MUAR MIDTERM 1 STUDY NOTES

Columba aspexit by Hildegard von Bingen Medieval period, plainchant, sacred, latin,
monophonic, responsorial performance. A cappella (ensemble) AABB form: soloist sings
first (A), choir responds with next sentence (but same melody). Same for BB. Piece
becomes more and more melismatic. Contains drone.
Dame, de qui toute ma joie vient by Guillaume de Machaut Medieval Period, chanson
(genre), French (vernacular language), secular (about courtly love), non-imitative
polyphony, a cappella (ensemble) (as notated, though performance practice probs
differed sometimes).
Ave maris stella by Guillaume Dufay Renaissance Period, fauxbourdon style (a form of
harmonization in three parts (voices), in which the second line (from top) follows the top
line a perfect fourth below. The bottom line is a sixth below the top line (usually) but
reaches cadences an octave below. Thus, the voices are often moving in parallel thirds.
This results in works that are homophonic, multiple parts that move mostly in
homorhythm, therefore creating chords). Harmonized hymn (genre), because (1) it has a
sacred text and (2) the same music is repeated over and over for changing verses (works
meant for congregational singing often use this simple form). Top line is a cantus firmus
(elaborated form of a chant melody).
Kyrie (from Pange lingua Mass) by Josquin Desprez Renaissance Period. Kyrie (genre)
from a late Renaissance Mass. 4-part imitative polyphony (texture). A cappella; four-part
choir; SATB (ensemble). Ancient, sacred Greek prayer (only part of Mass in Greek). First
part of Mass Ordinary.
Thy hand Belinda from Dido and Aeneas, Act III final scene by Henry Purcell Baroque
Period. Opera (genre).
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Begins as a recitative (subgenre), turns into lament aria. Genre (opera), texture
(homophony), secular English (text), vocalist with accompaniment (ensemble)

Violin Concerto in G, La stravanganza, op. 4 no. 2, first and second movements by

Antonio Vivaldi Baroque Period. Solo concerto (genre). Ensemble is violin and orchestra.
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First mov: ritornello form (orchestra alternated with violin solo).

Second mov: theme and variations form (melody/theme heard at beginning is
followed by alternations of that same melody). Slow, sad, descending basso
ostinato.

Brandenburg Concerto No. 5, first movement by Johann Sebastian Bach Baroque

Period. Concerto grosso (genre), since the work requires three soloistsflute, violin &
harpsichordplus the orchestral accompaniment (ensemble). Ritornello form.
Fugue 1 in C Major from The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach
Baroque Period. Imitative polyphony (texture), also called imitative counterpoint. Solo
keyboard work. Genre is fugue.
Cantata No. 4, Christ lag in Todesbanden, nos. 4, 5 & 8 by Johann Sebastian Bach
Baroque Period. Sacred cantata (genre). Text is in German (vernacular), proper
(appropriate for specific days of the year). Ensemble is small choir, vocal soloists,
orchestra and organ.
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based this cantata on the words and music of a chorale composed by Martin
Luther, which was based on Easter hymn. Bach used Luthers chorale in every mov.

as cantus firmus.
4th mov: tenor aria (subgenre). Tenor voice and the busy violin part both move
rather independently over the accompaniment provided by the basso continuo. So

the mov. is homophonic because it has accompaniment

5th mov: SATB chorus (subgenre) with basso continuo only. Texture is imitative
polyphony (four vocal parts imitate each other. Instrumental parts play same thing

as vocal parts, so no accompaniment.

8th mov: harmonized chorale (for chorus, orchestra and congregation): Homophonic
texture, all voice parts move in homorhythm (series of chords). This part can be
sung by whole congregation.

La giustizia from Julius Caesar by George Frideric Handel Baroque Period. Genre,
opera. Subgenre, aria. Italian, secular text. Soloist w/ instrumental accompaniment
(ensemble). Mostly homophonic. Ritornello form.
There were Shepherds and Glory to God from Messiah by George Frideric Handel
Baroque Period. Genre: oratorio. English, secular. Homophonic. Vocal soloist, orchestra,
basso continuo, chorus (ensemble).
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There were Shepherds: soprano recitative (subgenre).

Glory to God: chorus

TERMS!
Medieval Period: period between 450-1450. From collapse of Roman Empire to invention
of printing press.

Sacred/secular (culture, music, etc.): sacred is anything intended to serve as part of

worship. Secular is anything else (including stuff for entertainment only).
Liturgy (Roman Catholic liturgy): Everyday (slightly different for diff days). Two diff
settings for worship: Divine office (private, observed by community in
monastery/convent), and Mass (public).
Plainchant (stylistic traits): genre of medieval sacred music. Nearly all
transcribed/composed by anonymous scribes/composers. Used to be attributed to Pope
Gregory who was said to have notated them under divine inspiration.
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Chants are performed during Mass and Divine office (of RCC Liturgy)
Characteristics: Latin, sacred, nonmetrical, based on church modes of Medieval
Theoretical System, monophonic texture, a cappella ensemble.

Metrical/nonmetrical: Nonmetrical = no discernable beat/meter. Free rhythm. Metrical is

the opposite.
Divine Office: Schedule was Matins (morning), Lauds (praise), Prime (the 1st Hour), Terce
(the 3rd Hour), Sext (the 6th Hour), None (the 9th Hour), Vespers (evening), Compline
(complete).
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The named Offices (Matins, Lauds, Vespers, and Compline) are the Greater Hours,
and their music is more extensive/complicated/important to music history than

that of the numbered or Lesser Hours (Prime, Terce, Sext, None)

The musical content of the Offices centers on the singing of psalms; the number
varies

Mass: composed of two parts. Foremass (also known as teaching service, all the way up
till end of sermon and credo) and Eucharist (communion, reserved for those baptized).
Division of material though...
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Mass Proper: where the text changes according to the particular day in the

liturgical year. Originally intended to be sung by choir/solo singers.

Mass Ordinary: where the text always remains the same throughout the liturgical
year. Originally intended to be sung by entire congregation.
o Kyrie, Gloria, Credo (statement of the Christian faith), Sanctus, Agnus Dei

Church Modes (medieval modes): a limited collection of pitches that are organized within
a piece of music to emphasize one particular pitch, called the FINAL. So the harmonic
system (some sounds seem dissonant to us because their harmonic system is pretty
different from the one we use today). Kinda like diff scales. Church modes are defined by
the Medieval Theoretical System.

Responsorial performance: solo singer/leader performs verses of the text, congregation

answers with following verse or refrain.
Antiphonal performance: Singers are divided into two groups that take turns singing
phrases of texts.
Hildegard von Bingen: one of the first composers we have extensive music/biography of.
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Wrote Columba aspexit

Visionary, mystic, prolific writer of poetry (brilliant imagery, visionary language.
Celebrating local saints and Virgin Mary), music (chants had unusually expansive

range, wide interval leaps, melismas) and prose.

Convent abbess (founded own convent)
Her visions/prophecies made her famous too popes/kings/priests often sought her

advice
Also known for writings on science/medicine
Very well educated and unusually powerful woman for her time
Often has flames drawn over her head in paintings means shes receiving a
vision.

Drone: single two-note chord runncontinuously. Not considered an

accompaniment/separate instrument.
In 12th Century:
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Earliest manuscripts of secular music: Original poetry written by men/women set to

music, for entertainment in royal courts (performed by courtiers/troubadours/etc.).
Notated monophonically, but probably had improvised instrumental
accompaniment. Usually in vernacular language (language ordinary ppl understood
then (French/German)), but sometimes in Latin (ancient). Usually about love (some

sexual), chivalry, war, etc.

Earliest manuscripts of instrumental music: nearly all courtly dances (e.g.
Estampie). Monophonic, instruments unspecified. Rhythmic organization

(metric/metered). Created by literate musicians, but often performed by jongleurs.

Beginning of Notre Dame polyphony

Organum: earliest genre of medieval polyphonic music.

Troubador/trouvre(French)/Minnesanger(German): secular poet/composers who
performed in royal courts.
Jongleur : musicians of common (or worse) status, illiterate, who traveled, playing a
memorized repertory, improvising, getting paid when possible, and occasionally
organizing into guilds.
Courtier : ppl who performed in royal courts.

Chanson : general term for a French secular song.

Cantus firmus : pre-existing plainchant melody that has been recycled into a new
composition. So, serves as basis for a new musical composition.
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Cantus firmus composition: polyphonic piece of music in which one of the melody

lines is a cantus firmus (not composers original creation).

Use of cantus firmi became a generalized style characteristic of late medieval/early
renaissance music. Both sacred and secular music often incorporated quotations
from sacred/secular music sources.

Notre Dame School (12th-14th Century): group of composers working at/near Notre
Dame Cathedral in Paris. Lonin, Protin, and other anonymous composers (they are
representatives of the era of European music history known as the Ars Antiqua (late 12th13th Centuries)
Ars antiqua/ars nova : Ars antiqua (antique art) is the older Notre Dame polyphony of
13th Century. Ars nova is the new style of complicated, polyphonic music in 14th century
(Machaut is the foremost composer of this new style)
Guillaume de Machaut :
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Both cleric and courtier, widely known/celebrated during his time + long after

death
Foremost composer-poet of ars nova style.
Composed both sacred and secular music
Composed earliest extant complete setting or Mass Ordinary (i.e. all five parts)
Notre Dame Mass (historical significance)

Renaissance Period : between 1450-1600

Humanism: intellectual movement and ethical system centered on humans and their
values, needs, interests, abilities, dignity and freedom, often emphasizing secular culture
in a rejection of the sacred.
Moveable type printing press: 1450. music printing soon followed, greatly expanding
affordable access to vocal and instrumental music of all genres, both sacred and secular.
Lutheran Reformation (early 16th Century): 1500 onwards. Martin Luther. The separation
of protestant Christian sects from the Roman Catholic Church leads to a great diversity in
post-1500 Christian sacred music.
Counter-Reformation (late 16th Century): Roman Catholic Church responded to revolt led
by Martin Luther by reforming Church practices in the spirit of true Christian piety. This

was the RCCs attempt to regain the loyalty of its people, as well as regain the loss of
power and wealth that had resulted from the split of the Church.
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Council of Trent (musical significance): issued general recommendations in favor of

a pure vocal style that would respect the integrity of the sacred texts.

Importance of Greek and Roman Antiquity: once the concern of medieval theologians and
scholars onlybecomes more common among the ever-larger literate classes; the
architecture, visual arts, poetry, and music of the renaissance demonstrates this
influence.
Word painting: The music itself is composed in such a manner that the sound of the
music reflects the meaning of the text. E.g. allusion to heaven in the text might be set to
a vocal line that is rising in pitch.
Point of imitation: a short passage of imitative polyphony based on a single theme, or on
two used together.
Guillaume Dufay:
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Born/received early music training in France (Flanders)

Received thorough musical training from childhood at Cambrai Cathedral
o Returned to service there later in life, and his grave is there today
But! Spent more than 25 years in Italy, as musician/composer at courts of diff

powerful families, or in cathedrals (including Papal Chapel in Rome)

Dufay composed music in all the sacred and secular genres common to his day
masses, motets, Magnificats, hymns, and chants in fauxbordon style, as well as
secular songs of all typesusing a rich musical language that combined
techniques of earlier masters (the Ars Nova) with the new
techniques/textures/textual sensitivity of the emerging Renaissance aesthetic.

Harmonized Hymn: Ave maris stella.

Josquin Desprez: wrote Kyrie from Pange Lingua Mass
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Born/received early music training in France

Influential lineage of Flemish composers
Moved to Italy, served in several royal courts, including papal choir of Rome!
Composed both sacred and secular music
Achieved international fame, Martin Luther referred to him as the greatest living

composer
Later returned to France where he served until his death.

Claudio Monteverdi: transitional composer, bridged the gap between Renaissance and
Baroque periods. Wrote and epitomized styles and genres for both periods, composed a

great deal of secular and sacred music. Published books of Madrigals, operas, etc. Ppl
criticized him for his dissonance, but this just highlights the change that was occurring in
musical styles.
Madrigal: the most important secular vocal genre of the late renaissance/early baroque.
Polyphonic, secular vocal genre invented in Italy. Settings of secular poetry in vernacular
language. Often celebrated contemporary poetry (by someone other than the composer)
that was set to madrigal music. A genre of high art (created/performed for royal
entertainment, commoners rarely exposed to this). This genre and style was imitated by
international composers as well, creating madrigals in their own languages.
Giovanni Palestrina
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Worked as organist and choirmaster at St. Peters Basilica in Rome. Was then
appointed to Sistine Chapel Choir. Dismissed later on, so he returned to St. Peters,

where he worked the rest of his life

Wrote over 100 settings of the Roman Catholic Mass.
His music was known to later generations, esp. Bach, who considered it the
epitome of sacred music in the old style.

Baroque Period: 1600-1750

Monody: Literally one song; characterized by a solo vocal melody with instrumental
accompaniment.
Basso continuo / continuo / figured bass: one/two/more instruments that provide an
accompaniment for one or more vocal or instrumental soloists. They read from a musical
part called the figured bass, because it is notated as a single line of music (bass line)
over which numbers (figures) indicate the other notes to be played in each chord. At
least one basso continuo instrument plays the bass line written by composer, the
other(s) improvise chords on that bass line.
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Typical basso continuo consists of a low bass string instrument or low wind and a
chordal instrument (something that can play more than one note at a time, like
harpsichord). But not always.

Continuo group: the instruments in the basso continuo. Never specified in the music.
Musicians and composers of the period were very practical with regard to performance
practices. Therefore, their music was designed to accommodate a wide variety of
performance situations.
To realize a figured bass: to improvise the chords which are shown
Improvisation: make stuff up as you go. Very common in Baroque period

Ornamentation: spontaneously adding (improvising) short decorative flourishes to

written music during performance. These additional notes are called ornaments or
embellishments (though there are tons of names for specific ones). Ornaments used
werent random they followed written and unwritten (aural) traditions of musical
performance relevant to specific music being performed (national origin of the music, the
general musical style, the performance situation, etc.). Some Baroque composers used
specially designed symbols to notate the ornaments they preferred.
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Instrumental treatises began to appear that provided detailed instructions on how

to play ornaments. Handy nowadays for ppl who want to recreate that same
Baroque sound.

Score (as in musical score): piece of music that shows all of the parts in a piece (together
on one page). Also called full score. Not practical for large ensembles, so generally only
used by conductors.
Part (as in printed musical part): a piece of music that shows only one portion of the
overall performing ensemble, usually just the music of a single instrument or vocalist.
Opera (time & place of its invention): originally created in the wealthy Italian courts of
Florence in approximately 1600 by a group of intellectuals, poets and musicians who
were attempting to recreate the ancient Greek dramas, which they determined had been
sung in a very declamatory (i.e., speech-like) style.
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Originally a genre designed for aristocratic entertainment, by 1637 the city of

Venice opened the first public opera house that sold tickets and operated on the
basis of profit. Opera was to become one of the most important public venues for

musical entertainment in all of history.

Basically an accompanied solo song (though there are duets, etc.) and brief

instrumental works that highlight the dramatic action.

Large scale cooperative effort btwn set designers, composers, performers, etc.

Two types/subgenres of song in opera:

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Recitative: song that imitates rhythms and pitch patterns of normal speech.

Usually carries dialogue.

o Not very lyrical/melodious, often syllabic with many repeated pitches
o Nonmetrical, usually accompanied by 1-2 instruments (the basso continuo)
Aria: song for solo voice, often with large orchestra accompanying. Strongly

metrical, recognizable beat. Melodious/lyrical, outpouring of emotion.

Often repeating fragments of the text, contain melismas.

*Note that recitatives/arias also appear in stuff other than operas in Baroque period, like
oratorios and cantatas. Also both were sometimes composed as stand-alone works.

libretto / librettist: libretto is the story/text of an opera, written by the librettist. Almost
never composer himself. Operas use secular texts in vernacular language.
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Earliest operas (esp. In Italy) drew subject matter from myths, dramas and
histories of ancient Greece and Rome.
o Also contained choruses that comment on plot and circumstances of
characters.

Castrato: Male singer castrated before puberty in order to retain the pre-adolescent high
vocal range. Most important category of vocal soloists during the Baroque. Rock stars
of their day.
Overture (as in opera): instrumental piece that introduces opera. First thing you hear.
Often contain musical themes from vocal pieces to follow, sorta foreshadowing.
Traits of the baroque orchestra
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Orchestra: a group centered around a group of bowed strings. Baroque orchestra

much smaller than orchestras in later art music. Usually only 10-25 ppl, often

consisted of just bowed strings and maybe a harpsichord or organ.

Wind instruments were also used, but the core was still bowed strings.

Henry Purcell (1659-1695)

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first great English composer

Singer, organist and composer in courts
His instrumental works are some of the finest achievements of the middle Baroque

Lament / lament aria: a poem (when set to music, song) expressing grief, regret,
mourning. Baroque lament arias often feature basso ostinatos that typically consist of a
descending, chromatic figure (often descending from tonic to dominant in the key of the
piece) in a slow triple meter.
Basso ostinato / ground bass: An ostinato is any musical figure that repeats over and
over as an accompaniment, laying a harmonic foundation over which other prominent
melodies occur.
Recorder: Woodwind. Hot cross buns!
Harpsichord: keyboard instrument that plucks the strings,
lute (archlute): plucked string instrument was introduced to Europe by Muslim
communities. Did not typically come in different sizes, but there were larger bass lutes
called the archlute.

Organ: keyboard instrument, churchy.

viol (viola da gamba): similar to modern orchestral strings, the viol is held in front of the
body and rested on the knees. Large bass viola was a typical basso continuo instrument.
Movement (as in multi-movement genre): a musical work under one title that is
actually several separate musical pieces that are always played together in the same
order. Various movements of a multi-movement instrumental work all employ the same
ensemble, although there are some exceptions. On the other hand, large-scale
vocal/instrumental genres (such as operas, cantatas and oratorios) often contain
movements that contrast with regard to the ensemble used.
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Diff movements designed to contrast and complement each other.

Solo sonata: can be one of two things

(1) multi-movement genre for a solo instrumentalist and basso continuo
(2) multi-movement genre for a solo keyboard (harpsichord most commonly)
Trio sonata : multi-movement genre for TWO instrumental soloists and basso continuo
(this number can vary, so not always trio)
Solo concerto : multi-movement (usually three but not standardized in the baroque era)
genre for a single instrumental soloist (of any type) and orchestra (including basso
continuo)
Concerto grosso : multi-movement (usually three but could be more) genre for two or
more instrumental soloists and orchestra (including the basso continuo).
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Often works were written for two violinists and basso continuo (the solo group)
accompanied by a larger group (the orchestra, which usually also consisted of

strings only).
During Baroque era, they were simply titled concerto though. No grosso.

Suite / dance suite / baroque dance suite : a multi-movement genre for orchestra without
any particular featured soloists (in Baroque also w/ continuo group). Usually each
movement is named after and is an example of a particular dance type (sometimes other
names too though)
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Suite means a multi-movement collection of dances.

Used for dancing or simply musical enjoyment
Prominence of these highlights importance of dance during this period.
Also called orchestral suite.

Fugue: piece or distinct subsection of music that employs imitative polyphony. Can be a
genre (if an entire piece or movement contains nothing but that fugue). Written for any
instrument capable of polyphonic solo playing, or for any combination of voices or
instruments, or instruments and voices together.
Subject: first musical theme of a fugue. After its first appearance in a single voice or part,
you will then hear that same melody again and again in the other parts.
Ritornello form: orchestra and solo performance alternating.
Theme & variations form: melody/theme heard at beginning is followed by alternations of
that same melody.
Johann Sebastian Bach (1685-1750). Must know death date!
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German, Lutheran composer

Born into family of musicians, orphaned at early age. Taught music by brother

(organist)
Known as virtuoso organist
At 23, appointed court organist and chamber musician for the Duke of Weimar
Later worked in court of Prince Anhalt-Cthen where he wrote most famous

influential works (including Brandenburg Concertos)

Composed six Brandenburg Concertos, each with three movs (fast-slow-fast), each
for diff ensemble for instrumental soloists w/ orchestra
o Sent these manuscripts to try and gain employment/money. Didnt receive

any
Also wrote Well-tempered Clavier and famous suites here.
Near the end of his life, created an incomplete collection of keyboard works
entitled The Art of the Fugue, perhaps in an effort to preserve the High Baroque
polyphonic musical tradition he loved.

Cantor: Bach was appointed cantor of St. Thomas Church in Leipzig. In charge of all of
the music performed in the four municipal Lutheran churches in and around Leipzig. So,
selected all of the music, rehearsed the vocal and choral ensembles, maintained the
organs and other instruments, saw that the musicians were paid and other needs met,
supervised the music library, etc.
Sacred cantata: fairly large-scale, multi-movement vocal/instrumental genre, typically
consisting of six to eight movements, used in the worship services of German Lutheran
Churches.
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Cantata (whether sacred or secular) features no plot, acting, costumes, stage

movement, etc.), although it is divided into choruses, arias, recitatives, duets, and

instrumental pieces etc. just like an opera or oratorio.

ensemble of a sacred cantata consists of a smallish choir, vocal soloists, an
orchestra and an organ

texts in vernacular language (German), as is typical Lutheran worship practice

Lutheran chorale: Hymn-like songs used for congregational singing in the Lutheran
Church, composed in a rather simple, four-part (SATB) texture. Sacred genre.
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STROPHIC: i.e., each verse of text is sung to the same repeated music.

George Frideric Handel

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German-born composer, created numerous works in every genre of his day (dance

suites, concertos, etc.). But most remembered for operas and oratorios.
Unlike most, he was not from musical family but studied with organist from young

age
Went to Italy and studied Italian opera style. Composed successful operas there.
took a well-paid position as music director for Elector Georg Ludwig of Hanover,
who became Handels patron. Allowed Handel to travel extensively and promote

his music on the international stage.

Made several trips to London to produce his operas, and he eventually moved

there in 1712 and remained in England for the rest of his life.
Became Londons most important composer and a favorite of Queen Anne.

Oratorio: Secular genre. Like opera, large-scale music drama for vocal soloists, chorus
and orchestra. Multi-movement works that contain arias, recitatives, interludes for
orchestra, etc. Based on a libretto with plots and characters. However, no acting,
scenery, or costumes.
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Handels oratorios are usually based on stories from the Old Testament

Da capo aria form: Aria in ternary ABA form.

Antonio Vivaldi
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Virtuoso violinist and composer

Born in Venice
Known as red priest because he was a priest with wild red hair
Worked as violin teacher at music school orphanage for girls
o Orchestra and chorus one of the finest in Italy. He composed lots of music for
them.
He composed operas and church music, but is best known for his 450 concertos.

--GENERAL TERMS
Genre: a specific category of musical composition as defined by its musical
characteristics or traits: for instance, a Gregorian chant, a string quartet, a symphony, an
art song, etc.
Monophony/monophonic texture: single, unaccompanied melody.

Polyphony/polyphonic texture: two or more melodies played/sung simultaneously.

Melodies are felt to be independent and of approximately equal interest.
Imitative polyphony: various lines sounding together use same/similar melodies, with one
coming shortly after another. E.g. a round. Also called imitative counterpoint.
Non-imitative polyphony: when melodies are different from one another, totally
separate/independent.
Homophony/homophonic texture: one melody of real interest combined with other, less
prominent sounds. Singing while playing guitar. Melody + accompaniment.
Homorhythm/homorhythmic texture: same sort of rhythm in all parts. All of the parts
move together rhythmically.
2 types of text setting
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Syllabic: each syllable is set to one pitch

Melismatic: contains melismas. When a single syllable is set to large groups of

pitches.
Btw theres also neumatic, which is when syllables are set to small groups of
pitches, like 4-5 pitches per syllable

Pitch: diff vibration frequencies = diff pitches. See pitch names.

Interval (in steps): difference btwn two pitches. Higher or lower.
Octave (12 steps per octave): When one frequency is double the other. So higher pitch
vibrates twice as fast same note but higher.
Equal temperament tuning: the man-made division of an octave into 12 half-steps.
Pitch names: A, B, C, D, E, F, G
Accidentals: sharps, flats, naturals.
Metered/metric music: with discernible rhythm
Unmetered/non-metric music: no discernible rhythm
Tempo:
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Presto: very fast

Allegro: fast
Moderato: at a moderate rate
Adagio / andante: slow

Ensemble/medium: the instruments, voices, or anything else that makes sound and
takes part in music making.
Range of human voices: Soprano, alto, tenor, bass.
SATB choir: choir containing that range of human voices.
A cappella: only voice, no other instruments.
dynamics
forte = f = play loudly
piano = p = play softly
mezzo forte = mf = somewhat loudly
mezzo piano = mp = somewhat softly
crescendo = <
descrescendo = >
Recap of Genres Studied
chanson
chorale (Lutheran chorale)
concerto grosso
fugue
hymn / harmonized hymn
madrigal
Mass
motet
opera
oratorio
organum
plainchant / chant / Gregorian Chant
sacred cantata
solo concerto
sonata (solo sonata)
suite / dance suite / baroque dance suite
trio sonata