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| originally negative connotation, later came to describe time period |
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| predominant emotion of a text or musical work |
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| said polyphony often made text hard to understand |
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| used to describe old rennaisance style, most often linked to polyphony |
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| linked most often with monody, idea of text before music |
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| composer of madrigals, dramatic works, and sacred works |
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| composer from the florentine camerata, known for madrigals, operas, and some sacred works |
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| composer that’s a part of the florentine camerata, known for dramatic works, madrigals, and sacred music |
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| solo voice and basso continuo |
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| written out bassline with harmonies to be realized above it, can include multiple instruments or just one with chordal abilities |
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| musical idea that returns multiple times later in the piece |
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| harmonies (numbers) above the basso continuo |
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opera by monteverdi about orpheus and trip to the underworld
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uses strong dissonances and switching meter and supports text with music
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madrigal by Monteverdi
highly controversial because of seconda practica used
uses uncommon dissonanaces and violates basic counterpoint rules
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| Criticized Monteverdi for Cruda Amarilli |
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| short repeated phrase in the lowest voice, shares no thematic material with upper voices, but provides constant movement |
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agitated or warlike mood developed by Momnteverdi
used first in Tradimento
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small aria or song
example: tradimento by Strozzi
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| recitative: secco and accompanied |
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basically speak singing, used to get through text while still singing
secco= no orchestra
accompanied=orchestra
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| opposite of recitative, completely sung piece in a dramatic work |
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| plays with both vocal and instrumental numbers, Purcell wrote many works in this genre |
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| much like opera except without set or staging, most are sacred, but some can be secular |
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wrote Jephte a very early popular oratorio
about man who offers sacrifice to win a battle
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composed by Giacomo Carissimi
about a man who offers to sacrifice the first thing he sees after a battle as long as he wins, ends up being his daughter
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| french secular song, secular, solo voice and lute |
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cycles of madrigals connected by a dramatic theme
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| L’incoronazione di Poppea |
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| mix of serious and comedic opera for the general public, less set and lower cost and drama was very humanistic |
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| principle composer after JS Bach, composed first german opera and believed in a firm understanding of counterpoint to write good music |
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| Saul, was verfolgst du mich |
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written by Schutz
polyphonic motet, but uses a lot of seconda practica techniques;
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| English composer, wrote dido and aeneas |
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written by purcell
about a man who is traveling and meets a women, they fall in love but he is tricked into leaving her and she then comits suicide;
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| a work whose parts are written by different composers, first opera in England was of this genre |
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like the Florentine Intermedi
music played/sung in between acts of a play;
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| mixture of spoken text and dance, created by Lully and was the precursor to opera in france |
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first accepted opera in france with
open to public but performed in a court
started by Lully
consists of these parts: french overature, prologue which commented on the court and flattered the king, five acts of all sung drama, and interludes which shows dancing and choral singing;
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| slow beginning with dotted rhythms changing into a fast imitative section |
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| main writer opera in France, basically started opera here by slowly introducing it |
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tragic/serious opera
stories always came from classical antiquity;
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| ABA form, performer sings two sections, then goes back to sing the first again |
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| successor to Lully with French opera, although started as keyboardist and theorist |
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| Main librettist for opera seria, over 700 librettos |
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| castrated tenors used as heroes in operas |
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composer, wrote operas, oratorios, sacred music, orchestral music, and keyboard and chamber music
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| written by John Gay, dialogue is spoken not sung and heroes of the show are common criminals not mythical figures or historical heroes |
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| opera in england featuring contemporary music and spoken not sung dialogue |
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| an italian sacred vocal work ranging from solo and basso continuo to solo, chorus, and orchestra |
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| set of variations written by JS Bach all written on a single idea, slowly the original idea is hidden more and more |
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lived in three different places in his life, which corresponded to three different styles of works
wrote cantatas, mass, motets, chamber music, orchestral music, organ, harpischord, canons and fugues, basically everything
he was also an accomplished keyboard/organist
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cantata by JS Bach
uses ostinato, chorale, ritornello, and motet
very good piece of music considering wrote another the week before and week after
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| ensemble in the concerto grosso |
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a work with a soloist (concertino) and an ensemble (ripieno)
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three notated parts (could be more instrumentalists)
two high voices and one low
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| type of sonata of dance suites |
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| sonata type for the liturgy |
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| over 400 concertos, 46 operas, and many sacred works, mostly known for concertos |
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| large ensemble concerto with no soloist |
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| concerto grosso with a soloist and ensemble |
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| french tradition of equal and unequal note lengths despite written equally, much like modern jazz |
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| type of dance in a suite, french for "German" duple meter moderate tempo |
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| fast triple meter dance from a suite |
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| dance in 4/4 or 2/2, phrases begin in the middle of the bar |
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| compound meter dance piece from a suite |
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| 3/4 dance usually for two people, Lully used this in his French "operas" before it was used in suites by composers such as Bach |
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| binary form quick dance style in three |
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| slow 3/4 dance originating from Poland |
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similar to modern violin, but much sweeter tone
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recorder dominated over flute
oboe and bassoon became more popular as well
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trumpets with no valves
trombone had a very mellow tone and used for it’s deep sound;
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Clavichord: possible vibrato
harpsichord: two sets of keys
fortepiano: can change volume
organ: most versitile with the most sets of keys and possibilities;
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| means all, defines when ensemble plays in concertos |
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| instrumental composition originally based on vocal models, but later were independent of any such models |
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| keyboard piece that is freely constructed and typically features rapid passagework |
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freely composed work with improv
usually for lute or keyboard
eventually became associated with polyphonic works and fugues;
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| series of imitative entries usually based on a single theme, but can have more |
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| secondary theme of a fugue |
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| dividing an octave into 12 absolutely equal semitones |
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| keyboard style using arpeggios to imitate guitar or lute |
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continuous bassline throughout a piece
Chaconne or Passacaglia: I,V,IV,V
Passamezzo
Folia;
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consists of two moderately fast movements (allemande and courante), then a slow movement (sarabande), and finally a fast triple meter (gigue)
other movements or different types were added/substituted at will;
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