Final Exam Flashcards

1
Q

Aria

A

-pushes the plot along in the opera, move things forward

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2
Q

Chorus

A
  • in the opera, it is a commentary of what is happening

- about moral choices

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3
Q

“L’Orfeo”
Excerpt from Act II
1607

A
  • Claudio Monteverdi
  • set strophically, dance-like ritornello that moves between the strophs
  • lots of wordpainting/madrigalisms even though madrigalists were going out of fashion
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4
Q

Recitative arioso/ arioso

A

-aria-like recitatives

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5
Q

Monteverdi

A
  • “L’Orfeo”
  • -“L’Arianna” 1806, all is lost from the opera except for “Arianna’s Lament”
  • -“Ritorno d’Ulisse” Return of Ulysses, 1640
  • The Combat of Tancred and Clorinda, 1624 (going back into ancient history)
  • Coronation of Poppea, 1643 (considered his masterpiece; very expressive and has intense emotions)
  • wrote his madrigals with basso continuo and sometimes additional instruments for expression
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6
Q

Venice

A
  • first public theaters and opera house
  • between December 26th and Lent, everyone went to the opera
  • style is similar to Florence, ancient Greece
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7
Q

Florence

A

h

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8
Q

Rome

A

g

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9
Q

Antonio Cesti (1623-1669)

A
  • new styles that develop in recitative and aria
  • “Orontea”
  • move away from strophic aria and by the middle of the Baroque we have a da capo strophic style
  • recitatives become less melodic, more repeated notes, changing chords at the cadence points
  • chromatic aria, especially in ritornello sections
  • written for performance in Germany, and becomes a popular opera in Germany and Italy; Italian was the language of choice for opera
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10
Q

sinfonia

A
  • orchestral introductions to opera
  • not a full overture
  • setting the scene with musical introduction
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11
Q

opera

A
  • first intention was to be a drama
  • there were soloist divas that developed
  • use of special effects and dramatic presentation, do we focus on effects, or on the story? what is opera for? controversial question
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12
Q

concertato style

A
  • instrumental accompaniment, solo voice on top, sometimes duets
  • basso continuo to accompany it
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13
Q

Madrigali guerrieri et amorosi (1638)

A
  • “Madrigals of War and Love”
  • Monteverdi
  • madrigals written for a bunch of different ensembles, ranges from early madrigal style to operatic recitative (pinnacle of his achievement outside of his operas)
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14
Q

basso ostinato/ground bass

A

-“Dido’s Lament” descending bass line

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15
Q

chacona

A
  • originates as a vocal style
  • instrumental works that use the repeated chord and bass pattern
  • a dance song
  • originated in Latin American but through colonization influenced Europe
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16
Q

cantata

A
  • simply a piece that is to be sung (started off broad)
  • by the 1650s there are more specific styles (more secular, text is poetic and lyrical or have some dramatic or narrative elements, several sections which are recitative and aria like)
  • Cesti
  • Strozzi “Lagrime Mei”
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17
Q

Barbara Strozzi

A
  • worked in Venice
  • singer and composer
  • father was a poet and librettist
  • published separate collections of work, 8 volumes
  • known for having more cantatas than all other composers
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18
Q

Lagrime Mei

A
  • Strozzi
  • madrigalisms such as “tears” in the beginning
  • melodic recitative, dramatic
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19
Q

Johann Fux, “Gradus ad Parnassum”

A
  • steps to Parnassus”
  • manual for creating polyphony/control of how voices relate to each other
  • step against step voice leading
  • basis for a lot of common practice tonality
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20
Q

Stile antico

A
  • reference to Palestrina’s style of polyphony and voice leading
  • Renaissance kinds of elements as Baroque sacred music continued to develop
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21
Q

sacred concerto

A
  • for a solo voice/sometimes multiple with organ and sometimes one or two violins
  • monody
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22
Q

Lodovici Viadana (1560-1627) Cento concerti Ecclesiastici

A
  • 100 concerti

- blends with antiquo style

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23
Q

Giovanni Gabrieli (1557-1612) “In ecleovjsabeib”

A
  • sacred concerto
  • large ensemble
  • basso continuo
  • four solo voices
  • the use of space
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24
Q

Alessandro Grandi (1586-1630) “O quam tu pulchra es”

A
  • combined recitative/aria
  • recitative is melodic
  • sacred concerto/motet
  • natural pronunciation of the words
  • trading off with sections that are more song-like
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25
Q

oratorio

A
  • religious, dramatic music that uses narrative dialogue and commentary
  • early on with Latin text but end up in Italian and English
  • not necessarily liturgical, not a part of the church service or in the church
  • starts developing in Rome
  • started off not being acted out; no costumes or elaborate gestures
  • but had many similar things as opera
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26
Q

Giacorno Carissimi (1605-1674)

A

s

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27
Q

Jepthe (ca. 1648)

A
  • Carissimi

- taken from Old Testament story

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28
Q

Johann Hermann Schein (1586-1630)

A

-wrote large and small concertos

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29
Q

Heinrich Schutz (1585-1672)

A
  • studied with Gabrieli
  • wrote in all styles sacred and secular
  • wrote first German opera
  • “Psalmen Davids” use German texts
  • “Cantiones Sacrae” influenced by madrigalists
  • “Seven Last Words of Christ”
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30
Q

Instrumental music

A
  • performing forces, venue/function, nationality
  • before 1650 they were improvisatory, fugal/imitative, settings of existing melodies, variations, dance movements
  • after 1650 there were keyboard preludes, toccatas, fugues, chorale settings, variations, and suites; ensembles are sonatas, suites, sinfonias (larger group, often performed before operas), and concertos
  • the venue starts to affect the style of music
31
Q

improvisatory

A

-toccatas, fantasias, preludes (which originally start as an introduction and then stand on their own)

32
Q

Giralarno Frescobaldi (1583-1643)

A
  • “Fiori musicali” (1635) the instrumental music that would be performed during mass; toccatas before the mass and to set up the eucharist; ability to sustain notes on the organ
  • most important composer of toccatas
  • worked in St. Peters in Rome as an organist
33
Q

canzonas

A

-imitation, sections that have different rhythms, variation canzona

34
Q

sonatas

A
  • not a Classical sonata
  • any piece for instruments in early 1600s
  • develops over time
  • narrows to one or two melodic instruments over a basso continuo, especially violins
35
Q

concertos

A

S

36
Q

Marini

A

-sonata for violins that is very idiomatic; very distinct sections

37
Q

variations (partite, divisions)

A

S

38
Q

dance movements

A
  • dance suites, stylized, not intended for actual dancing
  • they would take dances from different countries, a bit of national flare from each country
  • not a lot of depth as far as national styles go
39
Q

Schein

A

-pavane, galliard, courante (triple meter from France, Allemande (German 4/4), triple (triple version of Allemande), Sarabande (Spanish), Gigue (English, compound meter)

40
Q

Louis XIV (1643-1715)

A
  • the Sun King

- uses the arts to promote himself

41
Q

Jean-Baptiste Lully (1632-1687)

A
  • Louis XIV’s court composer
  • director of the small ensemble of violins
  • took over the large 24 violin ensemble
  • he’s the one that died of baton in foot
  • idea of everyone bowing in the same direction at the same time
42
Q

Tragedie en musique

A
  • Lully’s idea
  • French opera
  • French librettos, plot is serious, drawn from mythology and tales of chivalry
  • unlike the tradition of opera, they included dances
43
Q

French overture

A

-has one section that is more march like with dotted rhythms followed by a section that is more developmental with imitation

44
Q

Allemande

A
  • German dance in 4/4, stately

- usually binary form

45
Q

courante

A
  • influenced by ballet
  • elaborate dancing style
  • ambiguity between 6/4 and 3/2
  • hemiola effects
46
Q

sarabande

A
  • Spain/Latin America

- triple meter

47
Q

gigue

A

-imitative, canonic

48
Q

Masque

A
  • similar to the French ballet

- collaborative productions, multiple composers,

49
Q

Oliver Cromwell (1599-1658)

A
  • short reign of England

- he prohibited stage plays but allowed some masque elements in spoken genre

50
Q

Henry Purcell (PURRsuhl) (1659-1695)

A
  • English operas
  • organ maker
  • buried at Westminster Abby
  • primarily vocal music
  • natural to the spoken language
  • changed the length of notes to emphasize words
  • use of an overture, dances at the ends of scenes, and homophonic choruses (all French)
  • use of arias, used ground bass technique (all Italian)
  • some elements of word painting
  • “Dido and Aeneas” (downward 2nds in aria for sighing)
51
Q

Dieterich Buxtehude (1637-1707)

A
  • “Praeludium in E Major” organ prelude
  • Danish-German organist
  • Buxtehude was exposed to the organ at a young age
  • His organ works are a central part of standard organ repertoire and are frequently performed at recitals and in church services.
  • He composed in a wide variety of vocal and instrumental idioms, and his style strongly influenced many composers, including Johann Sebastian Bach.
  • though he wrote a lot of sacred vocal music, he is regarded primarily as a keyboard composer.
  • The nineteen organ preludes form the core of Buxtehude’s work and are ultimately considered his most important contributions to the music literature of the seventeenth century.
  • all make heavy use of pedal and are idiomatic to the organ.
  • One of his greatest contributions there was his establishment of “Abendmusik”­-evening concerts of organ and choral music held annually the five Sundays before Christmas
52
Q

Alessandro Scarlatti (1660-1725)

A
  • “Clori vezzoso, e bella: Conclusion” cantata
  • the recitative goes through 3 keys
  • Italian; operas and cantatas; wrote a mass for St. Cecilia
  • “La Griselda” opera; royal incest; written for all men; da capo aria ABA
53
Q

Arcangelo Corelli (1653-1713)

A
  • Trio Sonata (slow, fast, slow, fast)
  • violinist, composer, teacher (taught violin and taught Vivaldi)
  • composed for church performance
  • like a dance suite
  • modulating sequences, suspension chains
  • like a dance suite, opening with some kind of prelude
  • wrote a set of concerto grossi which were basically trio sonatas
54
Q

Sonata da chiesa

A

-church sonatas

55
Q

Trio Sonata

A

-two upper instruments and basso continuo (4 instruments total)

56
Q

Giuseppe Torelli (1658-1709)

A

h

57
Q

concerto grosso

A
  • use of several movements
  • popular in Rome
  • concertino is the small group, and grosso is the whole orchestra or larger group
  • 2 violins and basso continuo
58
Q

orchestral concerto/solo concerto

A

-no alternation between large and small ensembles

59
Q

ritornello form

A
  • changing between the ritornello and the episode (orch, solo, orch, solo, orch, etc.)
  • orchestras are just string orchestras
60
Q

stadtpfeifers

A
  • hired town musicians
  • choose and trained their own apprentices
  • play for weddings and stuff
61
Q

Turmsonaten

A
  • town sonatas

- played from towers

62
Q

Collegium musicum

A

-amateur musicians get the chance to play more complicated music

63
Q

Dietrich Buxtehude (1637-1707)

A

c

64
Q

fugue

A
  • subject with tonally based imitations called answers

- once all voices play the subject, that is the exposition

65
Q

toccata

A

-free style alternating with imitative or contrapuntal sections

66
Q

Antonio Vivaldi (1678-1741)

A
  • “Gloria in D Major”
  • “Più Ospedale della Pieta” orphanage/school for girls with an emphasis on music; not allowed to become professionals, just to be cultured; public and traveling concerts to raise money
  • ritornello form
  • born in Vienna
  • wrote over 500 concertos; about 300 of them are solo concertos; 60 orchestral concertos without a soloist
  • established 3 movement form; fast slow fast with outer two in same key and middle in a related key
67
Q

Vienna

A

-becomes an important city in the early 18th century

68
Q

Naples

A
  • conservatories begin as orphanages (which are for illegitimate children of the aristocracy as well as actual orphans)
  • huge center for opera, and Scarlatti worked there
69
Q

Francois Couperin (1668-1733)

A

-“Ordres” (suites) resemble dance suites, but most have programmatic titles, switches between movements based on dance and movements that are more free (almost like mini tone poems)

70
Q

Jean-Philippe Rameau (1683-1764)

A

g

71
Q

Georg Philipp Telemann

A

h

72
Q

Bach

A
  • Goldberg Variations: quodlibet (theme and 30 variations, every 3rd variation is a canon around a harmonic progression; includes dance forms) quodlibets are mash-ups are different popular melodies
  • complexity of counterpoint
  • A Musical Offering (melody by Frederick the Great; Bach rewrites it and gives it back as a gift; 10 canons; “riddle fugue” like the piano pieces that you have to play backward and upside down and stuff
73
Q

Art of Fugue

A

-this is a book about all the different kinds of fugues

74
Q

Brandenburg Concertos (6)

A

-three movement structure of Italian concertos; ritornello forms;