A smooth, unbroken, gliding from one pitch to another, where the intermediate pitches are audible.
The post horn is a relatively simple kind of horn once played by postilions as a signal of the departure, arrival or approach of a coach. Mozart made brief use of the instrument in his Post Horn Serenade, and its sound was imitated by various composers, including Johann Sebastian Bach in his harpsichord Capriccio on the Departure of His Beloved Brother, which includes a Postilion Aria and a fugue on the sound of the post horn.
A postlude is played at the end of a piece and indicates, in particular, the additional piano phrases that may appear at the end of a song, after the singer has stopped. The word is more widely used to describe the closing section of a work or to indicate a piece of music to be played as the conclusion of some ceremony, the opposite of a prelude.
A prelude (= Latin: praeludium, praeambulum; French: prlude; German: Vorspiel) is a movement or section of a work that comes before another movement or section of a work, although the word also has been used for short independent pieces that may stand alone, or even for more extended works, such as Debussy's Prlude l'aprs-midi d'un faune.
Presto (Italian: quick) is used frequently as a direction to performers. An even faster speed is indicated by the superlative prestissimo or even il più presto possibile, as fast as possible.
Programme music is music that has a narrative or descriptive extra-musical content. Music of this kind has a long history, but the term programme music was coined by Liszt, whose symphonic poems principally attempt to translate into musical terms works of literature, such as Goethe's Faust or Dante's Divina Commedia. It seems preferable that the term should be limited to instrumental music for concert use and should not include either incidental music or ballet music.
Psalms are the texts included in the biblical Book of Psalms and retaining an important place in the services of the Catholic Divine Office, sung to plainchant. The biblical texts are not metrical and therefore use a relatively simple form of chant that can be expanded by the use of a longer reciting note, the final syllables sung to a short syllabic formula. After the Reformation of the early 16th century metrical versions of the Psalms became current, with texts that could be sung to hymn-tunes. Harmonized settings of the biblical and metrical Psalms have been current in Protestant churches and chapels since the 16th century.