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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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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
Q

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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Q

REVIEW QUESTIONS:

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

REVIEW QUESTIONS:

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

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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6
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
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_***Opera Seria*: Serious Opera**_ * Most popular in \_\_\_\_\_
_***Opera Seria*: Serious Opera**_ * Most popular in **_Naples_**: * "Neapolitan" opera
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_***Opera Seria*: Serious Opera**_ * **Standardized characteristics:** * _ Acts
_***Opera Seria*: Serious Opera**_ * **Standardized characteristics:** * **_3_** Acts
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_***Opera Seria*: Serious Opera**_ * **Standardized characteristics:** * _____ stories
_***Opera Seria*: Serious Opera**_ * **Standardized characteristics:** * **_Heroic_** stories
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_***Opera Seria*: Serious Opera**_ * **Standardized characteristics:** * _______ cast: 3 coupes * *Primo uomo, prima donna* * Noble couple * Villain/servant/confidant couple
_***Opera Seria*: Serious Opera**_ * **Standardized characteristics:** * **_Simplified_** cast: 3 coupes * *Primo uomo, prima donna* * Noble couple * Villain/servant/confidant couple
29
_***Opera Seria*: Serious Opera**_ * **Standardized characteristics:** * *\_\_\_\_\_ \_\_\_\_\_* (Happy Ending)
_***Opera Seria*: Serious Opera**_ * **Standardized characteristics:** * ***_Liento fine_*** (Happy Ending)
30
_***Opera Seria*: Serious Opera**_ * Formulaic Regularity: * Alternating sections of ______ and \_\_\_\_\_
_***Opera Seria*: Serious Opera**_ * Formulaic Regularity: * Alternating sections of **_recitative and aria_**
31
_***Opera Seria*: Serious Opera**_ * ________ recitative (vs. secco or "dry" recitative) * Reserved for moments of high drama
_***Opera Seria*: Serious Opera**_ * **_Accompanied_** recitative (vs. secco or "dry" recitative) * Reserved for moments of high drama
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_***Opera Seria*: Serious Opera**_ * ________ Ritornellos
_***Opera Seria*: Serious Opera**_ * **_Orchestral_** Ritornellos
33
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * Very _______ plots
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * Very **_complicated_** plots
34
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * _____ cast of characters
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * **_Large_** cast of characters
35
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * ___ \_\_\_\_ between recitative/aria
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * **_Free flow_** between recitative/aria
36
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * Plot drives \_\_\_\_
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * Plot drives **_form_**
37
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * \_\_\_\_\_
**_REVIEW: VENETIAN OPERA OF THE SEVENTEENTH CENTURY_** * **_Comic_**
38
**_OPERA SERIA DA CAPO ARIAS_** * "Park and bark" to emote * Shows a character's _____ emotional state
**_OPERA SERIA DA CAPO ARIAS_** * "Park and bark" to emote * Shows a character's **_shifting_** emotional state
39
**_OPERA SERIA DA CAPO ARIAS_** * "Park and bark" to emote * Shows character's _____ to situations
**_OPERA SERIA DA CAPO ARIAS_** * "Park and bark" to emote * Shows character's **_reaction_** to situations
40
**_OPERA SERIA DA CAPO ARIAS_** * Form: Da Capo: \_\_\_
**_OPERA SERIA DA CAPO ARIAS_** * Form: Da Capo: **_ABA'_**
41
**_OPERA SERIA DA CAPO ARIAS_** * "\_\_\_\_\_ Aria"
**_OPERA SERIA DA CAPO ARIAS_** * "**_Suitcase_** Aria"
42
_***Opera Seria* Example:**_ **Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]** * Librettist: \_\_\_\_\_\_
_***Opera Seria* Example:**_ **Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]** * Librettist: **_Metastasio_**
43
_***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)
_***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
_***Opera Seria* Example:**_ **Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]** * Da Capo Aria: \_\_\_\_
_***Opera Seria* Example:**_ **Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]** * Da Capo Aria: **_ABA_**'
45
_***Opera Seria* Example:**_ **Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]** * Instrumental \_\_\_\_\_\_\_\_
_***Opera Seria* Example:**_ **Johann Adolf Hasse, Cleofide (1731) [NAWM p. 17]**​ * Instrumental **_Ritornellos_**

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