Chapter 13

Question 1

absolutism

Answer 1

the political doctrine and practice of unlimited centralized authority and absolute sovereignty, as vested especially in a monarch or dictator.

Question 2

aristocratic patronage

Answer 2

wealthy courts / monarchies

Question 3

Artusi

Answer 3

Student of Zarlino. criticized Monteverdi’s piece Cruda Amarilli because it did not follow prima pratica. Artusi’s L’Artusi overo Delle imperfettioni della moderna musica (The Artusi, or Of the Imperfections of Modern Music, 1600)

Question 4

Baroque

Answer 4

meaning bizarre, exaggerated, in bad taste
from Portuguese barroco, misshapen pearl
applied first as a pejorative, mid-18th century
1950s: established as name for period from 1600–1750
diversity of styles

Question 5

basso continuo (or figured bass)

Answer 5

System of notation and style of accompaniment: composer writes melody and bass with “figures” to indicate chords, accidentals, non-chord tones. harpsichord, organ, lute, theorbo (chitarrone). Composers started thinking of music vertically instead of horizontally (emphasized by basso continuo)

Question 6

chromaticism

Answer 6

Useful for expressing intense emotion, another way of dealing with dissonance.

Question 7

civic patronage

Answer 7

employed by city / government. a few instrumentalists

Question 8

concertato

Answer 8

Concertato Style: combining voices with instruments.

CONCERTATO MEDIUM
Contrasting forces (voices and instruments) in one ensemble.  tuning made this a huge challenge

Question 9

ecclesiastical patronage

Answer 9

employed by church

Question 10

figured bass realization

Answer 10

realization
a. actual playing of figured bass
b. varied according to work and player; improvisation

Question 11

Monteverdi

Answer 11

(1567–1643) Most innovative and imaginative composer of his day. born in Cremona, Italy. Orfeo (1607) was one of the first operas. transformed genre of the madrigal.

Question 12

Prima pratica (First Practice)

Answer 12

16th-century vocal polyphony of Zarlino
a. music had to follow its own rules
b. dominated the verbal text

Question 13

Seconda pratica (Second Practice)

Answer 13

a. response by Monteverdi’s brother, Giulio Cesare Monteverdi
b. music as servant of the words; music heightens effect and rhetorical power of the words
c. voice-leading rules may be broken, dissonance used more freely

Question 14

Theory of the Affects (or Doctrine of Affections)

Answer 14

Theory based on the idea that affections (emotions like anger, joy, sadness, love, fear, etc.) could be both represented and elicited by outward visible or audible signs in art.
Baroque composers wanted their music to move the audience emotionally.
One of the results: creation of opera

Question 15

Tonality

Answer 15

Tonality gradually replaced modality. Rameau’s Treatise on Harmony (1722) solidified new system