Baroque/Classical MH1X2

Question 1

Doctrine of Affections-

Answer 1

Grew from the Florentine Camerata

• Belief that inbalance in bodily fluids (phlegm, yellow bile, black bile, blood) affected emotions.
• Remedy to restore balance: experiencing a wide range of emotions through the arts (Stir the passions)

Question 2

Florentine Camerata (1570/80s) 
-

Answer 2

Florentine Intellectuals discussed Greek orations power to move the emotions
Giulio Caccini (only musician and non noble)
Vincenzo Galilei
Girolamo Mei
met@-Giovanni de’ Bardi house
Conclusions-The Camerata concluded that music should be sung sweetly with careful text declamation and limited ornaments.

Question 3

Intermezzi-

Answer 3

elaborate ceremonies with musical numbers. Short scenes between main scenes of a play. 16th century forerunner to opera.
E.g., Peri, Euridice, Medici wedding 1589

Question 4

Intermedi-

Answer 4

(plural form of intermezzo)–

Example-Pergolesi’s La Serva Padrona, 1733

Question 5

Homophonic-

Answer 5

Musical texture in which one main melody is supported by chords.

Question 6

Prima pratica-

Answer 6

Covered in Essay #3
First Practice, Panconsonance of the Renaissance
E.g., Palestrina’s Pope Marcellus Mass, 1584.

Question 7

Seconda pratica-

Answer 7

Covered in Essay #3
Second practice. Use of dissonance because the text demands it.
Prima and Seconda Practica-terms coined by Monti. In response to Artusi’s criticism of his madrigal
E.g., “Cruda Amarilli” (written in 1598 and published in 1605).

Question 8

Basso Continuo-

Answer 8

Base-line with chordal accompaniment
2 person accompenamental ensemble
Part 1: Bass line instrument
Part 2: Chordal Instrument
A defining characteristic of the baroque era.
E.g., Caccini’s “Filli, mirando il cielo” Le nuove musiche, 1602

Question 9

Figured Bass

Answer 9

]A bass line with the figures that indicate harmonies
Baroque Innovation, lots of examples
Barbara Strozzi, L’amante segreto: voglio morire, 1651.

Question 10

Terraced Dynamics-

Answer 10

Abrupt alternation between soft and loud dynamic levels.

Typical in Baroque music

Question 11

Ground Bass-

Answer 11

Aka. basso ostinato
Variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change.
Typical in Baroque music

Question 12

Aria-

Answer 12

Lyrical song for solo voice with instrumental accompaniment.

E.g., “Possente spirto,” from Monteverdi’s L’Orfeo, 1607.

Question 13

Recitative-

Answer 13

Less florid singing which resembled heightened speech
Two Types of Recit.
Secco recitativo (dry)
Accompanied by keyboard, double bass or cello
Lower class
Accompagnato (accompanied)
Full orchestra: Used for powerful moments to further develop the story
Upper Class
E.g., “Er kommt,” from J. S. Bach’s Wachet auf, ruft uns die stimme, 1731

Question 14

Ritornello-

Answer 14

In Italian, Refrain, a repeated section of music usually payed by the full orchestra, or tutti.
Typical in Baroque Music

Question 15

Bel Canto-

Answer 15

Italian for “beautiful singing” Also associated with the Italian method or school of singing in the 18th and 19th centuries

Question 16

Castrati-

Answer 16

Plural form of Castrato.
Male singer castrated before puberty to retain a high voice range; most important category of vocal soloist in opera during the Baroque period

Question 17

Prima Donna-

Answer 17

Italian for “first lady,” meaning leading female singer in the company; the person who would be cast in leading roles

Question 18

Da capo aria-

Answer 18

From the beginning; an opera solo in ABA’ form in which the repeat would feature ornamentation associated with specific singers during the Baroque Period.

Question 19

Cadenza-

Answer 19

Unaccompanied section in a concerto which gave the soloist an opportunity to display virtuosity. Usually appearing the end of the first or last movement.

Question 20

Trill-

Answer 20

What is it?
Rapid alteration between two notes
What did it indicate in a cadenza?
It was an indication that the soloist was ready to rejoin the orchestra

Question 21

Arioso –

Answer 21

It’s like an aria but has both the lyrical qualities of an aria and the speech-like characteristics of a recitative.
E.g., Barbara Strozzi’s L’amante segreto: voglio morire (1651)

Question 22

Opera-

Answer 22

Drama that is sung to orchestral accompaniment for usually large scale with soloist, chorus, orchestra, and scenery.

Question 23

Opera seria –

Answer 23

A term given to the opera of 18th and 19th C.

E.g., G. F. Handel’s Guilio Ceasare (1724)

Question 24

Oratorio-

Answer 24

Works based on biblical stories with solo, choir (S,A,T,B) & orchestra. Two types are Dramatic (named characters) and Nondramatic (unnamed characters). Handel’s Messiah (1742) most popular.
E.g. Dramatic oratorio Handel’s Esther (1732)
Non-dramatic oratorio Handel’s Messiah (1742)

Question 25

Opera Buffa –

Answer 25

A genre of opera which poked fun at opera seria. The Beggar’s Opera (1728) by John Gay was the first opera buffa.

Question 26

Lorenzo da Ponte-

Answer 26

Librettist for Mozart’s Le nozze di Figaro (1786), Cosi fan Tutte (1787),
& Don Giovanni (1790)

Question 27

Cantata (early and late baroque) –

Answer 27

a work for one to three voices, composed of several sections in diverse styles (usually recitative or aria), accompanied by basso continuo; Barbara Strozzi’s Chamber Cantata L’amante segreto. and then..Bach and the Lutheran cantata characteristics.
​E.g., Early-Barbara Strozzi’s Italian cantata di camera L’amante segreto: voglio morire (1651)
Late- Bach’s cantata di chiesa: Cantata 140, Wachet auf, ruft uns die stimme (1731)

Question 28

Monody-

Answer 28

a generic term for solo singing with Basso Continuo accompaniment, emphasis is on the text
E.g., Caccini’s “Filli, mirando il cielo” Le Nuove Musiche, 1602

Question 29

Madrigal-

Answer 29

Solo voice + b.c.

E.g., “Cruda Amarilli,” by Monteverdi, written in 1605.

Question 30

Sprezzatura-

Answer 30

Nonchalance singing: dazzle and amaze, but never let them see you sweat.
E.g., “Filli, mirando il cielo” from Giulio Caccini’s Le nuove musiche, 1602.

Question 31

Cori Sprezzati-

Answer 31

Spaced choir, Gabrieli poineered polychoral settings at St. Mark’s Cathedral. He positioned choirs in different sections of the cruciform sanctuary.
E.g., Gabrielli’s “In ecclesiis,” 1612.

Question 32

St. Mark’s Cathedral-

Answer 32

The cruciform shape is perfect for Cori Spettazzi. -
-Concerted music which originated at St. Mark’s Cathedral with Gabrielli’s antiphonal choir at will spread to Europe in the 1570s & 80s.
E.g., Gabrielli’s “In ecclesiis.” 1612.

Question 33

Sacred Concerto (or grand concerto or concerted motets) –

Answer 33

was a work for specified instruments and voices. It could be solo + continuo or polychoral.
E.g.,”Saul, was verfolgst du mich,” from Heinrich Schutz’s Sinfonia Sacrae, 1650.

Question 34

Ripieno –

Answer 34

In the music of the Baroque period, it is a term used to denote the tutti or concerto grosso in contrast to a smaller solo group or concertino; when performing concerto repertoire. From the baroque cantata (i.e., a motet with instrumental accompaniment) it is the title used when the entire ensemble performs.
E.g., Gabrielli’s “In ecclesiis,” 1612

Question 35

Concertino –

Answer 35

The name given to a small group playing during a baroque cantata (motet with instrumental accompaniment) is the title used when the group of soloists play with continuo.

Question 36

Suites-

Answer 36

A collection of styled dances in the Baroque period (PACSOG)

E.g., Couperin’s “L’Arliquine” from the 23rd Ordre (1730)

Question 37

PACSOG

Answer 37

Preludio + 3 dances(allemande, courante, saraband, gigue) , o - optional different dance

Question 38

Ordres-

Answer 38

Couperin’s Suites

Question 39

Stylized Dances –

Answer 39

Were a set of dances that were tailored for a suite in different countries. Specific moves were created to fit the different dances such as the waltz or the sarabande.

Question 40

Agrements –

Answer 40

Ornaments in French baroque music written out more often than improvised. E.g., Couperin’s “L’Arliquine” from the 23rd Order (1730)

Question 41

Italian Overture –

Answer 41

originated from the Sinfonia (Fast, slow, fast)

Question 42

Binary Form –

Answer 42

AB (or ABA’ for rounded). the first fast movement of the early symphony would be in binary form.
E.g., Sammartini’s Symphony in D Major, first movement (1740)

Question 43

Cantata (early and late baroque) –

Answer 43

a work for one to three voices, composed of several sections in diverse styles (usually recitative or aria), accompanied by basso continuo; Barbara Strozzi’s Chamber Cantata L’amante segreto. and then..Bach and the Lutheran cantata characteristics.
​E.g., Early-Barbara Strozzi’s Italian cantata di camera L’amante segreto: voglio morire (1651)
Late- Bach’s cantata di chiesa: Cantata 140, Wachet auf, ruft uns die stimme (1731)

Question 44

Chorale

Answer 44

Monophonic melody designed for amateurs with lots of stepwise motion over a homophonic texture. The tune was set to a text in the vernacular.
E.g., Walter- first chorale set to Ein feste burg ist unser got (Prodestant)

Question 45

Empfindsamer Stil –

Answer 45

German Post-Baroque (i.e., the 1720s-1770s) compositional style (typically chromatic, slow, dissonant in minor keys) intended to express sentimental feelings.
E.g., CPE Bach’s Fantasia in c minor for clavichord. (1753)

Question 46

Style Galant –

Answer 46

French Post-Baroque (i.e., the 1720s-1770s) compositional style used by Haydn, Stamitz, and Sammartini (ajor keys, slow harmonic rhythm, and consonant harmonies) used to create a light and charming aesthetic designed to please the untrained ear. E.g., Sammartinni’s Symphony in D Major (1740)

Question 47

Lombard Rhythm/Scotch Snap –

Answer 47

reverse dotted rhythms (16th followed by an dotted 8th)

Question 48

Symphony

Answer 48

A four-movement instrumental work which originated in the Baroque period
Fast (sonata allegro)
slow (composer’s choice)
dance (Minuet trio in binary)
fast (composer’s choice)

Question 49

London Symphonies –

Answer 49

12 symphonies composed by Haydn late in the 18th century. Model of the mature classical symphony in sonata allegro form.
Characterized by:
Playful harmonic pallet
-slow intro setting up anticipation of the sonata allegro form
E.g. Haydn Sym. 99

Question 50

Esterhazy –

Answer 50

Autrian Royal patrons of Haydn He composed a new work (opera, chamber works, string quartets) for every event because they were only performed once.

Question 51

Sonata Form

Answer 51

A three-part (exposition, development, and recapitulation) form which relied on tonal and thematic relationships; and used in instrumental genres, inter alia, concertos and symphonies. Haydn formalized its structure during the early classical period “Father of Symphony”.
E.g., Haydn’s Symphony No. 99 in E♭Major (1794)

Question 52

String Quartet

Answer 52

Form originated by Haydn “Father of the String Quartet” late 18th century
E.g., Haydn’s String Quartet, Op. 33, no 3

Question 53

Counterpoint

Answer 53

In music, counterpoint is the relationship between two or more musical lines which are harmonically interdependent yet independent in rhythm and melodic contour.
Bach’s compositions are known for counterpoint

Question 54

Passion

Answer 54

A musical setting of the suffering and Crucifixion of Christ, based either on biblical texts or poetic elaborations.

Question 55

Sonata

Answer 55

An instrumental composition in several movements for 1-8 players. Sonata allegro form is a common for this instrumental work. Established by Haydn “Father of the Sonata”

Question 56

Trio Sonata

Answer 56

An instrumental composition in several movements that has three lines of music. Usually two upper with basso continuo played by two instruments. 4 instruments

Question 57

Sonata da camera

Answer 57

Chamber sonata SFSF
an instrumental work of the Baroque period
scored for one or more melody instruments and continuo
in three or more stylized dance movements
allemanda
corrente
sarabanda
giga
gavotta
sometimes with a prefatory (prelude) movement
occasional substitution of adagio or grave movement showed convergence with “chiesa” form
Corelli’s opp.2 and 4 (1685 and 1692) contain typical examples
Around 1700 the genre overlapped increasingly with the sonata da chiesa and such titles as partita, suite or ordre served to describe collections of dance movements.

Question 58

Sonata da chiesa

Answer 58

Church sonata
Baroque instrumental work 
scored for one or more melody instruments and continuo
usually in four movements SFSF
1st movement
usually a slow Adagio
quadruple meter
one continuous section or binary with each section repeated
dotted rhythmic patterns
much expressive dissonance
2nd movement
Allegro
often loosely fugal
binary or one continuous section
3rd and 4th movements
resemble sarabande and gigue
binary forms
3rd movement often a short, modulatory, fantasy-like transition between the two fast movements
Corelli's opp.1 and 3 (1681 and 1689) are typical examples and were largely responsible for establishing the slow-fast-slow-fast order of movements
Around 1700 the genre began overlapping with the sonata da camera (especially in the sonatas of Vivaldi and Telemann, whose movement titles mixed dance and tempo designations).  The "chiesa" form dropped the church designation and became simple "sonata".