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393 abbozzo (continuity draft), xiv–xv accento (accent), xvii–xviii; accento comune (common or principal verse accent), see desinenza; accento grammatico , oratorico, and patetico (grammatical , oratorical, and pathetic accents), 323n18; accento musicale (musical speech-accent, or inflection of the voice), 71–78, 86, 94, 105, 107, 114, 120, 134, 139, 140, 216, 239, 250, 263, 302, 309; obbligati (obligatory or principal ) and casuali (casual or subsidiary) accents, 81, 113 addizione (chordal addition), 154, 170– 71, 179 affetto (affect), xviii, 19, 83, 188–89, 197–99, 202–203, 222, 338n5, 339n11, 339n14, 339n18, 342n43; affetto dominante (dominant affect), 73, 91, 108, 126, 190–94, 203–205, 207, 211, 232, 235, 283–86, 294, 304 anapesto (anapest). See piedi poetici andamento (progression): as contrapuntal progression, see movimento, movimento regolare del basso; as extended fugue subject, 168 anfibraco (anfibrach). See piedi poetici antecedent (Vordersatz) and consequent (Nachsatz), 96, 118, 209, 216, 280–82, 300 antifone (antiphon), 258 apocopation, 77, 275 appendice (appendix), 207, 212, 281–82 approssimazione (approximation of a standard chord voicing), 153 armonia (harmony or accompaniment), ix, 3, 5, 145–46, 149–60 attacco (attachment): as connecting passage , 336n80; as melodic attachment, 147, 168–69, 175, 177–79, 181, 242, 259–62 bass motion. See movimento, movimento regolare del basso basso fondamentale (fundamental bass) and basso sensibile (perceived bass), 154–55, 163, 297 battuta (beat or bar), xix, 66–74 bel canto (fine singing). See canto cabaletta, 204, 205, 206, 226, 283, 342n50 cadenza (cadence), 57–60, 85–86, 118, 148, 171; cadential progressions, 57–58, 148–49; cadenza aritmetica and cadenza armonica (arithmetic or plagal, and harmonic or perfect cadences), 320n43; cadenza composta (compound cadence), 57–60; cadenza de’ tuoni naturali (cadence of natural tones), 57–60; cadenza doppia (double cadence), 57– 60, 160; cadenza finale (final cadence), 127, 215, 232–34, 239, 251, 253, 273, 278, 282, 284, 293, 300; cadenza maggiore (“major” or half cadence), 215; cadenza media (central cadence), 206; cadenza minore (“minor” or imperfect Index of Concepts 394 Index of Concepts authentic cadence), 215; cadenza mista (mixed cadence), 57–60, 320n45; cadenza occulta (hidden cadence), 215; as cadenza regolare (regular descending contours and resting-points in poetry or melody), 73–75, 78–79, 82, 92–93, 95, 102–104, 208, 215, 248; cadenza semplice (simple cadence), 57–60; cadenza sospensiva (evaded cadence), 206; as closing flourish, see periodo di cadenza; as inganno (deception), 118, 334n63; quarter-cadence, 346n87; semi-cadence, 79, 206, 346n87; threequarter cadence, 229 cadre (compositional plan or quadro), 230 canto (song or singing), 15–16, 145–47, 235–37, 256–68, 350n14; bel canto (fine singing), 54, 193, 256, 263, 265, 271, 301, 350n14, 352n24; cantabile, 350n14; canto declamativo (declamatory singing), 350n14; canto fermo (fixed voice for counterpoint), xviii, 118, 166, 258, 267, 274, 277–78, 289, 349n5, 349n11, 350n14; canto figurato (florid singing), 350n14; canto ideale (ideal singing), 350n14; canto principale, accessorio, and caratteristico (principal, subsidiary, and characteristic melodies), 221–22, 234; canto spianato (smooth, rolled-out singing), 263, 350n14; di un getto solo (of a single cast), 350n14 canzonetta: as one-part melody, 228–29, 233–37, 284 cartella (varnished linen board for written exercises), 156, 349n5 cavatina: as entrance aria, 112, 127, 225; as extended one-part melody, 228–31, 235–45 cesura (caesura, or “cut” within or between lines of verse), 79, 89, 108–109, 119–21, 125, 271, 324n40 characteristic passage. See passo caratteristico chiavette (little keys). See attacco chiavi (the seven clefs), 258, 332n18 clausole (clauses), 73, 215 coda, 131–34, 208, 220–22, 224 common accent. See desinenza composition: composizione ideale (real or free composition), xv, 12, 157, 257, 266; as craft, 41–49 condotto (conduct), 24, 38, 90, 126, 188– 89, 206, 210–11, 234, 253, 326n82; Galeazzi’s guidelines for, 223–28 consequent (Nachsatz). See antecedent and consequent consonanze (standard thoroughbass chords), 148–50 contrappunto (counterpoint): pratico (practical) and teorico (theoretical), ix, 5, 11, 47–49, 58–60, 140–41, 144–47, 167–81, 331n4 convenienze teatrali (theatrical conventions ), 204, 315n8 counterpoint. See contrappunto coupe (division of a musical form, usually sixteen measures), 99, 230 dattilo (dactyl). See piedi poetici decasillabo (ten-syllable verse), 76–77, 104–105, 108–10, 118–19 declamatory singing. See canto, canto declamativo departure from the key. See uscita di tono desinenza (principal verse-inflection), xvii, 77–78, 81, 83, 88, 93, 95, 102–104, 109, 216 dimensione (dimension or proportion of a musical form), 98–100, 136, 228–31; first dimension of the romanza, or small binary dimension...

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