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28 Cards in this Set
- Front
- Back
- 3rd side (hint)
Aria |
Elaborate song for SOLO voice More melodic in nature Conveys singers emotions
Henry Purcell - When I am laid in earth (Aria, in the 2nd part, you'll hear it when the singing starts)
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Henry Purcell -
When I am laid in earth (Aria, in the 2nd part, you'll hear it when the singing starts) |
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Basso continuo |
Accompaniment, way of achieving harmony, often improvised A small ensemble of at least two instrumentalists who provide the foundation for the melody |
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Cadenza |
A showy passage for the soloist appearing, near the end of the movement in a concerto. |
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Cantata |
A vocal form. Can be on religious objects, secular objects. Consists of several movements; one or more of following; Aria, Ariosos, & Recitativos.
J.S. Bach - Wachet auf, ruft uns die Stimme (Cantata movement)
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J.S. Bach -
Wachet auf, ruft uns die Stimme (Cantata movement) |
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Concertino |
Group of instruments that function as soloists in a Concerto grosso |
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Concerto grosso |
A multi movement concerto Pits the sound of the Concertino against the Tutti (Sounds like groups are talking, arguing, moving back and forth)
Baroque era
J.S. Bach - Brandenburg Concerto No. 5 (0.00-9.56) (Concerto grosso)
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J.S. Bach -
Brandenburg Concerto No. 5, I (0.00-9.56) (Concerto grosso) |
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Counterpoint |
Relationship between voices that are interdependent harmonically In fugue
(Episode: A passage of free non imitative counterpart found in Fugue) |
Fugue episode
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Countersubject |
In fugue the countersubject "is the continuation of counterpoint in the voice that began with the subject" occurring against the subject |
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Da capo Aria |
An Aria in two sections with and obligatory return to and repeat of the first; hence an Aria in ternary (A B A) form. Starts off with a Ritornello. |
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Dance suite |
A collection of instrumental dances each with its own distinctive rhythm and character.
(Allemande; slow dance, duple meter. Courante; fast dance in simple duple or subtle compound. Sarabande; slow dance in triple. Gigue; fast dance in duple compound.)
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Doctrine of affections |
Rising of emotions by different instruments. Revive power of ancient types of music. |
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Episode |
Begin after the Exposition is completed. It's a transitional section between statements of the subject. (A passage of free non-imitative counterpart found in Fugue.) In fugue. |
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Exposition |
The opening section, in which each voice in turn has the opportunity to present the subject. The subject is stated and/or answered in all the voices of the fugue. In fugue. |
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Figured Bass |
A numerical shorthand that tells the player which un-written notes to fill in above the written bass note. Improvisation. |
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Fugue |
A composition for 3, 4 or 5 parts played or sung by voices, more commonly by instruments. It begins with a presentation of the Subject (the melody) in imitation. Considered a great accomplishment to write one.
J.S. Bach - Organ Fugue in G minor (Fugue)
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J.S. Bach -
Organ Fugue in G minor (Fugue) |
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Subject |
Main melodic idea stated by itself in the beginning.
In fugue. |
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Baroque Typical Characteristics |
Grandiose Dramatic Ornate Emotional Large gestures Exaggeration |
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Baroque Musical Characteristics |
Rise of instrumental music Melodically busy and heavily ornamented Doctrine of affections Monody Basso continuo Improvisation important element
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Libretto |
Libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata. The term, libretto is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet. |
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Monody |
A general term connoting Solo singing accompanied by a Basso continuo in the early Baroque period. |
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Opera |
A dramatic work. Actors sing all or some of their parts. Usually makes use of elaborate stage sets and costumes. |
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Oratorio |
A large-scale genre of sacred music including an overture, arias, recitatives, and choruses. Sing in theatre or a church w/o costumes or scenery. Smaller scale than Opera.
George Handel - Hallelujah Chorus from The Messiah (Chorus from Oratorio) |
George Handel -
Hallelujah Chorus from The Messiah (Chorus from Oratorio) |
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Ostinato |
Aria has Ostinato. A musical melody, motive, harmony or rythm, that's repeated over and over again. |
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Overture |
An orchestral piece at the beginning of an opera, suite, play, oratorio, or other extended composition. |
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Tutti |
The full orchestra or full performing force. |
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Ritornello |
Melody of refrain heard at the beginning. Always returns later in the piece. Like a refrain. |
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Solo Concerto |
Soloist is accompanied by an orchestra. It is the most frequent type of concerto (nowadays). It originated in the Baroque as an alternative to the traditional concertino (solo group of instruments) in a concerto grosso.
Typical Solo concerto:
Tutti - Solo - Tutti - Ritornello Episode Everyone Different together music
Antonio Vivaldi - Violin Concert in E major, Op. 8 (Solo concerto) |
Antonio Vivaldi - Violin Concert in E major Spring (Solo concerto) |
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Recitative |
Musically heightened speech. Often used in Opera, Oratorio or Cantata to report dramatic action and advance of the plot. (Talk-singing). Not much accompaniment, more chords.
Henry Purcell - Thy hand, Belinda (1st part, the talk-singing part) |
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