Chapter 13 new styles in the 17th century

Question 1

Baroque period

Answer 1

1600-1750 focused on moving the affections (emotions) started in italy Baroque means bad taste but has become positive extravagant, decorative and expression. 1660s musician still a sign of wealth cities started to have “academies “ public opera houses venice 1637 public concerts started in england 1672

Question 2

Affections

Answer 2

• sadness. Joy, anger. Love- stable states of the soul, experiencing a range through music could balance promoting physical and psychological health. Ex Monteverdi 1567-1643’s Cruda Amarilli broke the rules of music to convey the poetic text

Question 3

Prima Practica/ Seconda pratica

Answer 3

Prima Practica- 16th century style of vocal polyphony codified by Zarlino
Second pratica- modern italian (Monteverdi) texts dominate the music, voice leading rules can be broken. Dissonance can be used more
17th century texture is typically homophonic featuring prominent bass and treble lines- 2 essential lines

Question 4

Basso continuo

Answer 4

or thoroughbass composer wrote out the melody and the bass line but left it to the performers to fill in the appropriate chords or inner parts.

Question 5

Continuo instruments

Answer 5

• bass and chords were played by harpsichord, organ lute or theorbo (chitarrone) A large lute with extra bass strings.

Question 6

Figured Bass

Answer 6

Figured Bass when the chord to be played wasn’t common or accidentals were needed the composer usually added figures, numbers or flat or sharp signs above or below the bass notes to indicate the precise notes required.

Question 7

Realization

Answer 7

Realization actual playing of the chords/ parts - improvised - passing tones or chordal
for figured bass

Question 8

Concertato medium

Answer 8

Concertato medium combined voices with instruments that played different parts

Question 9

Concerto

Answer 9

Concerto contrasting forces are brought together in a harmonious ensemble. In the 17th century it was a broader term including concerted madrigal for one or more voices and continuo sacred concerto a sacred vocal work with instruments

Question 10

Just intonation

Answer 10

Just intonation preferred by singers and violinists because it allowed adjustments to keep harmonic intervals in tune

Question 11

Mean tone temperament

Answer 11

Mean tone temperament keyboards because they couldn’t adjust pitch while performing. Allowed most diatonic triads to sound good

Question 12

Equal temperament

Answer 12

lutes, viols, fretted instruments to avoid out of tune octaves
Consonant sounds = chords, dissonance- note that doesn’t fit in chord chromaticism, freedom within an orderly scheme , counterpoint driven by harmony- bass line important!

Question 13

Measures barlines

Answer 13

used to mark recurring patterns of weak and strong beats, with the value and number of beats indicated by time signatures. TWo types of rhythm flexible and metric
Music is centered around the performers not that composers, should be embellished, ornamented

Question 14

Ornamentation

Answer 14

Ornamentation adding decoration, means for moving affections. 2 ways 1. Brief Formulas called ornaments- trills, turns, appoggiaturas, mordents - emphasized accents, cadences and other important points. 2. More extended embellishments, scales, arpeggios- create a free and elaborate paraphrase of the written lines (division, diminution and figuration) Slow tempos ex Monterverdi opera L’orfeo Possente spirto

Question 15

Cadenzas

Answer 15

Cadenzas elaborate passages decorating important cadences to arias.
Still used 8 church modes and then 12 modes codified by Glareanus

Question 16

Tonal

Answer 16

Tonal operating within the system of major and minor keys- different than modes Corelli, Lully

Question 17

Tonality

Answer 17

Tonality the system common since the late 17th century, by which a piece of music is organized around a tonic note, chord nad key to which all the other notes and jets in the piece are subordinate.