Musical Example of this texture: Music example 8 Act 1 figure 11 onwards ‘Cupid only throws the dart’ Dialogue/Antiphonal – e. G. Double Chorus ‘In our deep vaulted cell’ This playschool :more than one choir) movement features effective antiphonal (the alternation of different groups of instruments) exchanges. The Echo Dance of the Furies which follows this uses dialogue to great musical effect. Musical Example of this texture: Music example 9 Act 2 figures 25-7 Many of the chorus and instrumental movements often combine both homophobic and polyphonic textures. DYNAMICS: In the Baroque period dynamics were either loud or soft.

This is called terraced dynamics. Second section of overture and end of Act 1 Echo Dance of the Furies figure 27 STRUCTURE: The work is made up of six dramatic scenes in three acts and lasts for Just one hour. The main musical structures used in this work include: Overture – this follows the conventions of the French and Italian Overtures of two sections (slow with dotted rhythms and fast Straight rhythms) and this second section repeated). Compare this structure to the overture from the oratorio Messiah by Handel. It is essentially the same. Recitative- Nards are of importance in telling the story through recitative.

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Musical interest is kept to the minimum. Aria- Melody is all important to convey the affection or mood of the music Chorus- Homophobic four part vocal sections in the main with some Imitation. The chorus takes the part of the courtiers, witches or sailors depending on the scene! Dance movement- Sometimes the music for the chorus is repeated as a dance and sometimes there is a separate specific dance piece, such as the sailor’s dance and dance of the witches and sailors. (Act 3 figures 41 and 45 respectively). It is thought that several of the dances to this opera have been lost.

The Key points The context The Text nationally submitted by Katherine to stressing. Co. UK; edited by Beth Worth. Past Questions Discuss the musical features of English court masque, opera or theatre music of the late seventeenth century, referring to the music of at least two composers. Discuss the expressive use of harmony and tonality in Dido and Names, supporting your answer with reference to two extended passages from the text. Give detailed account of the vocal writing in at least two works for the English stage composed in the late seventeenth and early eighteenth centuries.