Baroque 2 Flashcards
Sonata
Comes from the Gregorian Chant and Medieval Folk Music, these types of ,usic then turned into Choral Polyphony (religious, secular)- several equal voices (late renaissance), then turned into Sonata. Sonatas were in turn influenced by sacred and secular sources.
how the Sonata changes from the beginning of the Baroque Period to the End of the Baroque Period
The sonata was first applied to a Suite for a lute in 1561. It comes from Italian “Sonore”- “to sound”. Originally Referred to : Instrumental Compositions vs. ‘Cantata’ – or ‘Sung’ - Voices. They generally consist of 2-5 movements. By the 17th century the strings played a larger role in instrumental ensembles than winds. Virtuoso Violinist Composers had the Largest Bearing on Writing Instrumental Music.
Sonata de Chiesa: (Church Sonata)
Usually 4 movements, Slow-Fast-Slow-Fast, Uses melodic imitation like Polyphonic church music
Sonata da Camera (Chamber Sonata)
Less serious than Sonata de Chiesa, less imitation, more dancelike pieces, larger number of shorter movements in dance style
Adagio
Slow Tempo - borrowed from Italian, from the phrase ad agio, literally, “at ease,” from ad, a “to, at” (going back to Latin ad) + agio “ease, convenience,”
Allemanda
a moderately slow, serious dance in quadruple meter and binary form. The allemande began life as a dance in the Renaissance, and was later cultivated as an independent instrumental piece. By the time it became one of the four standard dances of the suite at the end of the 17th century, the allemande often favored an imitative, ornamented texture over strongly profiled dance rhythms.
Sarabanda
a triple meter dance. In France and Germany, the sarabande was slow and stately. The dance was first known in Mexico and Spain in the 16th century as the zarabanda, however, a wild and extremely erotic dance. Although it was banned in Spain in 1583, it survived throughout the baroque era there and in Italy as a fast dance. It eventually became one of the four standard dances of the baroque suite, usually in its slower guise
Gavotte
an elegant dance in moderate duple meter and in binary form, often with a homophonic texture and simple rhythms. In the late 16th and early 17th centuries, the gavotte was a type of branle. In the middle of the 17th century, the gavotte emerged as a new dance with similar musical characteristics, becoming popular in the operas and ballets of Lully and Rameau. The gavotte (or frequently a pair of gavottes) often followed the sarabande in a suite.
Giga
a fast dance in duple meter and binary form. It originated in England and Ireland as the jig, and was known in France by the 1650s. In the baroque suite and other compositions, the gigue often served as the final movement. As an independent instrumental composition, the character of the gigue varied widely, but typically retained its fast tempo.
Figured Bass
in musical notation, a numerical shorthand that tells the player which unwritten notes to fill in above the written bass note
