Final Exam Flashcards
1
Q
Aria
A
-pushes the plot along in the opera, move things forward
2
Q
Chorus
A
- in the opera, it is a commentary of what is happening
- about moral choices
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
4
Q
Recitative arioso/ arioso
A
-aria-like recitatives
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
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
7
Q
Florence
A
h
8
Q
Rome
A
g
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
10
Q
sinfonia
A
- orchestral introductions to opera
- not a full overture
- setting the scene with musical introduction
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
12
Q
concertato style
A
- instrumental accompaniment, solo voice on top, sometimes duets
- basso continuo to accompany it
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)
14
Q
basso ostinato/ground bass
A
-“Dido’s Lament” descending bass line
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
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”
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
18
Q
Lagrime Mei
A
- Strozzi
- madrigalisms such as “tears” in the beginning
- melodic recitative, dramatic
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
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
21
Q
sacred concerto
A
- for a solo voice/sometimes multiple with organ and sometimes one or two violins
- monody
22
Q
Lodovici Viadana (1560-1627) Cento concerti Ecclesiastici
A
- 100 concerti
- blends with antiquo style
23
Q
Giovanni Gabrieli (1557-1612) “In ecleovjsabeib”
A
- sacred concerto
- large ensemble
- basso continuo
- four solo voices
- the use of space
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
25
oratorio
- 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
26
Giacorno Carissimi (1605-1674)
s
27
Jepthe (ca. 1648)
- Carissimi
| - taken from Old Testament story
28
Johann Hermann Schein (1586-1630)
-wrote large and small concertos
29
Heinrich Schutz (1585-1672)
- 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"
30
Instrumental music
- 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
improvisatory
-toccatas, fantasias, preludes (which originally start as an introduction and then stand on their own)
32
Giralarno Frescobaldi (1583-1643)
- "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
canzonas
-imitation, sections that have different rhythms, variation canzona
34
sonatas
- 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
concertos
S
36
Marini
-sonata for violins that is very idiomatic; very distinct sections
37
variations (partite, divisions)
S
38
dance movements
- 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
Schein
-pavane, galliard, courante (triple meter from France, Allemande (German 4/4), triple (triple version of Allemande), Sarabande (Spanish), Gigue (English, compound meter)
40
Louis XIV (1643-1715)
- the Sun King
| - uses the arts to promote himself
41
Jean-Baptiste Lully (1632-1687)
- 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
Tragedie en musique
- 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
French overture
-has one section that is more march like with dotted rhythms followed by a section that is more developmental with imitation
44
Allemande
- German dance in 4/4, stately
| - usually binary form
45
courante
- influenced by ballet
- elaborate dancing style
- ambiguity between 6/4 and 3/2
- hemiola effects
46
sarabande
- Spain/Latin America
| - triple meter
47
gigue
-imitative, canonic
48
Masque
- similar to the French ballet
| - collaborative productions, multiple composers,
49
Oliver Cromwell (1599-1658)
- short reign of England
| - he prohibited stage plays but allowed some masque elements in spoken genre
50
Henry Purcell (PURRsuhl) (1659-1695)
- 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
Dieterich Buxtehude (1637-1707)
- "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
Alessandro Scarlatti (1660-1725)
- "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
Arcangelo Corelli (1653-1713)
- 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
Sonata da chiesa
-church sonatas
55
Trio Sonata
-two upper instruments and basso continuo (4 instruments total)
56
Giuseppe Torelli (1658-1709)
h
57
concerto grosso
- 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
orchestral concerto/solo concerto
-no alternation between large and small ensembles
59
ritornello form
- changing between the ritornello and the episode (orch, solo, orch, solo, orch, etc.)
- orchestras are just string orchestras
60
stadtpfeifers
- hired town musicians
- choose and trained their own apprentices
- play for weddings and stuff
61
Turmsonaten
- town sonatas
| - played from towers
62
Collegium musicum
-amateur musicians get the chance to play more complicated music
63
Dietrich Buxtehude (1637-1707)
c
64
fugue
- subject with tonally based imitations called answers
| - once all voices play the subject, that is the exposition
65
toccata
-free style alternating with imitative or contrapuntal sections
66
Antonio Vivaldi (1678-1741)
- "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
Vienna
-becomes an important city in the early 18th century
68
Naples
- 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
Francois Couperin (1668-1733)
-"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
Jean-Philippe Rameau (1683-1764)
g
71
Georg Philipp Telemann
h
72
Bach
- 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
Art of Fugue
-this is a book about all the different kinds of fugues
74
Brandenburg Concertos (6)
-three movement structure of Italian concertos; ritornello forms;
