Baroque

the "Affections"

A Baroque philosophy inspired by ancient Greek and Roman writers and orators. Refers to the emotional states of the soul. In Baroque music, a single "affect" (one clear emotion) is usually projected through an entire composition or movement. Vocal music depicted the emotions of the text or dramatic situation. Was a reaction against the complex polyphony of Renaissance music.

fugal texture

A countrapuntal composition based on imitation. A theme (referred to as the subject) pervades the entire work, entering in one voice and then another.

chorale

A hymm-tune, associated with German Protestantism. Intended for congregational singing. Therefore moved mostly by step or narrow leap. Used as the basis for many genres including the cantata. Sometimes adapted from Gregorian chants as well as other popular sources. Harmonized for four voices (SATB) by composers including J.S. Bach.

harpsichord

A keyboard instrument. Sound is generated by small quills inside the instrument that pluck the strings. Often had two manuals (sets of keys).

hornpipe

A lively dance in triple meter. English origin. Originally associated with sailors.

castrato

A male soprano or alto voice. Subjected to a surgical procedure before reaching puberty which prevented the voice from changing. Prominent in the 17th and 18th century. Generally used in heroic roles.

cantata

A multi-movement choral work. Can be sacred or secular. For soloists, chorus, and orchestra. Consists of recitatives, arias, ensembles, and choruses.

ritornello form

A recurring theme that functions as a refrain in Baroque compositions. Can serve as introduction and postlude in arias or choruses or as a unifying thread in concertos.

clavichord

A small rectangular keyboard instrument. The sound is generated by small metal tangents that strike the strings inside the instrument.

ritornello

A structure often employed in the first and third movements of the Baroque concerto. The opening passage is restated throughout the movement.

figured bass

A type of musical shorthand developed in the Baroque era. Numbers are placed below the bass line to show harmonic progression. Performed or "realized" by the basso continuo. Provides the structure for guided improvisation.

basso continuo

An important element of Baroque performance practice. Generally involves two performers, one playing the notated bass line, the other "realizing" the harmonies as indicated by the figured bass. Harmonies are usually played on harpsichord or organ. Provides harmonic framework.

ground bass

Baroque compositional device. Consists of the continuous repetition of a short melody over which free variations occur. Often it provided the basic structure of a Baroque aria.

concerto grosso

Baroque orchestral work. Usually in three movements (fast-slow-fast). A group of solo instruments is showcased.

canon

From the Greek word for "law". A strict type of polyphonic composition in which each voice enters in succession with the same melody.

Baroque

From the Portuguese barroco, meaning irregularly shaped, or misshapen pearl. It was first used as a derogatory term in reference to the overly ornate art of the era. Now it is applied to art, architecture, and music of the 17th and early 18th centuries.

clavier

German word for any keyboard instrument other than the organ.

recitativo accompagnato

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

stile concitato

Italian for "agitated style". A term used by Monteverdi. Expresses the "hidden tremors of the soul". Achieved through use of tremolo and pizzacato (instrumental) and ornamentation and rapid repeated notes (vocal).

recitativo secco

Italian for "dry recitative". A speech-like declamatory style of singing, supported only by continuo. Employed in opera, oratorio, and cantata.

ripieno

Italian for "full" or "complete". A term used to denote the use of the full orchestra in the Baroque concerto. Also called tutti.

stile rappresentativo

Italian for "representational style". The term used by the Florentine Camerata musicians to describe the monodic style. A recitative-like melody, moving freely over a foundation of simple chords. The music was meant to heighten the emotional power of the text.

opera seria

Italian for "serious opera". Sung throughout. Generally based on historical or mythological subjects.

opera

Italian for "work". Drama that is sung. Combines vocal and instrumental music with drama (staring and acting), visual arts (costumes and scenery), and often dance. Created in Italy around 1600 and remains one of the most popular forms of musical entertainment. Components include, recitative, arias, ensembles, and choruses.

gravicembalo

Italian for harpsichord.

monody

Literally "one song". A new style which developed in the late 16th century. A single vocal melody with simple instrumental accompaniment. Allowed for greater expression of emotion and clarity of text.

concertino

The small group of solo instruments featured in a concerto grosso of the Baroque era.

binary form

Two part form AB. Section A generally ends with an open cadence. It was frequently used in Baroque dances and keyboard pieces.

rounded binary

Two part musical form. Material from section A returns within section B.