Mh Ii 1

Front 1

Baroque

Back 1

deformed pearl

Front 2

patronage

Back 2

arts created fro courts(elite only) and the church(open to everyone)

Front 3

late renaissance

Back 3

foreshadows baroque music

Front 4

Claudio Monteverdi

Back 4

brought on transition to baroque music, emphasis on affection and tonic dominant relationships

Front 5

Giovanni Artusi

Back 5

disliked monteverdi

Front 6

Prima practica
Seconda Practica

Back 6

old way of writing music, counterpoint
new style of music

Front 7

affections

Back 7

goal of the composer to express a wide range of emotions and feelings

Front 8

rhythms

Back 8

became regular and free

Front 9

basso continuo

Back 9

bass line is performed by one or more players who add chords above the line using established set of principles often notated by figured bass

Front 10

figured bass

Back 10

system of shorthand notation for keyboard players

Front 11

realization

Back 11

writing out of figured bass numbers

Front 12

continuo

Back 12

usually played by two people, one plays the realized chords,while the other reinforces the bass

Front 13

dissonance

Back 13

anything not part of the chord

Front 14

chromaticism

Back 14

use of chromatic scales and inflections

Front 15

major-minor tonalities

Back 15

set of extremes

Front 16

opera

Back 16

combines text, scenery, drama, and music

Front 17

intermedi or intermezzi

Back 17

intermission, mini musical within a play

Front 18

madrigal cycles

Back 18

tied madrigals together to form a story

Front 19

pastoral

Back 19

italian dram which tells of fairytales

Front 20

ancient greek tragedies

Back 20

idealized drama of late renaissance with the notion of setting an entire play to music

Front 21

florentine camerata

Back 21

responsible for the creation or popularism of opera

Front 22

First opera

Back 22

Dafne, Jacopo Peri

Front 23

monody

Back 23

single melodic part instead of a colloboration of various parts

Front 24

stile recitativo

Back 24

type of melody which is half sung and half spoken with a simple chordal accompaniment

Front 25

Euridice

Back 25

opera composed for marriage of henry IV and maridice

Front 26

Antonio Cesti

Back 26

started bel canto

Front 27

bel canto

Back 27

beautiful singing, smooth style of singing with diatonic lines and easy rhythms which is gratifying to the singing

Front 28

vocal chamber music

Back 28

could be performed at home

Front 29

concertato medium

Back 29

joining instrumentalists and vocalists as a unified and contrasting ensemble

Front 30

aria

Back 30

accompanied solo song usually with some length or complexity as found in an opera, oratorio, or contata

Front 31

contata

Back 31

short piece, basso continuo accampinement, based on a secular text

Front 32

polychoral motets

Back 32

ensemble divided into 2-3 groups performing singlely as well as jointly together

Front 33

grand concertos

Back 33

work for massive groups of instruments and singers with text; not staged

Front 34

oratorio

Back 34

not opera because
1.)biblical
2.)not staged
3.)emphasis on the choruses

Front 35

Jean baptiste lully

Back 35

italian composer

Front 36

recitatif simple
recitatif measure

Back 36

more like aria
steady beat

Front 37

sonata

Back 37

piece that is same form as conzona, only with solo melodic instrument as well and a basso continuo

Front 38

tocata

Back 38

improvisitory piece for keyboard

Front 39

recitativo secco
recitativo accompaynota

Back 39

just basso continuo
full orchestra

Front 40

ricercare

Back 40

brief serious composition for keyboard, in which one theme alone is continually developed in imitation

Front 41

canzona

Back 41

instrumental piece in several contrasting sections, each on different theme and fugal imitation

Front 42

variations

Back 42

presenting of theme followed by a variation of that theme

Front 43

veuns and adonis

Back 43

john blow

Front 44

singspiel

Back 44

sung play or opera, with songs and spoken dialogue

Front 45

secular contata

Back 45

short work about 15 minutes alternating recitative and arias with basso continuo

Front 46

fugue

Back 46

evolved from tocatta
dux=leader
follower=comes

Front 47

equal temperment

Back 47

tuning in 1/2 steps

Front 48

chorale prelude

Back 48

organ arrangement of the chorale played before the choir sings the chorale

Front 49

suites

Back 49

allemande-fast dance
courante-hemiola feel
sarabande-slow dance
gigue-lively, triplets

Front 50

french opera overture

Back 50

1. slow introduction with double dot rhythm
2. fast canzona type section