Music History Final

Front 1

Monody

Back 1

1. An accompanied solo song.

2. The musical texture of solo singing accompanied one or more instruments.

Front 2

Da capo aria

Back 2

Italian, from the head.

Aria form with two sections. The first section is repeated after the second section's close which carries the instruction da capo, creating an ABA form.

Front 3

Basso continuo

Back 3

Italian, continuous bass.

1. System of notation and performance practice used in the Baroque, In which an instrumental bass line is written out and one or more players of keyboard, lute or similar instruments fill in harmony with appropriate chords or improvised melodic lines.

2. The bassline.

Front 4

Suite

Back 4

A set of pieces are linked together into a single work. During the Baroque period, a suite usually referred to a set of stylized dance pieces.

Front 5

Trio Sonata

Back 5

Common instrumental genre during the Baroque period, a sonata for two treble instruments above a basso continuo. A performance featured four or more players if more than one was used for the continuo part.

Front 6

Ripieno

Back 6

Italian, full.

In a concerto or concerto grosso, designates the full orchestra also called tutti.

Front 7

Chorale Prelude

Back 7

Relatively short setting for organ of a chorale melody, used as an introduction for congregational singing or as an interlude in a Lutheran church service.

Front 8

Opera in Florence

Back 8

Opera was invented in Florence by the Florentine camarata. Early style was expresive and flexible. First important opera was Monteverdi's Orfeo in 1607.

Front 9

Opera in Rome

Back 9

The focus of opera shifted to Rome in 1620. Big spectacles machines and chorus. More characters and subplots with minor intrigue and comedy. Rapid delivery of text necessary. Aria and reciatative clearly delineated.

Front 10

Opera in Venice

Back 10

Public opera in Teatro san Cassiano in 1637.

Emphasis on singer and aria over plot and reciatative.

Ternary and da capo.

Front 11

Opera in Venice

Back 11

Public opera in Teatro san Cassiano in 1637.

Emphasis on singer and aria over plot and reciatative.

Ternary and da capo.

Front 12

Strophic Variation

Back 12

Early 17th century vocal genre, a setting of a strophic poem in which the melody of the first stanza is varied, but the harmonic plan remains essentially the same although the duration of the Harmony may change to reflect the accentuation and measuring the text.

Front 13

Ostinato bass (basso ostinato)

Back 13

Italian, persistant bass.

A pattern in the bass part that repeats while melody above it changes.

Front 14

Oratorio

Back 14

Genre of dramatic music originated in the 17th century, combining narrative dialogue and commentary through arias, reciatatives, ensembles, choruses and instrumental music. Like an unstaged opera. Usually on a religious or biblical subject.

Front 15

Fugue

Back 15

Italian flight

Composition or section in an imitative texture that is based on a single subject and begins with sucessive statements of the subject in voices.

Front 16

Chamber sonata

Back 16

Baroque sonata, usually a suite of stylized dances scored for one or more treble instruments and continuo.

Front 17

Concertino

Back 17

Small concerto

Front 18

Recitative

Back 18

A passage or section in an opera, oratorio or a cantata that approches speech and follows the natural rhythms of the text.

Front 19

French overture

Back 19

Type of overture used in Tradégie en Musique and other genres, that opens with a slow, homophonic, and majestic section, followed by a faster second section that begins with imitation.

Front 20

Church Sonata

Back 20

Baroque instrumental work intended for performance in a church; usually four movements, slow, fast, slow, fast. Scored for one or more treble instrumets and continuo.

Front 21

1637

Back 21

Opera goes public in Venice.

Front 22

Affect or Affections

Back 22

Objectified or archetypal emotions or states of mind, such as sadness, joy, fear or wonder. The goal of Baroque music was to arouse emotion.

Front 23

Aria

Back 23

Italian air

1. In the late 16th and early 17th cenuries, any section of an Italian strophic poem for solo singer.

2. Lyrical monologue in an opera or other vocal work.

Front 24

Sarabande

Back 24

1. Originally a quick dance-song from Latin America.

2. In French Baroque music, a slow dance in binary form and triple meter often emphasizing the 2nd beat; a standard movement og a suite.

Front 25

Figured bass

Back 25

A form of basso continuo in which the bass line is supplied with numbers and flat or sharp signs to indicate the chords to be playef.

Front 26

Cantata

Back 26

Italian to be sung

1. In the 17th and 18th centuries, a vocal chamber music work with continuo, usually for solo voice, consisting of several sections or movements that include reciatative and arias in a lyrical setting.

2. From the Lutheran chuch service in the 18th century, combining poetic texts with bibical reverences, including recitatives, arias and chorus.

Front 27

Concerto

Back 27

Italian to agree

1. In the 17th century, ensembles of instruments or voices with one or more instruments, or a work for such an ensemble.

2. Composition in which, one or more solo instruments contrast with an orchestral ensemble.

Front 28

Programic

Back 28

Instrumental music that tells a story or other sequence of events, often spelled out in the accompanying called a program.

Front 29

Florentine Camerata

Back 29

Group in Florence who to some degree orchestrated the invention of opera.

Front 30

Ospedale della Pieta

Back 30

The orphanage for girls in Venice, where Vivaldi taught.

Front 31

Stile brise

Back 31

French broken style

Arpeggiated broken texture of the Baroque. Commonly used for lute and keyboard music.

Front 32

Chains of suspension

Back 32

Common in Corelli's music.

Front 33

Claudio Monteverdi

Back 33

Italian, 1567-1643.

He wrote madrigals and operas, including the first important opera, L'Orfeo.

Front 34

Heinrich Schütz

Back 34

German, 1585- 1652

Sacred vocal and instrumental music including oratorios and passions according to Matthew, Mark, Luke and John.

Front 35

Jean-Baptiste Lully

Back 35

Italian, but he worked in France for most of his life, 1632-1687

Had a monopoly on music in France. He wrote court ballets and French opera.

Front 36

Arcangelo Corelli

Back 36

Italian, 1653-1713

Violin music, concertos, trio sonatas.

Front 37

Antonio Vivaldi

Back 37

Italian, 1678-1741. "The red priest"

Instrumental music, hundreds of concertos. He ran the Ospedale della Pieta.

Front 38

Henry Purcell

Back 38

English, 1659-1695

Operas, instrumental music.

Front 39

Johann Sebasitan Bach

Back 39

German, 1685-1750

Lutheran sacred music, cantatas and keyboard.

Front 40

George Frideric Handel

Back 40

German, but worked in England, 1685-1759.

Oratorios, water music, concerti grossi.

Front 41

Scarlatti

Back 41

Italian, 1685-1757.

Helped popularized the use of the da capo aria in operas and cantata and used chromatism for effect rather than harmonic reasons.

Harpsichord music.

Front 42

Jean-Philippe Rameau

Back 42

French, 1683-1764.

Operas

Front 43

Giacomo Carissimi

Back 43

Italian, worked Queen Christina of Sweden, 1605-1674.

Oratorios.

Front 44

François Couperin

Back 44

French, 1626-1661,

Harpsichord music, instrumental suites.

Front 45

Barbara Stozzi

Back 45

Italian, 1619-1677.

Composer and singer. Vocal music.

Front 46

Elisabeth-Claude Jacquet de la Guerre

Back 46

French, 1665-1729

Composer and singer. Opera, ballet, keyboard music, stylized dances in AABB form.

Stile brise.