Spring Music History 2 Final 1

Front 1

What does 'baroque' mean (literal translation)

Back 1

an irregularly shaped pearl (from portuguese)

Front 2

What is the Doctrine of the Affections

Back 2

A period medical philosophy--outside sound and music can affect the fluids in the body, causing emotion. Baroque performers accomplished this through ornamentation

Front 3

General Characteristics of Baroque music

Melody

Back 3

Monody is developed

Front 4

General Characteristics of Baroque music

Rhythm

Back 4

Standardized measures and time signatures

Front 5

General Characteristics of Baroque music

Harmony

Back 5

Major and minor--equal temperament keyboard instruments

Front 6

General Characteristics of Baroque music

Texture

Back 6

Homophony and Polyphony

Front 7

General Characteristics of Baroque music

Timbre (woodwinds, brass, strings, keys)

Back 7

Flute, oboe, bassoon

Trumpet, horn, trombone

violin, viola, violincello

organ, harpsichord

(also percussion. always percussion)

Front 8

General Characteristics of Baroque music

Dynamics

Back 8

Terraced dynamics (no crescendo/decrescendo)

Front 9

General Characteristics of Baroque music

Monody

Back 9

Single melody voicing w/ accompaniment

Front 10

Basso continuo--who plays it?

Back 10

Cello (or other low instrument) and keyboard

Front 11

Figured bass--what is it? who realizes it?

Back 11

Bass notated with chord symbols and inversions below. Bass pitch realized by cello, symbols realized by keyboard.

Front 12

Prima practica vs seconda practica

Back 12

prima - palestrina. original rules for polyphony. zarlino. Focused on music horizontally--where melodies are going

seconda - montaverdi. new rules, esp. dissonance and chord progressions. focused vertically--how do the voices interact in harmony

Front 13

libretto

Back 13

opera text

Front 14

Recitatif (4)

Back 14

Text painting

Syllabic

Less metric (free)

Accomp. by figured bass

Front 15

Aria (4)

Back 15

Text painting

lyrical and melismatic

metric

accompanied by cello and orchestra

Front 16

castrato

Back 16

castrated boy

Front 17

Arioso

Back 17

between aria and recitatif

Front 18

Stile concitato

Back 18

portray "distress" with repetition of a single pitch (ornamentation)

Front 19

Who were the Camerata and what city are they from?

Back 19

Well-educated people and musicians from Florence

Front 20

What did the Camerata do?

Back 20

attempted to revive Greek drama

Front 21

Forerunners to Italian opera

Incidental music

Back 21

Music during a play

Front 22

Forerunners to Italian opera

Intermedio

Back 22

Music between acts

Front 23

Forerunners to Italian opera

Commedia dell'arte

Back 23

Improvised comedic sketches, usually during intermissions, developed characters for other operas

Front 24

Dramatic scenes within polyphonic madrigal cycles

Back 24

Multiple cyclical madrigals tied with scenes

Front 25

Pastorale plays

Back 25

nature-oriented

Front 26

Peri: L'Euridice

Significance

Back 26

First surviving full opera

Front 27

Peri: L'Euridice

What types of vocal works are contained in it?

Back 27

Recitatif and SIMPLE aria--basically strophic song

Front 28

Monteverdi: L'Orfeo and L'Incoronazione di Poppea

Monteverdi was known as this nickname

Back 28

The Creator of Opera

Front 29

Monteverdi: L'Orfeo and L'Incoronazione di Poppea

For whom were these composed? How does this make them different

Back 29

Orfeo--for the Academy of Manchua. Composed for a large orchestra w/ simple songs, arias, recitatif, and a chorus

Coronation--For public performance. Small orchestra w/ natural recitatif and full arias

Front 30

Monteverdi: L'Orfeo and L'Incoronazione di Poppea

How did Monteverdi's style mature?

Back 30

Recitatifs--more natural

arias--more symphonic

Front 31

Ballet de cour

Back 31

Court ballet--dancing with singing involved. multiple acts with scenes

Front 32

Comedies ballets

Back 32

comedy ballets or spoken comedies with incidental music

Front 33

Jean Baptiste Lully: Armide

Libretto subjects

Back 33

Mythology

5 acts w/ dancing

Front 34

Jean Baptiste Lully: Armide

Stage design

Back 34

VERY important. Scenery, costumes, changes

Front 35

Jean Baptiste Lully: Armide

Vocal pieces--air vs aria

Back 35

Airs are shorter and syllabic. less orchestra

Front 36

Jean Baptiste Lully: Armide

Vocal pieces--measured recitatif

Back 36

accompanied by an orchestra

Front 37

Jean Baptiste Lully: Armide

Orchestral music

Back 37

Used to set the scene. FX, stuff

Front 38

Jean Baptiste Lully: Armide

French overture

Back 38

Dotted rhythms in two followed by faster sections in three

Front 39

Jean Baptiste Lully: Armide

dancing

Back 39

there was dancing

Front 40

English Opera--masque

Back 40

songs, chorus, dances, costumes, scenery, stage machinery

Front 41

English opera--semi opera

Back 41

Begins with overture, then has substantial music section at the end of each opera (5-6 songs)

Front 42

Henry Purcell: Dido and Aeneas

Characteristics of English opera

Back 42

Dancing

Recitatif is more decorated

Front 43

Henry Purcell: Dido and Aeneas

Lament device

Back 43

Descending tetrachord--Repetitive ground bass

Front 44

Spanish opera

Zarzuela

Back 44

Mythological plays that were light and bounced between singing and speaking

Front 45

Characteristics of Peruvian opera (4)

Back 45

syncopated choruses

guitars and harps in basso continuo

first spanish opera in peru

used women

Front 46

l'euridice

Back 46

Peri

Front 47

Orfeo

Back 47

Monteverdi

Front 48

Coronation of Poppea

Back 48

Monteverdi

Front 49

Armide

Back 49

Jean Baptiste Lully

Front 50

Dido and Anaeus

Back 50

Henry Purcell