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music history exam Flashcards

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1
Q

composer of Vedro ‘l mio sol

A

cacccini

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2
Q

interesting about vedro ‘I mio sol

A

Solo madrigal with basso continuo, cadence every line

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3
Q

composer of Cruda Amarilli

A

Claudio Monteverdi

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4
Q

interesting about cruda Amarilli

A

example of seconda practica
fifth book of madrigals, text by Giovanni Guarini from Il pastor fido by 1605,
fashion was to accompany madrigals with basso continuo

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5
Q

composer of La musiche sopra l’Euridice

A

peri

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6
Q

interesting about Peri –La musiche sopra l’Euridice

A

oldest surviving opera

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7
Q

La musiche sopra l’Euridice scene names

A

Nel pur ardor, and Per quell vago boschetto

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8
Q

composer of Armide, Enfin il est en ma puissance

A

Jean Baptist Lully

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9
Q

interesting about Armide

A

Example of french Opera

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10
Q

composer of Orontea

A

cesti

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11
Q

why Orontea included

A

this style defines opera for the next century

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12
Q

composer of L’incoronazione di Poppea,

A

Monteverdi

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13
Q

composer of Dido and Aeneas,

A

Henry Purcell

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14
Q

reason for dido and Aeneas on the test

A

example of English opera

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15
Q

Lagrime mie composer

A

Strozzi

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16
Q

why Lagrime mie

A

example of a mid-17th century solo cantata using recitative, arioso and aria styles

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17
Q

O quam tu pulchra es composer

A

Gabrieli

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18
Q

why O quam tu pulchra es

A

motet was historically polyphonic, but Gabrieli uses the new monody style
recitativo imbastardito (hybrid recitative), more melodious recitative found in church musi

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19
Q

O lieber, Herre Gott composer

A

Schütz
-Schütz states in the preface of 381 the need to learn to write well contrapuntally without the basso continuo, before one can write in the ̈new Italian style. ̈ in 287 (solo version) he word paints a lot

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20
Q

Deus qui beatum Marcum composer

A

Gabrieli

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21
Q

Zefiro torna e di soavi accenti composer

A

Monteverdi

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22
Q

why Zefiro torna e di soavi accenti

A

example of chacona

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23
Q

Prelude in E major

A

Buxtehude

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24
Q

why Prelude in E major Buxtehude

A

early example of toccata

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25
Q

composer of Suite no 3 in A minor

A

Elisabeth Jacquet de la Guerre

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26
Q

why Suite no 3 in A minor Jacquet de la Guerre

A

example of French suit

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27
Q

prelude and fugue no 2 in C minor, composer

A

Bach

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28
Q

Op. 3, No. 2 Trio sonatas composer

A

Corelli

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29
Q

why trio sonatas

A

where example of classic -trio sonata (were common -2 violins and continuo)

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30
Q

sonata IV per il violino per sonar con due corde, composer

A

Marini

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31
Q

why sonata IV per il violino per sonar con due corde

A

example of solo instrument with basso continuo rising in popularity

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32
Q

who composed Schübler Chorales

A

Bach

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33
Q

why Schübler Chorales

A

example of church cantata

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34
Q

who composed Cantata 140,

A

Bach

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35
Q

why Bach Cantata 140,

A

example of chorale cantatas

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36
Q

who wrote St. Matthews passions

A

Bach

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37
Q

why St. Matthews passions

A

example of sacred oratorio

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38
Q

why Bach, Brandenburg concerto No. 5

A

example of concerto gross

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39
Q

who wrote The Four Seasons 1725

A

Vivaldi!

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40
Q

why The Four Seasons 1725

A

early example of program music and music as a descriptive tool

41
Q

Paris quartet, no. 1 in G Major, composer

A

Telemann

42
Q

composer 25th ordre (keyboard suite),

A

Couperin

43
Q

why 25th ordre (keyboard suite),

A

example of dance music becoming more complex

44
Q

Magnificat in G Minor, RV 610, composer

A

vivaldi

45
Q

rinaldo : Scherzano sul tuo volto composer

A

handel

46
Q

why Rinaldo

A

he first Italian language opera written specifically for the London stage

47
Q

Giulio Cesare composer

A

Handel

48
Q

why Giulio Cesare

A

one of the most performed baroque opera

49
Q

Hippolyte et Aricie composer

A

Rameau

50
Q

why Hippolyte et Aricie

A

example of French opera

51
Q

Prima practica

A

Zarlino, Palestrina, style of the Renaissance, with strict counterpoint rules, polyphonic music

52
Q

Seconda practica

A

Monteverdi, the “new” way of writing, all about word-painting, in places where the text asks for it, counterpoint rules can be broken for expressive means, includes polyphony and monody

53
Q

Ostinato

A

Monteverdi, Repetitive bass figure, e.g. Lamento bass, for expressiveness, or to accommodate improvisation (e.g. Chiaccona)

54
Q

Figured bass

A

any baroque composer, (from Monteverdi to Bach and in between) Notation system to indicate which intervals above the bass are to be played, forming the harmonies. The realization of the figured bass is free for the player to decide, as long as the right notes are present. Keyboard and plucked instruments

55
Q

Madrigal cycles

A

Montverdi, Collection of madrigals with a common theme or story.

56
Q

Opera

A

Montverdi, Händel, Lully, Theatrical work of which the text is (often) completely sung, with intrumentation, staging, acting etc. Invented around 1600 by the Florentine Camerata

57
Q

Tragedie lyrique

A

Lully, Type of French opera, with tragic, mythological or epic content

58
Q

masque

A

Jonson, English entertainment for important events combining dancing, speech and song.

59
Q

Ritornello

A

a short instrumental refrain or interlude in a vocal and instrumental music. Bach

60
Q

Concerto for few voices

A

few voices with basso continuo. Alessandro Grandi

61
Q

Stile antico

A

Stile antico, is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious and traditional, as opposed to stile moderno, which adhered to more modern trends. Sacred music. Monteverdi

62
Q

Doctrine of affections

A

based off of an ancient philosophy that viewed music as a stimulus which could cause a physical reaction. This theory influenced composers in the Baroque period and, how they composed music.

63
Q

Intermedi

A

also called intermezzo. Theatrical/musical scene in between acts. Usually short. Giovanni Battista Pergolesi

64
Q

Contrapuntal

A

composed of two or more relatively independent melodies sounded together. Bach

65
Q

Meantone and just intonation

A

Meantone is a tuning system where the 3rds are more pure thus smaller fifths. Just intonation are the ideal ratios, forming a perfectly in-tune interval. Not possible to tune a fixed-tuning instrument (e.g. piano/harpsichord etc) in just intonation.

66
Q

Equal temperament

A

A tuning system in which you divide the octave in twelve equal steps.

67
Q

Florentine Camerata

A

group of intellectuals in renaissance Florence, who would gather in a basement and discuss intellectual trends in specially music and drama.

68
Q

. Le nuove musiche

A

collection of monodies and songs for solo voice and continuo, published in 1602 in florence. Written in early baroque style in the seconda practica

69
Q

Monody

A

solo vocal style with single melodic line, with instrumental accompaniment. Specifically for Italian songs of early 17th century. Very old indeed.

70
Q

Stile concitato

A

agitated style developed by mr verdi himself. Quick repeated notes with long trills. Emotionally angry and agitated.

71
Q

Organ chorale

A

composition based on chorale melody specifically in the context of the Lutheran church.

71
Q

Organ chorale

A

composition based on chorale melody specifically in the context of the Lutheran church.

72
Q

chorale prelude

A

is a short liturgical composition for organ using a chorale tune as its basis.

73
Q

fugue –

A

contropuncual composition with first theme introduced in tonic, dux, and second theme introduced in beginning imitating the first with different notes called come.

74
Q

Exposition

A

section of composition where composer himself presents many of the themes and ideas where he late will develop. Love this part.

75
Q

. Episode

A

an ornamental or constrictive section added to the main elements of the composition (J.S. Bach)

76
Q

trio sonata

A

sonata for two melody instruments and basso continuo ( Corelli, Telemann)

77
Q

sonata da camera

A

composition for one or more melody instruments and Basso continuo. Several small pieces in the same key that are suitable for dancing. (Corelli, Heinrich Biber)

78
Q

sonata da chiesa

A

instrumental work with four movements originally thought appropriate for church

79
Q

passacaglia

A

instrumental musical composition consisting of variations usually on a ground bass in moderately slow triple metre. A dance (Johann Pachelbel, J.S.Bach)

80
Q

chaconne

A

it is generally characterized by a short, repeating bass line or harmonic progression

81
Q

French overture

A

Introduction to a ballet opera or suite. Two sections 1.dotted rhythms 2. Usually fugal (Lully, J.S. Bach, Handel)

82
Q

italian overture

A

opening of an opera or oratorio 3 movement structure ( Scarlatti)

83
Q

Baroque suite

A

A set of baroque dances that are usually in Binary Form AABB: Allemande (German dance,4/4, moderate tempo), Courante (French, ¾, moderate tempo), Sarabande (Spanish, stately dance,3/4), (Other optional dances), Gigue (English, 6/8 6/4, lively). (Bach)

84
Q

Venetian school

A

referring to distinctive art and music created in the renaissance period. The Venetian polychoral style was created here in the 16th century. (Andrea Gabrielli)

85
Q

Toccata

A

or prelude, is a virtuosic composition and style written for keyboard instruments which includes contrasting sections. The contrasting sections include free sections, improvisation effect, slow sections, rhythmical sections, and fugal sections. (. Buxtehude)

86
Q

Pedal point

A

a sustain tone in the bass line which has a moving harmony above it. (Purcell)

87
Q

Augmentation

A

the note values of the theme are doubled.

88
Q

Chorale fantasy

A

the melody is fragmented motives, developed with fireworks, echos, and ornamentation. Often seen in oratorio by J.S Bach.

89
Q

Oratorio

A

The early style of vocal music that is based off of sacred text and includes recitatives and arias usually with solo voices and instruments. (Bach, Handel)

90
Q

da capo aria

A

baroque aria form, ABA, A1 is ornamented, Händel

91
Q

Secco/accompagnato recitativo

A

secco: the singer is accompanied by basso continuo, A. Cesti, J. Peri, G. Caccini; accompagnato: the singer is accompanied by the entire orchestra, however it’s still quite passive, Händel

92
Q

ritornello

A

a repeating orchestral material in arias or concertos. Doesn’t appear in the full version every time, can be shortened, also in a different key (dominant key, for example). Vivaldi,

93
Q

agrêments

A

ornaments in French music, Couperin

94
Q

stile brisé

A

broken, arppegiated chords, primarily in French high baroque music. Couperin, also in Bach’s music

95
Q

tirades

A

an ornament consisting of at least three passing notes, often consecutive. Couperin, Rameau

96
Q

concerto

A

an instrumental work, either for one soloist and an orchestra, or a larger group of soloists, multi-movement work, Bach, Vivaldi

97
Q

concerto grosso

A

a specific type of concerto, where a group of soloists (concertini/ concertante) is opposing the orchestra (ripieno), Bach, Vivaldi

music history (2 decks)

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