Music In Western Civ Final

Front 1

Imitative polyphony

Back 1

(ex: opening of Josquin's Ave Maria)
expands to secular music of 16th c.

Front 2

Expansion of the world in the 16th c

Back 2

Imperialism, new wealth (rise of bourgeois class), absolute monarchy emerges, intellectual gap narrows (availability of books), rise of capitalism, expansion of technology, mercator map projections, optical theory, strong national states

Front 3

optical theory

Back 3

development of microscopes and telescopes subdued universe and microworld

Front 4

humanist movement

Back 4

16th c
love for antiquity, especially of ancient literary text, focus on human achievement

Front 5

ladder of salvation

Back 5

replaced by humanism with great man theory;
must "climb" from hell or purgatory to heaven

Front 6

great man theory

Back 6

replaced ladder of salvation;
humans deserve to be honored;
ex: Renaissance tombs have life size, detailed statues

Front 7

imitation

Back 7

means of humanism;
imitate human form in sculpture, imitation in music

Front 8

Humanism through church culture

Back 8

Josquin's Ave Maria; Palestrina's Counter-Reform music

Front 9

Humanism through secular culture

Back 9

rhetorical eloquence through return of what was supposed as Greek music & theory, close alliance of music with tragedy;
ex: Epitaph of Seikilos

Front 10

Madrigal

Back 10

piece for solo voices setting a poem and combining elements of the motet, especially imitation, with elements of popular homophonic folk song

Front 11

rise of madrigal

Back 11

music as a form of good manners and social consciousness, music moves from quadrivium to trivium, new bourgeois culture and printing, new can-do, "reckless" spirit of the age

Front 12

trivium

Back 12

music becomes associated with the rhetorical arts, verbally-oriented

Front 13

techniques of madrigals

Back 13

"word painting," verbally oriented, used "madrigalisms" (cliches), chromaticism

Front 14

Musica Transalpina

Back 14

brought Italian madrigals to England

Front 15

Thomas Weelkes

Back 15

wrote collection for Elizabeth I, Triumps of Oriana (including As Vesta Was from Latmos)

Front 16

Musical instruments for madrigal

Back 16

Hauts (loud), bas (soft), often dance-oriented

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pavane

Back 17

genre of music that is slow, gliding, duple meter

Front 18

gaillard

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genre of music that is fast, leaping, triple meter

Front 19

Francis Bacon

Back 19

inductive method, based on evidence

Front 20

Rene Descartes

Back 20

deductive method, using logic, reason, and math

Front 21

universal laws

Back 21

govern both micro and macrocosms, need instruments to reveal

Front 22

Johannes Kepler

Back 22

proves that orbit of planets are elliptical

Front 23

Galileo Galilei

Back 23

acceleration/gravity

Front 24

Marin Mersenne

Back 24

string frequencies

Front 25

Isaac Newton

Back 25

laws of motion, focus on for every action there is an equal and opposite reaction

Front 26

Canopy at St. Peters

Back 26

sculpted by Bernini, characterized by lavish ornamentation and monumental size meant to astonish

Front 27

David

Back 27

sculpted by Bernini, dynamic, tense, actively telling a story (in contrast to Michelangelo's static version), meant to be seen from all angles

Front 28

Ecstasy of St. Theresa

Back 28

sculpted by Bernini, spectacular sense of her rapture, hidden upper window bathed statue in light, sense of movement, men are watching and commenting on experience

Front 29

Painting in the rise of the Baroque age

Back 29

overly sensual, gruesome, dramatic, contrasting colors, tension between dark/light, contorted figures

Front 30

Artemisia Gentileschi

Back 30

woman who painted Judith Beheading Holofernes

Front 31

Golden Age of literature

Back 31

Shakespeare-Racine, dramatic poetry (such as Tasso, Guarini)

Front 32

Florentine Camerata

Back 32

group of intellectuals centered around Count Bardi, sought to re-establish the dramatic singing of Greek Theater

Front 33

Girolamo Mei

Back 33

humanist/philologist, part of Florentine camerata

Front 34

Vincenze Galilei

Back 34

part of the Florentine camerata; thought since Greek tragedy is sung throughout w/ no polyphony or choir, only solo singing, thought vocal melody should imitate natural speech;
music should emote one particular affect that influences the audience;
lament becomes focal point/climax

Front 35

Jacopo Peri

Back 35

rival of Caccini, singer, organist who composed La pellegrina and Erudice

Front 36

Giulio Caccini

Back 36

rival of Peri, famous singer, composed Le Nuove Musiche, and Erudice

Front 37

Monody

Back 37

solo singing of emotional text with limited arrangement

Front 38

Basso continuo

Back 38

one or two instruments (low strings, keyboard); keyboard reads figured bass

Front 39

Figured bass

Back 39

numerical shorthand for "realizing" the harmonic accompaniment

Front 40

Earliest "opera"

Back 40

created for wealthy Italian patrons, lavish set/costumes, pastoral or mythological subjects, private performances, dance

Front 41

Claudio Monteverdi

Back 41

composed the early opera: Orfeo; worked for Gonzaga family in Mantua, was later the maestro di cappella at St. Mark's in Venice, wrote motets, a Mass, and several operas

Front 42

Orfeo

Back 42

Striggio's libretto set to music by Monteverdi; included recitative, aria, arioso, and toccata

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Recitative

Back 43

type of song in opera where the plot is revealed to audience, irregular rhyme/meters, rapid repeating notes, unrhymed verse

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Aria

Back 44

action halts, characters express their feelings, regular rhythms/meters, virtuosity, rhyming verse

Front 45

Arioso

Back 45

somewhere between recitative and aria

Front 46

Toccata

Back 46

"to touch," introductory piece for instruments, showcases dexterity

Front 47

Rise of mathematics in the 17th century

Back 47

physics, chemistry; developed from infinitesimal calculus

Front 48

Development of biology and medicine in 17th century

Back 48

aided by developments in microscope, classification of plants and animals, comparative anatomy

Front 49

advances in philosophy and social theory in 17th c

Back 49

history viewed as "progress" from one period or century to another, reason replaces superstition and ignorance

Front 50

musical developments in the 17th century

Back 50

composed more rationally (vocal vs. instrumental), idiomatic music for instruments, great instrument makers, sonata & concerto

Front 51

Stradivari

Back 51

great instrument-making family in northern Italy

Front 52

chamber music

Back 52

music for smaller places, emerged for home or small hall; could be vocal (cantata) or instrumental (sonata)

Front 53

Barbara Strozzi

Back 53

wrote chamber cantatas, especially on unrequited love, used recitative, aria, arioso, might use basso ostinato

Front 54

sonata

Back 54

instrumental music ("something sounded")

Front 55

cantata

Back 55

vocal music ("something to be sung")

Front 56

chamber cantatas

Back 56

emphasized solo singing, but had no costumes or scenery

Front 57

basso ostinato

Back 57

"stubborn," or repeating bassline used to unify cantata

Front 58

Arcangelo Corelli

Back 58

wrote sonatas for two violins and basso continuo

Front 59

kinds of sonatas

Back 59

solo: single instrument
ensemble (especially trio): two solo instruments and basso continuo; came to be called "chamber music"

Front 60

Trio sonata in C Major Op. 4 No. 1

Back 60

composed by Corelli, uses walking bass; contains four movements: prelude, corrente, adagio, allemanda

Front 61

sonata da chiesa

Back 61

church sonata; includes movements named only by their tempo markings (largo, allegro, etc.)

Front 62

sonata da camera

Back 62

sonata for a room; includes dance movements

Front 63

sequence

Back 63

repetition of same melodic material, usually brief, at different pitch levels, used in both church and room sonatas

Front 64

Louis XIV

Back 64

"Sun King," wanted to expand France to natural boundaries, unmatched grandeur/pompous, required every noble to spend some time at the palace at Versailles, elaborate performances and rituals showed king's power and benevolence

Front 65

Jean-Baptiste Lully

Back 65

Italian-born, French opera composer who composed almost exclusively for France during Louis XIV's reign

Front 66

government in England in 17th century

Back 66

after Tudor dynasty, showed full-scale resistance to absolute monarchy: Charles I executed, protectorate established under Oliver Cromwell, Charles II reinstated in 1660

Front 67

English revolution results

Back 67

absolute monarchy was still viable, but also extremely precarious

Front 68

Teatro San Cassiano

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first public opera house, opened in Venice in 1637

Front 69

subjects of baroque opera

Back 69

ancient kings, mythic heroes

Front 70

style of baroque opera

Back 70

emotional, pompous

Front 71

French ouverture

Back 71

AB form, slow, pompous section in duple meter, dotted rhythms

Front 72

doctrine of affections

Back 72

baroque idea that music expresses specific emotion; flexible recitative, aria and arioso styles allowed for a full range of emotions to be portrayed

Front 73

similarities between baroque architecture and music

Back 73

grandiose, large ensembles of players; more ornate, fussier, exaggerated distorted

Front 74

Henry Purcell

Back 74

wrote the opera Dido and Aeneas for a private girls' boarding school

Front 75

Dido and Aeneas

Back 75

Dido's recitative more expressive than speech like recitative, but not as expressive as arioso; her aria is built over a basso ostinato (which repeats 11 times)

Front 76

Armide

Back 76

the last of Lully's 13 operas, same source as Handel's Rinaldo (Tasso's poem "La Gerusalemme liberata")

Front 77

structure of French ouverture

Back 77

A section: slow, duple, pompous dotted rhythms (represent kingship, royalty)
B section: faster, dance-like, often imitative counterpoint
Sometimes A returns (ABA form); performed by orchestra

Front 78

Regietheater

Back 78

modern-day directors have freedom in devising how an opera/play is staged

Front 79

George Frideric Handel

Back 79

German composer, learned to compose Italian opera; mirrored his characters to the age of absolute monarchy

Front 80

opera seria

Back 80

Italian opera in the 18th c.,. "serious opera";
librettos from history/mythology, recitative sounds like speech with narrow range & basso continuo, arias express emotions (as per doctrine of affections);
form: ABA (da capo aria); lead male roles sung by castratos

Front 81

da capo aria

Back 81

aria with ABA pattern;
A: expresses one affect;
B: changes mood;
return to A is noticeable, often vocal line is embellished

Front 82

castrato

Back 82

male singer anatomically altered to have a high voice, "superstar" singers

Front 83

concerto

Back 83

composition using contrasting sounds created by different forces (vocal or instrumental); gradually refers to an instrumental piece for ensemble where one or more soloists complement and compete with an orchestra

Front 84

concerto

Back 84

composition using contrasting sounds created by different forces (vocal or instrumental); gradually refers to an instrumental piece for ensemble where one or more soloists complement and compete with an orchestra

Front 85

solo concerto

Back 85

solo instrument plays against the orchestra

Front 86

tutti/ripieno

Back 86

orchestra against which a soloist plays against in a solo concerto

Front 87

concerto grosso

Back 87

small group on instruments plays with and against the orchestra

Front 88

Jean-Philippe Rameau

Back 88

wrote "Treatise on Harmony," shows that there is a sense of harmonic principles in the 18th c., revolving around chords

Front 89

fundamental bass

Back 89

conceptualized by Rameau, roots of chords (no matter what the inversion)

Front 90

Antonio Vivaldi

Back 90

most prolific composer of Baroque concertos, violinist, worked at girl's orphanage and composed 12 concerti grossi, and 12 solo concerti, as well as the Four Seasons

Front 91

The Four Seasons

Back 91

most famous concertos composed by Vivaldi, programmatic (directly related to a text), similar to a word painting in this way

Front 92

Form of concertos

Back 92

3 movements (fast-slow-fast), uses ritornello form in the first movement

Front 93

ritornello

Back 93

"returning," main theme of the piece played by the ripieno/tutti

Front 94

Johann Sebastian Bach

Back 94

contemporary of Handel, wrote fugues, "The Well-Tempered Clavier," preferred the organ, composed mainly chorale/cantata

Front 95

mobility of printed music (18th c.)

Back 95

allowed for traveling musicians with music, Bach learned by copying and transcribing this printed music

Front 96

Ancient Regime

Back 96

(old regime), in France, all men subjects of king by birth, divine right to rule, establish privileges for classes, little social mobility

Front 97

Holy Roman Empire

Back 97

jigsaw puzzle of small states run by kings, princes, etc.; Peace of Augsburg decided that religion would be determined by head of state

Front 98

Enlightenment thought

Back 98

Locke, Rousseau, improvement and use of reason; Frederick the Great: religious tolerance; Voltaire: subjection of nature to reason, Mattheson "Der volkommere Capellmeister"

Front 99

Fugue

Back 99

composed by Bach, theme is repeated several times, sometimes over one another

Front 100

Loyseau's "Treatise on Orders"

Back 100

defense of monarchy in the 18th c., three orders of Estates General: clergy, nobility, 3rd estate; superficially visible who belonged to what order

Front 101

Brandenburg concertos

Back 101

include 4 concerti grossi;
Concerto No. 5 written in 1721

Front 102

Vivaldian Revolution

Back 102

Structure theory followed by Bach, three movements: fast-slow-fast, use of ritornello form

Front 103

Brandenburg Concerto No. 5 in D Major

Back 103

concertino = violin, flute, harpsichord;
first movement alternates between tutti and concertino, uses cadenza at end; sequencing of short melodic fragments

Front 104

sequencing

Back 104

moving a short melodic pattern up or down the scale, used to extend the movement

Front 105

French rationalist movement

Back 105

ultiamtely favored an anti-monarchical stance, called for heavier reliance on man's own reasoning, than acceptance of divine right

Front 106

natural law

Back 106

late Baroque idea of human rights, rather than acceptance of divine right

Front 107

Puritans in England

Back 107

Christian group that were both religious and committed to the notion of human rights, justified through the Bible

Front 108

Lutheran mass

Back 108

lasted 4 to 7 hours, used cantatas

Front 109

movements in Bach's cantatas

Back 109

settings of biblical texts, chorales for choir, recitatives, arias

Front 110

chorale

Back 110

German Lutheran sacred melody (like Catholic hymns)

Front 111

Bach's composition of cantatas

Back 111

sacred and secular, five cycles of cantatas (one per week)

Front 112

Wachet Auf, Ruft Uns Die Stimme

Back 112

Bach's cantata from 1731, composed for St. Thomas church for the beginning of Advent, uses chorus, orchestra, basso continuo, and soloists, from the virgins story

Front 113

First, fourth, and seventh movements from Wachet Auf

Back 113

First: ritornello, and chorale sung by sopranos, uses dotted notes
Fourth: flowing melody in strings above walking bass,
Seventh: homophonic presentation of "Awake" chorale tune

Front 114

Handel

Back 114

moved a lot, got break in London, composed Rinaldo (first), began English popular opera & oratorios

Front 115

oratorio

Back 115

musical dramatizations of the Bible, arose in Italy, like opera but no costumes or stage

Front 116

orchestral dance suite

Back 116

written by Handel for George I, used binary (AB) form that was sometimes repeated

Front 117

"Water Music"

Back 117

Minuet and Trio by Handel, dance suite, uses horns and winds, and finally full orchestra in minuet, strings in trio

Front 118

Parts of oratorios

Back 118

overture, aria, arioso, recitative;
Handel's replaced arias with choruses, often uses word painting

Front 119

Handel's Messiah

Back 119

oratorio, 3 parts: prophecies, suffering and death of Christ, resurrection;
pastoral aria "He shall feed his flock;"
"Hallelujah" chorus