Chapter 18 the early 18th century in italy and france

Question 1

overall music

Answer 1

Not inventing new techniques but continued well established traditions (affections, basso continuo, concertato medium, tonality, opera, cantat, concerto, sonata and suite.

Question 2

Conservatories

Answer 2

home for orphaned or poor boys that specialized in teaching music. Many singers/ castrati (big lung capacity) opera and church ex singer Farinelli

Question 3

Alessandro Scarlatti part 2

Answer 3

still leading opera composers. Starting new genre of serious operas codified by Pietro Metastastio 1698-1792 librettist

Question 4

Antonio Vivaldi

Answer 4

• 1678-1741 violinist, composer teacher, opera, cantatas, sacred music, concertos (500) HIs music had freshness, rhythmic verve, skillful treatment of solo and orchestral color, clarity of form. COncertos for orchestra and violin but also other instruments, flute, recorder, mandolin. Followed 3 movement plan introduced by Albinoni: opening is fast, slow in the same or closely related key and final fast movement in the tonic is often shorter. Movements are unique in form yet the overall strategy is clearly the same. Slow movements are very important in his music. Op8 first 4 concertos are the four seasons!

Question 5

Ritornello form

Answer 5

standard form for fast movements in concertos of the 1st half of the 18th century. Featuring a ritornello (4) for full orchestra that alternates with episodes characterized by virtuosic material played by one or more soloists. Ritornellos could be made into relatively long movements from a small amount of material (repeated, transposed, varied and recombined) Ex Vivaldi’s Violin and Orchestra in A minor Op 3 no 6
Mass- ex GLoria in D major

Question 6

Francois Couperin

Answer 6

1668-1733 wanted to blend french and italian tastes . Organist, teacher of harpsichord, published own music. Dance rhythms, binary form, stylized and reform titles of pieces are evocative ex La Visionaire french overture
L’art de toucher le clavecin the art of playing the harpsichord 1716 is one of the most important sources for performance practice of the french baroque. Admired Lully and Corelli- wrote suites about them. First and most important french write of the trio sonata

Question 7

Jean Philippe Rameau

Answer 7

1683-1764 organist, then music theorist and then composer. His writing founded the theory of tonal music. OPERA - first opera Hippolyte et Aricie 1733 Most famous Castor et Pollux 1737. Most important later work was Zoroastre 1749 did not follow french opera traditions of lully except for realistic declamation and precise rhythmic notation of recits. Rameaus melodic lines were based in harmony (triadic), diversified, disonances, Choruses were still popular in france in opera unlike italy

Question 8

Traite de l’harmoniei

Answer 8

1722- Rameau methodology. Music could be explained on rational principles
Wanted to ground the practice of harmony in the laws of acoustic. Each chord has a fundamental tone- root. Chords were defined by the rott progression and not the lowest note. UNified system
Fundamental bass in a series of chords, the succession of the fundamental tones.
Tonic- the main note in and chord in the key.
Dominant the note and chord a perfect 5th above the tonic
Subdominant the note and chord a 5th below the tonic. -pillar of tonality
Modulation the process in which a piece could change a key