Music History I Test 5

Front 1

Libretto

Back 1

Literary text for an opera or other musical stage work.

Front 2

Baroque

Back 2

Abnormal, exaggerated, in bad taste. Portuguese word for misshapen pearl. Applied as derisive term because of overly ornate art.

Front 3

Affections

Back 3

Doctrine of the affections (i.e. emotional states of the soul)

Front 4

The First Practice

Back 4

Exemplified by Zarlino. Counterpoint rules could not be violated. Dissonances had to be carefully controlled and restricted.

Front 5

The Second Practice

Back 5

Exemplified by Monteverdi. Believed counterpoint rules could be broken for dramatic effect. His madrigal Cruda Amarilli uses unprepared dissonances to express words such as "cruda" (cruel) and "ahi" (alas)

Front 6

Bass Continuo

Back 6

Figured bass plus realization. System of notation and performance practice, used in the Baroque period, in which and instrumental bass line is written out.

Front 7

Figured Bass

Back 7

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

Front 8

Theorbo

Back 8

Large lute with extra bass strings, used especially in 17th century for performing basso continuo as accompaniment to singers or instruments.

Front 9

Realization

Back 9

Performing music whose notation is incomplete as in playing a basso continuo or completing a piece left unfinished by its composer.

Front 10

Concertato Medium

Back 10

in 17th century music, the combination of voices with one or more instruments, where the instruments do not simply double the voices but play independent parts.

Front 11

Cadenza

Back 11

Highly embellished passage often improvised as an important cadence usually occurring just before the end of a piece or section.

Front 12

Libretto

Back 12

Literary text for an opera or other musical stage work.

Front 13

Pastoral Drama

Back 13

Play in verse with incidental music and songs, normally set in idealized rural surroundings, often in ancient times; a source for the earliest opera Librettos.

Front 14

Madrigal Cycle

Back 14

In the late 16th and early 17th centuries a series of madrigals that represents a succession of scenes or a simple plot.

Front 15

Intermedio

Back 15

Musical interlude on a pastoral, allegorical or mythological subject performed before, between or after the acts of a spoken comedy or tragedy.

Front 16

Florentine Camerata

Back 16

Circle of intellectuals and amateurs of the arts that met in Florence, Italy in the 1570's and 1580's.

Front 17

Count Bardi

Back 17

Host of informal academy at his Palace in Florence.

Front 18

Unmeasured Prelude

Back 18

A French Baroque keyboard genre, usually the first movement in a suite, whose non-metric notation gives a feeling of improvisation.

Front 19

Monody

Back 19

(1) An accompanied solo song. (2) The musical texture of solo singing accompanied by one or more instruments.

Front 20

Sinfonia

Back 20

Italian opera overture in the early 18th century.

Front 21

Ritornello

Back 21

A recurring passage in Baroque music for orchestra or chorus.

Front 22

Stile Concilato

Back 22

a Baroque style developed by Claudio Monteverdi with effects such as having rapid repeated notes and extended trills as symbols of bellicose agitation or anger.

Front 23

Arioso

Back 23

Style of vocal writing that approaches the lyricism of an Aria but is freer in form.

Front 24

Basso Ostinato

Back 24

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

Front 25

Chacona

Back 25

A vivacious dance - song imported from Latin America into Spain and then into Italy, popular during the 17th century.

Front 26

Cantata

Back 26

A vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir.

Front 27

Stile Antico

Back 27

Style used in music written after 1600, in imitation of the old contrapuntal of Palestrina, used especially for church music.

Front 28

Gradus ad Parnassum

Back 28

?

Front 29

Sacred Concerto

Back 29

In the 17th century a composition on a sacred text for one or more singers and instrumental accompaniment.

Front 30

Musical Figures

Back 30

In Baroque music, a melodic pattern or contrapuntal effect conventionally employed to convey the meaning of a text.

Front 31

Oratorio

Back 31

Genre of dramatic music that originated in the 17th century, combining narrative, dialogue, and commentary through arias, recitatives, ensembles and choruses, and instrumental music, like an unstaged opera. Religions or Biblical subjects.

Front 32

Historia

Back 32

In Lutheran music of the 16th to 18th century a musical setting based on a biblical narrative.

Front 33

Passion

Back 33

A musical setting of one of the Biblical accounts of Jesus' crucifixion, the most common type of historia.

Front 34

Toccata

Back 34

Piece for keyboard or lute instrument resembling an improvisation that may include imitative sections or may serve as a prelude to an independent fugue.

Front 35

Ricercare

Back 35

(1) Mid 16th century, a prelude in hte style of improv. (2) late 16th century on an instrumental piece that treats one or more subjects in imitation.

Front 36

Fantasia

Back 36

Imitation or improvisation instrumental piece on a single piece.

Front 37

Canzona

Back 37

In late 16th and early 17th centuries, an instrumental work in several contrasting sections, of which the first and some of the others are in imitative counterpoint.

Front 38

Masque

Back 38

17th Century English entertainment involving poetry, music, dance, costume, choruses, and elaborate sets, akin to the French court ballet.

Front 39

Sonata

Back 39

Baroque instrumental piece with contrasting sections or movements, often with imitative counterpoint.

Front 40

Suite

Back 40

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

Front 41

Music of the Chamber

Back 41

?

Front 42

Vingt-quatre Violons du Roi

Back 42

?

Front 43

Jean- Philippe Quinault

Back 43

?

Front 44

Tragedie en Musique

Back 44

French in 17th and 18th century form of opera, pioneered by Jean-Baptiste Lully, that combined the French classic drama and ballet traditions with music, dances, spectacles.

Front 45

French Overture

Back 45

Type of overture used in tragedie 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 46

Divertissement

Back 46

in tragedie en musique a long interlude of ballet, solo airs, choral singing, and spectacle, intended as entertainment.

Front 47

Notes Inegales

Back 47

17th century convention of performing French music in which passages notated in short, even durations, such as a succession of eighth notes, are performed by alternating longer notes on the beat with shorter off-beats to produce a lilting rhythm.

Front 48

Overdotting

Back 48

Performing practice in French Baroque music in which a dotted note is held longer than written, while the following short note is shortened.

Front 49

Agrements

Back 49

Ornament in French music, usually indicated by a sign.

Front 50

Petit Motet

Back 50

French version of the small sacred concerto for one, two or three voices and continuo.

Front 51

Grand Motet

Back 51

French version of the large scale scared concerto, for soloists, double chorus, and orchestra.

Front 52

Clavecin

Back 52

French term for harpsichord.

Front 53

Style Luthe

Back 53

Broken or arpeggiated texture in keyboard and lute music from 17th France. The technique originated with the lute and the figuration was transferred to the harpsichord.

Front 54

Define the term "baroque" in terms of its original meaning and the qualities of art and music now associated with the term

Back 54

Baroque was a negative term at first applied by critics who like simpler forms. Began in Italy.
Later, Baroque took on a positive meaning. Focus on the dramatic.

Front 55

Describe the role of the bassline in Baroque music. How is it notated? How does it function? Which instruments could perform this line?

Back 55

Basso Continuo - melody in bass.
Instruments - harpsichord, organ, lute or theorbo.
Figure Bass.

Front 56

Compare and contrast the cantata, oratorio, and sacred concerto of the mid-seventeenth century, giving examples from NAWM.

Back 56

Cantata- secular. Conitnuo. Solo voice. Semi dramatic text.
Oratorio- Similar to opera. Religious subject matter. Combines narrative, dialogue and commentary.
Sacred concerto - sacred vocal work with instruments.
Examples: Strozzi Lagrime mie Cantata. Carissimi Historia de Jephte Oratorio. Schutz Saul Sacred Concerto.