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Description
Flashcards by mtempleton1, updated more than 1 year ago
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Created by mtempleton1
almost 11 years ago
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| Question | Answer |
| Claudio Monteverdi | (1567 -1643) Greatest bridge composer between Renaissance and Baroque periods. First composer of operas (La Favola D'Orfeo). accomplished viol and viola player. Became Maestro Di Cappella in Venice in 1612. His music distinguises between the two styles of his time (Prima Practica: vocal polyphony of the Renaissance period Seconda Practica: Text favored of the music in Baroque style). |
| Ren vs. Baroque | Equal counterpoint in all voices vs outer voices/Treble Bass polarity. Chords result of counterpoint vs. independent chords/figured bass. Little difference between vocal and instrumental writing vs. greater difference. Smoothly flowing rhythm vs. More uneven to follow text. |
| Florentine Camerata | Group of famous intellectuals (composers, writers etc..) who met at the house of Giovanni Di Bardi in the 1570's and 80's to discuss trends in the arts mostly music and drama. They propounded a revival of Greek Tragedy and in this way facilitated the invention of the opera. Guilo Cassini and Jacopo Peri were two composer |
| Henry Purcell | (1659 - 1695) Middle baroque English composer. Organist at Westminster Abby and Chapel Royal. Wrote Dido and Aeneas, most frequently performed baroque opera today. |
| Heinrich Schutz | (1585 -1672) Middle Baroque German composerStudied Law then moved to Italy and studied with Giovanni Gabrielli. Went back to Germany and brought Italian influence. Wrote proficiently in secular and sacred music. Use of dissonance to heighten emotion of text influenced later German composers from Bach to Brahms. |
| Jean-Babtiste Lully | (1632 -1687) Italian born composer moved to France at 14. Famous for his 15 operas. Used French overture form. "Alceste" and "Amide" are his importnat operas. |
| French overture Form | Two part structure, both parts repeated. First part slow and homophobic and majestic. Second part faster with imitative counterpoint. concludes with short return of opening section. |
| Treble-Bass polarity | Outer voices predominant counterpoint. |
| Basso Continuo | System of notation and performance in Baroque Period where bass line is written out and one or more keyboard or lute type instruments fills out harmony and improvised melodic line. |
| Realization | Performing or creating a performable edition of an incomplete work like a basso continuo or a composition left unfinished by the composer. |
| Monody | 1. An accompanied solo song. 2. The texture of a solo singer accompanied by one or more instruments. |
| Opera | (italian for "work") Drama with continuous or nearly continuous music staged with scenery, costumes and action. |
| Libretto | (Italian for "little book") Literary text for opera or other musical stage work. |
| Arias | 1. In late 16th century and early 17th, any section of an Italian strophic poem for a solo singer 2. Lyrical monologue in an opera or other vocal work. |
| Recitative Style | A type of singing that fallows the natural rhythm of the text. Like speech. |
| Cantata | 1. 17th and 18th century solo chamber work for singer consisting of several movement including recitatives and Arias 2. Form of Lutherin Church music in 18th century combining poetic text and text drawn from Chorales 3. In later eras, a work for soloist, chorus and orchestra in several movements but smaller than an oratorio. |
| Passion | A musical setting of one of the accounts of Jesus' crucifixion. Common type of historia. |
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