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MUSIC HIST to Pres > CLASS: Jan 18th, 2019: Late 18th-century Church Music and Opera Seria - COMPLETE > Flashcards

CLASS: Jan 18th, 2019: Late 18th-century Church Music and Opera Seria - COMPLETE Flashcards

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1
Q

REVIEW QUESTIONS:

  • What is the “Common Practice Era?” Why is this period of music history so called?
A

REVIEW QUESTIONS:

  • What is the “Common Practice Era?” Why is this period of music history so called?
    • GET FROM RECORDING
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2
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REVIEW QUESTIONS:

  • What is the musical canon and how is it formed? Who is involved?
A

REVIEW QUESTIONS:

  • What is the musical canon and how is it formed? Who is involved?
    • GET FROM RECORDING
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3
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REVIEW QUESTIONS:

  • What key elements caracterize the Age of Enlightenment / Reason?
A

REVIEW QUESTIONS:

  • What key elements caracterize the Age of Enlightenment / Reason?
    • GET FROM RECORDINGS
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REVIEW QUESTIONS:

  • What was the Grand Tour (and how does it relate to the Age of Enlightenment?) and how did it impact music?
A

REVIEW QUESTIONS:

  • What was the Grand Tour (and how does it relate to the Age of Enlightenment?) and how did it impact music?
    • GET FROM RECORDINGS
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5
Q

LEARNED VS. GALANT STLYES

  • LEARNED
    • Relatively _______
A

LEARNED VS. GALANT STLYES

  • LEARNED
    • Relatively complex
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Q

LEARNED VS. GALANT STLYES

  • LEARNED
    • Intricate ______
A

LEARNED VS. GALANT STLYES

  • LEARNED
    • Intricate melodies
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7
Q

LEARNED VS. GALANT STLYES

  • LEARNED
    • Dense ________
A

LEARNED VS. GALANT STLYES

  • LEARNED
    • Dense counterpoint
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8
Q

LEARNED VS. GALANT STLYES

  • LEARNED
    • “_____” sounding
A

LEARNED VS. GALANT STLYES

  • LEARNED
    • “Serious” sounding
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9
Q

LEARNED VS. GALANT STLYES

  • LEARNED
    • Composer we can associate with this style: ____
A

LEARNED VS. GALANT STLYES

  • LEARNED​
    • Composer we can associate with this style: Bach
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10
Q

LEARNED VS. GALANT STLYES

  • GALANT
    • Relatively _____
A

LEARNED VS. GALANT STLYES

  • GALANT
    • Relatively simple
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11
Q

LEARNED VS. GALANT STLYES

  • GALANT
    • ______ to the ear
A

LEARNED VS. GALANT STLYES

  • GALANT
    • Pleasing to the ear
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12
Q

LEARNED VS. GALANT STLYES

  • GALANT
    • ______ easy to play, but requires delicate performance
A

LEARNED VS. GALANT STLYES

  • GALANT
    • Sounds easy to play, but requires delicate performance
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13
Q

LEARNED VS. GALANT STLYES

  • GALANT
    • Determined by “_____ taste”
A

LEARNED VS. GALANT STLYES

  • GALANT
    • Determined by “good taste”
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14
Q

LEARNED VS. GALANT STLYES

  • GALANT
    • Composer we can associate with this style: ______
A

LEARNED VS. GALANT STLYES

  • GALANT​
    • Composer we can associate with this style: Pergolesi
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15
Q

18th-Century Church Music

  • Move away from _______ Counterpoint and Gabrieli’s styles
A

18th-Century Church Music

  • Move away from Palestrina Counterpoint and Gabrieli’s styles
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16
Q

18th-Century Church Music

  • Operatic Idioms
    • (_____) arias
A

18th-Century Church Music

  • Operatic Idioms
    • (Da capo) arias

idiom

A characteristic mode of expression in music or art.

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17
Q

18th-Century Church Music

  • Operatic Idioms
    • (_____) recitatives
A

18th-Century Church Music

  • Operatic Idioms
    • (accompanied) recitatives

idiom

A characteristic mode of expression in music or art.

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18
Q

18th-Century Church Music

  • Larger _______ accompaniments
A

18th-Century Church Music

  • Larger instrumental accompaniments
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19
Q

18th-Century Church Music

  • The Result:
    • ________ blend of sacred / secular styles
A

18th-Century Church Music

  • The Result:
    • Contraversial blend of sacred / secular styles
20
Q

18th-c. Church Music Example:

Pergolesi, Stabat mater (1736)

  • Text:
    • Latin text describing ______________
A

18th-c. Church Music Example:

Pergolesi, Stabat mater (1736)

  • Text:
    • Latin text describing sorrows of Mary at Jesus’ crucifixion
21
Q

18th-c. Church Music Example:

Pergolesi, Stabat mater (1736)

  • Accompaniment:
    • _______/________ accompaniment
A

18th-c. Church Music Example:

Pergolesi, Stabat mater (1736)

  • Accompaniment:
    • Instrumental/orchestral accompaniment
22
Q

18th-c. Church Music Example:

Pergolesi, Stabat mater (1736)

  • Melodic Stlye:
    • Simple, Direct (______) Melodic style
A

18th-c. Church Music Example:

Pergolesi, Stabat mater (1736)

  • Melodic Style:
    • Simple, Direct (Galant) Melodic style
23
Q

18th-c. Church Music Example:

Pergolesi, Stabat mater (1736)

  • Form:
    • ________ form
A

18th-c. Church Music Example:

Pergolesi, Stabat mater (1736)

  • Form:
    • Ritornello form

ritornello

A short instrumental refrain or interlude in a vocal work.

24
Q

_*Opera Seria*: Serious Opera_

  • Reformed/adapted by the __________
A

_*Opera Seria*: Serious Opera_

  • Reformed/adapted by the Arcadians
25
Q

_*Opera Seria*: Serious Opera_

  • Most popular in _____
A

_*Opera Seria*: Serious Opera_

  • Most popular in Naples:
    • “Neapolitan” opera
26
Q

_*Opera Seria*: Serious Opera_

  • Standardized characteristics:
    • _ Acts
A

_*Opera Seria*: Serious Opera_

  • Standardized characteristics:
    • 3 Acts
27
Q

_*Opera Seria*: Serious Opera_

  • Standardized characteristics:
    • _____ stories
A

_*Opera Seria*: Serious Opera_

  • Standardized characteristics:
    • Heroic stories
28
Q

_*Opera Seria*: Serious Opera_

  • Standardized characteristics:
    • _______ cast: 3 coupes
      • Primo uomo, prima donna
      • Noble couple
      • Villain/servant/confidant couple
A

_*Opera Seria*: Serious Opera_

  • Standardized characteristics:
    • Simplified cast: 3 coupes
      • Primo uomo, prima donna
      • Noble couple
      • Villain/servant/confidant couple
29
Q

_*Opera Seria*: Serious Opera_

  • Standardized characteristics:
    • _____ _____ (Happy Ending)
A

_*Opera Seria*: Serious Opera_

  • Standardized characteristics:
    • Liento fine (Happy Ending)
30
Q

_*Opera Seria*: Serious Opera_

  • Formulaic Regularity:
    • Alternating sections of ______ and _____
A

_*Opera Seria*: Serious Opera_

  • Formulaic Regularity:
    • Alternating sections of recitative and aria
31
Q

_*Opera Seria*: Serious Opera_

  • ________ recitative (vs. secco or “dry” recitative)
    • Reserved for moments of high drama
A

_*Opera Seria*: Serious Opera_

  • Accompanied recitative (vs. secco or “dry” recitative)
    • Reserved for moments of high drama
32
Q

_*Opera Seria*: Serious Opera_

  • ________ Ritornellos
A

_*Opera Seria*: Serious Opera_

  • Orchestral Ritornellos
33
Q

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • Very _______ plots
A

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • Very complicated plots
34
Q

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • _____ cast of characters
A

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • Large cast of characters
35
Q

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • ___ ____ between recitative/aria
A

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • Free flow between recitative/aria
36
Q

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • Plot drives ____
A

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • Plot drives form
37
Q

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • _____
A

REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY

  • Comic
38
Q

OPERA SERIA DA CAPO ARIAS

  • “Park and bark” to emote
    • Shows a character’s _____ emotional state
A

OPERA SERIA DA CAPO ARIAS

  • “Park and bark” to emote
    • Shows a character’s shifting emotional state
39
Q

OPERA SERIA DA CAPO ARIAS

  • “Park and bark” to emote
    • Shows character’s _____ to situations
A

OPERA SERIA DA CAPO ARIAS

  • “Park and bark” to emote
    • Shows character’s reaction to situations
40
Q

OPERA SERIA DA CAPO ARIAS

  • Form: Da Capo: ___
A

OPERA SERIA DA CAPO ARIAS

  • Form: Da Capo: ABA’
41
Q

OPERA SERIA DA CAPO ARIAS

  • “_____ Aria”
A

OPERA SERIA DA CAPO ARIAS

  • “Suitcase Aria”
42
Q

_*Opera Seria* Example:_

Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]

  • Librettist: ______
A

_*Opera Seria* Example:_

Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]

  • Librettist: Metastasio
43
Q

_*Opera Seria* Example:_

Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]

  • Characters of two ____ ______
    • Cleofide + Poro + Alessandro Magno
    • Gandarte + Eryxene (Poro’s sister) + Timagenes (Poro’s General)
A

_*Opera Seria* Example:_

Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]

  • Characters of two social classes
    • Cleofide + Poro + Alessandro Magno
    • Gandarte + Eryxene (Poro’s sister) + Timagenes (Poro’s General)
44
Q

_*Opera Seria* Example:_

Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]

  • Da Capo Aria: ____
A

_*Opera Seria* Example:_

Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]

  • Da Capo Aria: ABA’
45
Q

_*Opera Seria* Example:_

Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]

  • Instrumental ________
A

_*Opera Seria* Example:_

Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]​

  • Instrumental Ritornellos

MUSIC HIST to Pres (11 decks)

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