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| a piece for several solo voices (4 or 5) that sets a vernacular poem to music about love; most important genre in Renaissance; began in Italy and made its way to England |
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| a slow, gliding dance in duple meter performed by couples holding hands |
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| fast, leaping dance in triple meter |
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| practice of depicting text by means of descriptive musical gesture. music follows words |
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| requires union of music, drama, scenery, costumes, and dance; “opera drammatica in musica” |
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| text of an opera; writer of text of opera; poet with the composer |
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| musically heightened speech, through which the plot of the opera is communicated to the audience |
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| more passionate, more expansive, and more tuneful than recitative. conveys what a character feels |
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| sound; a type of instrumental chamber music for the home with just one player per part. written for solo instrument accompanied by basso continuo; has 3-4 movements; BAROQUE PERIOD! |
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| 3 solo instruments; 2 instruments and basso continuo. so has 4 players |
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| musical composition marked by friendly contest between soloist and an orchestra. has 3 movements |
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| small group of soloists (2 or more) work together performing as a unit against the full orchestra |
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| the group of instruments that function as soloists in the concerto grosso |
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| something sung in an oratory (hall or chapel used specifically for prayer and prayer with music). no decorations, cheap, unstaged opera with a religious feel |
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| sung; multimovement sacred work including arias, ariosos, recitatives, performed by vocal soloists, a chorus, and a small accompanying orchestra. Important to the Lutheran Church |
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| a composition of 2-5 parts played or sung by voices or instruments, which begins with a presentation of a subject in imitation in each part (exposition), continues with modulating passages of free counterpoint (episodes) and further appearances of the subject, and ends with a strong affirmation of the tonic key; polyphonic composition with subject imitated |
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| form in a Baroque concerto grosso in which all or part of the main theme – the ritornello- returns again and again invariably played by the tutti or full orchestra |
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| the full orchestra/ full performing force |
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| latin for “work”; the term adopted by composers to enumerate and identify their compositions |
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| name given to early polyphony of Western Church from the 9th – 13th centuries. first type of polyphonic music; 4 voices |
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| figured bass / basso continuo |
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| a small ensemble of atleast 2 instrumentalists who provide a foundation for the melody or melodies above; heard mostly in the Baroque; usually 2 people. Ex: harpsichord and bass instrument like cello or theorbo |
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| an accompaniment that repeats itself over and over again |
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| one note consecutively repeated |
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| greatest composer of the fugue |
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| chief texture of Medieval |
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| beginning of secular song in Medieval; monophonic; poet and musician |
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| musical ensemble of singers |
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| first type of polyphonic music; in the Medieval |
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| choral music and instrumental music |
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| types of music during the Renaissance |
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| predecessor to the guitar; plucked |
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| chief texture of the Renaissance |
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| the sharp, abrupt dynamic contrasts found in the music of the Baroque era; practice of shifting the volume of sound suddenly from 1 level to another |
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| which instruments develop during the Baroque? |
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| first movement of concerto grosso normally in what form? |
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red-haired priest
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Hospice of Mercy
Venice
wrote 50 operas $$
450 of solo concertos — “Opus 8”
The Seasons — Spring
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studied the greats of his time
best organist; fav instrument
greatest fugue writer
comes from musical family
organist to a court in 1708
Germany
cantor of St Thomas in Leipzig from 1723-50
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| instrument most used in the fugue |
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from Halle Germany
father wanted him to study law
at 18 left for Hamburg became 2nd violinist in opera
In Florence and Venice wrote operas
Rome wrote cantatas
London wrote oratorios $$ cheaper, Eng loved, Puritan vals
Water Music — played on Thames for royal cruises
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born in Cremona, moved to Mantua
many musical talents
maestro di cappella at St. Marks in Venice
1st great composer of opera
1st opera — Orfeo
made use of Aria
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| two main styles of singing in the Baroque operas |
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| Kyrie of Messe de Nostre Dame |
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| As Vesta Was from Latmos Hill Descending |
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| Orfeo Act III “Possente spirto” |
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| Violin Concerto in E major (the “Spring”), I |
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| Brandenburg Concerto No. 5, I |
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| Water Music, Minuet and Trio |
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| Messiah “He shall feed his flock” |
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| most important genre in the Baroque |
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| driving force of concerto grosso |
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