Terms & Concepts

Return to: MUSC 726C

1. Acrostic {BA; WP}
2. Alteration {HD} 
3. Analysis {Grove}
   
4. Bach seal {WP; WC}
   
5. Bach motif: B–A–C–H {Grove; WP}
   
6. Bach motto: Soli Deo gloria (S.D.G.) {WP}
7. Bach's numbers: 14, 41, etc. (Tatlow 2015)
   
• See: Cryptography, musical {Grove}; Numbers and Music {Grove}
  
8. Cadence {HD; Grove}
   
9. Cambiata {HD; Grove} 
10. Canon {HD;  Grove}
• Dux/comes (Lat., 'leader/follower') {Grove}
• Presa (It.) {Grove}
• Signum congruentiae (Lat., 'sign of congruence') {HD}
• Simple canon
• Multiple canon
• Double canon
• Triple canon
• etc.
• Accompanied canon
11. Chaconne {Grove}
    
12. Chorale {BA; Grove; WP}
    
• Chorale harmonization
  
• Chorale prelude {Grove; WP}
  
13. Chorale prelude {BA; Grove}
    
14. Chordal dissonance (Gauldin  2013)
15. Chromatic {Grove}
    
16. Clefs (Historical) {WP}
    
17. Continuo {Grove}
    
18. Counterpoint {HD; Grove; Partimenti.org}
    
• Strict vs. free counterpoint {Grove}
• Imitative counterpoint
  
19. Compound melody {WP}
    
20. Corpus analysis (Giraud et al. 2017) 
21. Cross relation {HD}
    
22. Double counterpoint, see Invertible counterpoint
    
23. Durchführung (Ger., 'leading through') {Grove}
    
24. Figured bass, see Thoroughbass
    
25. Fortspinnung (Ger., 'spinning out') {Grove}
    
26. Fugue {BA; HD; Grove}
    
• Exposition {Grove} 
  
• Subject {Grove}
• Head motive
• Tail motive
  
• Answer {Grove}
  
• Countersubject {Grove}
  
• Bridge, or codetta
• -----
  
• Order of voice entries; e.g., SAS, 213
• Link
• Extra entry
  
• Development
  
• Theme entry
• False entry
  
• Episode {Grove}
  
• Contrapuntal devices
• Inversion, or by contrary motion
• Stretto {Grove}
• Augmentation/Diminution
• Invertible counterpoint (see below)
  
• Multiple expositions
• Counterexposition
• Reexposition
  
• Concluding section
• Final Entry
• Coda
  
• Simple vs. multiple fugue
  
• Simple fugue
• Multiple fugue
• Double fugue {HD; Grove}
• Triple fugue {Grove}
• Other
  
• Chorale fugue {Grove}
• Counter-fugue
  
• Fugue d’école (Fr.: ‘school fugue’) {Grove; Partimenti.org}
  
• Mirror fugue
  
• Permutation fugue {Grove}
• Stretto fugue
  
27. Fundamental bass {Grove} (Rameau 1722) 
28. Handexemplar (Ger.), personal or work copy (Wolff 1976) 
29. Harmony {HD; Grove}
    
• Funktionstheorie (T, S, D)
• Harmonic function {Grove} 
• Stufentheorie (Roman numerals)
  
30. Key signature {HD} 
• Modal, or partial, signature
31. Ground bass {HD} 
32. Grundgestalt (Ger., 'basic shape') {Grove} 
33. Imitation {Grove} 
34. Invertible counterpoint {HD; Grove}
    
• Double counterpoint
• Triple counterpoint
• Quadruple counterpoint
• etc.
  
35. Interval {BA; Grove} 
• Consonant vs. dissonant {HD}
• Diatonic vs. chromatic
• Generic vs. specific
• Primary vs. secondary
36. Invention {Grove}
    
37. Inversion {Grove}
    
38. Mass {Grove}
    
39. Mizler Society {WP}
    
40. Mode {Grove}
    
41. Motet {Grove}
    
42. Notation {Grove}
    
43. Non-harmonic tone {Grove}
    
44. Note values: British vs. American {WP}
45. Part-writing [voice-leading] {Grove}
    
46. Partimento {HD} (Sanguinetti 2012)
    
• See also: Partimenti.org
  
47. Partita {Grove}
    
48. Partial (key) signature {HD}
    
49. Passacaglia {Grove}
50. Pedal point {Grove}
    
51. Picardy third {WP}
    
52. Pitch notation
• American Standard (WP)
• Helmholtz {WP}
  
53. Prima pratica and seconda pratica (It.) {Grove}
    
54. Ricercare {Grove}
55. Rule of the Octave {Grove; Partimenti.org}
    
56. Schema {Partimenti.org}
    
57. Simplified harmonic model
58. Sinfonia {Grove}
    
59. Sonata {BA; Grove}
    
60. Species Counterpoint {Grove}
    
61. Step progression {GB} (Davidian 2015)
62. Suite {Grove}
    
63. Texture {Grove} 
• Monophony {Grove}
• Polyphony {Grove}
• Homophony {Grove}
• Heterophony {Grove}
  
64. Thoroughbass {HD; Grove}
     (It. Basso continuo; Ger. Generalbaß; Eng. Figured bass)
    
65. Trio sonata {HD; Grove}
    
66. Toccata {HD}
67. Tonality {Grove}
68. Triple counterpoint, see Invertible counterpoint
    
69. Urtext {WP; Bärenreiter}
70. Vademecum (Lat.) {WP}
71. Variations {Grove}
    
72. Well Temperament {WP; Xenharmonic Wiki}
    
    

Links

Early Music Sources (EMS) – https://www.earlymusicsources.com

Grove Music Online (Grove) – https://www.oxfordmusiconline.com/grovemusic

Wikipedia: The Free Encyclopedia (WP) – https://www.wikipedia.org

Online Dictionaries

1. Britannica Academic {BA}
   
2. Grove/Oxford {TCL} - *
3. Harvard Dictionary of Music {HD} - *

Glossaries (Open Access)

1. Earsense, Fugue Vocabulary {Earsense.org}
2. Edwards, Puzzle Canon Glossary {PuzzleCanon.com}
3. Kerman, Art of Fugue Glossary {Open JSTOR} (Kerman 2015)

Links

Grove Music Online; Oxford Music Online (Grove). 2025. Oxford University Press. Available online at: <http://www.oxfordmusiconline.com>.

Gjerdingen, ed., Partimenti.org: An Introduction to Counterpoint | An Illustrated Guide to the Rule of the Octave | The Academic Fugue | What are Schemas?

See also: BAIN MUSC 726C Bibliography; Articles

Davidian, Teresa. 2015. Tonal Counterpoint for the 21st-Century Musician: An Introduction. New York: Rowan & Littlefield. {GB}

Gauldin, Robert. 2013/1995. A Practical Approach to 18th Century Counterpoint. Long Grove, IL: Waveland Press. {GB1; GB2}

Kerman, Joseph. 2015/2005. Art of Fugue: Bach Fugues for Keyboard, 1715–1750. Berkeley: University of California Press.{Full-text: Luminosa; JSTOR}

Rameau, Jean-Philippe. 1971/1722. Treatise on Harmony, translated Philip Gossett. Mineola, NY: Dover.

Randel, Don Michael, ed. 2003. The Harvard Dictionary of Music (HD), 4th ed. Cambridge, MA: Harvard University Press. {HD}

Sanguinetti, Giorgio. 2012. The Art of Partimento: History, Theory, and Practice. New York: Oxford University Press. {GB}

Tatlow, Ruth. 2015. Bach's Numbers: Compositional Proportion and Significance. Cambridge: Cambridge University Press. {GB; Full-text: EBSCOhost}

Wolff, Christoph . 1976. "Bach's 'Handexemplar' of the Goldberg Variations: A New Source." Journal of the American Musicological Society 29/2 (Summer 1976): 224-241. {JSTOR}