The medieval church modes gradually gave way to the _______ and ____ scales in the middle baroque.
Major, minor
The two musical giant of the baroque were ____ and _____
J.S Bach, G.F Handel
A bass part together with numbers (figures) specifying the chords to be played above it, characteristics of the baroque, is called
Basso continuo
The alternation between soft and loud dynamics in baroque music is known as
Terraced dynamics
A section that sounds fairly complete and independent but is part of a larger composition is called a
Movement
One of the most revolutionary periods in music history was the
Early baroque
The early baroque was characterized by
Homophonic texture
The middle baroque was characterized by
Diffusion of the style into every corner of Europe
A popular keyboard instrument in which sound was produced by means of brass blades striking the strings was the
Clavichord
Affections in baroque usage refers to
Emotional states or moods of music
In the baroque period, the ordinary citizen's opportunities for hearing music usually came from the
Church
Frederick the Great, king of Prussia was what three things?
- Flutist - General - Composer
In Italy, music schools were often connected with
Orphanages
The music director of a court in the baroque period did all of which three things?
- Supervised and directed the musical performance - Composed much of the music required - Was responsible for the discipline of the other musicians
A large court during the baroque period might employ about ____ performers.
80
A concerto grosso usually has ____ movements
Three
The tempo markings of the movements of a concerto grosso are usually ___, ____, and ____.
Fast, slow, fast
The large group of players in a concerto grosso is known as the
Tutti
The first and last movements of the concerto grosso are often in _____ form
Ritornello
A musical ornament consisting of rapid alternation of two tones that are a whole step or half step apart is a ___
Trill
Subject of a fugue presented in the dominant
Answer
Presentation of a subject in lengthened time values
Augmentation
Melodic idea that constantly accompanies the subject of a fugue
Countersubject
Presentation of a subject in shortened time values
Diminution
Transitional sections of a fugue which offer either new material or fragments of the subject or countersubject
Episodes
Turning the subject of a fugue upside down, or reversing the direction of each interval
Inversion
Single tone, usually in the bass, which is held while the other voices produce a series of changing harmonies against it
Pedal Point
Presentation of a subject from right to left, or beginning with the last note and proceeding backward to the first
Retrograde
Imitation of a subject before it is completed
Stretto
Main theme of a fugue
Subject