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used the arts as propaganda absolute monarch so music under his reign reflected his personality and policies called himself the “Sun King” after Apollo he constructed the immensely vast palace in Versailles which proclaimed his power and kept aristocracy under his control |
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Three types of music at court |
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music of the royal chapel, music of the chamber, and music of the great stable |
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music of the royal chapel |
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singers, organists, and other instruments who performed for religious services |
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string, harpsichord, and flute players who played for indoor entertainment |
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music of the great stable |
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wind, brass, and timpani players who played for military and outdoor ceremonies they sometimes they joined the other to add color called Great Stable because they were on horseback while they played |
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Vingt-quater Violons du Roi |
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24 Violins of the King played in 5 part texture: 6 soprano violins (tuned like modern violin), 12 alto and tenor violins (tuned like modern viola), 6 bass violins (tune a whole tone lower than modern cello) |
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Who is responsible for creating modern oboe? |
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wind players and instrument makers of French court |
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Louis XIV’s favorite musician for 30 years until he messed with page boy After Cardinal Mazarin unsuccessfully tried to bring Italian opera to France, Lully blende ballet elements with opera to create comedies-ballets (with Moliere) born in florence enforced unified bowing conducted with a long staff or cane: this modeled king’s absolute power as conductor |
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later called tragedie lyrique new French form of opera Lully and his librettist Jean-Philippe Quinalt reconciled the demands of drama, music, and ballet |
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his 5-act dramas combined serious plots from ancient mythology or chivalric tales with frequent divertissements |
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“diversions” long interludes of dancing and choral singing used by Quinalt in his 5-act dramas an extended episode that appeared at the center or the conclusion of each act of a French opera |
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French word for “opening” opened each opera of Lully marked the entry of the king when he was present and welcomed him and audience to the performance |
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2 sections each played twice 1st: homophonic and majestic 2nd: fast and begins with a fugal imitation ex: Lully’s Armide |
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leading genre of vocal chamber music in France less elaborate, no virtuosic display, little text repetition songs with a rhymed text and regular meter and phrasing, often in the meter and form of dance scored for one to three voices with lute or continuo accompaniment |
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lute style in which you struck one note at a time and sketched in melody, bass and harmony this was imitate by French harpsichord players sometimes called modern term “style brise” (broken style) |
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“unequal notes” practice of alternating longer notes on the beat with shorter off-beats created triplets and dotted figures form of expression and elegance |
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practice related to unequal notes dotted not is held longer than its notated value, according to performers taste and the following note is shortened |
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in suites that began with a prelude in the style of a toccata or other or other abstract work non-metric notation allowed rhythmic freedom, as if improvising |
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French for “German” highly stylized dance in binary form in moderately fast quadruple meter popular during Renaissance and Baroque often appeared as first dance in a suite |
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French for “running” or “flowing” dance in binary form in compound meter at modeter tempo with an upbeat standard movement in a suite |
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originally, a quick, lascivious style of dance from Central America accompanied by guitar and procession evolved to slow, dignified dance in triple meter with emphasis on second beat standard dance in suite in binary form |
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French for “jig” originated in British isles stylized dance movement of standard Baroque suite in binary form, compound meter 6/4 or 12/8 two sections usually both began with imitation |
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Spanish genre of musical theater light, mythological play in a pastoral setting that alternates between sung and spoken dialogue and various types of ensemble and solo song devised by Hidalgo |
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work composed in imitative polyphony most vibrant genre of Spanish sacred music scored for one or more choirs, soloists with choir, or solo voice with continuo in vernacular, not Latin brought the concertato medium unto church |
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Brief ornaments used in 17th century French opera to adorn cadences and other important notes |
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sacred concerto for solists, double chorus, and orchestra |
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leading lute composer of the French Baroque |
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spoken play with an overture and four or more masques or substantial musical epoisodes |
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The English Dancing Master |
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collection of and instructional treatise on traditional English country dances published by John Playford |
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first opera performed in the Americas |
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A Spanish improvisatory style for organ, often featuring imitation |
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