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Italian for “persistent bass” aka ground bass pattern in bass that repeats while the melody above it changes common pattern: descending tetrachord used by Monteverdi to express inescapable sorrow |
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aka ciaccona conveyed opposite emotion of basso ostinato vivacious dance-song from Latin America into Spain then Italy one of the first types of music be brought from the New World to Europe refrain was a simple repeating pattern of chords played on guitar |
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new genre of vocal chamber music that emerged in Italy during the 17th century “to be sung” by mid 17th century, it meant a secular composition with continuo using four or more voices |
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court air The most important genre of secular vocal music in France homophonic, strophic song for 4-5 voices or solo voice with lute accompaniment written by composers associated with French royal court mostly syllabic with simple yet elegantly arching melodies |
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born in Venice Her father Giulio Strozzi nurtured her ambitions as a composer Published 8 collections of vocal music One of the most prolific composers of vocal chamber music of the century She published more cantatas than any other other composer of the time |
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“old style” coexisted with stile moderno old contrapuntal style over time it was modernized composers added a basso continuo and major-minor tonality replaced church modes |
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Johann Joseph Fux wrote this treatise to codify this quasi-Palestrinian counterpoint remained the most influential textbook on counterpoint for the next 2 centuries |
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song of one or more solists accompanied by organ and often by one or two violins small churches could afford this Lodovico Viadana was a pioneer in using this for church music |
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large-scale sacred concerto |
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used to celebrate major feast days often used cori spezzati ex: Gabrieli’s In Ecclesiis some had massive climaxes |
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divided choirs used by composers in large-scale sacred concertos to celebrate major feast days |
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new genre of religious dramatic music that emerged in 17th century Rome combined narrative, dialogue, and commentary Italian for “prayer hall” like operas, oratorios used recitative and arias different from operas: subject matter was religious, seldom ever staged, action was described rather than played out, there was a narrative librettos were in Latin or Italian |
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musical setting based on a biblical narrative prominent genre in the Lutheran tradition |
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most common type of historia musical setting of the story of Jesus’ crucifixion Schutz wrote 3 following the accounts of Matthew, Luke, and John |
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Frescobaldi’s set of 3 organ masses, each had all the music an organist would play at Mass published this collection in open score rather than on 2 staves (usual keyboard notation): he said in his preface that an open score weeded out the true gold of virtuosos from the ignorant |
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improvisatory piece played on organ (service music) or harpsichord (chamber music) most can be played on either but there is a greater reliance on sustained tones and unusual harmonies with organ most important composer of this was Frescobaldi |
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the one in the 17th century was typically a series of composition for organ or harpsichord in which one subjet (theme) is continuously developed in imitation |
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an imitative work on a larger scale than the ricercare and had a more complex formal organization leading composers were Sweelinck and Scheidt In England, the leading genre was the imitative fantasia called a fancy |
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imitative piece for keyboard or ensemble in several contrasting sections more lively character than ricercare adapted from chanson |
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used in 17th century to refer broadly to any piece for instruments resembled canzona scored for one or more melody instruments (usually violins) with basso continuo imitated modern expressive vocal style one of the earliest sonatas for solo violin and continuo is Marini’s Sonata IV… from Op. 8 by mid 17th century, the canzona and sonata merged and sonata stood for both |
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parts or divisions set of variations on a melody or bass line |
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set of pieces linked together into a single work during the Baroque, meant a set of stylized dance pieces |
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a pattern frequently employed in the 17th century in which the bass line repeats while the melody changes |
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by the 17th century, this was applied to secular compositions for solo voices with continuo based on a lyrical or quasi-dramatic text |
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the most important genre of 17th century secular vocal music in France homophonic, strophic song for four to five voices |
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published more cantatas than any other composer of her time |
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the compositional style of Palestrina |
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Cento concerti ecclesiastici |
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the first volume of sacred music printed with basso continuo |
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leading composer of Latin oratorios |
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published Componimenti musicali, a collection of twenty motets predominantly for one or two soprano voices with basso continuo |
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sacred dramatic music that combined narrative, dialogue, and commentary |
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following treatise published by Johann Schein is significant in that it illustrates a blending of Lutheran chorale traditions with the modern Italian style |
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collection by Heinrich Schutz contains polyphonic Latin motets, enlivened by harmonic novelties and madrigal-like word painting |
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collection by Heinrich Schutz presents concerted Latin motets for various small combinations of voices and instruments |
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prominent in the Lutheran tradition, this genre contains musical setting based on a biblical narrative |
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humanist scholar, rabbi, and cantor that promoted the use of polyphonic as early as 1694 at the synagoge of Ferrera |
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Who was the most important composer of toccatas and one of the first to focus his attentions on instrumental music? |
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composer whose technique of alternating improvisatory passages with sections of imitative counterpoint was the model for the development of the toccata and fugue |
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published tabulatura nova, a collection of German fantasias in which Italian practice of writing each voice on a separate staff was employed |
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