Of or pertaining to works of the early 17th century that combine and contrast vocal and instrumental forces, especially through the introduction of the *thoroughbass. The modern use of the term in this way was promoted by Manfred Bukofzer (Music in the Baroque Era, New York: Norton, 1947). The numerous sacred works of the period in this style were usually titled concerto.
A fuguelike (and thus contrapuntal and imitative) passage occurring in a larger work or movement that is not itself a fugue, e.g., in the development section of a movement in sonata form; also a fugue-like piece that in one way or another does not incorporate the usual features of a *fugue.
A keyboard (other than the pedalboard) of an organ or harpsichord.
A short line parallel to and above or below the staff, representing a continuation of the staff and used to indicate pitches above or below the staff itself [see Notation]. The use of ledger lines can be avoided by the appropriate choice of *clef, as is most often done in music through the 16th century. An early example of their extensive use, however, is Marco Antonio Cavazzoni’s Recerchari motetti canzoni for organ of 1523.
Shreya's Musical Term of the Day 