Nyu Music History 2 (Baroque) Midterm - Dodge

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Free NAWM listening site

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http://www.allmusic.com/album/norton-recorded-anthology-of-western-music-vol-1-ancient-to-baroque-box-set-mw0001407742

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Claudio Monteverdi

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Cruda Amarilli

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Giulio Caccini

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Vedrò ‘l mio sol

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Jacopo Peri

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Le musiche sopra l’Euridice

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Claudio Monteverdi

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L’Orfeo


L’incoronazione di Poppea

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Barbara Strozzi

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Lagrime mie

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Giovanni Gabrieli

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In ecclesiis

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Alessandro Grandi

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O quam tu pulchra es

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Giacomo Carissimi

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Historia di Jephte

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Heinrich Schütz

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Saul, was verfolgst du mich

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Girolamo Frescobaldi

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Toccata No. 3

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Biagio Marini

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Sonata IV per il violino per sonar con due corde

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Jean-Baptiste Lully

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Armide

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Elisabeth-Claude Jacquet de la Guerre

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Suite in A Minor from Pièces de
clavecin

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Henry Purcell

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Dido and Aeneas

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Alessandro Scarlatti

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Clori vezzosa, e bella


La Griselda

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Arcangelo Corelli

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Trio Sonata Op. 3, No. 2

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Dieterich Buxtehude

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Praeludium in E Major, BuxWV 141

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Seconda pratica

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Monteverdi's term for a practice of COUNTERPOINT and COMPOSITION that allows the rules of sixteenth-century counterpoint (the PRIMA PRATICA) to be broken in order to express the feelings of a text. Also called stile moderno.

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Monody

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

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Artusi-Monteverdi controversy

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Monteverdi broke the rules of sixteenth-century counterpoint (the PRIMA PRATICA) using striking dissonances to emphasize poetic texts. He was criticized by Artusi for needlessly breaking the rules, but defended himself by calling the style Seconda Pratica.

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Monteverdi’s madrigals

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Highly expressive language, declamatory melodies and embelishments, unprepared dissonances. Used the new concertato medium style.

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Opera

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(Italian, 'work') Drama with continuous or nearly continuous music, staged with scenery, costumes, and action.

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Basso ostinato

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(Italian, 'persistent bass') or ground bass A pattern in the BASS that repeats while the MELODY above it changes.

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St. Mark’s

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The center of Venetian musical culture. Its choirmaster position was the most coveted musical post in all of Italy.

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Oratorio

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GENRE of dramatic music that originated in the seventeenth century, combining narrative, dialogue, and commentary through ARIAS, RECITATIVES, ENSEMBLES, CHORUSES, and instrumental music, like an unstaged OPERA. Usually on a religious or biblical subject.

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Dance suite

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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.

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Binary form

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a form comprised of two distinctly opposing sections ("A" vs. "B")

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French overture

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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.

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King Louis XIV

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1643-1715, sought to absolute authority. Used art as propaganda. Good dancer,

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Tragédie lyrique

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French seventeenth- and eighteenth-century form of OPERA, pioneered by Jean-Baptiste Lully, that combined the French classic drama and BALLET traditions with music, DANCES, and spectacles.

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Sonata

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(Italian, 'sounded') (1) A piece to be played on one or more instruments. (2) BAROQUE instrumental piece with contrasting sections or MOVEMENTS, often with IMITATIVE COUNTERPOINT. (3) GENRE in several movements for one or two solo instruments.

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Da capo aria

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Text in 2 poetic stanzas in the form ABA. 'A' features 2 vocal statements followed by a ritornello, 'B' contrasts in key and musical material.

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Identify three types of monody, describe their musical characteristics, and give an
example of each from your listening.

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Accompanied solo singing. Arias-strophic variation (Claudio Monteverdi-L'Orfeo) Solo Madrigals-Through-composed/non-strophic (Giulio Caccini - Vedro 'l mio sol), Recitative-steady notes in the basso/voice moves freely (Jacopo Peri-Le musiche sopra l' Euridice)

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What is the Artusi-Monteverdi controversy? Give at least one specific musical
example, and explain who responded and how. Review the source documents on p.
299.

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Monteverdis madrigal "Cruda Amarilli" was criticized by Artusi for "needlessly breaking the rules". Monteverdi defended himself by calling it a new style (seconda practica).

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Describe the origins of opera. What genres influenced it? What was the role of the
Florentine Camerata (and identify several figures involved with the Camerata)?
Identify some early operas and give dates. When did opera spread to Venice? What
was the first public opera house?

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originated in Italy in the 16th and 17th centuries, it drew upon older traditions of Greek tradgedy, renaissance antecedents/madrigals, intermedio. monody. Camerata - club discussed greek music and that solo melody could express poetry. Dafne by Jacopo Peri (1598) was the earliest composition considered opera, as understood today. The first public opera house was the Teatro San Cassiano in Venice, Italy, which opened in 1637.

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What is an oratorio? What is the difference between oratorio and opera? When in the
liturgical year would you have been likely to hear each during the seventeenth
century? Describe the plot of Carissimi’s Jephte, and contrast it to the plot of one
opera we have studied this semester.

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large musical composition for orchestra, choir, and soloists. opera is musical theatre, while oratorio is strictly a concert piece. the church banned opera performance during the season of Lent the impresarios filled their opera houses by hiring the same musicians to perform Oratorio.
The story of Jephte is taken from the Book of Judges in the Old Testament, and there are two character roles: Jephte himself (a tenor), and the daughter (a soprano) whom he has vowed to sacrifice to the Lord.

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Describe musical life in France at Versailles, under the reign of Louis XIV.

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.

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Be prepared to explain how the following musical forms are put together, using an
example of a piece to talk through them: binary form, French overture, da capo aria.

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How did the sonata change over the course of the seventeenth century? What was a
sonata like in the time of Marini? What were two main types of sonata by around
1660? What was a typical sonata like for Corelli?

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Baroque

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(from Portuguese barroco, 'a misshapened pearl') PERIOD of music history from about 1600 to about 1750, overlapping the late RENAISSANCE and early CLASSIC periods.

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affections

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Objectified or archetypal emotions or states of mind, such as sadness, joy, fear, or wonder; one goal of much BAROQUE music was to arouse the affections.

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prima pratica

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(Italian, 'first practice') Claudio Monteverdi's term for the style and practice of sixteenth-century POLYPHONY, in contradistinction to the SECONDA PRATICA.

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seconda pratica

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Monteverdi's term for a practice of COUNTERPOINT and COMPOSITION that allows the rules of sixteenth-century counterpoint (the PRIMA PRATICA) to be broken in order to express the feelings of a text. Also called stile moderno.

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L’Artusi overo Delle

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Artusi's most severe critique of modern music appears in L'Artusi, overo delle imperfettioni della moderna musica (1600). This is where the 'Artusi-Monteverdi' controversy really begins.

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imperfettioni della

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(1600) ("The Artusi, or imperfections of modern music") is the book in which Artusi attacked Monteverdi specifically, using examples from his madrigal "Cruda Amarilli" to discredit the new style (seconda practica).

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basso continuo

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(Italian, 'continuous bass') (1) System of NOTATION and performance practice, used in the BAROQUE PERIOD, in which an instrumental BASS line is written out and one or more players of keyboard, LUTE, or similar instruments fill in the HARMONY with appropriate CHORDS or IMPROVISED MELODIC lines. (2) The bass line itself.

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figured bass

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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.

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realization

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Performing (or creating a performable edition of) music whose NOTATION is incomplete, as in playing a BASSO CONTINUO or completing a piece left unfinished by its composer.

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stile concitato

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(Italian, 'excited style') Style devised by Claudio Monteverdi to portray anger and warlike actions, characterized by rapid reiteration of a single NOTE, whether on quickly spoken syllables or in a measured string tremolo.

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stile concertato

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(from Italian concertare, "to reach agreement") In seventeenth-century music, the combination of voices with one or more instruments, where the instruments do not simply double the voices but play independent parts.

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sacred concerto

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In the seventeenth century, a COMPOSITION on a sacred text for one or more singers and instrumental accompaniment.

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cadenza

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(Italian, 'cadence') Highly embellished passage, often IMPROVISED, at an important CADENCE, usually occurring just before the end of a piece or section.

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opera

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(Italian, 'work') Drama with continuous or nearly continuous music, staged with scenery, costumes, and action.

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libretto

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(Italian, 'little book') Literary text for an OPERA or other musical stage work.

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pastoral drama

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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.

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madrigal

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vocal chamber music that originated in northern Italy during the 14th century, a type of song for several singers without instruments

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intermedio

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

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Dialogo della musica

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the theoretical principles sketched fundamentals of the new musical style that theorizes the aesthetic principles of the Florentine Camerata which the assertion of monody and polyphony on the return to Greek tragedy

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antica et della moderna

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Galilei engaged in heated attacks on his former teacher Zarlino, particularly on his system of tuning, and published several diatribes against him. Among these is the Dialogo della musica antica, et della moderna (1581)

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Florentine Camerata

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an important group of musical amateurs who met to discuss literature, science and the arts. (1570's)
Vincenzo Galilei and Giulo Caccini frequented the group, but it is likely that Jacopo Peri, Ottavio Rinuccini and Girolamo Mei also participated.
Largely concerned with a revival of the Greek dramatic style.

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monody

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

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solo madrigal

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In the late sixteenth and early seventeenth centuries, a THROUGH-COMPOSED setting of a nonstrophic poem for solo voice with accompaniment, distinguished from an ARIA and from a MADRIGAL for several voices.

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Teatro San Cassiano

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In Venice, it was the first public opera house. Opened in 1637. It takes its name from the neighborhood where it was located, the parish of San Cassiano near the Rialto. It was owned by the Venetian Tron family. and considered 'public' as it was directed by an impresario, or general manager, for the paying public rather than for nobles exclusively.

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basso ostinato

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(Italian, 'persistent bass') or ground bass A pattern in the BASS that repeats while the MELODY above it changes.

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concerted madrigal

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Early-seventeenth-century type of MADRIGAL for one or more voices accompanied by BASSO CONTINUO and in some cases by other instruments.

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lament bass

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is a ground bass, built from a descending perfect fourth from tonic to dominant, with each step harmonized. The diatonic version is the upper tetrachord from the natural minor scale, known as the Phrygian tetrachord, while the chromatic version, the chromatic fourth, has all semitones filled in. It is often used in music to denote tragedy or sorrow.

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cantata

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(Italian, 'to be sung') (1) In the seventeenth and eighteenth centuries, a vocal chamber work with CONTINUO, usually for solo voice, consisting of several sections or MOVEMENTS that include RECITATIVES and ARIAS and setting a lyrical or quasi-dramatic text. (2) Form of Lutheran church music in the eighteenth century, combining poetic texts with texts drawn from CHORALES or the Bible, and including RECITATIVES, ARIAS, chorale settings, and usually one or more CHORUSES. (3) In later eras, a work for soloists, CHORUS, and ORCHESTRA in several MOVEMENTS but smaller than an ORATORIO.

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stile antico

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(Italian, 'old style') Style used in music written after 1600, in imitation of the old contrapuntal style of Palestrina, used especially for church music.

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stile moderno

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(Italian, 'modern style') Seventeenth-century style that used BASSO CONTINUO and applied the rules of COUNTERPOINT freely. See SECONDA PRATICA.

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oratorio

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GENRE of dramatic music that originated in the seventeenth century, combining narrative, dialogue, and commentary through ARIAS, RECITATIVES, ENSEMBLES, CHORUSES, and instrumental music, like an unstaged OPERA. Usually on a religious or biblical subject.

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toccata

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(Italian, 'touched') Piece for keyboard instrument or LUTE resembling an IMPROVISATION that may include IMITATIVE sections or may serve as a PRELUDE to an independent FUGUE.

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ricercare

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(Italian, "to seek out" or "to attempt") (1) In the early to mid-sixteenth century, a PRELUDE in the style of an IMPROVISATION. (2) From the late sixteenth century on, an instrumental piece that treats one or more SUBJECTS in IMITATION.

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sonata

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(Italian, 'sounded') (1) A piece to be played on one or more instruments. (2) BAROQUE instrumental piece with contrasting sections or MOVEMENTS, often with IMITATIVE COUNTERPOINT. (3) GENRE in several movements for one or two solo instruments.

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passacaglia and chaconne

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A chaconne has a bass ostinato consisting of a descending minor tetrachord and has the theme ending on the dominant. A passacaglia has the theme ending on the tonic.
The farewell aria in Dido and Aeneas fit this definition.

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organ mass

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Setting for organ of all sections of the MASS for which the organ would play, including ORGAN VERSES and other pieces.

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dance suite

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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.

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ballet de cour

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‘Court ballet’: a type of ballet danced at the French court from the late 16th century to the late 17th.

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moderna musica (or English title)

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(Italian, 'modern style') Seventeenth-century style that used BASSO CONTINUO and applied the rules of COUNTERPOINT freely. See SECONDA PRATICA.

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La pellegrina (and its date and context)

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a play performed at the Florentine Intermedi of 1592. The play was written by the Italian sixteenth-century playwright and librettist Girolamo Bargagli of Sienna in 1579 but was performed for the first time on 2 May 1589, after the author's death in 1586. It is perhaps best known for the fact that it was staged on the occasion of the marriage of Ferdinand I de' Medici, grand-duke of Tuscany, with Christine de Lorraine, granddaughter of the former queen-mother of France, Catherine de' Medici

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Vingt-quatre Violons du Roi

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a famous five-part string orchestra at the French royal court, existing from 1626 to 1761.

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tragédie lyrique

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French seventeenth- and eighteenth-century form of OPERA, pioneered by Jean-Baptiste Lully, that combined the French classic drama and BALLET traditions with music, DANCES, and spectacles.

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divertissement

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In TRAGeDIE EN MUSIQUE, a long interlude of BALLET, solo AIRS, choral singing, and spectacle, intended as entertainment.

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French overture

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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.

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notes inégales

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(French, 'unequal notes'; pronounced NOTS an-ay GALL) Seventeenth-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 offbeats to produce a lilting rhythm.

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overdotting

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

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agréments

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The French term for ornament or embellishment. Originally, embellishment introduced in French music of the 17th century typically in keyboard music.

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clavecin

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French term for HARPSICHORD. A person who performs on or composes works for the clavecin is known as a clavecinist.

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style brisé

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(French: "broken style") is a term for broken, arpeggiated texture in instrumental music. Used in diverse, unpredictable ways to break up chordal progressions and melodies. This technique was first used by early French lutenists.

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binary form

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a form comprised of two distinctly opposing sections ("A" vs. "B")

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prelude

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Introductory piece for solo instrument, often in the style of an IMPROVISATION, or introductory MOVEMENT in a multimovement work such as an OPERA or SUITE.

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allemande

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a moderately slow, serious dance in quadruple meter and binary form. The allemande began life as a dance in the Renaissance, and was later cultivated as an independent instrumental piece. By the time it became one of the four standard dances of the suite at the end of the 17th century, the allemande often favored an imitative, ornamented texture over strongly profiled dance rhythms.

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courante

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a well known dance in the 16th century, the courante became even more important in the 17th. A triple meter dance in binary form, it existed in two versions: the French courante, which was generally solemn and stately and written in an occasionally ambiguous triple meter; and the Italian corrente, which was in a rapid triple meter. In Italy, the corrente was a lively courtship dance, while the courante was one of the most important dances at Louis XIV’s court balls.

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sarabande

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a triple meter dance. In France and Germany, the sarabande was slow and stately. The dance was first known in Mexico and Spain in the 16th century as the zarabanda, however, a wild and extremely erotic dance. Although it was banned in Spain in 1583, it survived throughout the baroque era there and in Italy as a fast dance. It eventually became one of the four standard dances of the baroque suite, usually in its slower guise.

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gigue

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a fast dance in duple meter and binary form. It originated in England and Ireland as the jig, and was known in France by the 1650s. In the baroque suite and other compositions, the gigue often served as the final movement. As an independent instrumental composition, the character of the gigue varied widely, but typically retained its fast tempo.

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da capo aria

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the standard aria form by the late 17th century. The da capo aria had two main sections: the opening “A” section in the main key, followed by a contrasting “B” section in other keys. At the end of the “B” section, the words “da capo” (literally “from the head”) directed a repeat of the “A” section, which usually served as an opportunity for singers to show off their vocal prowess through elaborate improvised ornamentation.

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sonata da camera

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literally translated to mean 'chamber sonata' and is used to describe a group of instrumental pieces set into three or four different movements, beginning with a prelude, or small sonata, acting as an introduction for the following movements.

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sonata da chiesa

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instrumental work with several (often four) movements, originally thought appropriate for church.

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trio sonata

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written in three parts: two top parts played by violins or other high melody instruments, and a basso continuo part played by a cello. The trio sonata was actually performed by four instruments, since the cello was supported by a harpsichord upon which a performer improvised harmonies implied by the written parts.

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walking bass

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A bass line composed of nonsyncopated notes of equal value, used in baroque music

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concerto

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(from Italian concertare, "to reach agreement") (1) In the seventeenth century, ENSEMBLE of instruments or of voices with one or more instruments, or a work for such an ensemble. (2) COMPOSITION in which one or more solo instruments (or instrumental group) contrasts with an ORCHESTRAL ENSEMBLE. See also SOLO CONCERTO, CONCERTO GROSS, and ORCHESTRAL CONCERTO.

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concerto grosso

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a piece of music from the 18th century in which there are a small group of instruments and a large group of instruments. These two groups are contrasted with one another. Sometimes both play together, sometimes one plays by itself, or the two groups might imitate one another.

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collegium musicum

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one of several types of musical societies that arose in German and German-Swiss cities and towns during the Reformation and thrived into the mid-18th century. The collegia musica performed both vocal and instrumental music for pleasure

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Claudio Monteverdi

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(c. 1567-1643; Italy)
Shortly after 1600, ___ initiated the Baroque with a daring and
dramatic new approach to vocal music (particularly opera).

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Giulio Cesare

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an Italian opera (dramma per musica) in three acts composed for the Royal Academy of Music by George Frideric Handel in 1724. The libretto was written by Nicola Francesco Haym who used an earlier libretto by Giacomo Francesco Bussani, which had been set to music by Antonio Sartorio (1676).

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Giovanni Maria Artusi

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Giovanni Maria Artusi was an Italian theorist, composer, and writer. Artusi was one of the most famous reactionaries in musical history, fiercely condemning the new style developing around 1600.
Born: 1540, Bologna, Italy
Died: August 18, 1613

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Gioseffo Zarlino

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Gioseffo Zarlino was an Italian music theorist and composer of the Renaissance. He was possibly the most famous music theorist between Aristoxenus and Rameau, and made a large contribution to the theory of counterpoint as well as to musical tuning.
Born: March 22, 1517, Chioggia, Italy
Died: February 4, 1590, Venice, Italy

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Jacopo Peri

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Jacopo Peri was an Italian composer and singer of the transitional period between the Renaissance and Baroque styles, and is often called the inventor of opera.
Born: August 20, 1561, Rome, Italy
Died: August 12, 1633, Florence, Italy

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Emilio de’ Cavalieri

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Emilio de' Cavalieri was an Italian composer, producer, organist, diplomat, choreographer and dancer at the end of the Renaissance era.
Born: 1550, Rome, Italy
Died: March 11, 1602, Rome, Italy

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Ottavio Rinuccini

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Ottavio Rinuccini was an Italian poet, courtier, and opera librettist at the end of the Renaissance and beginning of the Baroque eras.
Born: January 20, 1562, Florence, Italy
Died: March 28, 1621, Florence, Italy

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Giovanni de’ Bardi

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Giovanni de' Bardi, Count of Vernio, was an Italian literary critic, writer, composer and soldier.
Born: February 5, 1534, Florence, Italy
Died: September 1612, Rome, Italy

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Girolamo Mei

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Girolamo Mei was an Italian historian and humanist, famous in music history for providing the intellectual impetus to the Florentine Camerata, which attempted to revive ancient Greek music drama. He was born Florence, and died in Rome.
Born: May 27, 1519, Florence, Italy
Died: July 1594

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Vincenzo Galilei

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Vincenzo Galilei was an Italian lutenist, composer, and music theorist, and the father of the famous astronomer and physicist Galileo Galilei and of the lute virtuoso and composer Michelagnolo Galilei.
Born: 1520, Santa Maria a Monte, Italy
Died: July 2, 1591, Florence, Italy

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Francesco Gonzaga

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Francesco Gonzaga ( 15 March 1444,[1] Mantua, Italy – 21 October 1483, Bologna, Italy ) was an Italian bishop and a Cardinal of the Roman Catholic Church during the reigns of Popes Pius II, Paul II and Sixtus IV.

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Francesco Cavalli

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Francesco Cavalli was an Italian composer of the early Baroque period. His real name was Pietro Francesco Caletti-Bruni, but he is better known by that of Cavalli, the name of his patron Federico Cavalli, a Venetian nobleman.
Born: February 14, 1602, Crema, Italy
Died: January 14, 1676, Venice, Italy

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Louis XIV

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Louis XIV, known as Louis the Great or the Sun King, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1643 until his death.
Born: September 5, 1638, Château de Saint-Germain-en-Laye, Saint-Germain-en-Laye, France
Died: September 1, 1715, Palace of Versailles, Versailles, France

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Cardinal Mazarin

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Jules Mazarin, born Giulio Raimondo Mazzarino or Mazarini, was an Italian Catholic cardinal, diplomat, and politician, who served as the chief minister of France from 1642 until his death. Mazarin succeeded his mentor, Cardinal Richelieu.
Born: July 14, 1602, Pescina, Italy
Died: March 9, 1661, Vincennes, France

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Luigi Rossi

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Luigi Rossi was an Italian Baroque composer. Rossi was born in Torremaggiore, a small town near Foggia, in the ancient kingdom of Naples and at an early age he went to Naples.
Born: 1597, Torremaggiore, Italy
Died: February 20, 1653, Rome, Italy

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Jean-Baptiste Lully

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Jean-Baptiste Lully was a Florentine-born French composer who spent most of his life working in the court of Louis XIV of France. He is considered the chief master of the French baroque style.
Born: November 28, 1632, Florence, Italy
Died: March 22, 1687, Paris, France

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Jean-Philippe Quinault

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1635–88, French dramatist. His tragedies and comedies are affected and undistinguished, but he found an outlet for his talent in the 14 opera librettos which he wrote for Lully. The charm and delicacy of his style is clearly apparent in his masterpiece, Armide (1686), a libretto used first by Lully and later by Gluck.

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John Blow

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an English Baroque composer and organist, appointed to Westminster Abbey in 1669. His pupils included William Croft, Jeremiah Clarke and Henry Purcell. In 1685 he was named a private musician to James II.
Born: February 23, 1649, Nottinghamshire, United Kingdom
Died: October 1, 1708

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Henry Purcell

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an English composer. Although incorporating Italian and French stylistic elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music.
Born: September 10, 1659, Westminster, United Kingdom
Died: November 21, 1695

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Antonio Stradivarius

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an Italian luthier and a crafter of string instruments such as violins, cellos, guitars, violas, and harps. Stradivari is generally considered the most significant and greatest artisan in this field.
Born: 1644, Cremona, Italy
Died: December 18, 1737