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-Early Baroque
-Greatest English Composer of Baroque Period
-Worked for Charles II
-Organist
-Theater Music
-“Dido and Aeneas” |
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-Early Baroque
-Known for Instrumentals
-Writes Concierto grosso
-Writes Solo and Trio Sonatas
-Wrote Church and Chamber Sonatas |
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-Early Baroque
-Last great Madrigalist and First great opera composer
-“too Radical”
-Choir Master- San Marco
-“Coronation of Poppea”
“Orfeo” |
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-Early Baroque
-“O Magnum Mysterium”-Motet
-Alleluias
-First guy to specify Orchestration
-first composer to utilize dynamics
-Antiphonal |
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-Early Baroque
-Tocatas-free formed
-Canzonas-more rigorously organized
-styled dances |
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-Late Baroque
-Venetian
-Wrote a lot of violin conciertos
-Violinist at San Marco
-Wrote “Four Seasons”-heavy in word painting
-“violin Concierto in G” |
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-Late Baroque
-Vivaldi was big influence
-Wrote Fugues, cantatas,conciertos
-“Brandenburg Concierto”-concierto grosso
-Chorale Preludes
-One of the first great superstars |
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-Late Baroque
-Not a lot of training as a child
-Liked and wrote some operas
-Worked for King George II of England
-Wrote “Water Music”
-“Messiah”- Oritorio |
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| Other Late Baroque Composers |
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-Telemann
-A. Marcello
-B. Marcello
-Albioni |
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-Classical
-5 good years then fell out of favor
-Worked for Archbishop of Saltzburg
-Moved to Vienna
-Wrote Symphonies and Operas |
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-Classical
-Established Symphony and String Quartet
-Worked in operahouse built for him by Estercize? family in Vienna |
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| -Multi Movement Instrumental made up of 2 violins,a viola,and a cello |
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| -Multimovement Instrumental for 1 or 2 Instruments |
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A multimovement instrumental for a symphony orchestra in the form of a sonata
First Movement-Fast
2nd-Slow
3rd- Minuet Trio
4th-Faster than First |
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| Multimovement Instrumental work for large compositions for orchestra and solo instruments |
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| Multimovemnt Instrumental for a group of solo intruments and a small orchestra |
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-Multimovemnt Vocal
-Non Staged
-Continuous Text-either lyrical or dramatic
-Smaller in scale than oritorio and opera
-contains recitatives and arias |
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-Multimovement Vocal
-Staged
-Drama presented in music, with singing instead of speaking
-Contains recitatives and arias |
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-Multimovement Vocal
-Staged
-Not meant to be done in church
-Contains recitatives and arias |
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-Single Movement Instrumental
-Organ Music before Chorale |
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| Single Movement Vocal that are hyms of the Lutheran Church |
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-Rythm and meter are more definite, regular, and insistent
-Barlines used for first time
-Texture-
Basso Continuo and Ground Bass
-Functional Harmony-Major/Minor system, each cord has a special function, stronger sense of tonality |
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| More energy into the music, dynamics had rarely used loud or soft indications in their scores, and remained at the same level through a selection or composition. Tone Color, you have trumpets and drums, which have never heard before. The melody is complex, with polyphonic writing |
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| the rhythm is highly flexible, tempo and meter remain constant. rhythms of the various themes tend to differ in both obvious and sublte ways. Dynamics have variety and flexbility in it, with crescndeo and dimnuendo being introduced. Tone Color more variety, piano is getting use finally. While Homphonic writing is also here, instead of polophonic from the baroque era |
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-Countries given language
-Love story
-fast tempo
-word painting
-intrumental accompaniment |
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-alternated 2 or 3 or more whole choirs
-Homophony crowded out polyphony
-Someimes Instruments
-SAN MARCO |
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| Creating an accompaniment from a composed bass part by playing bass notes and improvising harmony |
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| Ground Bass or Basso Obstinato |
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| Short Baseline epeated constantly through piece usually 4-8 measures long |
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| Technique of declaiming words musically in a heightened theatrical manner
Carries from one aria to another |
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| Deals with One idea or emotion- much more elaboration and coherence than a passage or recitative |
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| Groups of dance-In two part form (binary) |
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| made famous by Bach, one movememnt instrumental composititon written systematically in imitative polyphony, usually with one main theme, the fugue subject |
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| Sectional Pieces in which each section repeats certain musical elements while others change aroudn them |
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| A set of variations on a short theme in a bass slow triple meter with slow harmonic rythm |
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| A musical style employing all or many of the twelve notes of the chromatic scale most of the time |
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| Repitition in a single voice part of a short musical phrase at another pitch level |
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| Many pitches at one syllable |
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| Alternating sections of solo or ensemble playing |
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| Successive, uninterrupted, repetition of a defined melodic movement in continuous variatio. tends to occur above stable bass patterns |
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| Designed to convey powerful emotions. Solo singing by sopranos and mezzo sopran. Tenors and bass play subordinate roles with few duets and choruses |
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| A self contained section of a larger peice such as a symphony or concierto grosso |
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| Formula that happens at end of a phrase or work |
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| An improvisatory solo passage, largest cadenze is at the end of a first movement, An elaboration by a soloist of a cadence near the end of movements. Soloist without accompaniment preceeds with virtuostic style |
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| Comedic Opera with lower class figures-First was Mozart |
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Sonata
Minuet Trio
ABA Song Form
Rondo |
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4 Sections
Expo
Development
Recap
Coda |
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| First and second theme most important. Can develop theme through Augmentation, fragmentation, color change, key change |
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| Form for given movement within a genre |
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| Music in a small place, few instruments, purely instrumental |
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| One Movemnt work to preceed an opera or play |
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| Singer with continual alone |
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| Orchestral accompaniment to opera |
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ABA Form usually
Composer writes section AB then singer shows off on final A |
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