Music History 1 Exam 3

Front 1

The concept of the "Baroque"

Back 1

1. Barroco: an irregularly shaped pearl

2. Baroque was initially a pejorative term for music & art that was thought to be excessively ornate & elaborate.

3. Baoruqe period music: drama, theatricality, passion, & extravagance

Front 2

Concertato medium

Back 2

Mixes instruments and voices (aka concertato style)

Front 3

Basso continuo

Back 3

1. Written out melody/melodies and bass line with figured bass, leaving performers to Fill in the appropriate chords or inner parts.

2. Reflects the new polarity of treble and bass as the essential lines

Front 4

Elements of opera/Aristotle analysis of tragedy

Back 4

1. Plot

2. Ethos/character

3. Verbal expression/thought

4. Mimesis of ideas/"diction"

5. Spectacle

6. Songwriting

Front 5

Opera and Greek tragedy

Back 5

Opera is a "recreation" of the Greek tragedies through elements of monody, chorus (kommos), and dance

Front 6

Chacona

Back 6

1. Lively dance imported to Italy via Spain from Latin America

2. I V vi V

3. Often descending bass line

4. Monteverdi's "Zefiro Torna"

Front 7

Artusi-Monteverdi Controversy

Back 7

1. First v. second practice (ie breaking the rules of counterpoint for word painting)

2. Monteverdi's "Zefiro Torna"

Front 8

Accompanied recitative

Back 8

Used stirring and impressive orchestral outbursts to to dramatize tense situations

Front 9

Prima donna

Back 9

1. Soprano singing the leading female role

2. Demanded the most and best arias

Front 10

Coloratura

Back 10

Brilliant displays of florid ornamentation

Front 11

George Frederic Handel

Back 11

1. Master of all types of vocal and instrumental music

2. Best known for oratorios, a genre he invented, and for his Italian operas

3. First composer to work for the public, enjoyed patronage of the royal family

4. First classical composer to attain permanent role in performing repertoire

Front 12

French v. Italian opera

Back 12

1. French opera: had divertissements; mixed recitative with more tuneful, formally organized airs, choruses, and instrumental interludes. French overture

2. Italian opera: ??

Front 13

Claudio Monteverdi

Back 13

1. Wrote only vocal works: sacred pieces, madrigal, and operas

2. Inventive in creating expressive devices and combining styles and genres to capture feelings and personalities

3. Second practice

4. Wrote one of the first operss in L'orfeo; utilized Peri's recitative; Orfeo's lament "Tu se morta" attains new height of lyricism

Front 14

Early history of opera

Back 14

1. Humanists wanted to generate the ethical effects of ancient music in Greece by creating modern works with equal emotional power (Greek tragedy as a model)

2. Intermedio: musical interlude on a pastoral, allegorical, or mythological subject performed between acts of a play

3. "L'Euridice" by Peri who invented recitative style

Front 15

Jean-Philippe Rameau

Back 15

1. Writings founded the theory of tonal music; wanted to ground the practice of harmony in the laws of acoustics; "Traité de l'harmonie"

2. Operas established him as Lully's most important successor

3. "Hippolyte et Aricie" uses orchestra to mimic storms, waves, lightning, thunder, etc.

Front 16

Arcangelo Corelli

Back 16

1. Left no vocal music; wrote for trio sonata, solo violin sonata, and concerto grosso

2. His teaching was foundation of most 18th century schools of violin playing

3. Organized and led the first orchestras in Italy

4. Emphasized lyricism over virtuosity

Front 17

Louis XIV

Back 17

1. Called himself the "Sun King"; identified with Apollo, Greek sun god and the god of music, learning, science, and the arts; wanted to be seen as chief patron of those fields

2. Centralized power through his court at Versailles

3. Used the arts as symbols of his absolute power

4. Ancien régime: monarchy of France

Front 18

Tragédie en musique

Back 18

1. French opera: mixed French drama with ballet, the French song tradition, and a new form of recitative; "Armide" by Lully

2. Combined serious plots from ancient mythology or chivalric tales with frequent divertissements. Depicted well-ordered, disciplined society. Myth reinforced parallels Louis sought to draw b/w his regime and ancient Greece/Rome

3. Intermingled romance and adventure with adulation of the king, glorification of France, and moral reflection

4. Texts were propagandistic

5. Each opera had a prologue often singing the king's praises literally/allegorically