| J.S. Bach belonged to a dynastic family of musicians whose members spanned the 16th through the 19th centuries. |
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| J.S. Bach’s major appointments were at Weimar, Dresden, and Leipzig. |
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| A chorale prelude is a concertato work for organ and one or two solo voices. |
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| During his lifetime, J.S. Bach was known primarily in Germany as an organist and improvisor. |
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| Each of the two books of the Well-Temerpered Clavier contains 24 toccatas and fugues in all the major and minor keys, arranged C major, a minor, G major, e minor, etc. |
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| A tonal answer is an exact transposition of the fugue subject to scale degree 5. |
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| Following the exposition, the subject (or answer) of a fugue always returns seven times. |
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| The first movement of Bach’s Brandenburg Concerto No. 5 is extended, and its dramatic intensity increased by using sonata form. |
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| Despite the popularity of the Brandenburg Concertos during Bach’s day, he wrote no other concertos. |
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| Bach’s appointment in Leipzig required him to write an instrumental concerto every week for services at the St. Thomas and St. Nicholas churches. |
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| Bach’s cantatas are exclusively sacred. |
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| Bach’s cantatas include recitatives, arias, duets, and choruses. |
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| When hymns are used in Bach’s cantatas, the last movement is a hymn in fugal style. |
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| The first movement of Bach’s cantatas sometimes combines features of the sacred concerto, instrumental concerto, and chorale prelude. |
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| Bach’s B minor Mass is a compendium of pieces, many if not all adaptations of his existing works, that illustrate both old and new styles. |
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| Name of the catalog of Bach’s works. |
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| Intended as a complete cycle of 164 chorale preludes for the entire year, but left incomplete. |
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| Name for the section of a fugue in which no complete presentation of the subject or answer is heard. |
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| Name for a section of a fugue in which the subject appears in all voices in succession. |
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| Major resolution of a cadence in minor. |
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| Bach’s Brandenburg Concertos contain these two types of concertos. |
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Concerto grosso
Concerto ripieno |
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| Form commonly used for the first fast movement of an instrumental concerto. |
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| Baroque concerto ritornello |
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| Name for an often improvised section of a concerto for soloist alone. |
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| Many of Bach’s cantatas include movements based on these Lutheran hymns. |
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| Generic name for Bach’s Easter oratorios. |
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| Term for Masses like Bach’s B minor Mass that divide the prayers of the Ordinary into smaller movements. |
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| Example of Bach’s secular cantatas |
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| Name for a three-quarter size violin tuned a third higher than a full-size violin. |
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| Name for a tenor oboe used in Bach’s Cantata 140 |
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| Technique in which two melodies may be played together with either one on top. |
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| Dido and Aeneas is an example of an Italian opera seria. |
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| Dido’s lament is an example of a chaconne. |
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| Opera flourished in England in the late 17th century within a stable political and religious environment. |
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| An English semi-opera is a spoken play that incorporates dance and songs. |
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| Like the French, the English were skeptical about castrati; consequently they preferred countertenors for high male parts. |
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| In Dido and Aeneas, Jupiter convinces Aeneas to leave Carthage to found Rome. |
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| Another name for a late 17th century English opera is an all-sung masque. |
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| Handel was born in London, went to Italy to learn the style of Italian opera seria, then went to Hamburg in Germany, where he introduced Italian opera for the first time. |
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| The Handel Werke Verzeichnis catalogs all of the composer’s works chronologically. |
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| 17th and 18th century oratorios are different from contemporary operas in featuring frequent choruses and other lyric set pieces in addition to recitatives and arias. |
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| Recitativo obbligato is accompanied by full Baroque orchestra, including strings, oboes, trumpets, and drums. |
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| Handel’s Water Music is a collection of 6 concerti grossi and ripieno concertos. |
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| Handel’s Water Music contains among its movements a French overture, a minuet and trio, and a hornpipe. |
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| 18th century English theaters featured egalitarian seating plans consisting exclusively of curved rows of seats on a sloped floor, similar to that of the Adler theater. |
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| Following the reforms of the early 18th century Italian opera seria became more flexible and creative in its design, incorporating plots that spanned months, comic and heroic characters who travelled among distant locations, freely structured arias, duets, and choruses, and tragic endings, in which the hero and heroine often die |
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| Improbably, orphanages played a key role in training singers, instrumentalists, and composers in Paris. |
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| Name for an English 17th century festive entertainment that emphasized dancing in which both professional performers and court aristocrats participated |
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| The most prominent English composer of the last quarter of the 17th century. |
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| Name for an English entertainment that featured dancing by grotesque and/or comic characters performed between acts of a longer stage work. |
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| Name for an English commemorative work that consists of an instrumental intro followed by a series of arias, duets, and choruses praising the royal family; several of these were written for Queen Mary’s birthdays |
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| q17th century English music still displays these examples of specific musical word painting (using the term loosely) |
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| Handel’s German patron, the Elector of Hanover, became this English king |
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| Type of work for which Handel became most famous; essentially an unstaged sacred opera |
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| Type of recitative accompanied by basso continuo |
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| Name of one of the most prominent castrato singers of the 18th century |
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| Form used most commonly for 17th and early 18th century dances |
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| Name of the composer who helped to make Naples the most prominent operatic seria libretto |
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| Most frequently heard form in the 18th century Italian Opera seria arias |
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| Vocal style falling in between aria and recitative |
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| Quasi-scientific Baroque system for expressing emotions in music |
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| Roman Literacy Academy that reformed and conventionalized the 18th century opera seria libretto |
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| Pluche’s term “musique chantante” referred to the new, lyrically flexible and natural, Italianate styles of music like the galant that appeared in the second quarter of the 18th century. |
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| Louis XIV was an enlightened despot. |
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| Public concerts became more frequent during the last quarter of the 18th century. |
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| Operatic reforms in the 1760s and 1770s involved simplifying plots, reducing conventionality, broadening resources by incorporating ballet and chorus in serious opera, and in general creating a more natural, credible, and emotionally effective style. |
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| The intermezzo was a full-length comic opera involving a large cast, characters from various social classes, and lasting up to three hours; acts of an opera buffa were often performed during its intermissions. |
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| Unlike French opera comique, Italian opera buffa incorporates spoken dialogue instead of recitative. |
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| French opera comique appeared ca 1750 in imitation of imported Italian comic operas performed during the War of the Comedians. |
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| The concert symphony developed out of the operative overture and the 17th century sacred concerto. |
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| A typical mid-18th century symphony had three movements whose tempos were fast-slow-dance |
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| Baroque binary form, end-rhyme binary form, and rounded binary form were sources for late 18th century sonata form. |
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| though it produced a number of important symphonic composers, the Mannheim court orchestra was infamous for its undisciplined, sloppy performing and rowdy behavior during concerts. |
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| In a galant treatment of binary form, each half of the form consists of a single continuous melody. |
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| In end-rhyme-binary form only the last themes of each half of the form correspond. |
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| Sentimentality is an artistic style that emphasizes individual feelings and desires over social conventions and obligations; works in this style feature marriage for love, the importance of family and friends, and aristocratic benevolence. |
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| The quasi-improvisatory nature and personalized communication of Empfindsamkeit was particularly suited to the organ, the preferred instrument for this style. |
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| Intellectually, philosophically, and socially progressive period ca 1725-1775. |
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| Generic term for an aristocrat who embraced progressive 18th century ideas and social reforms. |
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| The most prominent author of opera seria librettos in the 18th century |
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| Light 18th century style characterized by short themes, lively rhythms, major mode, and metrically unaccented cadences. |
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| Composer most associated with reforms of serious opera in Vienna in the 1760s and 70s. |
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| The earliest opere buffe developed in this city |
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| Librettist responsible for making opera buffa a tool of social criticism by engaging substantive political issues and for enlivening its drama by incorporating multisectional ensemble finales. |
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| Most prominent example of English ballad opera ca 1730 |
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| Genre of German art song revived in the mid 18th century in imitation of folksongs |
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| Multi-movement orchestral concert piece |
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| Most prominent symphonist of the Mannheim school |
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| Orchestral effect involving arpeggios performed by strings bowing in unison |
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| Italian keyboard composer and song of the renowned Roman/Neopolitan opera composer |
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| Germanic musical style championed by C.P.E. Bach; equivalent to Sentimentality in the other arts |
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| Son of J.S. Bach who spent most of his career in London |
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| Most prominent English composer |
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| What operas did Purcell write? |
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Dido and Aeneas
Fairy Queen
Midsummer Night’s Dream |
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| What do the English odes consist of? |
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choruses
arias
duets
instrumental intro |
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Form of narrative ballet
spoken play |
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| Handel was prominent in which countries? |
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Hamburg, Germany
Italy
London, England |
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| What is the Handel Werke Verzeichnis? |
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all of Handel’s composed works organized chornologically within categories
(opera, oratorio)
Each work is given a number |
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| What kinds of music did Handel write? |
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Opera
Oratorio
Keyboard and orchestral suites
Concertos |
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| J.S. Bach worked as a music director in which cities? |
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organized works by Bach
genre. NOT CHRONOLOGICALLY |
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| What kinds of Keyboard music did Bach write? |
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chorale preludes
Prelude (toccata / fantasia)
Fugue
Keyboard suites |
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Played on the organ only
Based on the Lutheran chorale
PEDAL POINT! |
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Bach
A book consisting of 24 preludes and fugues in all major and minor keys |
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In a fugue what is….
Subject
Answer
Real Answer
Tonal Answer
Countersubject
Episode |
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Subject- main theme (tonic)
Answer – response in the dominant
Real Answer – literal transposition of subject to dominent
Tonal Answer – answers tonic with dominent
Countersubject – theme that counteracts the subject
Episode – Can be tied to the subject – new developement; new material |
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| What is the galant style? |
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light mood
short, insubstantial thematic ideas
lively rhythm
major mode
metrically unaccented cadences |
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| Comic opera with retexted popular tunes and spoken dialogue |
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| What is another name for early Italian opera? |
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sung throughout
2-3 complete acts
included an intermezzo |
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| What is the French Opera comique? |
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spoken dialogue
musical numbers |
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spoken dialogue
and retexted songs |
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