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music history > 351B Midterm > Flashcards

351B Midterm Flashcards

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0
Q

Scheidt’s organ music

A

Görlitze Tabulatur Buch auf “1650” - 100 organ chorales w/ 4 part harmonization
Influenced Buxtehude and Bach

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1
Q

Buxtehude’s organ music

A 
Best know for choral tunes
Toccatta style 
Sections of fugal writing 
Free sections-transitional
Sections reinforced by tempo or meter changes
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2
Q

J.S. Bach’s organ music

A

Organist at Armstadt (1703-1707) and Mülhausen (1707-08)
Organist at Weimar (1708-17)

Preludes and fugues- rhapsodic prelude followed by fugue, fugal sections interspersed in prelude, sometimes elements of prelude in the fugue.

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3
Q

Prelude and Fugue in A minor BWV543 pg 701

A

J.S. Bach
-begins like a solo violin concerto, figuration alternating between two strings, next section tonic pedal point w/ 2 “violins,” closes w/ flourishes like Frescobaldi, and pedal virtuosity

Fugue-perhaps modeled on concerto- subject like violin rapid leaps lots of sequences, tutti expositions, solo episodes that modulate, last episode in tonic key, cadenza both of a concerto and Toccatta.

Fugal- episode- fugal- 6 more times
Tonal arch
Fugues reiterates keys

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4
Q

Praeludium in Emaj

pg 651

A

Dietrich Buxtehude (organ prelude)

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5
Q

Carlo Pallavacino and Augustino Steffani

A

Venitian opera composers
Great cantata composers who exported opera to the Holy Roman Empire
Because of these guys opera became a really important part of the court.

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6
Q

Motto Arias

A

Involved repetition of main motive.

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7
Q

Apostolo Zeno

A

Librettist
Helped bring about Great Arcadian reform ~ 1700- first big reform of opera.
Created opera seria

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8
Q

Opera seria

A

Serious Italian opera- all about dry recitatives and Da Capo Arias
Stylized musical language- beautiful simple texture
All about beautiful music

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9
Q

Dry recitative

A

Voice and basso continuo

Speech like

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10
Q

Accompanied recitative

A

Voice and BC and sustained strings

Speech like

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11
Q

Da Capo Aria

A

Common form in Scarlatti’s operas and cantatas
“Clori vezzosa” and “La Griselda”
Da Capo (from the head)
At the close of 2nd section-
Tell performers to go back to the top.
ABA
A section- two different settings of the same text framed by instrumental ritornellos.

B section- sets the second stanza once or twice but typically lacks the orchestral ritornellos.

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12
Q

Alessandro Scarlatti

A

Personification of neopolitan opera
Mr. Opera Seria
New kind of overture- 1st movement in 3 sections F-S-F

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13
Q

La Griselda opera excerpt from act 1 scene 2 pg 635

A

Da Capo Aria

Alessandro Scarlatti

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14
Q

Clori vezzosa e bella conclusion pg 629

A

Alessandro Scarlatti
Cantata- two or three arias w/ recitatives thin little plot
For chamber performance
Typical pastoral poem

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15
Q

Flow chart for trio sonata

A

Rossi- Marini- Cazzati- Legrenzi- Corelli

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16
Q

Sontata da chiesa (church)

A

In 4 mvts S-F-S-F

Almost feels like an opera aria

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17
Q

Sonata da camera (chamber)

A

F-S-F-S-F….

Dance mvts

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18
Q

Giovanni Legrenzi

A

Earliest writers of sonatas fugal

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19
Q

Archangelo Corelli

A

Studied in Bologna
Had mature tonality at his disposal
See lot of suspensions
Create dissonance that resolves properly to consonance
Each chord has a function
Spins long lines out of motives
Published 5 books of sonatas
Very good fugal writer- very tonal procedure
Prefers lyricism to lots of virtuosity-affects his concerto writing
Wrote some of the earliest concerti grossi
Solos and tutti (all) showed material
Binary form mvts
Any number of mvts- solo group called concertino
Full orchestra -> ripieno (full)

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20
Q

Trio sonata op 3 no 2 pg 642

A

Trio sonata
Corelli
Sonata chiesa because S-F-S

1st mvt very majestic solemn- walking bass- a Corelli trait

2nd mvt fugal contrapuntal

3rd mvt use little organ has half cadence

2 different characters in each mvt for 1st-3rd

4th mvt sequence- motive in diff pitch levels
Pedal point
Uses stretto- stacking it on top of eachother
It’s a gigue- binary form
2nd time inverted for the big section

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21
Q

Concerto grosso

A 
Large ensemble (string orchestra) vs. a smaller group ( 2 violin) 
Based on contrast

BIG vs. LITTLE - LOUD vs. SOFT

first time heard Allessandro Stradella- opera overtures- contrast between forces

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22
Q

Concerto flow chart

A

Stradella- Corelli- Torelli- Albinoni- Vivaldi

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23
Q

Guiseppe Torelli

A

Does 2 important things
F-S-F all concerti now in this form
Invents new kind of form- Ritornello form-soloist plays virtuosic and idiomatic material

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24
Q

Stradella

A

Known for contrasts between loud and soft and big and little in opera overtures

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25
Q

Tomaso albinoni

A

Venetian composer who developed the standard pattern for concertos
Three mvt plan in the order F-S-F taken over from the Italian opera overture.

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26
Q

Antonio Vivaldi

A

600+ concerto
1703-1740 Vivaldi worked at a oespedale pieta - convent school- conservatories in Venice

He was a teacher an incredible virtuoso violinist composer and educator
Very well known composer of operas
By the time he dies you can hear glimmers of the classic style

27
Q

Where did the opera center move from?

A

From Venice to Naples and Rome

28
Q

Organ flow chart

A

Sheidt-> buxtehude-> bach

29
Q

Durch Adams fall bwv 637 pg 710

A

(“Through Adams fall all is spoiled”)
From orgelbüchlein
A series of single statement melodies for students to harmonize
Intended to bring out the affections and meaning of text
Tune in soprano heard all through without gaps
Word painting with downward leaps “the fall”
Left hand portrays serpent

30
Q

Harpsichord music forms

A

Theme and variations and suites
1st sonatas
French clung to these forms

31
Q

François couperin

A

Teacher composer virtuoso
Defines the from the middle and high baroque in France
4 big books of harpsichord pieces 200+
Wrote a book L’art de toucher le clavecin
Pioneered stile galant- perferred taste of the court in France
More regular periodic phrases
Influences early classic composers

32
Q

Ordres

A

Suites with lots of mvts added in

Instead of using traditional suite names they used fanciful titles or character pieces “the flea”

33
Q

Vingt cinquieme excerpts

A

Keyboard suite

La visionare big organ hits in the beginning -ordres

“La muse victorieuse” is in a highly developed binary form * not in sonata form
forshadows sonata form
Fuller more melodic style more homophony

34
Q

Bach well tempered klavier

A

Bach New way of tuning things
Keyboard books
2books 24 pieces for each key

35
Q

Bach’s art of the fugue

A

Composed in final decade of bachs life
Systematically demonstrated all types of fugal writing
Written in score though intended for keyboard performance
18 cannons and fugues in the strictest style

36
Q

Bachs Goldberg variations

A

Raised the genre of keyboard variations
30 variations preserve the bass and harmonic structure of the theme, a sarabande
Last variation is quodlibet

37
Q

Quodlibet

A

Combining two popular song melodies in counterpoint above the bass theme.

38
Q

Bachs musical offering

A

Contains a three and six part ricercare for keyboard and ten canons, all based on a theme proposed by Frederick the great of Prussia

39
Q

Serenata

A

A semidramatic piece for several singers and small orchestra, usually written for a special occasion.
Stradella was one of the first to write serenatas.

40
Q

Trio sonatas

A

Most common instrumentation after 1670 for both and chamber sonatas was two treble instruments, usually violins, with basso continuo
It’s called this because of its three part texture

41
Q

Corelli’s trio sonatas

A

Emphasized lyricism over virtuosity. Rarely used extremely high or low notes, fast runs, or difficult double stops. Two violins treated exactly alike, frequently cross and exchange music

42
Q

Walking bass

A

Steadily moving pattern of eighth notes, under free imitation between the violins.

43
Q

Ritornello form

A

There are extended passages for the soloist, framed by ritornello that appears at the beginning and end of the movement and recurs, in abbreviated form and in a different key, between the two solo passages. The solos present entirely new material, often exploiting the virtuosity of the soloist, and modulate to closely related keys, providing contrast and variety. The return of the ritornello then offers stability and resolution.

Torelli’s approach was developed by Vivaldi into ritornello form.

Mosaic of themes

No a or b in ritornello form

44
Q

Vivaldi’s ritornello

A

Ritornellos for the full orchestra alternate with episodes for the soloist(s).

The opening ritornello is composed of several small units, typically two to four measures in length, some of which may be repeated or varied.

These segments can be separated from each other or combined in new ways without losing their identity as the ritornello

Ritornello act as guide posts to the tonal structure, reinforcing the key.

Solo episodes modulate keys.

45
Q

Bach’s Brandenburg concertos

A

Best known orchestral works
Six Brandenburg concertos
Dedicated to margrave of Brandenburg

Used three mvt Italian concerto style and ritornello forms.

He develops the ritornello material
Dialogue between soloist and orchestra within episodes

46
Q

Collegium musicum

A

Orchestral music written in 1730 when he directed the Leipzig collegium musicum
Made up of mostly university students.

Founded by Telemann

47
Q

Rameau

A

Organist and composer

Worked for rich noble man la poupliniere

48
Q

Rameau’s theory of harmony

A

Sets out all basic tenants of common practice tonality

He invents the words tonic and dominant

49
Q

Rameau’s fundamental bass

A

Each chord has a fundamental tone, equivalent in most cases to what is today called its root. In a series of chords, the succession of these fundamental times is the fundamental bass.

50
Q

Rameau’s opera

A

Hippolyte et Aricie
Produced in Paris

Criticized by Lullistes
For not being like Lully’s operas
The war between the ramisites and Lullistes gained Rameau fame.

51
Q

Opera in France in general

A

Rameau and the tradegie lyrique -Important in 18th century France- accused of overthrowing Lully- overtures had material heard later in opera- kept French core but expanded on Lully
Recitative oblige- orchestra converses w/singer
Very large independent orchestra

Active harmonically- non tonic chord should carry dissonance-melodies outline chords

52
Q

Recitative obligé

A

Orchestra converses w/singer.

53
Q

Lutheran church music

A

Orthodox Lutheran centers provided a favorable environment for developing the sacred concerto. The back bone was the concerted vocal ensemble on a biblical text, as established by schein, schütz

Organ music filled dead air 
Helped congregational singing 
All composers were influenced by frescobaldi 
Northern Germany favored fugal writing 
Most elaborate fugues linked to tocattas
54
Q

Bach’s mass in b minor

A

Only complete setting of the catholic mass ordinary
Composed from music he had composed earlier
He adapted some of the other sections from contata movements
Throughout the work he juxtaposed contrasting styles

55
Q

Bach’s passions

A

Wrote two passions
St. John passion and St. Matthew passion
Employ recitatives, arias, ensembles, choruses, chorales sung by the chorus, and orchestral accompaniment.
Tenor narrates the biblical story in recitative
Soloist play the part of Jesus

56
Q

Handel’s operas

A 
Giulio Cesare- opera seria 
All abut dry recitative, accompanied recitative
Lots of da capo arias 
Came to London to write Italian opera 
Wrote 41 opera for England

Beggers opera - beginning of the end for Italian opera in England

Handel patterned the overture and dance music after French models, composed most of the Aria in the Italian manner, and incorporated erman elements in the counter point and orchestration.

57
Q

Handel’s oratorios

A 
In English 
Arias, recitatives lots of choruses based on Old Testament themes 
Cheaper but not staged 
No costumes 
"Saul" oratorio

Nothing was equaled to Dublin’s “messiah”

He gave oratorios choruses

First oratorio was Esther

58
Q

Pastor Erdmann Neumeister

A

Introduced anew kind of sacred work for musical setting which he called by the Italian term cantata
Added poetic text, intended to be set as recitatives, arias, and ariosos, that brought home the meaning of the day’s gospel reading.

59
Q

Concerto grosso in a minor

Violin concerto

A

Vivaldi
Concerto grosso
Comes from l’estro armonico-
Collection of concerti- made him internationally famous

60
Q

Vingt cinquieme ordre “la visionare” “la muse victorieuse”

A

Couperin
Keyboard suite
Not in sonata form
Forshadows sonata form

61
Q

Hippolyte et Aricie

A 
Rameau 
Opera 
From the tragedie lyrique 
Libretto pellegrin 
Revived French opera 
Lots of chorus
62
Q

Nun komm Der heiden heiland

A 
Bach
Cantata 
Polyphonic heavily orchestrated 
Ritornello form 
Modeled around the form of a chorale
63
Q

Giulio Cesare V adoro pupille

A 
Handel
Opera seria
About Julius ceasar 
All about dry recitative accompanied recitative 
Lots of da capo arias
64
Q

Saul act II scene 10

A 
Handel 
Oratorio 
In English 
About king Saul jealous fury for david 
Not staged 
No costumes
Arias 
Based on Old Testament

music history (2 decks)

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