RCM History 10: Terms

monophonic texture

a single line of melody with no harmony or accompaniment

polyphonic texture

two or more independent melodic lines heard at the same time

modes

scale patterns distinguished by their unique order of half and whole steps

neumes

the earliest notated symbols used in Western art music

a cappella

vocal music without instrumental accompaniment

plainchant

sometimes called "plainsong" with a monophonic texture, modal melodies, relatively narrow melodic range and unmeasured prose rhythm

Gregorian chant

a form of plainchant; sacred, liturgical music of the Roman Catholic Church, generally with Latin texts and modal, monophonic melodies with unmeasured rhythm

syllabic text setting

one note for a single syllable of text

neumatic text setting

several notes (2-4) for a single syllable of text

responsorial singing

performance method where a solo voice (verse) alternates with choral passages (respond)

melismatic text setting

many notes for a single syllable of text

Mass

most important service in the liturgy of the Roman Catholic Church; includes prayers, Bible readings, reenactments, consists of texts that are variable (Proper) and texts that remain the same (Ordinary)

Mass Proper

changing, variable prayers of the Mass that are linked to church calendar with sections that include: Gradual, Introit, Communion, Alleluia

gradual

4th section of the Mass proper with texts based primarily on the Psalms; generally melismatic and performed in responsorial style

organum

a vocal music where one or more new melodic lines are added to an existing Gregorian chant

cantus firmus

"fixed song"; borrowed material from Gregorian chant that served as structural framework for new polyphonic composition

tenor

refers to voice that contains the cantus firmus

organal style

style of organum where the notes of original chant are sung by lower voice in long note values

discant style

style of organum with more rhythmic movement of the cantus firmus and sometimes "note-against-note" movement between voices

clausula

polyphonic section with discant style organum based on single word or syllable

rhythmic modes

an early step in evolution of rhythmic notation with 6 basic rhythmic patterns that provided rhythmic structure and kept two or more voices in rhythmic alignment when they were not moving note-against-note

motet

sacred or secular vocal composition with or without instrumental accompaniment

polytextuality

characteristic feature of 13th-century motet where two or more texts heard at the same time

chanson

secular song with French text

trouvère

Medieval poet-musicians who lived in the north of France

strophic form

song structure where the same music is performed for each verse of poem

sackbut

brass instrument with a slide; ancestor of trombone (haut)

shawm

reed instrument with piercing tone; ancestor of oboe (haut)

dulcimer

stringed instrument with wooden sound box; strings are struck with small hammers (bas)

lute

plucked instrument of Middle Eastern origin with rounded body and frets (bas)

psaltery

ancient stringed instrument with trapezoidal wooden sound box; plucked with fingers or plectrum (bas)

vielle

bowed string instrument; ancestor of the violin (bas)

bas

French for "low", indicating soft; a Medieval designation for indoor instruments

haut

French for "high", indicating loud; a Medieval designation for outdoor instruments

estampie

a stately medieval couples' dance

heterophony

simultaneous variation involving two or more voices or instruments playing same melody in more than one way

Mass Ordinary

unchanging prayers of the Mass whose components are: Kyrie, Gloria, Credo, Sanctus, Agnus Dei

ars nova style

style with greater complexity in melody, harmony, and rhythm and included use of isorhythm, hocket and musica ficta

musica ficta

a performance practice applied in modal music where performers raised or lowered pitches by half a step to avoid undesirable intervals

isorhythm

compositional device which combines melodic patterns (color) with rhythmic patterns (talea)

hocket

a melodic line split between two voices, alternating notes and rests

Renaissance

1450-1600

imitative counterpoint

type of polyphony associated with Renaissance style; "counterpoint" comes from Latin 'note against note' and "imitation" refers to the passing of a motive or theme

points of imitation

a series of thematic entries where a motive or theme is passed from one voice to another

homorhythmic texture

in a multi-voiced composition, all the voices sing in the same rhythm

madrigal

popular secular vocal genre based on relationship between poetry and music with vivid word painting

word painting

musical pictorialization employed in madrigals, operas and oratorios where the music reflects the meaning of the text

nonsense syllables

syllables with no meaning such as "fa-la-la" or "nonny-nonny-no"

chromaticism

melodies and harmonies that include notes within octave in tonal or modal context (from Greek khroma (colour))

ballett

strophic song type generally in simple dancelike style often including "fa-la-la" refrains

variations

a work based on the statement of a melody (theme) followed by a series of transformations (variations)

harpsichord

a keyboard instrument in which small quills pluck strings

virginal

a generic term used for all plucked keyboard instruments in England

idiomatic writing

compositional style that highlights the unique technical capabilities of an instrument

Baroque

from the Portuguese barroco meaning "irregularly shaped pearl"; first used as derogatory term for overly ornate art of the era, now applied to art, architecture and music of the 17th and early 18th centuries

figured bass

a type of musical shorthand developed in the Baroque era

basso continuo

a Baroque performance practice, generally involving 2 performers: one playing the notated bass line and one realizing the harmonies indicated by the figured bass

the "Affections"

a Baroque philosophy inspired by ancient Greek and Roman writers and orators referring to emotional state of soul

binary form

two-part form (A B) where Section A generally ends with an open cadence and both parts often repeat

rounded binary form

two-part form (A BA) where material from Section A returns within Section B

ternary form

three-part form (A B A) where Section A ends with closed cadence and Section B creates contrast

terraced dynamics

a Baroque practice of changing dynamics quickly, resulting in stark contrast

opera

drama that is sung, combining vocal and instrumental music with drama, visual arts and often dance; components include recitative, arias, ensembles and choruses

libretto

the text of an opera, oratorio or cantata

monody

a style of a single vocal melody with simple instrumental accompaniment (one song)

stile rappresentativo

a recitative-like melody moving freely over foundation of simple chords meant to heighten emotional power of text

castrato

a male soprano or alto voice

aria

a solo song heard in an opera, oratorio, or cantata

ground bass

a Baroque compositional device consisting of continuous repetition of a short melody over which variations occur

opera seria

opera that is sung throughout and generally based on historical or mythological subjects

da capo aria

the most common type of aria in Baroque opera and oratorio employing ternary structure and ornamented return of Section A

recitative

a speech-like declamatory style of singing used for dialogue and to advance plot

recitative secco

a speech-like, declamatory style of singing supported only by continuo

chorus

a vocal ensemble consisting of several voice types

cantata

a sacred or secular multi-movement choral work consisting of recitatives, arias, ensembles and choruses

chorale

a hymn tune intended for congregational singing that harmonized for four voices

canon

from Greek for "law"; a strict type of polyphonic composition where each voice enters in succession with same melody

rounds

canons where each voice enters on same pitch

fugue

a highly structured imitative contrapuntal composition where a single theme or subject prevails

ritornello

a recurring theme that functions as refrain in Baroque compositions

augmentation

a compositional procedure where a theme is presented in longer time values

arioso

a short vocal passage that is more lyrical than recitative but more modest in scale than aria

oboe da caccia

alto oboe

oboe d'amore

a mezzo-soprano oboe

taille

a tenor oboe

concerto

a multi-movement orchestral work usually in three movements (fast-slow-fast)

concerto grosso

a Baroque orchestral work where the concertino is showcased

concertino

a small group of solo instruments featured in a Baroque concerto grosso

ripieno

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

ritornello form

a structure used in the first and third movements of Baroque concerto, where the opening passage is re-stated throughout

suite

a collection of stylized dances and other pieces in the same key that was written for a solo instrument of orchestral ensemble

ordre

a French term for "suite"

agréments

a French word for an ornament of embellishment

note inégales

a performance practice where notes that are written with equal values are performed with unequal values

double

a French term used for an embellished version of a dance or movement

clavecin

French term for harpsichord

hornpipe

a lively, triple meter dance of English origin

Classicism

refers to culture of ancient Rome and Greece as well as the late 18th century with adherence to principles of symmetry, balance and proportion and emphasis on excellence, enduring value and timeless quality

sonata cycle

a multi-movement structure that emerged in the Classical era

sonata form

a formal structure used in first movement of sonata cycle, consisting of Exposition, Development, and Recapitulation