Test #1 Early-Mid Baroque (17th Century up through de Araujo, Chapters 13-16) Flashcards
Doctrine of affections
Stylized emotions, goal of music is to move the affections
Two most important instruments of the Baroque
Violin & Harpsichord
Two big principles of the Baroque
- Ornamentation/Improvisation 2. Contrast
Three kinds of music in the Baroque period
Church, Chamber, Theater
Basso continuo/thoroughbass
composer wrote out th melody or melodies and the bass line but left it to the performers to fill in the appropriate chords or inner parts
Monody
(1) An accompanied solo song. (2) The musical texture of solo singing accompanied by one or more instruments
Recitative
A type of vocal singing that approaches speech and follows the natural rhythms of the text
Baroque
~1590-1735
Prima prattica/first practice
The 16th-century style of vocal polyphony codified by Zarlino; had to follow its own rules and thus dominated the verbal text
Seconda prattica/second practice
Vocal style used by modern Italians; music serves to heighten the effect and rhetorical power of the words, and voice-leading rules may be broken and dissonances may be used more freely to express the feelings evoked in the text
Continuo instruments
Typically harpsichord, organ, lute, or theorbo (also called chitarrone)
Figured bass
Added figures by the composer above or below the bass notes to indicate the precise notes required
Realization
The actual playing of figured bass
Concertato medium/concertato style
Contrasting forces are brought together in a harmonious ensemble
Concerted madrigal
For one or more voices (sometimes with melody instruments)
Sacred concerto
A sacred vocal work with instruments
Measures
recurring patterns of strong and weak beats, with the value and number of beats indicated by time signatures
Ornamentation
A means for moving the affections; adding decoration to notes
Ornaments
Trills, turns, appoggiaturas, and mordents
Division, diminution, or figuration
More extended embellishments, such as scales, arpeggios, and the like
Cadenzas
Elaborate passages decorating important cadences
Tonal
Operating within the system of major and minor keys familiar from music of the 18th &19th centuries
Opera
A union of poetry, drama, music, and stagecraft, all brought to life through performance
Libretto
Text in an opera, Italian for “little book”
Pastoral drama
A play in verse with music and songs intersperesed
Madrigal comedy/madrigal cycle
Composers grouped madrigals in a series to represent a succession of scenes or a simple plot
Intermedio
A musical interlude on a pastoral, allegorical, or mytholgical subject performed between acts of a play
Camerata
Circle, or association
Aria
Any setting of strophic poetry
Solo Madrigal
Through-composed settings of nonstrophic poems, sung for one’s own entertainment or for an audience
Recitative style
Speech-song
Sinfonia
A generic term used throughout the seventeeths century for an abstract ensemble piece, especially one that serves as a prelude
Ritornello
An instrumental refrain
Strophic variation
Varying the melody and the duration fot he harmonies to reflect the accentuation and meaning of the text
Concitato genere, or stile concitato
Excited style, characterized by rapid reiteration on a single note, whether on quickly spoken syllables or in a measured string tremolo
Recitativo arioso, or arioso
Passages that lie somewhere between recitative and aria style
Castrati
Males who were castrated before puberty to preserve their high vocal range
Prima donna
Italian for “first lady,” the lead soprano in an opera
Cruda Amarili
Monteverdi
Madrigal
5 voices
Fairly typical Renaissance madrigal except for its treatment of dissonance
Vedrò ‘l mio sol
Caccini
Solo monodic madrigal
narrow range
lots of repeated notes
text driven
ornamentation at cadences
