| Baroque | | The idea that chords rather than notes, created the sense of closure |
| Tonality | | Musical flourishes that are not necessary to the overall melodic (or harmonic) line, but serve to decorate that line |
| Water Music | | Prolific German composer and organist |
| Louis XIV | | One of the earliest works recognized as an opera, composed by Claudio Monteverdi with text by Allesandro Striggio for the annual carnival of Mantua |
| Gavotte | | Music with one melodic voice and rythmically similar accompaniment |
| Chamber Music | | Musical form sung by a soloist with the accompaniment of instruments often used in operas and oratorios |
| Da Capo Aria | | Instrumental ensemble, usually fairly large with strings, brass, woodwind sections, and possibly a percussion section as well |
| Bach | | Nicknamed the "Red Priest" |
| Concerto | | Northern city in Italy, epicenter of Baroque musical composition |
| Oratorio | | A large musical compostion including an orchestra, a choir, and soloists |
| Baroque Music | | German born composer famous for his operas, oratorios, and concerto grossi |
| Fugue | | Became popular in the court of Louis XIV where Jean-Baptiste Lully was the leading court composer |
| Coucil of Trent | | Collection of orchestral movements, often considered as three suites, composed by George Frederic Handel |
| Scarlatti | | English composer who wrote |
| Basso Continuo | | First person to use the term "Baroque Music" in 1919 |
| Handel | | A kind of integer musical notation used to indicate intervals, chords, and non-chord tones, in relation to a bass note which was used in almost all genres of music in the Baroque period |
| Monody | | King of France during the Baroque period |
| Rococo | | A French composer of Italian birth, who spent most of his life working in the court of Louis XIV of France |
| Opera | | Type of musical work which typically employs a solo instrument accompanied by an orchestra |
| Orchestra | | Italian Baroque composer especially famous for his operas and chamber cantatas he is considered the founder of the Nepolitan School of Opera |
| Florence Camerata | | Turn of the 17th century in Rome that was exemplified by drama, tension, exuberance, and grandeur |
| Arcangelo Corelli | | The phase between late Baroque and the early Classical era, with its broad mixture of competing ideas and attempts to unify the different demands of taste, economics, and world view |
| Homophony | | An era and a set of styles of European classical music which were in widespread use approximately between 1600 and 1750 |
| Ornamentation | | An influential Italian violoinist and composer of influential Baroque music |
| Orfeo | | Music for one melodic voice with accompaniment, characteristic of the early 17th century, especailly in Italy |
| Vivaldi | | Meeting at which the Roman Catholic Church decided that art should appeal to the illiterate and uneducated |
| Jean-Baptiste Lully | | A type of contrapuntal composition or technique of composition for a fixed number of parts |
| Henry Purcell | | A form of classical and dramatic work in which singers convey the drama |
| Curt Sachs | | Performed by a small number of performers with one performer to a part |
| Venice | | A group of academics who met informally in Florence in the palace of Count Giovanni De'Bardi to discuss arts, as well as sciences |
