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"courtly air"
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secular in France, polyphonic or homophonic played on voice and lute
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theatrical genre of 17th century England featuring a mixture of declaimed poetry, songs, scenery, dance, and instrumental music |
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overture with two movments
first slow with dotted rhythms, second fast
prologue
talked about politics and made king look good
5 acts
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type of overture that begins with a slow intro featuring dotted rhythms and moves to a fast imitative section
commonly used in french operas and opera seria of the 17th and 18th century
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between acts of tragedie lyrique, lots of instrument and ensemble, some only instruments |
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serious opera
arisa and recit
exit convention
polot based in classical antiquity
rulers in good light
lots of virtuosity, espeically in da capo aria, ABA
castrati
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story based on mythology or royalty
more music thatn ballad opera
purcell wrote many
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means prayer hall
n arrator characters and plot
big chorus and orchestra
religous story
watered down opera
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hodge podge
not any others it’s this
bach loved
means to sing
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group of artists played them in public venues
not spiritual or sacred;
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three notated parts, but more than three players allowed, instrumental, not hard, much virtuosity
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de chiesa
somber, in church, 1st movement slow, others imitative
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de camera
secular, series of suites;
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grosso-2 parts, small group of soloists and ripierno, larger group
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;solo-soloists with ripieno ensemble
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ripieno-no soloists, no opposition;
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type of work for keyboard that is freely constructed, based on no preexisting material, andtypically features rapid passagework |
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subject (theme)
exposition (when all voices have stated subject)
free section (episodes and middles entries, which are points of imitation);
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piano piece based on preexisting vocal piece
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used often in church, chorale preludes;
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organized and very structured
3 sometimes 4 movements
fast, slow, fast
if a fourth appeared it was 3rd and a minuet
locked in opera overture;
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no da capo aria or virtuosity
everyday becomes lead
bass becomes lead
simply melodies
ensemebles become very important
lots of periodic phrase structure;
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no virtuosity or solo recitative
all about drama
overture plays into action
blurs lines between recit and arias
text based on greek mythology
some guy is important;
opera seria didn’t die though, just less common
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opera with singing and speaking |
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Billings
catches-humourous
glee-based onf olk song
canon-religious or morality lesson
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type of madrigal which emered in early 17th century, using instruments (bass continuo with or without aditional instruments) independtly of the vocal part or parts |
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series of polyphonic madrigals loosely connected through plot and characters . The genre enjoyed its heyday in the closing decades of the 16th century.
the slopes of mount parnassus
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type of opera popular in egnland during the 18th ccentury
featuring contemporary songs, including but not limited to ballads, mixed with dialouge
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First, Dafne by Peri
Best, or atleast first realy, Orfeo by Monteverdi
Peri and Caccini argued over having done it first…
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many women were sent to convents because the dowry for a convent was much less than that for marrying a husband
many convents started up, and two thirds of them were writing polyphonic music.
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grand motet, vocal soloists, chorus, and orchestra
much virtuosity in them
practical, a la zadok the priest.
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courtly ballets, which had the monarch as the lead (someone portraying the monarch)
combined song, dance, and instrumental music
dominated in France for first 2/3 of 17th century
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mixture of spoken drama and dance
Lully was major (he was the smart guy who took over Opera in France)
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violin (24 violinists of the King, keep your violinist, people just began keeping them)
winds, brass, and percussion
keyboard (Cristofori makes first pianoforte, called gravicembalo col piano e forte))
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that which is sounded
instrumental equivalent of cantata
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concerto (just it, not types) |
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applied to works where a combination of diverse musical forces work together, "in concert" |
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extended series of dances
same key, switches between major and minor
two fast movements, than a slow, and at the end a lively dance in triple meter
titles depend on geo location (partida in Germany)!
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presents a series of contrasting dances based on one basic thematic idea
in effect, a set of variations grouped as a dance suite
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short pauses in voices that are covered by forward motion in other voices |
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tacked onto end of dance
connect is theme
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triadic hamony
used & "discovered" inversions
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free genres (keyboard music) |
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3 types- imitative, non imitative, combination
imatitive, 3 types-ricercar, fugue, canon
non-imitative, 4 types-toccata, canzona, fantastia, prelude
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goldberg variations (JS Bach)
still binary
sarabande, allemande, and gavotte
chaconne, passacaglia, folia
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bass that wouldn’t go away
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used in variations;
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picardy third
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ended a piece on a major triad that is otherwise minor;
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violin, viola, and cello reach modern day form |
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thematic idea(s) repeated throughout a piece |
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another name for concerto ripeieno |
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1750-1800
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50 years
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and that’s all she wrote
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me started believing in knowledge, and using it to help the world
using reason, less mysticism
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Refers to music between 1720 and 1750 that is not quite the full classical style yet |
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means sensibility in cherman
describes a characteristic aesthetic associated wtih the new style
music focused on detail, and avoided thick textures and grandiose gestures
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genuine homophony, a subordinate voice or voices support a single prominent melodic line
focus moved to top line
obbligato accompaniment, secondary voices contribute material essential to a work’s musical fabric;
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periodic phrase structure in classical |
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becomes common in all musical genres
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move away from paratactic, and more toward syntactic;
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basso continuo in classical;; |
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basso continuo gone, no figured bass
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(except in secco recitative, then some bc happened);
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harmonic rhythm in classical |
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much slower
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baroque, harmonies change beat to beat, classical, maybe twice a measure;
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balance and proportion in classical |
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underneath all the rules of classical, there was an underlying current of turublence and unpredictability |
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people like about sonata? |
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listeners could easily recongnize the signposts, and could orient themselves within a sonata form movement
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predictability, or atleast organization;
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Best orchestra of time, conducted by J. Stamitz
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best players, beautiful playing, ingenuity abounded;
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Orchestra of Generals;
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no predictable framework
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nothing;
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sons of Bach
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also great composers and conductors;
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when bass plays repeated figurations on a series of triadic harmonies |
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unit of music to be repeated in performance immediately after it has been first presented
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language of instrumental music |
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instruments could move you like voices |
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instrumental forms (classical) |
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sonata, string quartet, symphony, concerto;
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all had 3-4 movements
in 4 mvm form 3rd was a minuet
minuet-ABA minuet proper trio minuet proper, boisterous and adds levity
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fast slow fast;
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all instrument movements in a good piece relate to it…. |
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based on a dance
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lively, usually a finale
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ABACADA
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A, refrain
BCD, episodes or couplets;
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a switch to the dominant key
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cadence on the dominant;
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usually minor, characterists similar to mannerism
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large jumps, synocopations, dynamic contrast;
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locked in opera oveture for years, but finally coming out
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Battista Samartini wrote first independent symphony
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Italian overture, fast slow fast
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growing in size;
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sonata form with varied reprise |
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used by haydn
;there was a reprise of the exposition, but it was done with embellishments and subtle changes, so the entire thing was rewritten out
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used in Haydn’s Symph 103
first two measures sound like opening of dies irae from the plainchant mass for the dead
the down up feature from dies irae is also in the symp 103
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what improvements where made to the piano?(cl) |
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broader range of dynamics
more readily available
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What made JC Bach’s Op. 5 #2 typical? |
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light, easy to play, small scale, and easily played on both harpsichord and piano |
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trio sonatas still exist
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2 violins, a viola, and a violoncello;
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four movements standard
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instruments in symphonies (cl);; |
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1760-strings, two oboes, maybe a flute or bassoons, and two horns near end of 1760
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1780-trumpets and timpani
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late1780-1790-clarinets;
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turkish music in symphonies |
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haydn used turkish instruments in his symphony (fast-drum, cymbal, tambourine, and triangle) |
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difference between concerto then and now? cl |
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then, more of a colloborative effort instead of the soloist being a separate entity |
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between acts of opera seria
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funny and popular
became opera buffa;
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War of Buffoons
;Over whether to keep the tragedie lyrique or to change over to the Italian Opera Buffa
Italian won
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French opera writte in Italian style
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very very very popular
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written by Rousseau;
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Piccinnists and Gluckists |
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another opera fight
;both foreginers
Gluck was more French style, Piccini was more Italian
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Gluck won, yay Reform opera;
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simpler, more chordal
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kept basso continuo and strict counterpoint;
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Song by Zelter
told story, very straightforward and undemanding
common Song;
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began concept of German Lied
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was strophic, syllabic, vocal and piano very undemanding, narrow vocal range;
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Billings collection of social songs |
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started war of the buffoons |
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a opera seria by Mozart with a castrato, written after Reform Opera began |
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ritornello and its principle |
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literally small return, musical idea that returns at serveral points over the course of a work, usually after constrasting material
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ritornello principle is when the composer constructs large scale forms are successive returns of an opening idea
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big in concerto;
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