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35 Cards in this Set
- Front
- Back
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Seconda prattica |
A.k.a. Stile moderno (Monteverdi) text dominates music, clarity of text, contrast, melody and bass, controlled dissonance, barlines |
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Prima prattica |
A.k.a. Stile antico, (old style) music dominates text (Renaissance) |
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Basso continuo |
Texture consisting of melody and bass line, in performance it was understood that a series of chords were constructed on bass notes to provide harmonic support for the melody; bass instruments that can sustain = cello, bass, bassoon, trombone; chords = lute, theorbo, keyboard instrument (realize figured bass) |
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Florentine Camerata |
Around 1580, a group of noblemen, poets, and musicians met in Florence to set aesthetic principles and musical examples of a new kind of music that gave rise to new style in 17th century |
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Concertato |
Italian Genre that includes instruments and voices with short phrases heard alternately in the various sections of the ensemble, in essence competing with each other |
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Recitative |
Speech inflection in music, freely accompanied, unmetered |
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Bel canto |
Beautiful singing |
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Jean Philippe Rameau |
(1683-1764) French composer and Theorist who wrote a theoretical basis in 1722 explaining and justifying what was happening in music, Cantatas, 4 motet collections, operas |
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Claudio Monteverdi |
(1567-1643) wrote first opera, Orfeo, named chapelmaster at St. Marks in Venice in 1613 until he died, helped develop the new Baroque style |
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Cantata mass |
Mass broken into smaller sections, a.k.a. Concertato mass |
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Jean-Baptiste Lully |
(1643-1715) Italian composer but worked in France for King Louis XIV, dominate figure in the development of French opera (16), concertato style
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Thirty Years War |
(1618-1648) German religious and political wars further reduced the areas in which Catholic music could flourish, mass compositions in Europe greatly lessened |
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Heinrich Schütz |
(1585-1672) one of the most significant composers in German music, studied with G. Gabrieli, lived through 30 years war, Lutheran, contrast vocal colors (texture), master of counterpoint, close imitation, melismas, motivic manipulation, spiritual tone, mediant modulations, advanced harmonies, great at adapting melodies to properly accent language, Psalms of David, Sacred Choral Music (29 German New Test, settings), Seven Last Words |
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Giacomo Carissimi |
(1605-1674) first major composer of oratorios (biblical figure set in dramatic form), 15 in Latin |
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Dietrich Buxtehude |
(1637-1707) born in Denmark but German parents, in 1673 he instituted a series of Abendmusiken (evening concerts) which became famous in Germany, Bach and Handel attended, he composed multi movement motets, 3 cantatas ex. Jesu, meine Freude |
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Johann Sebastian Bach |
(1685-1750) German composer of works of highest order, logic, and expressive power, Weimar 1708, Cöthen 1717, Leipzig 1723, 7 motets, 300+ Cantatas (200 surviving), 1 magnificat, 5 masses (modifications of his cantatas) ex. B minor mass (cantata mass 25 movements), 5 oratorios including 2 passions, numerous chorale arrangements |
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Marc Antoine Charpentier |
(1634-1704) French composer studied with Carissimi, 100 motets hymns, psalm settings, 30+ oratorios (established model), Te duem (5 soloists), Midnight Mass for Christmas |
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Henry Purcell |
(1659-1695) most prominent English composer of 17th century, opera, anthems, te deum in English (contains choral recitative), magnificat in English |
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George Frideric Handel |
(1685-1756) German composer, moved to London, operas, about 21 oratorios (pioneered the concert hall oratorio - dramatic choir reactions), 4 Coronation Anthems, 11 Chandos Anthems, te deums, assimilated various styles to create individual style, 1 passion |
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Anthem |
Began with composers like Tallis, Byrd, and Gibbons then continued with outstanding composers like Purcell (verse anthem) and Handel (Chandos anthems). Purcell developed style in which melodic grace in solo passages distinguished by imaginative use of instrumental accompaniment contrasted with great sonority in choral sections. Full anthems either contrapuntal, chordal, or mixed textures, predominantly tonal |
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Cantata |
1620 Italy, referred to as "sung piece", in late Baroque a choral form roughly parallel gradually emerged=chorale cantata, typically set for soloists, choir, and orchestra and often included a Lutheran chorale, eventually instrumental intro, several movements set variously as arias, recitative, duets, choruses and a stanza of a chorale, (Bach greatest cantata composer 300+, 200 preserved) |
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Antonio Lotti |
(1667-1740) Italian composer whose masses bridged the gap between old contrapuntal style of 16th century and the dramatic, agitated, and opera-influenced style of 17th century, repetition (sequence), tonal harmonies, 4 measure phrases |
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Johann Joseph Fux |
(1660-1741) contrapuntalist, author of Gradus ad Parnassum 1725 = rules of species counterpoint |
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George Philipp Telemann |
(1681-1767) prolific German composer 46 passions (20 surviving), operas (superficial), 100 cantatas, 8 oratorios, 20 masses, 9 collections of Psalms and motets |
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Alessandro Scarlatti |
(1660-1725) Italian composer 20+ oratorios, introduced da capo aria |
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Johann Adolph Hasse |
(1699-1783) German composer, one of the foremost opera composers, 10 oratorios, 10 masses, focusing on effectiveness in performance |
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Adrian Batten |
(1591-1637) English Early Baroque composer, Anglican, verse anthem, O Sing Joyfully |
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Antonio Lotti |
(1667-1740) Italian composer, transitional, acappella vocal music sounds like written earlier, Crucifixis |
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Baroque Orchestra |
Woodwinds: 2 flutes 2 oboes 2 bassoons Brass: Christmas or high feast days 2 horns 2 trumpets Keyboard: Harpsichord and/or Organ Strings: 6, 6, 4, 2, 1 Theorbo or Lute |
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Barbara Strozzi |
(1619-1677) Italian female composer, secular vocal music |
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Giuseppe Pitoni |
(1657-1743) Italian composer, 270 masses, 235 motets |
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Antonio Vivaldi |
(1678-1741) Italian composer, "Red priest," virtuoso violinist, worked at orphanage, large number of his music is for women's voices, deeply influenced Bach, Gloria, Beatis Vir, Credo |
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Giovanni Battista Pergolesi |
(1710-1736) Italian composer, more like Classical composer, moving things along, Magnificat (possibly Durante) |
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Giacomo Carissimi |
(c.1605-1674) Italian, developed Latin oratorio, adopted Monteverdi's operatic idiom for the purpose of sacred drama, taught A. Scarlatti and Charpentier (who introduced oratorio to France) |
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Examples |
Large form: Monteverdi Vespers of 1610, Bach B Minor Mass, Handel Messiah Mid-major: Schütz Musikalische Exequien (1st Protestant Requiem), Bach Cantata 80 Ein Feste Burg, Handel 4 Coronation Anthems Small form: Monteverdi Cruda Amarilli, Teleman Laudate Jehovam, Blow Let Thy Hand Be Strengthened |
