 27

Highlights the unique technical capabilities of an instrument in the style of writing; opposite of "generic"; developed in the Baroque era

Answer 27

Idiomatic writing

Question 28

In what time period did the Baroque Era take place?

Answer 28

1600-1750

Question 29

- A large scale work for soloists, chorus, and orchestra | - Serious subject, generally based on biblical texts

Answer 29

Oratorio

Question 30

- Consists of recitatives, arias, ensembles, and choruses | - Developed in Baroque era

Answer 30

Oratorio

Question 31

- A Baroque orchestral genre, often the orchestral introduction to an opera or oratorio - First developed at the court of Louis XIV by Jean-Baptiste Lully

Answer 31

French overture

Question 32

- generally in 2 parts - first part - slow tempo, homophonic texture, features dotted figures - second part - fast tempo, imitative texture

Answer 32

French Overture

Question 33

- the text of an opera, oratorio, or cantata | - usually written by someone other than the composer

Answer 33

libretto

Question 34

- A speech-like style of singing used in operas, oratorios, and cantatas - follows inflections of the text, resulting in rhythmic flexibility - usually used to advance the plot or storyline; moves through text quickly

Answer 34

recitative

Question 35

- supported only by continuo - Italian for "dry recitative' - a speech- like, declamatory style of singing - employed in opera, oratorio, and cantata

Answer 35

recitativo secco

Question 36

- supported by instrumental ensemble or orchestra - allows for greater connection with the text - Italian for "accompanied recitative" - a speech-like, declamatory style of singing - employed in opera, oratorio, and cantata

Answer 36

recitativo accompagnato

Question 37

- Italian for "air" - A solo song with accompaniment, heard in an opera, oratorio, or cantata - highly emotional and often virtuosic - may have lyrical or dramatic qualities; often serves to reveal the characters' most intimate emotions

Answer 37

Aria

Question 38

- An aria (solo song) employing a ternary (ABA) structure - In performance, the return of section A is generally ornamented. - The most common type of aria in Baroque opera and oratorio

Answer 38

Da capo Aria

Question 39

- Musical pictorialization - The music mirrors the literal meaning of the words - achieved through melody, harmony, or rhythm

Answer 39

word painting

Question 40

- a group of notes sung on a single syllable/vowel | - demonstrates vocal virtuosity and often serves to highlight key words

Answer 40

melisma

Question 41

- a method of tuning keyboard instruments - the octave is divided into 12 equal half steps - facilitated the composition and performance of music in all keys

Answer 41

equal temperament

Question 42

Clavier

Answer 42

a german word for keyboard instruments other than the organ

Question 43

Prelude

Answer 43

- a short keyboard work in improvisatory style | - often paired with a fugue

Question 44

Fugue

Answer 44

- a highly structured, imitative contrapuntal composition | - a single theme or subject prevails

Question 45

Counterpoint

Answer 45

- a combination of 2 or more independent melodic lines | - also referred to as "polyphonic texture"

Question 46

Subject

Answer 46

- the initial statement of the main theme of a fugue | - in the tonic key

Question 47

answer

Answer 47

- the second statement of the main theme in a fugue | - usually in the dominant key

Question 48

real answer

Answer 48

- an exact transposition of the subject

Question 49

tonal answer

Answer 49

- a statement of the subject in which one or more intervals is adjusted to accommodate the harmony

Question 50

countersubject

Answer 50

- a recurring countermelody | - accompanies entries of the subject and answer