Music History Ii

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Opera Buffa

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18th century genre of Italian comic Opera, sung throughout.

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Leonardo Vinci

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One of the pioneers of the aria style.

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Intermezzo

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18th century genre of Italian comic opera, performed between acts of a serious opera play.

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Pergolesi

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One of the most original composers of his day. Best known for his Intermezzo, La Serba Padrona

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Opera Seria

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18th century of Italian opera on a serious subject but normally with a happy ending. Usually without comic characters and scenes.

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Pietro Metastasio

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Italian poet who set the standard for Opera Seria. His operas were set to music like Gluck and Mozart. He promoted morality through entertainment.

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Da capo aria

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

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Johann Hasse

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One of the popular and successful opera composers in Europe around the middle of the century. Many of his operas used Metastasio's librettos. His music complimented his poetry. Wrote the aria Digli ch'io son fidele.

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Fautina Bordino

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Hasse's wife. She was universally admired as one of the great singer/actresses of her age.

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Querelle des bouffons

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Name given to a battle of rival music philosophies which took place in Paris, France. It was sparked by an Italian comic, Trope.

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Opera Comique

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Light French comic opera, which used spoken dialogue instead of recitatives.

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Ballad opera

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English comic play featuring songs in which new words are set to borrowed tunes.

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Singspiel

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German genre of opera, featuring spoken dialogue interspersed with songs, choruses, and instrumental music.

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Ballad

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Late 18th century German poetic form that imitated the folk ballad of England and Scotland and was set to music by German composers.

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Lied

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A song with German words, whether Monophonic, polyphonic or for voice with accompaniment; used especially for polyphonic songs in the Renaissance and songs for voice and piano in the 18th and 19th centuries.

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Fuguing Tunes

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18th century American type of psalm or hymn tune that features a passage in free imitation.

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Simple binary form

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Binary form in which the two sections are roughly equal in length and feature musical material that is different or only loosely related.

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balanced binary form

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Binary form in which the latter part of the first section returns at the end of the second section, but in the tonic.

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Rounded binary form

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Binary form in which the beginning or all of the first section returns in the tonic in the latter part of the second section.

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String quartet

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Multimovement composition for this ensemble.

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Nicolo Jommelli

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Composer of religious music and operas notable as an innovator in his use of the orchestra. His comic opera in Paris helped spark the notorious querelle des bufants.

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Sonata Form

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Form typically used in first movements of sonatas, instrumental chamber works, and symphonies during the Classical and romantic periods, An expansion of rounded binary form, it was described in the 19th century as consisting of an expositionm development, and recapitulation based on a limited number of themes.

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Exposition

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In sonata form, the first part of the movement, in which the main themes are stated, beginning in the tonic and usually closing in the dominant.

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Development

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In sonata form, the section after the exposition, which modulates through a variety of keys and in which themes from the exposition are presented in new ways.

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Recapitulation

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In sonata form, the third main section, which restates the material from the exposition, normally all in the tonic.

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Coda

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A concluding section that lies outside the form as usually described.

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Slow-movement sonata form

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Classic era variant of sonata form that omits the development.

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variations form

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Form that presents an uninterrupted series of variants on a theme; the theme may be a melody, a bass line, a harmonic plan, or other musical subject.

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Tommaso Traetta

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Composer who, with Niccolò Jommelli, was a precursor of Gluck in the 18th-century movement for operatic reform. Sought to reduce operatic style artificiality. Abandoned the traditional sharp distinction between recitative and aria. Brought the chorus more directly into the action and often included ballet sequences

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Minuet and trio form

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Form that joins to binary form minuets to create an aba pattern, where A is the minuet and B is trio.

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Rondo Form

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Musical form in which the first or main section recurs, usually in the tonic, between subsidiary sections or episodes.

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Sinfonia

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Italian opera overture in the early eighteenth century.

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Symphonic Concertate

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A concerto like genre of the late 18th and early 19th centuries for two or more solo instruments and orchestra, characterized by its lightheartedness and melodic variety.

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Concerto first movement form

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Cadenza

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

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Devertimento

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Front 37

Galant style

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Featured songlike melodies, short phrases, frequent cadences, and light accompaniment.

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empfindsam style

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Close relative of the galant style featuring surprising turns of harmony, chromaticism, nervous rhythms, and speechlike melodies.

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Periodicity

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The quality of being periodic, especially when this is emphasized through frequent resting points and articulations between phrases and periods.

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Heinrich Koch

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Front 41

Alberti bass

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broken chord accompaniment common in the second half of the eighteenth century and named after Dominco Alberti, who used the figuration frequently.

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Raniero de Calzabigi

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Italian poet, librettist, and music theorist who exerted an important influence on Gluck’s reforms in opera. Wrote the 3 Italian reform operas with Gluck: Orfeo ed Euridice (1762), Alceste (1767), and Paride ed Elena (1770); They aimed for simplicity, truth, and naturalness

Front 43

Discuss how the goals and values of the Enlightenment are reflected in the music of the Classic era.

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In general, the Enlightenment was a humanitarian movement, whose adherents were interested in promoting the welfare of humankind. The pursuit of learning and the love of art and music became more widespread, particularly among the expanding middle class. Popular treatises were written with an eye to bringing culture within the reach of all.

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Describe how the opera reform movement changed the style of opera seria.

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Composers libertists and patrons worked to bring opera more natural, expressive less ornamented with coloratura and more varied in musical resources. It held onto de capo form and introduced other forms. The orchestra became important for depicting scenes and evoking moods and adding color and depth. Greater use of recitatives and ensembles. Choruses were reinstated and it reversed the focus on star singers.