Unit Two: The Baroque Period

Question 1

dates

Answer 1

ca 1600 - ca 1750 (1600 = birth of opera, 1750 = death of Bach)

Question 2

composers

Answer 2

Antonio Vivaldi, J.S. Bach, Frideric Handel

Question 3

general musical styles

Answer 3

the major-minor system, instrumental music became as important as vocal, ornate/opulent/grandiose

Question 4

genres cultivated (with examples)

Answer 4

opera (Vivaldi Griselda), concertos (The Four Seasons), oratorios (Messiah), cantatas (Herz und Mund und Tat und Leben, BWV 147 (Heart and Mouth and Deed and Life)), sonatas (Handel Trio Sonata in B minor)

Question 5

social and historical context of music in society

Answer 5

music was still very important in religion, but expanded to include secular settings.

Question 6

patronage of the arts

Answer 6

an essential for 18th-century musicians. Musicians relied on the generous support of patrons (aristocracy, church, and state). Musicians were paid monetarily, and often also with security, lodging, and opportunities for artistic development.

Question 7

centre of musical activity

Answer 7

Italy

Question 8

Baroque

Answer 8

from Portuguese “barocco”, meaning irregularly shapped pearl. Originally derogatory of it’s excessive ornateness. Now applied to art of the 17th and early 18th centuries.

Question 9

figured bass

Answer 9

a type of musical shorthand developed in this era. numbers are placed below the bass line to show harmonic progression. Provided a structure for guided improv, which was “realized” by the basso continuo. (“There were shepherds”, Messiah)

Question 10

basso continuo

Answer 10

a Baroque performing practice that provides harmonic framework. 2 performers: one playing the notated bass line, one realizing the harmonies indicated by the figured bass. Harmonies are usually played on harpsichord or organ. (“There were shepherds”, Messiah, the recitative secco parts)

Question 11

equal temperament

Answer 11

a method of tuning keyboard instruments in which all semitones within the octave are divided equally (creating enharmonic equivalents). Allows music to be performed “in tune” in all keys.

Question 12

terraced dynamics

Answer 12

Baroque practice of changing dynamics abruptly, resulting in stark contrast rather than gradual change (“Glory to God”, Messiah, ‘peace on earth’)

Question 13

the “Affections”

Answer 13

a baroque philosophy (inspired by Greco-Romans) referring to emotional states of the soul. In Baroque music, a single affection is usually projected through an entire composition or mvmt. Was a reaction against the complex polyphony of Renaissance music.

Question 14

word painting

Answer 14

musical pictoralization, where music mirrors the literal meaning of the words. Achieved through melody, rhythm, or harmony. (“Glory to God”, Messiah, ‘peace on earth’)

Question 15

idiomatic writing

Answer 15

the unique technical capabilities of an instrument are highlighted.

Question 16

binary form

Answer 16

two-part form (AB). A generally ends with open cadence. Often used in dances/keyboard pieces. (Prelude of P&F No. 21 in B flat Major)

Question 17

ternary form

Answer 17

three-part form (ABA). B generally creates contrast in key/material. Often used in arias. (“Rejoice Greatly”, Messiah)

Question 18

ritornello form

Answer 18

a structure employed in 1st/3rd mvmts of the Baroque concerto. The opening passage (ritornello) is restated throughout the work (Vivaldi’s Spring)

Question 19

ripieno

Answer 19

Italian for “full” or “complete”. A term used to denote the use of the full orchestra in the Baroque concerto. (Vivaldi’s Spring)

Question 20

ostinato

Answer 20

Italian for “obstinate”. A rhythmic or melodic pattern repeated for an extended period (Vivaldi’s Spring)

Question 21

drone

Answer 21

a sustained bass note that provides a rudimentary harmonic foundation, common in folk music. (Vivaldi’s Spring)

Question 22

solo concerto

Answer 22

popular instrumental genre of the Baroque era for soloist and orchestra. Generally 3 movements (fast-slow-fast), and frequently employed ritornello form. Intended to showcase soloist’s virtuosity.

Question 23

prelude

Answer 23

a short keyboard work in improvisatory style, often paired with a fugue (P&F no. 21 in B flat Major)

Question 24

fugue

Answer 24

a highly structured, imitative contrapuntal composition, where a single theme or subject prevails (P&F no. 21 in B flat Major)

Question 25

subject

Answer 25

the initial statement of the main theme of a fugue; in the tonic key (P&F no. 21 in B flat Major)

Question 26

answer

Answer 26

the second statement of the main theme of a fugue, usually in the dominant key (P&F no. 21 in B flat Major)

Question 27

real answer

Answer 27

an exact transposition of the subject (The Well-Tempered Clavier)

Question 28

tonal answer

Answer 28

a statement of the subject in which 1+ intervals is adjusted to accommodate the harmony. (P&F no. 21 in B flat Major)

Question 29

countersubject

Answer 29

a recurring counter-melody, which accompanies entries of the subject and answer (P&F no. 21 in B flat Major)

Question 30

episode

Answer 30

a passage within a fugue in which neither subject nor answer is present, frequently sequential (P&F no. 21 in B flat Major)

Question 31

stretto

Answer 31

from the Italian “stringere”, meaning to tighten. Overlapping subject entries in close succession. (P&F no. 21 in B flat Major)

Question 32

pedal point

Answer 32

a sustained note over which harmonies change (P&F no. 21 in B flat Major)

Question 33

tierce de Picardie

Answer 33

a work in a minor key ends in the tonic major (raised 3rd) (P&F no. 21 in B flat Major nope)

Question 34

oratorio

Answer 34

a large-scale work for soloists, chorus, and orchestra. Has a serious subject, generally based on Biblical texts. Consists of recitatives, arias, ensembles, and choruses (Messiah)

Question 35

French overture

Answer 35

a Baroque orchestral genre first developed at court of Louis XIV by Lully. Generally in two parts: 1st: slow tempo, homophonic texture, features dotted figures. 2nd: fast tempo, imitative texture (Overture (Sinfony) of Messiah)

Question 36

recitativo secco

Answer 36

Italian for “dry recitative”. A speech-like, declamatory style of singing. Supported only by continuo. (“There were shepherds”, Messiah)

Question 37

recitativo accompagnato

Answer 37

Italian for “accompanied recitative”. A speech-like, declamatory style of singing. Supported by instrumental ensemble or orchestra, allowing for a greater connection with the text. (“There were shepherds”, Messiah)

Question 38

da capo aria

Answer 38

the most common song type in Baroque opera and oratorio. Ternary form. In performance, the return of A is generally ornamented. (“Rejoice Greatly”, Messiah)

Question 39

melisma

Answer 39

a group of notes sung on a single syllable or vowel. Demonstrates vocal virtuosity and often serves to highlight key words (‘Rejoice’ of “Rejoice Greatly”, Messiah)

Question 40

libretto

Answer 40

the text of an opera/oratorio/cantata. Usually librettist /= composer

Question 41

homorhythmic texture

Answer 41

all voices sing the same rhythm, resulting in a blocked chordal texture (homophonic). Delivers the text with clarity and emphasis. (Hallelujah chorus, Messiah)