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10 Cards in this Set
- Front
- Back
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Enlightenment |
Early 18th century system of thought that resisted much traditional authority, aristocratic privilege, and the outworn rituals of the church resulting in freedom of the arts, a faith in the value of human instincts and natural feelings, and a belief that the common man should be exposed to as much culture and education as he could absorb |
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Classical music |
Public concerts arose, nationalistic style elements lost appeal resulting in universal elements, music avoided complications of structure and texture, becoming simpler through minimal use of counterpoint, no great demands on the listener, sweet timbre, subtle dynamics, falsetto favored, minimum vibrato, Pitch A420 but varied as much as a 3rd in some locations, limited or avoided ornamentation, soft and sweet, castrati, sturm und drang, give and take, crescendo and decrescendo |
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Rococo |
Pre-classical style (1725-80) in the arts that emerged in France (style galant) in which the ornamental becomes an end in itself; in music, highly ornamented melodies dominate a rather simple harmonic structure, in Germany (empfindsamer Stil or "sensitive style), basso continuo abandoned so more weight to inner parts to employ a degree of restraint and control |
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Franz Joseph Haydn |
(1732-1809) Austrian composer, would have been castrati but missed cut off date, kicked out of boy choir, lived in Vienna, worked for Esterházy family from 1766 until 1790, 14 masses, 3 oratorios, 1 Passion, 1 cantata, about 20 smaller works like Te Deums and Offertories, 40+ canons: Late masses (1796-1802): Heiligmesse Paukenmesse (Wartime) Nelsonmesse (Lord Nelson) Theresienmesse (Theresien) Schöpfungsmesse (Creation) Harmoniemesse (Wind-band Mass) |
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Wolfgang Amadeus Mozart |
(1756-1791) Austrian composer, child prodigy, well traveled and exposed to all styles western Europe had to offer, broad range of expressiveness, formal balance, and perfection of details, 18 masses, operas, one Requiem mass, 2 vespers, 4 litanies, 20 motets, 1 oratorio, 7 cantatas, brought the Mass text unto agreement with the requirements of musical form more than any composer before him |
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Ludwig van Beethoven |
(1770-1827) German composer who lives in Vienna most of his life and wrote 2 masses, 1 oratorio, several cantatas, 2 orchestral works with large choral sections or movements, and a few miscellaneous works, mostly instrumental works; extreme and abrupt dynamic changes (ff-p), extreme ranges |
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Luigi Cherubini |
(1760-1842) Italian composer, spent time in England and France (mostly), highly esteemed as opera composer, wrote 2 Requiems |
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Orchestra |
Woodwinds: 2 flutes 2 oboes 2 clarinets (inv. 1700, appear 1720) 2 bassoons Brass: 2 horns 2 trumpets Trombone (colla parte) Percussion: 2 timpani Keyboard: Harpsichord phased out after 1750s Piano for concerto Strings: 12, 10, 8, 8, 6 Strings (2x compared to singers) tempo set by principal voilinist or kybd player, 1720's conductor with baton, overall wind parts were doubled or tripled according to the number of strings |
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William Billings |
(1746-1800) American composer, I am the Rose of Sharon |
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Examples |
Large form: Haydn The Creation, Late masses: Heiligmesse, Paukenmessa, Nelsonmesse, Theresienmesse, Shöpfungsmesse, Harmoniemesse, Mozart Requiem Mid-major: Mozart Mass in C, 2 Vespers, Bruckner Te Deum Small form: Mozart Ave Verum Corpus (motet), Billings I am the Rose of Sharon (anthem)
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