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47 Cards in this Set
- Front
- Back
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Henry Purcell
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-English
-incorporated Italian and French stylistic elements but devised a peculiarly English style -The quantity of his instrumental chamber music is minimal after his early career, and his keyboard music consists of an even more minima number of harpsichord suites and organ pieces |
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Arcangelo Corelli
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-Italian
-composer & violinist -major success gained in Paris -style of execution introduced by Corelli was of vital importance for the development of violin playing -Corelli's violin parts very rarely proceed above D on the highest string; sometimes reaching the E in fourth position on the highest string. -His compositions are distinguished by a beautiful flow of melody and by a mannerly treatment of the accompanying parts, which he is justly said to have liberated from the strict rules of counterpoint -concerti gorossis very popular in western culture |
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Antonio Vivaldi
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-venetian priest, composer, and a famous virtuoso violinist
-born in Venice -was in Milan 1721 -performed his opera in rome (1722) -went back to Venice (1725) -same period where 4 seasons were written |
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George Fredric Handel
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-English composer of German birth
-famous for his operas, oratorios and conerti grossi -life and music 'cosmopolitan': born in Germany, trained in Italy, spent most of his life in England -strongly influenced by the techniques of the great composers of the Italian Baroque era, & Henry Purcell -Handel's music became well known to many composers including Haydn, Mozart, and Beethoven |
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Johann Sebastian Bach
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-German
-Composer and organist -Sacred & secular works of choir, orchestra and solo instruments -enriched the prevailing German style with a robust contrapuntal technique -works considered ‘old style’ especially at the end of Baroque -took a job as a organist at a church in Arnstadt where he could play in a wide range of keys on a new organ tuned in a modern system; he composed a lot of preludes here -became court organist and concertmaster at the ducal court Weimer; start of sustained composition of keyboard and orchestral works -from the music of Italian composers like Vivaldi and Corelli, Bach learnt how to write dramatic openings and adopted their sunny dispositions, dynamic motor-rhythms and decisive harmonic schemes -master of contrapuntal technique and fugues began in Weimer |
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Allamande
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in quadruple meter at a moderate tempo; often the first movement of the Baroque suite; German
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Courante
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French Baroque dance, a standard movement of the suite in triple meter at a moderate tempo
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Sarabande
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stately Spanish Baroque dance type in triple meter, a standard movement of the Baroque suite; 2nd and 3rd beat= often tied
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Gigue (Jig)
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popular English Baroque dance type, a standard movement of the Baroque suite, in lively 6/8 or 6/4; dotted rhythm
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Suite
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Multi- movement work made up of a series of contrasting dance movements, generally all in the same key
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Dance Suite:
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-Allamande
-Courante -Sarabande -Jig |
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Overture
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what the suite sometimes opened with
suite might include other a variety of other brief pieces with attractive titles (from the French ouverture, meaning opening) in music is the instrumental introduction to a dramatic, choral or, occasionally, instrumental composition. |
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French Overture
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consists of a slow introduction in a marked "dotted rhythm" (i.e. exaggerated iambic, if the first chord is disregarded), followed by a lively movement in fugato style
The overture was frequently followed by a series of dance tunes This ouverture style was also used in English opera Its distinctive rhythmic profile and function thus led to the French ouverture style as found in the works of late Baroque composers The style is most often used in preludes to suites, and can be found in non-staged vocal works such as cantatas |
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Italian Overture
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Its usual form is in three generally homophonic movements: fast–slow–fast. The opening movement was normally in duple metre and in a major key; the slow movement in earlier examples was usually quite short, and could be in a contrasting key; the concluding movement was dance-like, most often with rhythms of the gigue or minuet, and returned to the key of the opening section
As the form evolved, the first movement often incorporated fanfare-like elements and took on the pattern of so-called "sonatina form" (sonata form without a development section), and the slow section became more extended and lyrical Italian overtures were often detached from their operas and played as independent concert pieces. In this context, they became important in the early history of the symphony |
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gavotte
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duple meter Baroque dance type of a pastoral character
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bourree
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lively French Baroque dance type in duple meter
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passepied
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French Baroque court dance type; a faster version of the minuet
*variety of optional numbers inserted between dances |
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rondo
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Musical form in which the first section recurs, usually in the tonic. In the classical sonata cycle, it appears as the last movement in arious forms including A-B-A-B-A, A-B-A-B-C, A-B-A-C-A-B-A
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binary form
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consisting of two sections of approximately equal length, each being rounded off by a cadence.
standard form of each piece in the suite first part usually moved from the home key (tonic) to a contrasting key (dominant) second part made the corresponding move back two parts often used closely related melodic material form apparent by modulation and the full stop at the end of the first part rule- each part repeated -> A-A-B-B |
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sonatas da camera
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(chamber sonata) Baroque chamber sonata, usually a suite of stylized dances
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sonatas da chiesa
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(church sonata) Baroque instrumental work intended for performance in church; in four movements, frequently arranged slow- fast- slow- fast
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tri sonata
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Baroque chamber sonata written in three parts: two melody lines and the basso continuo; requires a total of 4 performers to perform
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passacaglia
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Baroque form in moderately slow triple meter, based on a short, repeated bass- line melody that serves as the basis for continuous variation in the other voices
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chaconne
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Baroque form in which the variations are based on repeated chord progression
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chorale prelude
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short Baroque organ piece in which a traditional chorale melody is embellished
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chorale variations
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Baroque organ piece in which a chorale is the basis for a set of variations
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prelude
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instrumental work intended to precede a larger work
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fugue
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Polyphonic form popular in the Baroque era in which one or more themes are developed by imitative counterpoint
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subject
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main idea or theme of a work, as in fugue
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answer
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second entry of the subject in a fugue, usually pitched a fourth below or a fifth above the subject
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countersubject
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in a fugue, a secondary theme heard against the subject; a contertheme
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episode
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Interlude or intermediate section in the Baroque fugue, which serves as an area of relaxation between statements of the subject
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stretto
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the theme is imitated in close succession
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fugato
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A fugal passage in a non-fugal piece, such as in the development section of a sonata- allegro form
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basso continuo
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bass part performed by 2 instruments- string/ brass & harpsichord
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figured bass
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shortened notation of a harmony; chords created from improvisation
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castrato
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artificial male soprano or alto who dominated the operatic scene of the early eighteenth century; advance in vocal virtuosity encouraged by this. was abolished after the French Revolution
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doctrine of affections
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related to the union of music and poetry
building an entire piece or movement (even instrumental music) on a single emotion |
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ritornello
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passage that returned again and agin in the manner of a refrain
Ground Bass: short phrase repeated over and over in the lower voice while the upper voice pursue their independent course |
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opera in FRANCE
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tragedie lyrique: colorful, sumptuous dance scenes and spectacular choruses in tales of courtly love and heroic adventure
*Jean- Baptiste Lully Louis XIV |
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opera in ENGLAND
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-Since the dramatic tradition in England was much stronger than the operatic, it was inevitable that spoken word took precedence over the sung.
-First great English opera: Dido and Aeneas |
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cantata
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work of vocalists, chorus, and instrumentalists based on a poetic narrative of a lyric or dramatic nature
short and intimate consisting of several movements including recitatives, arias, and ensemble numbers can be based on both secular or sacred but mostly sacred sacred cantata was an integral part of the church service related, along with the sermon and prayers that followed it |
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oratorio
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large musical composition including an orchestra, a choir, and soloists
usually contain: -An overture, for instruments alone -Various arias, sung by the vocal soloists -Recitative, usually employed to advance the plot -Choruses, often monumental and meant to convey a sense of glory. Frequently the instruments for oratorio choruses include timpani and trumpets |
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chorale
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hymn tune, specifically one associated with German Protestantism; served as the battle hymns of the Reformation
*Martin Luther: created the first chorales; adopted a number of tunes from Gregorian chant -melody put in soprano -clear cut melody supported by chords (homophonic texture) -reflected the faith of a nation -came to full flower in the art of Bach |
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da capo aria
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performer is to go back to the beginning and repeat the first section freely elaborating it with ornamentation
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aria
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lyric song for solo voice with orchestra accompaniment, generally expressing intense emotion; found in opera, cantata, oratorio
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stile rapprasantativo
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consisted of melody that moved freely over a foundation of simple chords
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