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-massive scale/grandiose theme
-overabundance of small, decorative detail
-vigorous energy |
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| musical element that remained constant through Baroque era; small ensemble of at least 2 instrumentalists who provide a foundation for the melody |
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| Instruments in bass continuo |
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| 1 instrument (harpsichord, organ/large flute_ plays chord progression; another (cello, viola de gamba/bassoon) plays the bass line, which doubles the lowest note played by the keyboard |
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| Early Baroque musical style |
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| Melody- wide range reflects influence of virtuosic solo singing
Harmony- major and minor scales, repeating rhythms, sudden shifts in dynamics reflect dramatic quality
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Form- AABB |
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| Opera’s performance location |
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| Opera’s performance style |
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| Classical mythology, ancient history |
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| musically heightened speech accompanied by brasso continuo |
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| rapidly repeating notes followed by one of 2 long notes at the ends of phrases |
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| expresses emotions resulting from preceding portion of the drama; more passionate than recitative |
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| -one of the first operas written in English
-composed by Henry Purcell
-Dido’s Lament “When I’m laid in Earth” begins with a recitative, then aria- chromatic descent/cadence symbolizes grief |
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| Ritornello Form/ Rondo Form |
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| Characteristics of rondo form |
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| -all/part of main theme returns
-played by the tutti |
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| Antonio Vivaldi (1678-1741) |
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| – most influential violinist of Baroque concerto (wrote more than 450) |
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| -Vivaldi’s concerto in E major
-sonnet accompanies each concerto that interprets event/emotion
-poems written before music
-1/4 concertos entitled “The Seasons” |
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| -refinement; old fomrs polished and perfected
-drama through contrast; sound placed in opposition |
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| Late Baroque Musical Style |
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| Melody- continuing development; irregular phrases
Rhythm- most distinctive/exciting of Baroque music
Texture- return of counterpoint |
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| -rarely more than 25 players
-strings form core of ensemble |
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| -known as great organist in his lifetime
-brought cantata to highest point of development
-greatest composer of contrapuntal music in history of western music |
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| theme that serves as fugue’s primary musical idea |
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| Opening section of fugue during which each voice presents the subject for the first time |
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| Sections where subject not heard in its entirety |
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| -composed 3/more parts
-exposition, alternating episodes |
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| -perhaps the finest composer for chorus who ever lived
-composed water music for public entertainment |
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| intended as concert music, not to accompany dancing |
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| energetic dance derived from country jig; triple meter w/ syncopations |
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| -moderate, triple meter dance
-trio is shorter |
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-Handel
-tells story of Christ- prophecy and incarceration of Messiah, triumph of Gospel, victory over death |
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| cantata performance location |
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| Cantata performance style |
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| Oratio performance location |
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| -Handel
-Text based on passages from Revelation of John |
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| Classic period aesthetics |
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-proportion
-balance
-simplicity |
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| Enlightenment/Age of Reason |
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| -pursuit of truth/discovery of natural laws
-Voltaire/Rousseau
-gave way to Age of Revolution |
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| Musical manifestation of social change |
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| -comic opera
-public concerts
-the piano |
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| -opera of the middle class
-novility |
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| -classical music gradually moves to concert hall
-middle class |
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| -replaced harpsichord
-played by amateurs, esp. women |
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| melody- antecedent/consequent phrase
harmony- irregular changes, simple chords
rhythm- driving, greater rhythmic variety
strings remain the core |
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| opening, incomplete-sounding phrase |
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| second phrase that brings the melody to a point of response and closure |
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| 1. short simple melodies
2. more influenced by vocal than instrumental style
3. frequent cadences |
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| capital city of old Holy Roman Empire |
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| Importance of music in Vienna |
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| -spent nearly entire ilfe in Austria
-freelance during 1750’s
-worked for Esterhazy family
-invented string quartet |
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| -most famous child prodigy in history
-played for royalty and aristocracy
-1781 freelance musician |
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| genre of dance w/ constant triple meter |
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| Minuet-trio-Minuet created a _______ form (___) |
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| Mozart…four movements
-fast (sonata-allegro)
-slow (rondo)
-minuet & trio (ternary)
-fast (rondo) |
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| only form to originate during Classical period
-exposition of first theme (memorable musical idea in the tonic key), transition (lacks thematic identity), second theme (memorable music idea, generally contrasts first) |
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| -themes return in original order, condensed form, tonic key |
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| added at end of the movement, gen after all other theme have been heard |
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| Horn Concerto in E-Flat major |
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| means of identifying hundreds of Mozart’s compositions |
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| French horn w/o valves…not easy to play chormatic notes |
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| oldest forms…similar to Baroque Ritornello form
-5 part/7 part |
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| general type of music distinguished by quality of musical style, performing medium, and place of performance |
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| symphony, string quartet, sonata, concerto, opera |
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| expanding, adding a fourth movement |
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| 2 violins, viola, cello
on person/part
no conductor
genre of chamber music
created by haydn
fast-slow-minuet-fast |
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| Hayden & Mozart’s quartet |
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| Hayden played first violin, Mozart played viola |
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| Opus 76, No. 3, the “Emperor’s” Wuartet |
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| national anthems for Austria and Germany
composed in response to military and political events |
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| Baro opera v. classical opera |
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| heroic characters, only 1 emotion per aria v. comic opera, social change voice, natural characters, mood changes w/in aria |
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| Marriage of Figaro
Don Giovanni
Thys do They All
The Magic Flute |
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| -deafness began 1794, 1817 no longer heard music…gave him the freedom to experiment with new forms; excluding piano narrowed outlet for his creativity |
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| Piano Sonata, Opus 13, “the Pathetique”
Symphony No. 5 in C minor |
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trombone
contrabfasson
piccolo |
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| Beethoven adds new instruments |
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| motive unity between 4 movements |
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