Flashcards
Baroque
Cards in this deck (25)
- 1Monody and Early OperaOverloaded their music with chromaticism - disrupted the continuous flow of the piece
Goal - increase immediate impact of emotion on the listener - 2Early Baroque (1580-1630) - ProgressionLook back to Ancient Greek music/writing
Music driven by the word and the affect of a text should be by expressive musical devices
Polyphonic/counterpoint obscuring intelligibility of the words - 3IntermidiIndependent of the plot of the play
Staged - based on an ancient mythology
4/5 movements - one of them being instrumental
Mixture of traditional polyphony and newer styles of composition - 4Basso ContinuoContinuous bass that provided harmonic framework for the solo voice above
Filled out harmonies implied by the bass as needed
Figures - shows what deviation from root position to play
Harpsichord, organ, lute or theorbo - 5MonodyGreek meaning 'one sung' - can refer to any work for soloist with accompaniment - restricted to the new form of music introduces around 1600
- 6Types of MonodyRecitative
Aria
Solo Madrigal - 7Baroque Instrumental Music - Terms and Stylistic Overview'Baroque' - Portuguese 'barroco' - 'Misshapen pearl'
Taken from art history - age of decadence between the Renaissance and the Classical Periods
Emergence of the orchestra
Public opera and concert venues - 8AffectEmotions: Sadness, anger, joy, love, fear, excitement and wonder
Not personal feelings: sought to portray affections in a generic sense - 9Two main categories of Baroque instrumental musicKeyboard:
-Toccata (or prelude, fantasia)
-Suites
-Fugues
Ensemble Music:
-Sonata
-Sinfonia/Overture
-Suite
-Concerto - 10SonataTerm 'Sonata' appeared regularly on music throughout the 17th Century but mean 'that which is played'
The instrumental equivalent of vocal monody
By the 1640/50s sonatas were often scored for one or two melody instruments, usually violin with BC
Often took advantage of the idiomatic possibilities offered by a particular instrument - 11Chamber vs. Orchestral MusicSonata - Chamber music
Concerto and overtures - Orchestral music
Symphony Orchestras - Did not exist until the late 18th Century, when public concertos first became common in the major cities in Europe
Most early instrumental ensembles were relatively small and were described by their function - for church, theatre or home use - 12Sonata da ChiesaChurch sonata
Mixture of abstract movements - Italian tempo markings
Use of suspensions and some imitation
Dance-like movements without identifying the dances
BC was played by organ - 13Sonata da Chiesa Structure4 movement S-F-S-F
Use of abstract titles
Kept all movements of trio sonata in the key
1st Movement - Majestic, slow character
2nd Movement - Allegro - usually contrapuntal (imitative style) - Usually the largest or musical centre of the piece
3rd Movement - Slow - A triple metre feel
4th Movement - A lively dance movement such as a gigue - 14Sonata da CameraChamber sonata
Music for private, domestic or home use
Origins of the modern expression CHAMBER MUSIC
A suite or collection of stylized dances
Although the opening movement was not always a dance - typically a prelude - 15Sonata da Camera StructureNumber of movements can vary but usually 4/5
Will have dance titles (binary structure), but can be a mix of abstract and dance titles
1st Movement: Prelude
2nd, 3rd, 4th ... Movements: Are dance movements - Gigue, Sarabande, Courrents ... - 16Large Instrumental Ensembles1690s there was a beginning to emerge a general recognized distinction between Chamber Music and Orchestral Music
Except for Basso Continuo and the dominance of string instruments, there was no common standard for either the make up of a piece or the number of instruments to a part - 17Ouverture or Orchestral SuiteCollection of stylized dance movements
Opens with an ouverture modelled on French theatrical music
Term ‘OUVERTURE’ referred not only to the overture itself but to a complete suite in the French Style
Today: referred to as ‘Ouverture Suites’
Suites open with a pair of sections in the form of a FRENCH OUVERTURE - 18French Ouverture Form1st Movement: Consisted of 2 sections, each repeated
1st Section
Duple meter
Homophonic
Marked by persistent dotted rhythms
Notes inegales (unequal notes – eighth notes)
Figurative passagework rushing towards downbeat
2nd Section
May be in any meter but faster than the first (compound triple: some type of 6/4)
Often opens imitatively, in the manner of a figure
Although the counterpoint is usually not very complex
There is a return to the dotted rhythm and slow tempo from the first section - 19Instrumental Genres of the BaroqueThe majority of works from the early Baroque era for keyboard fall into one of two categories:
1. Improvisatory Compositions
2. Non-Improvisatory Compositions (for the lack of a better label) - 20Improvisatory CompositionsMainly for solo keyboard, usually harpsichord or organ
Titles: Toccata, prelude, fantasia, ricercer etc. [similar to what we encounter in the sixteenth century] - 21ToccataItalian for ‘to touch’
This type of keyboard piece has been established in the sixteenth century as a type of ‘warm-up’ piece
Full of scale-like and other florid passagework
Composers and/or performer – often they were one and the same – explored every aspect of a particular key and instrument
Two composers who are best known for writing works in this genre are:
Girolama Frescobaldi (1583-1643)
Johann Jakob Froberger (1616-1667) – student of Frescobaldi - 22Ritornello Form – Structure and DesignConcetare - “coming together” or “arranged together! - also “to fight”
Voice and instruments - by 1700 just instrumental
Solo Concerto
Concerto Grosso - Trio Sonata and some sort of orchestra - Typically strings but can have wind soloists
Concertino – solo/group of soloists
Ripieno – orchestra (includes your soloists) – tutti
Ritornello - In relation to Episodes and Ritornello [THEMATIC] - Formal unit
Ritornello Form - Structure of the whole piece - 1680-1740 - ALL FAST MOVEMENTS - 23J.S. Bach and the Concerto Development to c. 1740Next generation and their development of the genre – Corelli and Vivaldi: Solo Concerto and Concerto Grosso
Now find: Blur in distinction between ripieno and concertino - Between ritornello and solo sections (feature to continuo into Galant style)
With J.S Bach, we might encounter:
A well-defined ritornello section followed by a solo section - AT THE START
But, as it progresses, the two sections may: Exchange motivic material -Blend into each other - 24Bach's ConcertosWrote both solo and ensemble concertos (concerto grossi)
Mainly for violin and other instrument modelled after works by Vivaldi
Most famous set was a collection of 6 copied out into a manuscript in 1721 – Brandenburg Concertos - 25Concerto Instruments (Including Basso Continuo)Natural Trumpet – Late 17th Century
Natural Trumpet in Eb with a crook for D – 1825
Classical Trumpet with crooks for F, E, Eb, D, C and Bb in either A=430 or A=440
Oboe – 1735
Flauto – 1700
Harpsichord
Cello - 1714
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- Flashcards on Baroque, created by Megan Storer on 16/04/2016.
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