Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
18 Cards in this Set
- Front
- Back
The concept of the "Baroque" |
1. Barroco: an irregularly shaped pearl 2. Baroque was initially a pejorative term for music & art that was thought to be excessively ornate & elaborate. 3. Baoruqe period music: drama, theatricality, passion, & extravagance |
|
Concertato medium |
Mixes instruments and voices (aka concertato style) |
|
Basso continuo |
1. Written out melody/melodies and bass line with figured bass, leaving performers to Fill in the appropriate chords or inner parts. 2. Reflects the new polarity of treble and bass as the essential lines |
|
Elements of opera/Aristotle analysis of tragedy |
1. Plot 2. Ethos/character 3. Verbal expression/thought 4. Mimesis of ideas/"diction" 5. Spectacle 6. Songwriting |
|
Opera and Greek tragedy |
Opera is a "recreation" of the Greek tragedies through elements of monody, chorus (kommos), and dance |
|
Chacona |
1. Lively dance imported to Italy via Spain from Latin America 2. I V vi V 3. Often descending bass line 4. Monteverdi's "Zefiro Torna" |
|
Artusi-Monteverdi Controversy |
1. First v. second practice (ie breaking the rules of counterpoint for word painting) 2. Monteverdi's "Zefiro Torna" |
|
Accompanied recitative |
Used stirring and impressive orchestral outbursts to to dramatize tense situations |
|
Prima donna |
1. Soprano singing the leading female role 2. Demanded the most and best arias |
|
Coloratura |
Brilliant displays of florid ornamentation |
|
George Frederic Handel |
1. Master of all types of vocal and instrumental music 2. Best known for oratorios, a genre he invented, and for his Italian operas 3. First composer to work for the public, enjoyed patronage of the royal family 4. First classical composer to attain permanent role in performing repertoire |
|
French v. Italian opera |
1. French opera: had divertissements; mixed recitative with more tuneful, formally organized airs, choruses, and instrumental interludes. French overture 2. Italian opera: ?? |
|
Claudio Monteverdi |
1. Wrote only vocal works: sacred pieces, madrigal, and operas 2. Inventive in creating expressive devices and combining styles and genres to capture feelings and personalities 3. Second practice 4. Wrote one of the first operss in L'orfeo; utilized Peri's recitative; Orfeo's lament "Tu se morta" attains new height of lyricism |
|
Early history of opera |
1. Humanists wanted to generate the ethical effects of ancient music in Greece by creating modern works with equal emotional power (Greek tragedy as a model) 2. Intermedio: musical interlude on a pastoral, allegorical, or mythological subject performed between acts of a play 3. "L'Euridice" by Peri who invented recitative style |
|
Jean-Philippe Rameau |
1. Writings founded the theory of tonal music; wanted to ground the practice of harmony in the laws of acoustics; "Traité de l'harmonie" 2. Operas established him as Lully's most important successor 3. "Hippolyte et Aricie" uses orchestra to mimic storms, waves, lightning, thunder, etc. |
|
Arcangelo Corelli |
1. Left no vocal music; wrote for trio sonata, solo violin sonata, and concerto grosso 2. His teaching was foundation of most 18th century schools of violin playing 3. Organized and led the first orchestras in Italy 4. Emphasized lyricism over virtuosity |
|
Louis XIV |
1. Called himself the "Sun King"; identified with Apollo, Greek sun god and the god of music, learning, science, and the arts; wanted to be seen as chief patron of those fields 2. Centralized power through his court at Versailles 3. Used the arts as symbols of his absolute power 4. Ancien régime: monarchy of France |
|
Tragédie en musique |
1. French opera: mixed French drama with ballet, the French song tradition, and a new form of recitative; "Armide" by Lully 2. Combined serious plots from ancient mythology or chivalric tales with frequent divertissements. Depicted well-ordered, disciplined society. Myth reinforced parallels Louis sought to draw b/w his regime and ancient Greece/Rome 3. Intermingled romance and adventure with adulation of the king, glorification of France, and moral reflection 4. Texts were propagandistic 5. Each opera had a prologue often singing the king's praises literally/allegorically |