Muhist Exam 3 People And Terms

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Doctrine of the Affections

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A theory that the passions could be outwardly expressed by aural and visual stimuli and that these stimuli could induce such passions in the audience.

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René Descartes

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French proponent of the Doctrine of the Affections (1596-1650). Said there were six basic ones which could be combined to form others. Also a psychologist (animal spirits), mathematician (Cartesian Plane), and philosopher (cogito ergo sum).

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Charles Le Brun

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French art theorist and painter (1619-1690). Created a gallery of facial expressions and the passions they represented called "Method for Learning How to Draw the Passions"

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prima pratica

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The sixteenth-century codification of vocal polyphony by Zarlino. The music had to follow its own rules and therefore dominated the text. Looks more to the style of Palestrina. Also called the stile antico.

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seconda pratica

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A term coined by Monteverdi which refers to the new rules of music in which the rules of counterpoint could be broken in service of the text. Also called the stile moderno.

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Giovanni Artusi

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Italian music theorist, composer, writer, and reactionary (1540-1613). Remained faithful to his teacher Zarlino, and attacked Monteverdi for the his use of dissonance in the seconda pratica. Wrote L'Artusi, ovvero Delle imperfezioni della moderna musica (1600).

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L'Artusi, ovvero Delle imperfezioni della moderna musica

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Published in 1600 and translated as "The Artusi, or On the imperfections of modern music," this treatise by Giovanni Artusi refutes the seconda pratica as used by Monteverdi.

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Claudio Monteverdi

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Italian composer, gambist, singer, and Roman Catholic priest (1567-1643). Musical revolutionary who championed the seconda pratica. He wrote nine books of madrigals and, famously, the opera L'Orfeo (1607).

Wrote "Cruda Amarilli," L'Orfeo, and L'incoronazione di Poppea.

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basso continuo

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Italian for "continous bass," a style in which the bass line was written, but the player was left to fill in appropriate chords or inner parts.

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figured bass

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Closely associated with basso continuo, this notation style used numbers and accidentals to indicate intervals, chords, and non-chord tones.

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concertato style

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A style of music in which groups of instruments or voices share a melody, usually in alternation. Usually combines voices with instruments that play different parts.

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sacred concerto

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Music in which the church incorporated dramatic elements from opera--a sacred vocal work with instruments

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small sacred concerto

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A sacred instrumental/vocal piece for vocal soloist(s) with organ and one or two violins.

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large sacred concerto

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A sacred instrumental/vocal piece with many voices, often in divided choir.

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Giulio Caccini

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Italian composer, teacher, singer, instrumentalist and writer (1551-1618). One of the founders of the genre of opera and essentially developed the recitative. Was a member of the Florentine Camerata and wrote Le nuove musiche (1602).

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Le nuove musiche

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Published in 1602, a collection of 12 madrigals and 10 arias. Written in the style of the seconda pratica. Includes instruction on different possible ornamentations based on the emotion desired to be conveyed. Written by Giulio Caccini.

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Intermedio

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Musical (or dramatic) performance before, after, and between acts of a play. On pastoral, allegorical, or mythical subjects. Sometimes known as an intermezzo.

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Florentine Camerata

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A group of humanists, musicians, poets, and intellectuals who discussed the sciences and the arts under the hosting of Count Bardi. Notable members included Giulio Caccini and Vincenzo Galilei.

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monody

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A solo vocal line with accompaniment, especially in late sixteenth- and early seventeenth-century Italy.

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opera

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A genre of music unifying writing, music, and drama, using continuous or near-continuous singing. Staged with scenery, costumes, and action. Early examples include Peri's Dafne and Monteverdi's L'Orfeo.

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aria

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A strophic kind of monody in opera. Used to convey the emotional impact of a scene and to contrast with recitatives. Two forms: binary and ternary (da capo).

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recitative

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A through-composed kind of monody in opera. Used to advance the action of a scene and to contrast with arias. Found its origins in the stilo recitativo of Cuccini, but credited to Peri in his L'Euridice.

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arioso

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A style of monody using elements from both aria and recitative--it is melodically similar to the aria, but closer in form and inflections to the recitative. Its rhythmic patterns are closer to speech, and it does not resort to repetition.

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Francesco Cavalli

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Italian composer and organist (1602-1676). One of the main composers of Venetian opera, he was a student of Monteverdi's and an organist and maestro di cappella at St. Mark's.

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Antonio Cesti

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Italian composer, singer, and organist (1623-1669). One of the main composers of Venetian opera, he spent much of his career abroad, including at the Innsbruck Court under Archduke Ferdinand Charles.

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basso ostinato

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A repeating pattern in the bass which continues as the melody above it changes.

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secular cantata

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A secular composition on a lyrical or dramatic text, usually for solo voice with continuo, containing several sections of recitative and aria.

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Barbara Strozzi

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An Italian singer and composer (1619-1677)/ Leading composer of cantatas in the mid-seventeenth century; studied with Cavalli. Published eight volumes of vocal works. One of the most prolific composers of the time.

Wrote "Lagrime mie."

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stile antico

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The sixteenth-century codification of vocal polyphony by Zarlino. The music had to follow its own rules and therefore dominated the text. Looks more to the style of Palestrina. Also called the prima pratica.

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stile moderno

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Refers to the new rules of music in which the rules of counterpoint could be broken in service of the text. Also called the seconda pratica

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Johann Joseph Fux

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Austrian composer, music theorist and pedagogue (1660-1741). Wrote Gradus ad Parnassum ( 725).

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Gradus ad Parnassum

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Published in 1725, a seminal work on counterpoint that codified the neo-/quasi-Palestrina style of polyphony. Written by Johann Fux.

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Alessandro Grandi

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Italian composer (1586-1630). Wrote in the concertato style. Was Monteverdi's student and deputy at St. Mark's. Wrote many solo (also duet, trio) motets. Experimented with extreme emotionalism through chromaticism and ornamentation.

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oratorio

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A large, religious concert piece using orchestra, choir, and soloists to present a story without much interaction between characters and without staging, props, or costumes.

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Giacomi Carissimi

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Italian composer (1605-1674). A member of the Roman School, he was the leading composer of Latin oratorios in the seventeenth century, including Jephte.

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Heinrich Schütz

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German composer and organist (1585-1672). Wrote the first German opera (Dafne in 1627), German psalms, Latin motets, and sacred concertos. Considered the greatest German composer before Bach. Applied Italian approaches to German music and used musical figures to convey the meaning of the text in his pieces.

Wrote Saul, was vergolgst du mich.

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musical figures

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Leaps or dissonances that break the rules of counterpoint but help to convey the meaning of the text. Used heavily by Schütz.

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toccata

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An improvisatory work for keyboard or plucked string instrument that features fast-moving and virtuosic passages. May serve as a prelude to an independent fugue. Frescobaldi was a notable composer of such works.

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Girolamo Frescobaldi

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Italian composer and organist (1583-1643). Prominent composer of toccatas and other keyboard works. Wrote Fiori musicali (1635)

Wrote Toccata No. 3.

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Fiori musicali

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Published in 1635, a collection of three organ masses and two secular capriccios. Portions of it were included in Gradus ad Parnassum. It was written by Frescobaldi.

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fantasia

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An imitative work on a larger scale than a ricercare; an improvisatory piece based on a single subject. Lacks a particular form.

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prelude

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An improvisatory keyboard piece, usually short, used to introduce longer or more complex pieces.

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ricercare

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A serious composition for keyboard, using one subject or theme in continuously developed imitation. Sometimes had a preludial function.