Study Guide

Question 1

Doctrine of Affections

Answer 1

There should be one affect or emotion throughout a piece. Composer trying to affect YOUR emotion, not his own.

Question 2

basso continuo

Answer 2

musical short hand.
Continuous bass, a form of instrumental accompaniment for vocal polyphony.
at first, accompanist doubled all the voices, but later, musicians would write only bass line and improvise appropriate upper parts. Figured bass is the name of the numbers and symbols that were used to help indicate the harmony. Improvised addition of these voices is known as the realization of the figured bass.

Question 3

concertato

Answer 3

use of contrasting timbres or different instruments in an ensemble.

Question 4

monody

Answer 4

a solo line with a relatively simple instrumental accompaniment.

Question 5

prima prattica/ seconda prattica

Answer 5

1. dissonances should be carefully prepared and resolved. (The old way - Artusi criticized Monteverdi for not doing this.) 2. The music must serve the text, so dissonances may be used without accord to the old rules.

Question 6

basso seguente

Answer 6

early form of figured bass. literally means “following bass.” Duplicates the lowest voice part.

Question 7

Florentine Camerata

Answer 7

group responsible for the first operas and the beginning of monody. Composers: Vincenzo Galilei, Giulio Caccini, Jacapo Peri, Luzzasco Luzzaschi

Question 8

opera seria

Answer 8

Opera with the following:

1. Serious plot derived from ancient history, focusing on human actions and decisions.
2. A few singing characters.
3. A poetic text
4. Divided into three acts without comic scenes
5. No choral or dance numbers
6. Most scenes end with an aria, after which the character leaves the stage.

Question 9

pasticcio

Answer 9

an opera that was pieced together from works of several different opera composers.

Question 10

arioso

Answer 10

Recitative style that is most often used for a passage within a recitative in which the musical style broadens to approach that of an aria, for instance, through the use of melismas or sustained notes. Also used to underline individual words or longer parts of the text that are of special importance. literallly means “in aria style”

Question 11

accompagnato

Answer 11

Recitative style that is accompanied not only by basso continuo, but by other instruments, most often strings. Usually more elaborate than simple recitative. Used for speeches of special importance.

Question 12

da capo aria

Answer 12

Aria whose text comprises two stanzas, often expressing contrasting ideas or emotions.

First stanza is repeated after the second has been sung.

Most common type of aria in Italian opera of the later Baroque.

Question 13

BWV

Answer 13

Bach-Werke-Verzeichnis

Numbers assigned to Bach’s works in the 20th century. Numbering is nonchronological.

Question 14

arch form

Answer 14

arch form is a sectional structure for a piece of music based on repetition, in reverse order, of all or most musical sections such that the overall form is symmetric. A palindrome.

Bach arch form -
chorus, duet, solo, chorus, solo, duet, chorus

Question 15

chi form

Answer 15

Similar to arch form, is a sectional structure for music based on repetition with a crosswise arrangement of the sections, forming an X.

chorale-recitative-duet,chorale,recitative,duet-chorale.

This X is symbolic of Christ.

Question 16

style brisé

Answer 16

literally means “broken style.” Term used for broken arpeggiated texture in instrumental music.

Was fundamental to seventeenth-century French music for lute and keyboard.

Question 17

clavichord

Answer 17

keyboard instrument which has strings that are activated by small metal rods called tangents, which are attached to the keys. very soft instrument. Has variable dynamics. used mainly for private practice.

Question 18

harpsichord

Answer 18

stringed keyboard instrument. Each key moves a plectrum that plucks a metal string, making this a sort of mechanical lute. Used in both solo and ensemble playing.

Question 19

toccata

Answer 19

A form of early Baroque keyboard music. Name comes from the Italian word “to touch.” An improvisatory work that may include not only virtuoso figuration but also contrasting passages consisting of either imitative counterpoint or sustained, frequently dissonant chords.

Vary greatly in form, character, and length.These works also written for lute and harp.

Question 20

fantasia

Answer 20

Early keyboard music form. Name means “fancy” or “flight of fancy”. typically a piece for keyboard instruments with alternating sections of rapid passagework and slower, more melodic passages

Question 21

capriccio

Answer 21

Early keyboard music form. A highly imitative precursor of the fugue that was less restrained than other precursors such as the canzona, fantasia, or ricercar, and often featuring a theme intended to represent an event. Name means “fancy or whimsy”. (Check this definition)

Question 22

partita

Answer 22

set of variations for Baroque keyboard

Question 23

ordre

Answer 23

another name for a suite. (Preferred by Francois Couperin)

Question 24

Les gouts réunis

Answer 24

The title of Francois Couperin’s second set of keyboard suites. Literally means “the reunited styles.” He names them in this way because of his interest in he merits of both the French and Italian styles, which he made a point of combining. French style is represented by dance forms and precisely notated ornamentation and rhythm. Italian style is represented by singing melodies.

Question 25

viola da gamba

Answer 25

member of the viol family held between the knees, but not resting on the floor. viol family

Question 26

oboe da caccia

Answer 26

"”hunting” oboe. Curved, with brass bell; transposing instrument in F. Woodwind.

Question 27

oboe d’amore

Answer 27

“mezzo-soprano” of the oboe family. Transposing instrument in A. Woodwind

Question 28

Flauto d’ Allemgane

Answer 28

Transverse flute. French name for “German” Flute. Woodwind

Question 29

clarino

Answer 29

the highest register of the Baroque trumpet. The players of these parts are generally highest paid orchestra members

Question 30

cornetto

Answer 30

within the trombone family. Wooden instrument with a brass cupped mouthpiece. The “soprano” of the family.

Question 31

concertino

Answer 31

the small ensemble group of a concerto grosso

Question 32

concerto grosso

Answer 32

A concerto with a group of solo instruments (concertino) with ripieno.

Question 33

sonata da chiesa

Answer 33

Church sonata. Uses fewer dance movements than the chamber sonata

Question 34

sonata da camera

Answer 34

Chamber sonata. Usually has more dance movements. Otherwise, indistinguishable from the church sonata.

Question 35

ripieno

Answer 35

the “filling out” parts. Originally doubled one or two of the solo parts of a concerto, then came to be known as a term for the parts of the concerto other than those of soloists.

Question 36

sonata

Answer 36

lit. means “sounded” or “played”

No distinctive formal or instrumental characteristics evident in early examples. Later, developed into a multi-sectional or multi-movement form for a small group of instruments or for keyboard. By the end of the Baroque, developed into a four movement form (SFSF)

Question 37

Figured bass-

Answer 37

notation consisting of numbers and other symbols above the bass line to help the player know what upper voices to play on the Basso continuo.

Question 38

Realization

Answer 38

The improvisatory addition of the upper voices of the figured bass.