583775
Description
Mind Map by leftielulu1995, updated more than 1 year ago
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Created by leftielulu1995
about 10 years ago
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Late Baroque Music (1710-1750 AD)
- Instrumental
- Sonata
- Chamber Music
- Played in home
- Collection of short movements
- Movement
- An independent section of a
larger instrumental work
- An independent section of a
larger instrumental work
- Most are 4-6 movements
- Each movement has a dance like character
- Allemand, sarabarde, gavotte, gigne
- Played as concert music
- People didn't dance
- Stylized dance music
- People didn't dance
- Allemand, sarabarde, gavotte, gigne
- Movement
- Ways to designate a sonata
- By People
- Solo Sonata
- A soloist and two performers playing basso continuo
- A soloist and two performers playing basso continuo
- Trio Sonata
- Three Parts
- Melody 1
- Melody 2
- Basso Continuo
- Melody 1
- Three Parts
- Solo Sonata
- By Location
- Sonata da Camera
- "Chamber"
- Residential Settings
- Movements bore the name and character of a particular dance
- "Chamber"
- Sonata da Chiesa
- "Church"
- Performed during church services
- Movements are designated
by tempo markings
- Considered inappropriate to
play secular music in church
- "Church"
- Sonata da Camera
- By People
- Chamber Music
- Concerto
- Marked by a friendly contest
or competition between a
soloist and an orchestra
- Solo Concerto
- One soloist and an orchestra
- One soloist and an orchestra
- Concerto Grosso
- A small group of
soloists (2-4) and
an orchestra
- Soloists
- Concertino
- "Little Concert"
- "Little Concert"
- Normally first chair players
- More virtuosic style
- Concertino
- Orchestra
- Tutti
- "Everybody"
- "Everybody"
- Tutti
- Soloists
- A small group of
soloists (2-4) and
an orchestra
- Typically three movements
- First
- Serious
- Ritornello Form
- Serious
- Second
- Lyrical and tender
- Free Form
- Lyrical and tender
- Third
- Often rustic, dance-like character
- Ritornello Form
- Refrain, Return
- All/part of main theme returns
throughout the movement
- Played by tutti
- Refrain, Return
- Often rustic, dance-like character
- Fast, Slow, Fast
- First
- Solo Concerto
- Marked by a friendly contest
or competition between a
soloist and an orchestra
- Sonata
- Antonio Vivaldi
- 1678-1741
- Career
- A virtuoso violinist who gave
concerts throughout Europe
- Noted Teacher
- Associated with the Ospedale
della Pieta from 1703-1740
- Taught music lessons and conducted orchestra
- Ultimately become its music director
- Ultimately become its music director
- Taught music lessons and conducted orchestra
- Composed hundreds
of solo concertos for
the all female orchestra
- Associated with the Ospedale
della Pieta from 1703-1740
- A virtuoso violinist who gave
concerts throughout Europe
- 1678-1741
- Baroque Asthetic
- Refinement rather than innovation
- Old forms polished and perfected
- Culmination of Baroque style
- Old forms polished and perfected
- Drama through contrast
- Large blocks of sound
placed in opposition
- Musical forms provide
framework for contrast
- Large blocks of sound
placed in opposition
- Melody
- Continuing Development
- Long, expansive and irregular phrases
- Melodic Sequence
- Continuing Development
- Rhythm
- Most distinctive and exciting element
- Strong recognizable sense of meter
- Most distinctive and exciting element
- Texture
- Return of counterpoint
- Return of counterpoint
- Refinement rather than innovation
- Orchestra
- Rarely more than 25 players
- More instruments added
for festive occasions
- Strings form the core
of the ensemble
- Violins replace viols
- Multiple sting players per part
- Violins replace viols
- Woodwinds
- Oboes or flutes
- Bassoons
- Oboes or flutes
- Brasses
- Trumpets or French horn
- Both usually played by same musican
- Both usually played by same musican
- Trumpets or French horn
- Percussion
- Rarely Used
- Parts were not written out
- Rarely Used
- Basso continuo still essential
- Rarely more than 25 players
- Johann Sebastian Bach
- 1685-1750
- Career
- Weimar
- 1708-1717
- Organist
- 1708-1717
- Cöthen
- 1717-1723
- Court conductor and composer
- 1717-1723
- Leipzig
- 1723-1750
- Cantor
- 1723-1750
- Typical Baroque musical patronage
- Weimar
- Reputation
- Incredible improviser
- Known more as a great organist than as a composer
- Brought the cantata to the highest point of development
- Arguably the greatest composer of contrapuntal
music in the history of Western music
- Incredible improviser
- 1685-1750
- Fugue
- Subject
- The theme that serves as the
fugue's primary musical idea
- The theme that serves as the
fugue's primary musical idea
- Exposition
- Opening Section
- Each voice in turn presents the subject
- Opening Section
- Episode
- Freer sections where the subject is not heard in its entirety
- Freer sections where the subject is not heard in its entirety
- Three or more parts (vocal/instrumental)
- Subject
- Cantata: Awake a voice is calling
- Matthew 25:1-3
- Matthew 25:1-3
- Handel
- Career
- Hamburg
- 1703-1706
- 1703-1706
- Italy
- 1706-1710
- 1706-1710
- Hanover
- 1710
- 1710
- London
- 1710-1759
- 1710-1759
- New free market support
of music emerges
- Hamburg
- Reputation
- Most famous composer in Europe and
a national institution in England
- Fame continued to
increase after death
- Scholars (e.g. William Weber) argue that the
English canon largely formed around Handel
- Most famous composer in Europe and
a national institution in England
- Career
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