music history exam Flashcards
(98 cards)
1
Q
composer of Vedro ‘l mio sol
A
cacccini
2
Q
interesting about vedro ‘I mio sol
A
Solo madrigal with basso continuo, cadence every line
3
Q
composer of Cruda Amarilli
A
Claudio Monteverdi
4
Q
interesting about cruda Amarilli
A
example of seconda practica
fifth book of madrigals, text by Giovanni Guarini from Il pastor fido by 1605,
fashion was to accompany madrigals with basso continuo
5
Q
composer of La musiche sopra l’Euridice
A
peri
6
Q
interesting about Peri –La musiche sopra l’Euridice
A
oldest surviving opera
7
Q
La musiche sopra l’Euridice scene names
A
Nel pur ardor, and Per quell vago boschetto
8
Q
composer of Armide, Enfin il est en ma puissance
A
Jean Baptist Lully
9
Q
interesting about Armide
A
Example of french Opera
10
Q
composer of Orontea
A
cesti
11
Q
why Orontea included
A
this style defines opera for the next century
12
Q
composer of L’incoronazione di Poppea,
A
Monteverdi
13
Q
composer of Dido and Aeneas,
A
Henry Purcell
14
Q
reason for dido and Aeneas on the test
A
example of English opera
15
Q
Lagrime mie composer
A
Strozzi
16
Q
why Lagrime mie
A
example of a mid-17th century solo cantata using recitative, arioso and aria styles
17
Q
O quam tu pulchra es composer
A
Gabrieli
18
Q
why O quam tu pulchra es
A
motet was historically polyphonic, but Gabrieli uses the new monody style
recitativo imbastardito (hybrid recitative), more melodious recitative found in church musi
19
Q
O lieber, Herre Gott composer
A
Schütz
-Schütz states in the preface of 381 the need to learn to write well contrapuntally without the basso continuo, before one can write in the ̈new Italian style. ̈ in 287 (solo version) he word paints a lot
20
Q
Deus qui beatum Marcum composer
A
Gabrieli
21
Q
Zefiro torna e di soavi accenti composer
A
Monteverdi
22
Q
why Zefiro torna e di soavi accenti
A
example of chacona
23
Q
Prelude in E major
A
Buxtehude
24
Q
why Prelude in E major Buxtehude
A
early example of toccata
25
composer of Suite no 3 in A minor
Elisabeth Jacquet de la Guerre
26
why Suite no 3 in A minor Jacquet de la Guerre
example of French suit
27
prelude and fugue no 2 in C minor, composer
Bach
28
Op. 3, No. 2 Trio sonatas composer
Corelli
29
why trio sonatas
where example of classic -trio sonata (were common -2 violins and continuo)
30
sonata IV per il violino per sonar con due corde, composer
Marini
31
why sonata IV per il violino per sonar con due corde
example of solo instrument with basso continuo rising in popularity
32
who composed Schübler Chorales
Bach
33
why Schübler Chorales
example of church cantata
34
who composed Cantata 140,
Bach
35
why Bach Cantata 140,
example of chorale cantatas
36
who wrote St. Matthews passions
Bach
37
why St. Matthews passions
example of sacred oratorio
38
why Bach, Brandenburg concerto No. 5
example of concerto gross
39
who wrote The Four Seasons 1725
Vivaldi!
40
why The Four Seasons 1725
early example of program music and music as a descriptive tool
41
Paris quartet, no. 1 in G Major, composer
Telemann
42
composer 25th ordre (keyboard suite),
Couperin
43
why 25th ordre (keyboard suite),
example of dance music becoming more complex
44
Magnificat in G Minor, RV 610, composer
vivaldi
45
rinaldo : Scherzano sul tuo volto composer
handel
46
why Rinaldo
he first Italian language opera written specifically for the London stage
47
Giulio Cesare composer
Handel
48
why Giulio Cesare
one of the most performed baroque opera
49
Hippolyte et Aricie composer
Rameau
50
why Hippolyte et Aricie
example of French opera
51
Prima practica
Zarlino, Palestrina, style of the Renaissance, with strict counterpoint rules, polyphonic music
52
Seconda practica
Monteverdi, the “new” way of writing, all about word-painting, in places where the text asks for it, counterpoint rules can be broken for expressive means, includes polyphony and monody
53
Ostinato
Monteverdi, Repetitive bass figure, e.g. Lamento bass, for expressiveness, or to accommodate improvisation (e.g. Chiaccona)
54
Figured bass
any baroque composer, (from Monteverdi to Bach and in between) Notation system to indicate which intervals above the bass are to be played, forming the harmonies. The realization of the figured bass is free for the player to decide, as long as the right notes are present. Keyboard and plucked instruments
55
Madrigal cycles
Montverdi, Collection of madrigals with a common theme or story.
56
Opera
Montverdi, Händel, Lully, Theatrical work of which the text is (often) completely sung, with intrumentation, staging, acting etc. Invented around 1600 by the Florentine Camerata
57
Tragedie lyrique
Lully, Type of French opera, with tragic, mythological or epic content
58
masque
Jonson, English entertainment for important events combining dancing, speech and song.
59
Ritornello
a short instrumental refrain or interlude in a vocal and instrumental music. Bach
60
Concerto for few voices
few voices with basso continuo. Alessandro Grandi
61
Stile antico
Stile antico, is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious and traditional, as opposed to stile moderno, which adhered to more modern trends. Sacred music. Monteverdi
62
Doctrine of affections
based off of an ancient philosophy that viewed music as a stimulus which could cause a physical reaction. This theory influenced composers in the Baroque period and, how they composed music.
63
Intermedi
also called intermezzo. Theatrical/musical scene in between acts. Usually short. Giovanni Battista Pergolesi
64
Contrapuntal
composed of two or more relatively independent melodies sounded together. Bach
65
Meantone and just intonation
Meantone is a tuning system where the 3rds are more pure thus smaller fifths. Just intonation are the ideal ratios, forming a perfectly in-tune interval. Not possible to tune a fixed-tuning instrument (e.g. piano/harpsichord etc) in just intonation.
66
Equal temperament
A tuning system in which you divide the octave in twelve equal steps.
67
Florentine Camerata
group of intellectuals in renaissance Florence, who would gather in a basement and discuss intellectual trends in specially music and drama.
68
. Le nuove musiche
collection of monodies and songs for solo voice and continuo, published in 1602 in florence. Written in early baroque style in the seconda practica
69
Monody
solo vocal style with single melodic line, with instrumental accompaniment. Specifically for Italian songs of early 17th century. Very old indeed.
70
Stile concitato
agitated style developed by mr verdi himself. Quick repeated notes with long trills. Emotionally angry and agitated.
71
Organ chorale
composition based on chorale melody specifically in the context of the Lutheran church.
71
Organ chorale
composition based on chorale melody specifically in the context of the Lutheran church.
72
chorale prelude
is a short liturgical composition for organ using a chorale tune as its basis.
73
fugue –
contropuncual composition with first theme introduced in tonic, dux, and second theme introduced in beginning imitating the first with different notes called come.
74
Exposition
section of composition where composer himself presents many of the themes and ideas where he late will develop. Love this part.
75
. Episode
an ornamental or constrictive section added to the main elements of the composition (J.S. Bach)
76
trio sonata
sonata for two melody instruments and basso continuo ( Corelli, Telemann)
77
sonata da camera
composition for one or more melody instruments and Basso continuo. Several small pieces in the same key that are suitable for dancing. (Corelli, Heinrich Biber)
78
sonata da chiesa
instrumental work with four movements originally thought appropriate for church
79
passacaglia
instrumental musical composition consisting of variations usually on a ground bass in moderately slow triple metre. A dance (Johann Pachelbel, J.S.Bach)
80
chaconne
it is generally characterized by a short, repeating bass line or harmonic progression
81
French overture
Introduction to a ballet opera or suite. Two sections 1.dotted rhythms 2. Usually fugal (Lully, J.S. Bach, Handel)
82
italian overture
opening of an opera or oratorio 3 movement structure ( Scarlatti)
83
Baroque suite
A set of baroque dances that are usually in Binary Form AABB: Allemande (German dance,4/4, moderate tempo), Courante (French, ¾, moderate tempo), Sarabande (Spanish, stately dance,3/4), (Other optional dances), Gigue (English, 6/8 6/4, lively). (Bach)
84
Venetian school
referring to distinctive art and music created in the renaissance period. The Venetian polychoral style was created here in the 16th century. (Andrea Gabrielli)
85
Toccata
or prelude, is a virtuosic composition and style written for keyboard instruments which includes contrasting sections. The contrasting sections include free sections, improvisation effect, slow sections, rhythmical sections, and fugal sections. (. Buxtehude)
86
Pedal point
a sustain tone in the bass line which has a moving harmony above it. (Purcell)
87
Augmentation
the note values of the theme are doubled.
88
Chorale fantasy
the melody is fragmented motives, developed with fireworks, echos, and ornamentation. Often seen in oratorio by J.S Bach.
89
Oratorio
The early style of vocal music that is based off of sacred text and includes recitatives and arias usually with solo voices and instruments. (Bach, Handel)
90
da capo aria
baroque aria form, ABA, A1 is ornamented, Händel
91
Secco/accompagnato recitativo
secco: the singer is accompanied by basso continuo, A. Cesti, J. Peri, G. Caccini; accompagnato: the singer is accompanied by the entire orchestra, however it’s still quite passive, Händel
92
ritornello
a repeating orchestral material in arias or concertos. Doesn’t appear in the full version every time, can be shortened, also in a different key (dominant key, for example). Vivaldi,
93
agrêments
ornaments in French music, Couperin
94
stile brisé
broken, arppegiated chords, primarily in French high baroque music. Couperin, also in Bach’s music
95
tirades
an ornament consisting of at least three passing notes, often consecutive. Couperin, Rameau
96
concerto
an instrumental work, either for one soloist and an orchestra, or a larger group of soloists, multi-movement work, Bach, Vivaldi
97
concerto grosso
a specific type of concerto, where a group of soloists (concertini/ concertante) is opposing the orchestra (ripieno), Bach, Vivaldi
