Aafinal Music History Ch. 17

Front 1

In Italy, musical influences were ______. In Germany, influences were ______.

Back 1

mostly native; drawn from French and Italian styles and added to German styles

Front 2

center for music development in Italy

Back 2

Northern Italy

Front 3

center for opera in Italy

Back 3

Venice

Front 4

important vehicles that allowed display of superstar singers

Back 4

aria

Front 5

da capo aria

Back 5

opportunity for embillishment; repeat to beginning after the second section forming an ABA form

Front 6

A section of da capo aria; B section of da capo aria

Back 6

small two-part form with two different settings of the same text; new key and new mode to reflect change of emotion

Front 7

serenata

Back 7

semidramatic piece, midway between cantata and opera; for small orchestra and several singers

Front 8

Alessandro Scarlatti

Back 8

over six hundred cantatas

Front 9

center for cantata composition

Back 9

Rome

Front 10

Neopolitan sixth

Back 10

Scarlatti; chromatically altered chord, a first-inversion on the flatted 2nd degree

Front 11

Alessandro Stradella

Back 11

composer of serenata

Front 12

oratorio in Italy

Back 12

became substitute for operas when theaters were closed for Lent; text in Italian; division in middle left time for sermon or intermission

Front 13

great violin makers of Cremona

Back 13

Amati, Stradivari,Guarneri

Front 14

center for instrumental music in Italy

Back 14

San Petronio

Front 15

composed some of the first sonatas for trumpet

Back 15

Cazzati

Front 16

two types of sonatas in Italy

Back 16

sonata da camera (chamber sonata) and sonata da chiesa (church sontata)

Front 17

sonata da camera

Back 17

series of stylized dances often beginning with a prelude

Front 18

sonata da chiesa

Back 18

abstract movements, often including one or more dance movements

Front 19

most common instrumentation for Italian chamber music

Back 19

trio sonata: two treble instruments (violins) with basso continuo (cello, with harpschord, organ or lute)

Front 20

Arcangelo Corelli was trained in ______ and active in _______

Back 20

Bologna, Rome

Front 21

four movements of Corelli's trio sonatas

Back 21

slow: solemn, contrapuntal
fast: fugal, bassline is a full participant
slow: operatic duet in triple meter
fast: binary form with dancelike character

Front 22

Corelli's chamber sonatas

Back 22

opening movement is usually a prelude; bass line is accompaniment in fast movements, dance movements are in binary form

Front 23

Corelli's solo sonatas

Back 23

virtuosic, doublestops, runs, arpeggios, cadenzas

Front 24

walking bass

Back 24

steadily moving pattern of 8th notes, utilized in Corelli's trio sonatas

Front 25

first major composer whose reputation rests exclusively on instrumental music and the first to create instrumental works that became classics

Back 25

Corelli

Front 26

instrumental concerto

Back 26

united two contrasting forces into harmonious whole

Front 27

three types of concertos

Back 27

orchestral concerto, concerto grosso, solo concerto

Front 28

orchestral concerto

Back 28

first violin and bass emphasized

Front 29

concerto grosso

Back 29

favored in Rome, small solo group (concertino) against a large group (concerto grosso); concertino group usually two violins with basso continuo

Front 30

solo concerto

Back 30

solo instrument (violin) with large group (string orchestra)

Front 31

first violin concertos published by ____

Back 31

Giuseppe Torelli

Front 32

Stadtpfeifer

Back 32

town pipers; employed by most cities in Germany; jack of all trades; won their post through audition or family connections

Front 33

Turmsonaten

Back 33

tower sonatas; choales or sonatas played daily on wind instruments from the tower of the town hall or church

Front 34

collegium musicum

Back 34

asssociation of amateurs from middle class; played and sang tgether for own pleasure or gathered to hear pros in private performance

Front 35

first opera house in Germany

Back 35

Hamburg

Front 36

foremost and most prolific composer of the early German opera

Back 36

Reinhard Keiser

Front 37

most notable song and cantata composer of Germany, arias mostly strophic melodies with short, five-part orchestra ritornellos

Back 37

Adam Krieger of Desden

Front 38

orthodox view vs. pietists

Back 38

Lutheran dispute; all available resources vs. simpler music for private devotion

Front 39

most influental Luterhan songbook

Back 39

Johann Cruger's Practice of Piety in Song (Praxis pietatis melica)

Front 40

Lutheran sacred concerto

Back 40

arias in Italian style set to nonbiblical texts; usually called cantatas today

Front 41

Where did Dieterich Buxtehude work?

Back 41

Elsinore, then St. Mary's Church in Lubeck

Front 42

Abendmusiken

Back 42

public concerts of sacred vocal music that Buxtehude gave

Front 43

Schnitger and Silbermann

Back 43

best known organ builders

Front 44

Hauptwerk, Ruckpositiv, Rustwerk, Oberwerk

Back 44

Hauptwerk: Great organ, high above the player; Ruckpositiv: outside of choir balcony rail behind the organist's back; Rustwerk: above the music rack in front of the player; Oberwerk: high above the Great

Front 45

series of short sections in free style alternating with longer ones in imitative counterpoint

Back 45

toccatas and preludes

Front 46

fugue

Back 46

imitative counterpoint pieces; separate pieces rather than sections within preludes

Front 47

exposition

Back 47

set of entries of the subject/theme

Front 48

answer

Back 48

second entrance of the subject, contrasts with first in tonic-dominant relationship

Front 49

episodes

Back 49

periods of free counterpoint between statements of the subject

Front 50

chorale prelude

Back 50

short piece in which entire melody is presented just once in readily recognizable form; single variation on a chorale

Front 51

most famous German sonatas

Back 51

Heinrich Biber's Mystery Sonatas for Violin

Front 52

twelve sonatas that surpassed all other in technical brilliance

Back 52

Walther's Scherzi

Front 53

scordatura

Back 53

unusual tuning of strings by Biber

Front 54

first keyboard sonatas

Back 54

Kunau's Fresh Keyboard Fruits

Front 55

German styles adopted from Italy

Back 55

opera, da capo aria, trio sonata, solo violin sonata, concerto

Front 56

German styles adopted from France

Back 56

suites for keyboard and orchestra