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large-scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, but without acting, scenery, or costumes; often based on biblical stories
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In Italian, all; the full orchestra, or a large group of musicians contrasted with a smaller group; often heard in baroque music
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transitional section in a fugue between presentations of the subject, which offers either new material or fragments of the subject or countersubject
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song for solo voice with orchestral accompaniment, usually expressing an emotional state through its outpouring of melody; found in operas, oratorios, and cantatas.
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composition in several movements, usually written for chorus, one or more vocal soloists, and instrumental ensemble. The church cantata for the Lutheran service in Germany during the baroque period often includes chorales.
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(basso ostinato) Variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change; common in baroque music
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compositional form usually employed in the baroque concerto grosso, in which the tutti plays a ritornello, or refrain, alternating with one or more soloists playing a new material
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vocal line in an opera, oratorio, or cantata that imitates the rhythms and pitch fluctuations of speech, often serving to lead into an aria
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unaccompanied section of virtuoso display for the soloist in a concerto, usually appearing near the end of the first movement and sometimes in the last movement |
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In Italian, fellowship or society; a group of nobles, poets, and composers who began to meet regularly in Florence around 1575 and whose musical discussions prepared the way for the beginning of opera
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creation of music at the same time as it is performed
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musical ornament consisting of the rapid alternation of two tones that are a whole or half step apart
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in opera, a piece performed by 3 or more solo singers
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Baroque composition that has 3 melodic lines: 2 high ones, each played by one instrument; a basso continuo, played by 2 instruments
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composition for several instrumental soloists and small orchestra; common in late baroque music
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extended composition for instrumental soloist and orchestra, usually in 3 movements: (1) fast, (2) slow, (3) fast.
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polyphonic composition based on one main theme, or subject
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Drama that is sung to orchestral accompaniment, usually a large-scale composition employing vocal soloists, chorus, orchestra, costumes, and scenery.
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male singer castrated before puberty to retain a high voice range; the most important category of vocal soloists in opera during the baroque period
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a set of dance-inspired movements all written in the same key but differing in tempo, meter, and character
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abrupt alternation between loud and soft dynamic levels
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baroque accompaniment made up of a bass part usually played by 2 instruments; a keyboard plus a low melodic instrument
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dramatist who writes the libretto, or text, of an opera
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from the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section
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hymn tune sung to a German religious text
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· 1685-1750
· Came from a long line of musicians
· Four sons were composers
· Born in Eisenach, Germany
· Created masterpieces in every baroque form except opera
· Recognized as the most eminent organist, harpsichordist, and improviser
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· 1567-1643
· Born in Cremona, Italy
· Served at the court of Mantua for 21 years, first as a singer and violist, then as music director
· Created earliest operatic masterpiece, Orfeo (Orpheus, 1607)
· Recognized as a leading composer in Mantua
· Music director at St. Mark’s in Venice
· Wrote operas for San Cassiano in Venice, the first opera house in Europe
· His works form a musical bridge between the 16th and 17th centuries and greatly influenced composers of the time
· All his music is for voices supported by basso continuo and other instruments
· He used dissonances
· He introduced pizzicato and tremolo
· He was the first composer of the operatic masterpieces
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· 1678-1741
· Born in Venice
· Known as “Red Priest”
· Violin teacher, composer, and conductor at music school of the Pieta
· Famous and influential as a virtuoso violinist and composer
· Best known for 450 concerti grossi and solo concertos
· Wrote La Primavera ( Spring)
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· 1685-1759; Master of Italian opera and English oratorio
· Born in Halle, Germany
· Music director for Elector Georg Ludwig of Hanover
· Wrote Rinaldo which was produced in London
· Became England’s most important composer and a favorite of Queen Anne
· Director of the Royal Academy of Music
· Wrote oratorios from the Old Testament like Israel in Egypt, Saul, Joshua, and Messiah
· Wrote 39 Italian operas and aren’t as well known as his oratorios
· Wrote a great deal of instrumental music
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1600-1640
Homophonic texture
Most revolutionary period
Opera
Used dissonance
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1640-1690
Major and minor scales
Instrumental music
Violin family was popular
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1690-1750
Polyphony
Dominant chord to TONIC
Instrumental music as important as vocal music
Unity of mood
Terraced dynamics
Clavichord
Not all late baroque music was polyphonic
Basso continuo
Figured bass
x. Composers used music to depict meaning of specific words
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