Chapter 7

Question 1

Florentine Camerata

Answer 1

A group of poets, musicians and noblemen who gathered to recreate a style of singing used by the ancient Greeks in their dramas

Giulio Caccini
Count Giovanni de’ Bardi
Vincent Galilei
Ottavio Rinuccini

Question 2

Intermedi

Answer 2

Lively music and dance performed between the acts of a play.

4-5 movements, mix of traditional polyphonic and new styles of composition

Very lavish productions

Question 3

Homophonic

Answer 3

Having 2 or more voices move together, with the relationship creating chords

Helped project melodic line text

Question 4

Seconda Prattica

Answer 4

Term used in Italy the early 17th century to distinguish the Renaissance polyphonic style ( prima prattica) from the Baroque style ( seconda prattica).

Question 5

Basso Continuo

Answer 5

Supporting instrumental line.

Consists of a single bass line in notation, but was filled in with upper voices by the performer in practice

Provided harmonic framework for the solo melodic line above it

Performed on harpsichord, organ or lute; sometimes reinforced with a viol or bassoon, depending on the situation or venue)

Created a polarized texture between a melodic upper voice and a harmony-driven bass line, with the importance of inner voices greatly reduced.

Freed composers from writing in a continuously polyphonic manner

Solo singing led to the opera

Question 6

Opera

Answer 6

A sung drama, where singers assume the role of individual characters.

Based off of ancient Greek practices

Question 7

Figured bass

Answer 7

Numbers used to indicate deviations from root-position harmonies

Question 8

Monody

Answer 8

A style of accompanied solo song, with an embellished, sung upper line and a simple basso continuo

Allowed performer to embellish at will

Spontaneity in performance

Question 9

Sprezzatura

Answer 9

The term used by Caccini to describe the freedom and disregard for meter and rhythm in monody singing