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| structure, counterpoint—Renaissance |
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| text painting, dissonance, “affect”, music serves text |
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| 1600-1750, embellishment, showiness, frilliness, age of monarchy, (instead of city, state, it’s empire, kingdom)- patronage. |
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| prevailing emotion of a text as portrayed by the music |
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| group of musicians/ connoseurs who met to discuss music and art in Florence. |
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| a predecessor of opera, short scenes, stories that are performed at wealthy homes |
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| solo voice supported by basso continuo |
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| a notated bassline with figured bass |
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| system of numbers and symbols to indicate the desired chords |
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| 1675-1800, italian, subject matters of myths and histories of antiquity, musically contained overtures, arias, recitative, de capo aria |
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| late–instruments doing different things from the voices |
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| “chorus” of a baroque work |
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| short bass pattern that repeats over the course of a work. like “pachelbel’s canon” |
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| german composer 1585, sacred music, embraced secunda without abandoning prima |
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| theatrical genre of 1600s england, features mixture of poetry, song, scenery, dance, instrumental music |
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| work written by several different composers |
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| begins with a slow introduction, moves to a fast imitative section, 17-18th century, opera, opera seria. introduction features dotted rhythm |
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| ABA-second A section is ornamented |
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| 17th, 18th century. castrated singer wooo |
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| type of theatrical entertainment in England during 1650-1700. essentially a play with a lot of music. |
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| sacred, similar to opera, without staging, without a story. replaced operas during the Lenten season |
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| vocal work, sacred, like what Bach wrote |
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| imitative entries, counterpoint, thematic variation and stacking |
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| two treble instrument, basso continuo. popular in the 1700s |
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| chamber music. features dance-related music. baroque era. |
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| (church)… featuring a slow movement, imitative movement, popular in baroque |
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| 17th century. big forces, voices, instruments. 18th century. works, soloist contrasting against a large ensemble. |
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| baroque concerto typically featuring soloists. a work for large ensemble |
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| small group of soloists within a concerto grosso. often 2 violins+basso continuo |
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| in a concerto grosso, where it goes to the tutti |
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| indicates larger ensemble |
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| free-constructed keyboard showpiece |
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| ruled during the Baroque, divine rights of king, “I AM THE STATE” no share of power, patronized Jean-Baptiste Lully (French) |
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| came from the Greek manner of using melody and rhythm to sustain words (Euridice, Jacopo Peri 1600) |
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| composer, wrote Orfeo and Ariadne, served in Mantua, 8 madrigal books, mastered prima and secunda |
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| theorist and composer, attacked Monteverdi’s use of dissonance in his works. controversy between old and new practice |
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| Cruda Amarilli (Monteverdi) |
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| opens the fifth book of madrigals. piece that Artusi attacked |
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| italian, patronized by Louis XIV, changed his name, founder of French opera |
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| poet, teamed with Lully, created operatic genre-tragidie en musique |
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| Lully, highlighted the dancing talents of Louis XIV, mixture of speaking and dance |
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| consists of overture (like French overture), allegorical prologue, five acts, entirely sung, interlude for dancing and choral songs or symphonies, Lully&Quinault |
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| lyrical aria in tragedie en musique |
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| recitative in the tragedie en musique |
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| music director of orphanage, wrote 400 concerto, 46 operas, sacred Gloria, wrote 12 motets, 2 oratorios |
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| england, 18th century, contemporary songs mixed with dialogue |
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| system of tuning where all half steps are equal size |
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| intended to serve as instrumental introductions to the congregation singing of a chorale in church |
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| handel’s most popular oratorio, old testament |
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| Germany 1685-1759, started writing music at the Hamburg Opera House, went to Italy, then London, Messiah, oratorio |
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| 280 cantatas, organ virtuoso, did churches |
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| harpsichord pieces (couperin) |
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| introduction to a keyboard work |
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| two or more choirs of singers (or instruments) alternated |
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| Johann Christian Bach–operas, friends with mozart |
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| recorded the Goldberg Variations, other Bach works |
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| Zadok the Priest (Handel) |
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| 1700s. allemande, courante, sarabande, gigue |
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| written for the Count Kaiserling, to be played by Goldberg |
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