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25 Cards in this Set

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Bach, St. Matthew Passion
1727, Musical setting based on biblical narrative, For double chorus/orchestra, 'Passion chorale' appears five times, chorus sometimes participates in action, sometimes as Greek chorus commenting on the events
Handel, Messiah
1741, Oratorio with biblical topics, Uses English rather than Latin or Italian, alternates chorus, arias, and recitative, Alternates fugal sections with solid bocks of harmony
Lully, Armide
1687, established the form of the French overture, wrote recitatives well suited to the French language, and set the style for French opera, serious plots on mythological themes, tragédies lyriques
Monteverdi, L'Orfeo
1607, 5 act drama using large orchestra playing introductory toccata and ritornellos, patterned after Florence Euridice operas
Purcell, Dido and Aeneas
1689, Opera in minature, Orchestra consists of strings continuo, Uses French overture, Homophonic choruses in dance rhythms
Rameau, Traite de l'harmonie
1722, Explication of triadic harmony, Triadic harmony redefines dissonance, Dissonant tones become non-triadic notes
Vivaldi, Op. 3 Concerti (L'estro armonico)
1711, Vivaldi's first publ. collection of concertos, Demonstrates new techniques, Distinct musical forms, Vigorous rhythm, Idiomatic solo writing
Corelli, Concerti grossi, op. 6
1712-14, Earliest examples of the genre, exploits the solo/tutti contrast, Features contrasting sonorities, A small ensemble of solo instruments set against a large ensemble, Concertino: 'small' ensemble in the concerto grosso, Tutti, ripieno (full) the large ensemble,
Carissimi, Jephte
1650, Latin libretto/oratorio based on the book of Judges, Utilizes a testo (or narrator), Action in oratorio was narrated, not acted out
Bach, Wachet auf, ruft uns die Stimme
1718, chorale prelude in trio style
Handel, Giulio Cesare
1724, Italian opera written for Royal Academy of Music, intended to present opera to London public
Artusi, L'Artusi, overo Delle imperfettioni della moderna musica
1600, on the imperfections of modern music, attacked the "crudities" and "license" shown in the works of Monteverdi
Caccini, L'Euridice
1600, initial experiment with modern opera, Greek idea of power of music on affect, style based on the old improvised air for singing poetry and on the madrigal
Schutz, Psalmen Davids
1629, modern style compared to stile antico, Basso continuo, Concertato medium, Multiple choirs and groups of solo voices and instruments
Bach, The Art of the Fugue
1748, systematic demonstration and summary of all types of fugal writing, All based on the same subject or one of its transformations, Arranged in a general order of increasingly complexity and abstraction
Schutz, Symphonae sacrae I
1629, for small combinations of voices and instruments, strongly influenced by Monteverdi and Grandi
Frescobaldi, Toccate, Book I
1615, consists of twelve toccatas, Improvisatory Compositions, describes his intended manner of performance, virtuosic figurations
Muffat, Florilegium
1695, Early collections of orchestral suites, The second part includes an essay with much information illustrated by musical examples of bowing and playing of agrements
Handel, Rinaldo
1711, was the first opera Handel produced for London and the first Italian opera composed specifically for the London stage.
Schein, Banchetto musicale
1617, Musical Banquet, Collection of suites, Varied melodic idea recurs in every dance, 20 suites in five parts (each followes the same pattern)
Monteverdi, L'incoronazione di Poppea
1642, Monteverdi's masterpiece, opera with Smaller orchestra and scenic apparatus than Orfeo, Most advanced depiction of emotion and characterization to date
Schutz, Saul, Saul,wasverfolgst du mich?
Symphonae Sacrae
Caccini, Le nuove musiche
1602, The New Music, Collection of Caccini's airs and madrigals, Musical style uses a strongly declamatory style
Grandi, O quam tu pulchra es
1625, Contemporary of Monteverdi's notable for his sacred compositions, based on psalm of songs, Italian motet
Cavalli, Giasone
1649, most famous work, Scenes with alternating recit. and arias, opera, pupil of Monteverdi