'Muar 211 Study Guide\r'

'MU chivalric menstruation * Hildegard von Bingen: Columba aspexit * Genre = plain chant * schoolbook = h exclusivelyowed, Latin * cereal: monophonic throughout * military opera hou markion practice: responsori wholey, that is, the per chassisance alternates between a adept singer ( al atomic number 53ist) and the king-sizer consort, which â€Å"responds” * The mo puzzles to a grander extent melismatic as it continues. * corps de b everyet: female forthright flyist, female birdcall chorus, droning instrument that plays out maven furrow (the final) * Guillaume da Machaut: wench, de qui toute ma joie vient * Genre = chanson (general margin for french blase song) * Text = lott (language french), lay Texture = non- echoic concerted medical specialty ( quaternary congress gays with four indep h superannuated unrivalednt melodies that neer buy up the euphony of a nonher vowel system break a destinyiallyially)\r\nEnsemble: a cappella Renaissan ce Period * Guillaume Dufay: Ave maris stella * Fauxbordon elan: a orchestrate of harmonization in tierce move in which the second pargonnthood follows the top line a perfect fourth below. The voices ar lots â€Å" wr and so oned in parallel thirds,” a relatively parvenu backbreaking and cereal at the period. * Based in the Dorian mode Homophonic/ aforesaid(prenominal) schoolbookual matter editionure (multiple touch removes that bear somely in homorhytm, thusly creating a succession of chords) * The top line is an expand form of a Gregorian chant breeze ie the top line is a depo rophyus firmus. Latin * Genre: Hymn ( accord anthem) b/c it is taboo and the analogous medication is recurrent all over and over for changing verses of that sacred schoolbook * Josquin Desprez: Kyrie from Pange lingua mount * Genre: Kyrie from a tardily Renaissance crowd in concert * Texture: 4 give polyphony; simulated polyphony * Ensemble: a cappella; 4 p craft cho ir; SATB Text: Ancient, sacred Hellenic petitioner (only set forth of masses in Grecian); first of all part of Mass Ordinary churrigueresqueness Period * total heat Purcell: â€Å"Thy hand Belinda” from Dido and Aeneas, Act III final scene. * Libretto is an contract side of meat-language adaptation (by librettist Nahum Tate) of an episode from the Aeneid, the Latin epic indite by Virgil in the 1st hundred BC (between 29 and 19 BC) that tells the legendary story of Aeneas, a Trojan who locomotioned to Italy, where he became the mythical tooth root of the roman qualitys. Aeneas and his men atomic number 18 shipwrecked at Carthage on the Union shore of Africa.Dido, the Queen of Carthage, and Aeneas fall in love, alone Aeneas can non go away that the gods look at commanded him to continue his journey until he r all(prenominal)es Italy (where it has been foretold that he will found a peachy empire, Rome). A lots as he hates to bear his love, the Queen Dido, he knows that he must emerge and continue his quest. He leaves, as heroes must. * In her grief, Dido decides she cannot hot with her grief and slashes her wrists. She thus sings the moving recitative â€Å"Thy hand, Belinda,” and the aria that follows (a dirge aria), which is the culminating head word in the opera, followed by a final let loose line * Homophonic Antonio Vivaldi: Violin Concerto in G, La stravanganza, op. 4 no. 2, first and second general anatomyheads http://youtu. be/WftbiFpZszU * front reason: Spirito e non presto (spirited scarcely not presto) The first thrust of this work is a RITORNELLO knead: the air travel play by the orchestra appears both at the beginning, end, and several times during the motion. This ritornello is alternated with the SOLOS, played by the have violin soloist. * Second causa: Largo (slowly)This battlefront is a THEME & vitamin A; VARIATIONS FORM, which means that the seam (theme) heard at the beginning is followed by election versions of that identical p bentage. Johann Sebastian bach * Brandenburg Concerto No. 5, first purport http://www. youtube. com/watch? v=49IOKnhX0Sk&feature=youtu. be * Genre =concerto grosso, since the work requires 3 soloists †the flute, violin & harpsichord †plus the orchestral attachment * First movement: Allegro. Form of 1st movement = ritornello form (the medication played by the orchestra appears both at the beginning, end, and several times during the movement) * Polyphony and homophony at the same time * Imitation in the soloists Fugue 1 in C Major from The Well-Tempered Clavier, Book 1 http://www. youtube. com/watch? v=RLZd_36puXAFugue begins at 2:09 * Is a collection of solo divulgeboard medication. He first gave the backing to a book of preludes and fugues in all 24 major and minor keys * Fugue (second half(a)) of this work is part of the required listening for Exam #1. A fugue needs to be capable to play much than one note at a time * Imitative polyphony ( in whatever(prenominal) case called imitative counterpoint) in the work. there is no accompaniment oratorio No. 4, Christ put behind bars in Todesbanden, nos. 4, 5 & 8 http://youtu. be/aVaV0spMDVg * live plant this cantata on the linguistic process and euphony of a choral constitute by Martin Luther in 1524. Luther’s choral line of merchandise was based on an Easter hymn from the 12th century. Bach utilized the melody of Luther’s chorale in e rattling movement of his cantata as a cantus firmus. Text is proper, for certain times of the year * saintly Cantata * 0:00-1:55 4th movement: tenor aria, â€Å"Jesus Christus, Gottes Sohn . . . Note the schoolbookure of this movement: the tenor voice and the busy ‘obbligato’ violin part both move rather singly over the accompaniment proposed by the freshwater sea bass bass voice basso continuo. Therefore, the movement is basically homophonic, because it h as an accompaniment, despite the fact that there atomic number 18 multiple ‘ stop number parts’ (the tenor voice and violin). The texture of High Baroque medicine (1700-1750) can frequently be complicated in this panacheâ€a combination of both polyphony (in the upper parts) and homophony (because of the accompaniment). * 1:59-4:24 5th movement: SATB quadruplet w/ continuo, â€Å"Es state of war ein wunderlicher Krieg.The texture of this movement is much more than contrapuntal than the first, and the four blunt parts (soprano, alike, tenor and bass) ‘imitate’ each some an opposite(prenominal)(a) contrapuntally; in other words, the texture of this movement is ‘imitative polyphony. ’ Note besides that the implemental parts ‘move parallel to the voice parts’ (meaning that the slavish parts play the exact same affaire the three song soloists be singing); therefore the instruments take part in the polyphony * 7:0 4-8:23 eighth movement: chorale with orchestra, â€Å"Wir essen und leben wohl . . ” This final movement is set genuinely simply, in a purely homophonic texture. All of the voice parts move in homorhythmâ€i. e. , they all move to the same rhythm close all of the time. However, they atomic number 18 not singing the same part, and argon singing different pitches at the same time, thereby creating a series of chords. The continuo players (the submissive accompaniment) follow along with the voices, adding there timbres to the general sound. * Bach’s sacred cantatas frequently end with a homophonic presentation of the chorale melody: i. e. in a presentation of a harmonized chorale. The final movement is set in this candid zeal so that the congregation could participate in singing the final movement. All of the earlier movements be much more complicated, and would have been performed by lord singers employed by the church. * Note regarding this work on Exam #1 : You need to be able to identify the texture and sub medication medical specialty euphonyal genre (aria, SATN quartet, and chorus) of each movementGeorge Frideric Handel * La giustizia” from Julius Caesar â€Å"There were Shepherds” and â€Å"Glory to God” from Messiah * http://youtu. be/SZN6VmKBxPQ * 0:00 †0:10 secco (‘dry’) recitative; the continuo accompaniment here is very sparse and sometimes altogether absent. * 0:10 †0:29 attach to recitative ( sinless orchestra accompanies) * 0:30 †1:32 secco recitative once more (continuo only again; cello and harpsichord) * 1:13 †1:32 accompanied recitative (entire orchestra); note that this component goes straight into the hobby choral number. * 1:33 †3:23 â€Å"Glory to God” chorus TERM LIST Medieval Period: 450-1450 sacred farming: anything intended to serve as part of fear. soonest medicinal drugal manuscripts mark sacred medicine exclusively because only fellow members of the church was literate, peasants couldn’t compile down secular music * blasphemous Culture: everything else (ie not serving as a part of worship, including art for entertainment only) * Liturgy (as in Roman Catholic liturgy): the system of prayers and worship of a occurrence religion, dictates how to worship, when to worship, what songs to sing and when.Considered a naughtyer authority * plainchant / chant / Gregorian Chant: Text: Latin (language) and SACRED (function) * Non calcu tonic-madedal (ie rhythmically easy, no discernible cleave or meter) * Based on church modes of the Medieval Musical/Theoretical System * Usually performed with a MONOPHIC TEXTURE (texture: how many parts and what is their relationship), although other practices are possible * Usually performed A CAPPELLA (type of supporting players) * metric (has a discernable scourge) /Nonmetrical (has no discernible cleave or meter) * Divine Office Mass: relatively unavowed worship dish in convents and monasteries * Mass: large worship service for all Proper of Mass (or Mass Proper): of cloth into those parts of the text that evermore remain the same * Ordinary of Mass (Mass Ordinary) tangible that change according to the feature day in the liturgical year. * Kyrie (a simple prayer), Gloria (a long hymn, beginning), Credo (A indication of the Christian’s list of beliefs, beginning), Sanctus (another, brieflyer hymn), Agnus dei (Another simple prayer) * church modes (Medieval Modes): the basis of the harmonic system. A collection of pitches that are organized indoors a component of music to emphasize one position pitch, called the final.These pitches also patch up a collection of specific intervals * Responsorial Performance: a trend of performing chant in which a solo singer or leader performed verses of the text and the entire congregation answered each verse with the following verse or with a response or refrain. Common responses were ame n and hallelujah, but others were more expansiveu * Hildegard von Bingen (1098-1179): was swell cognise in her day and her melodic running(a) amount and other constitutions were encompassingly copied and disseminated. Visionary, mystic, and prolific writer.CONVENT abbess: founded her own convent in Rupertsburg (eastern Germany). Her visions and prophecies made her noteworthy throughout Europe, also know for her writings on erudition and music, very well educated and justly womanhood in her time * Drone: a ace ii note chord running continuously. effect in Hildegard von Bingen’s Columba Aspexit * Also in the 12th C * Earliest manuscripts of secular music: tuneful settings of original meter create verbally by learned men and women ( courtyardiers, monks, nuns, priests) for entertainment in proud courts.Composers were cognise as troubadours, trouveres, or minnesangers. These secular songs were notated monophonically, but were probably performed with improvi sed instrumental accompaniment. The poetry of these songs is around often in the vernacular language of the court. Songs dealt with baronial love/chivalry, as well as war and some deal with topics of sexual love * Earliest manuscripts of instrumental music: n first are all courtly dancings much(prenominal) as the Estampie or Salterello, bill suggests a regular rhythmic organization: metric or metered.These manuscripts were created by literate actors, although trip the light fantastic music was often performed by jongleurs * Earliest manuscripts of polyphonous music: organum the earlier genre of medieval polyphony music (the simultaneous combination of two or more melodies) * Organum: the earliest genre of medieval polyphony music (the simultaneous combination of two or more melodies) * Troubadour (south of France)/trouvere (in the north)/Minnesanger (Germany): noble poet composers of court songs who also performed the songs themselves.Among them were kings, prices, and witha l kings. Troubadour society (but not trouvere) allowed for women composers and performers. Literate classes of nation (typically are courtiers). Not for universal * Jongleur: ordinary musicians †Some noble songwriters only penned the words, leaving music to be composed by jongleurs. Popular musicians at the time, the music is relatively simple. Jongleurs played instruments while trouveres sang.Musicians of ordinary status, typically illiterate, who traveled played a memorized repertory, improvising, acquiring paid when possible, occasionally organizing into guilds * Courtier: someone at a royal count, music for elite class * Chanson: French for song, a genre of French secular point-blank music * Cantus Firmus: the way to create new-fashioned sacred music, in the medieval era, a cantus firmus was a pre-existent plainchant melody (therefore a sacred melody setting a sacred text) that has been recycled into a new composition ie a cantus firmus is chant melody that serves t he basis for new melodious creation * Notre shuttlecock School: school of polyphonous music, not effective school setting, but they did influence one another. theme of composers working at or near the Notre Dame Cathedral in Paris in late 12th and 13th centuries. * Ars antiqua/ars nova: contemporary terms for the â€Å"old technique” of the 13th century organum and the new polyphonic music of the 14th C. * Guillaume da Machaut (c. 1300 †1377): was cleric and courtier, a widely celebrated poet and musician. Active at a variety of courts, including the Court of Charles, Duke of Normandy, who later became king of France.Widely cognize as the greatest musician of his time; famed ever long after his terminal †the initiative composer of the ars nova style: the new style of complicated polyphonic music in the late 14th C. This term was apply to contrast the new music with the old(a) Notre Dame polyphonic music of the 13th C. know as the ars antiqua * Notre Dame Mass (significance): composed the earliest extant complete setting of the mass ordinary. The basketball team individual parts are based on some of the same borrowed and original melodic theater material so they are musically liked to one another. Earlier complete settings were no doubt created as well, but this is the oldest to survive intact, due to its popularity and wide dispersion Renaissance Period: 1450-1600 Humanism: an intellectual movement and ethical system centered on gentleman and their values, needs, interests, abilities, dignity, and freedom, emphasizing secular culture in a rejection of the sacred * Moveable type printing shrink c. 1450: music printing soon followed, greatly expand affordable access to vocal and instrumental music of all genres, both sacred and secularLutheran Reformation early on 16th C: Martin Luther. The separation of protestant Christian sects from the Roman Catholic Church leads to a great diversity in post 1500 sacred music (not all sacr ed music is Latin) * Counter Reformation, late 16th C. : The Roman Catholic Church responded to the sicken led by Martin Luther by reforming church practices in the spirit of â€Å"true Christian piety. This was the RCC’s enterprise to regain the loyalty of its people, as well as regain the loss of power and wealth that had resulted from the â€Å" set off” of the church (MUSIC REFORM) * Council of Trent (musical significance): issued general recommendations in favor a pure vocal style that would respect the fairness of the sacred text. (The composer considered to best uphold the better exalted of church music was Giovanni Pierluigi da Palestrina)Fascination with and examine of Greek and Roman antiquity: once the concern of medieval theologians and scholars onlyâ€becomes more common among the ever-bigger literate classes; the architecture, visual arts, poetry, and music of the renaissance demonstrates this influence. Word Painting: the music itself is compos ed in such a elan that the sound of the music reflects the meaning of the text (words such as fly and glitter were set to immediate notes, up and heaven to even higher ones) * speckle of Imitation: a brief passing play of imitative polyphony usually using a whizz musical motive (based on a wiz theme, or on two utilise together ( apply by Josquin Desprez) * Guillaume Dufay (c. 1400-1474): Born and received early musical training in northern France. However, he pass more than 25 years in Italy, as a musician and composer at the courts of various powerful families, or in major cathedrals, including the Papal chapel service service in Rome.Dufay composed music in all the sacred and secular genres common to his day†masses, motets, Magnificats, hymns, and chants in fauxbordon style (see below), as well as secular songs of all typesâ€using a rich musical language that combined techniques of earlier masters (the Ars Nova) with the new techniques, textures and textual sensi tivity of the emerging Renaissance aesthetics. Fauxbourdon passage in Dufay’s harmonized hymn, Ave maris stella * Harmonized hymn: it has a sacred text, and (2) the same music is repeated over and over for changing verses of that sacred text. whole caboodle intended for congregational singing often use this simply form. * Josquin des Prez (1440 †1521) Born and received early musical training in northern France, locomote to Italy where he served in several courts. He composed both sacred and secular music, setting both sacred texts and contemporary poetry. Achieve world-wide fame; cognize to Martin Luther as the greatest living composer.Returned to northern France in his late life * Claudio Monteverdi (1567 †1643): the well-nigh distinguished musician in the late 16th and early 7teenth century Italy. Wrote nine books of sings, composed operas. Composed high Renaissance and early Baroque music, was a transitional composer who bridged between these two musical style periods writing in and epitomizing the styles and genres of both periods. * Madrigal: a polyphonic secular vocal genre of the Renaissance, a short composition set to a one stanza poetry †typically a love poem, with rapid dollar volume of ideas and images). The nearly primal secular vocal genre of the late renaissance and early baroque.Madrigals were settings of secular poetry on a variety of topics in the vernacular language (originally Italian). Were a genre of â€Å"high art” meaning it was intended for the entertainment of royalty, commoners would rarely be exposed to such music * Giovanni Palestrina (1525 †1594): worked as an organist and cantor at various churches including St. Peter’s basilica in Rome, Pope Julius II appointed him to the Sistine chapel service Choir, wrote over 100 settings of he Roman Catholic Mass, Palestrina’s music was known to later generations, most importantly Bach who considered it the epitome of sacred music i n the â€Å"old style,” was considered the best composer to uphold the reformed ideal of church music Baroque Period: 1600-1750 Monody: literally ‘one song’ characterized by a solo vocal melody with instrumental accompaniment * basso continuo / continuo / reckon bass : one, two or more instruments that provide an accompaniment for one or more vocal or instrumental soloists, reading from a musical part that is called the count on bass, because it is notated as a integrity line of music (the base line) over which numbers (the figures) indicate the other notes to be played on.At to the lowest degree one of the basso continuo instruments plays the bass line as written by the composer, while the other (or others) improvises chords on that bass line * In the Baroque and early Classical periods, the keyboard instrument in the basso continuo was almost always the harpsichord * ‘continuo base’: the instrumentation of the basso continuo (also called the c ontinuo r the continuo pigeonholing) was never specified in the music. Musicians and composers of the period were very practical with regard to carrying into action practices. Therefore, their music was designed to accommodate a wide variety of performance situations * to ‘realize a figured bass’ * improvisation * Ornamentation: the practice (both vocal and instrumental) of spontaneously adding (improvising) short decorative flourishes to the written music during performances). These additional notes are generally called ornaments or embellishments * degree (as in musical score): a piece of music that shows all of the parts in a given over piece, all together on each scalawag: also called a full score.Some small ensemble music commonly appears in such a format, but it is not practical for larger ensembles. generous scores of large ensemble whole kit and caboodle are generally used only by theater directors and for study * Part (as in printed musical part): a pi ece of music that shows only one portion of the overall performing ensemble, usually just the music of a single instrument or vocalist * opera (time & place of its invention): Opera was originally created in the wealthy Italian courts of Florence in approximately 1600 by a group of intellectuals; poets and musicians who were attempting to recreate the ancient Greek dramas, which they determined had been render in a very declamatory (i. e. , diction-like) style. * Two types/subgenres of song in opera:Recitative: a song that imitates and rhythms and pitch patterns of natural speech; usually carries the action and dialogue of an opera; used to forward the action of drama. Not very melodic and melodious; sounds more like speech or recitation. Good for expressing text, in which the meaning is important, usually does not have long melismas or repetitions of texts. Rhythmically free or nonmetrical. Usually accompanied by only one or two instruments, the basso continuo, which almos t follows the singer * Aria: a song for solo voice, often with a larger ensemble playing the accompaniment. powerfully metrical (ie has a strong and recognizable beat).A melodious or lyrical song which expresses an outpouring of emotion, thereby developing the character of the person singing the aria; very lyrical often epeating fragments of the text and containing melismas that ‘show off’ the technical and expressive abilities of the star singers * Both recitatives and arias were also composed as ‘stand alone’ whole kit: as working that were performed alone without being part of a larger work * Libretto / librettist: the libretto is story or text of an opera, written by the librettist almost never the composer himself, but rather someone with literary and poetical skills. Operas were intended as entertainment and use secular text in a vernacular language. The adequate to(p) matter of librettos vary widely, the earliest operas drew their theater of ope rations matter from the myths, dramas, and histories of ancient Greece and Rome. * Castrato: Male singer castrate in the first place puberty in order to withstand the pre-adolescent high vocal range. The most important division of vocal soloists in opera (and other vocal genres) during the baroque, although most of them were employed by Italian churches.Many booster cable operatic roles for menâ€whether hero or romantic leadâ€were written for castrati. Castrati also commonly performed women’s roles. The â€Å"rock stars” of their day, the most successful castrati enjoyed great popularity and fiscal reward. We know many of their names, careers, and personal exploits today. Today, the operatic roles and other vocal parts originally composed for castrati are sung by (1) women or (2) countertenors or falsettists (male sopranos). * overture (as in opera): the instrumental piece (for the orchestra alone) that introduces an opera. It is the first thing you hear a t the beginning of the opera, often before the main opera characters come on stage.Overtures often contain musical themes from the vocal pieces to follow, sort of ‘ omen’ the action of the opera * Traits of the baroque orchestra: During the Baroque era that our modern conception of the orchestra, as a group centered around a group of bandy-legged strings, was first developed. However, baroque orchestras were much smaller than the orchestras used in later art music, usually include only 10 to 25 people, and often consisted of nought but bowed strings and perhaps a harpsichord or organ. Wind instruments (brass and woodwinds) could be used and often were, including a limited array of percussion, but the bowed strings were the CORE of the orchestra from its earliest inception. henry Purcell (1659-1695): Often referred to as the first great English composer of international acclaim. Worked as a singer, organist and composer in the courts of Charles II (reigned 1660-85), James II (r. 1685-88), and William and Mary (r. 1689- 1702). Purcell’s instrumental works rank among the finest musical achievements of the middle Baroque. * Lament / lament aria: A poem (or, when set to music, a song) expressing grief, regret or mourning. As a musical sub category of recitative and aria, it was very popular in the 17th century and after. * Basso ostinato / ground bass: Baroque lament arias often feature a basso ostinato (also known as a ground bass), which is a bass theme that repeats over and over.The basso ostinatos or ground basses of lament arias typically consists of a descending, chromatic figure (often descending from tonic to dominant in the key of the piece) in a slow triple meter. * recording machine: * Harpsichord * Lute (archlute) * Organ viol (viola da gamba) * MULTI-MOVEMENT piece of work: a musical work under one title that is actually several separate musical pieces that are always played together in the same order. Each of the individual pi eces that comprise a multi-movement genre is called a MOVEMENT. It is typical that the various movements of a multi-movement instrumental work all employ the same ensemble, although there are some exceptions.On the other hand, large vocal/instrumental genres (such as operas, cantatas and oratorios) often contain movements that contrast with regard to the ensemble used. The individual movements with any multi-movement genre are designed both to musical accompaniment and contrast with one another with regard to key, tempo, and musical material. * Sonata * Trio sonata: multi-movement genre for TWO instrumental soloists and basso continuo. Be careful about this one, because the ensemble can vary widely. Since the basso continuo part efficiency be played by one, two or three people, the total ensemble of a tierce sonata could include from 3 players (2 soloists + 1 continuo player) to 5 players (2 soloists + 3 continuo players) or even more.Solo concerto: multi-movement (usually three but not standardized in the baroque era) genre for a single instrumental soloist (of any type) and orchestra (including basso continuo) * Concerto grosso: multi-movement (usually three but could be more) genre for two or more instrumental soloists and orchestra (including the basso continuo). Many such works were written for two twiddlers and basso continuo (the solo group) accompanied by a larger group (the orchestra, which usually also consisted of strings only). Part of the interest in such works is the exciting contrast of the smaller solo group with the larger orchestra. During the Baroque Era, concerto grosso (concerto grossi is the Italian plural) were neer titled Concerto Grosso.They were usually titled simply ‘concerto,’ and are therefore difficult to differentiate from a solo concerto by title alone. * Suite / dance entourage / baroque dance suite: a multi-movement genre for orchestra without any particular featured soloists. Usually each movement is named a fter and is an example of a particular dance type, although some movements might have other inspirations and be unrelated to dance. SUITE, by definition, means a multi-movement collection of dances. Dance suites could be used for jump or simply as concert works for listening enjoyment. * Multi-movement instrumental work for orchestra alone (in baroque also w/ continuo group) * The number of movements was not very standardized during the Baroque period.Some examples of the genre have as many as nine (for instance, Handel’s Suite No. 2 in D major, popularly known as part of the peeing Music). * The individual movements are often evocative of spring TYPES and have dance-related names (Minuet, Bourree, Gigue, Hornpipe, etc. ), although there are also other types of names as well (especially ‘Air,’ a title that implies a lyrical, slow piece with song-like qualities). * The prominence of this genre during the baroque period highlights the importance of dance during the period. * Fugue * An entire piece or distinct subsection of music that employs imitative polyphony in a strictly positive(p) manner.A fugue can be a genre (if an entire piece or movement contains nothing but that fugue), but it is also possible for a subsection of a piece to be described as a ‘fugue’. * Fugues whitethorn be written for any instrument capable of polyphonic solo playing, or for any combination of voices or instruments, or instruments and voices together. * The first musical theme of a fugue is called the SUBJECT. After its first appearance in a single voice or part, you will then hear that same melody again and again in the other parts. Not really a genre because it doesn’t tell you the ensemble. * J. S. Bach’s music is generally regarded as one of the greatest artistic achievements of the Baroque Period.At the end of his life, however, his musical style was rather old fashioned, for the newer style of the early unequivocal period was already being composed by a number of younger composers, including Bach’s own sons. These younger composers of the new classical style were not sympathetic to complex polyphony, preferring a more simple, homophonic texture. Ritornello form: the music played by the orchestra appears both at the beginning, end, and several times during the movement. * physical composition & variations form: the melody (theme) heard at the beginning is followed by alternative versions of that same melody. * Johann Sebastian Bach (1685-1750) * Must know J. S. Bach’s death date (1750) marks the end of the Baroque Period.German, Lutheran composer and one of the most influential figures in horse opera music history. Born into a family of musicians. Eventually known as a superstar organist (expert of construction and maintance). * At age 23, J. S. Bach was appointed his first important position: court organist and chamber musician to the Duke of Weimar. He later worked for five years a t the court of the Prince of Anhalt-Cothen, where he wrote some of his most famous instrumental works, including The Brandenburg Concertos. * J. S. Bach also composed his very famous suites (a multi-movement collection of dances) for unaccompanied violoncello (i. e. , cello) during his time working for the Prince of Anhalt-Cothen. * At age 38 J. S.Bach was appointed his most prestigious position when he became CANTOR (i. e. , the music director) at St. Thomas Church in Leipzig * hazan: music director, head of choir * Sacred Cantata (as composed by J. S. Bach between 1700 and 1750) * A fairly large-scale, multi-movement vocal/instrumental genre, typically consisting of sextette to eight movements, used in the worship function of German Lutheran Churches. * Sacred cantatas are non a dramatic presentation like opera; a cantata (whether sacred or secular) features no plot, acting, costumes, stage movement, etc. ), although it is divided into choruses, arias, recitatives, duets, and instrumental pieces etc. just like an opera or oratorio.The ensemble of a sacred cantata consists of a little choir (12 or so), vocal soloists, an orchestra (10-20 or so) and an organ, although larger groups of singers and instrumentalists were used on special occasions (like major feast days in the liturgical calendar). * Texts are in the vernacular language (German) * Lutheran chorale * Hymn-like songs used for congregational singing in the Lutheran Church, composed in a rather simple, four-part (SATB) texture. It is a sacred genre that was (and is) sung during the worship service by the congregation along with the professional choir (the latter of whom would have performed the sacred cantata during the worship service). Many chorales date back to Martin Luther (1483-1546) himself, although new ones were continuously composed for centuries. *Chorales are STROPHIC: i. e. , each verse of text is sung to the same repeated music. * George Frideric Handel (1685-1759) * German-born com poser who created numerous works in every genre of his day, including orchestral dance suites, organ concertos, and concerti grossi, but he is most remembered for his 39 Italian-style operas and his oratorios for English audiences. * Unlike most professional musicians of his day, Handel was not from a musical family, but he canvas with a local organist and composer from a young age. At 18 he worked as a violinist and harpsichordist in the orchestra of an opera house in Hamburg; at 20 he produced his first successful opera. * At 21 he went to Italy, where he further analyse the Italian opera style; he also composed and successfully produced operas in Italy. * In 1710 Handel took a well-paid position as music director for elector Georg Ludwig of Hanover, who became Handel’s patron. A friend of the arts, this patron allowed Handel to travel extensively and promote his music on the international stage. * Handel made several trips to London to produce his operas, and he eventua lly moved there in 1712 and remained in England for the rest of his life. * Handel became London’s most important composer and a favorite of Queen Anne.* Oratorio: often like n opera, a large-scale music drama for vocal soloists, chorus and orchestra; oratorios are multi-movement works that contain arias, recitatives, duets, trios, choral numbers, and interludes for orchestra alone. * Usually based on a narrative libretto with plots and characters (one of whom is usually a narrator); however, unalike an opera there is no acting, scenery, or costumes. * Handel’s oratorios are usually based on stories from the one-time(a) Testament: for example Handel’s oratorios Israel in Egypt and Joshua. * Secular genre composed and performed for entertainment purposes; usually performed in an opera theater or other large, secular, public venue. * Da capo aria form: a specific type of ternary form (Aâ€Bâ€A). Antonio Vivaldi (1678-1741): The â€Å"Red non-Christian prie st” Famous and influential as a virtuoso violinist and composer. Born in Venice, Italy, the son of a violinist employed at St. Mark’s Cathedral. Known as the â€Å"Red Priest” because he was indeed a priest and had rather furious red hair. Worked as a violin teacher, composer, and conductor at the Music School of the Pieta, orphanage for girls. The orchestra and chorus at this school was one of the finest in Italy, and much of Vivaldi’s music was composed for them to perform. Although he composed operas and church music, he is best known for his 450 or so concertos (both solo concertos and concertos grosso; see following notes).General language & Concepts Genre: a specific category of musical composition as defined by its musical characteristics or traits; for instance a Gregorian chant, a string quartet, an art song * Ensemble/medium: the instruments, voices, or anything else that makes sound and takes part in music qualification. A. k. a. instrume ntation (but don’t forget about the voices). Some particular types of ensembles became standardized at heart a given genre culture and become associated with more or less specific well-disposed settings, functions, or musical styles * Range of Human Voices (Soprano, Alto, Tenor, Base) * SATB choir: defining the voices required by a chorus or choir to perform a particular musical work. Pieces written for SATB, the commonest combination and that used by most Hymn tunes, can be sung by choruses of mixed genders, by choirs of men and boys, or by four soloists. A cappella: (Italian for â€Å"in the manner of the church” or â€Å"in the manner of the chapel”) music is specifically solo or group singing without instrumental sound *Monophony/monophonic texture: a musical texture involving a single melodic line, as in Gregorian chant, as opposed to polyphony * Polyphony/polyphonic texture: musical texture in which two or more melodic lines are played or sung simultaneo usly * Imitative polyphony: (continuous imitation) brief usually fragments of melody (motives) are passed from voice to voice (or instrument to instrument) within the performing group, so that these motives are heard again and again within close proximity of each other making the music easier to comprehend and follow * Non-imitative polyphony: four voices with four independent melodies that never repeat the music of another voice part. Non-imitative polyphony is the ideal and most common texture in Medieval polyphonic music * Homophony/homophonic texture: music that is harmonic, chordal texture, a musical texture that involves only one melody of real interest combined with chords or other subsidiary sounds * Melody + accompaniment * Homorhythm/homorhythmic texture: a musical texture in which all of the parts move together rhythmically.Renaissance music often alternates between polyphonic passages (in which all of the parts are independent) and homorhythmic passages (in which all of the parts move together) * Two types of text setting * Syllabic: each syllable of text is set to only one pitch (syllable by syllable) * Melismatic: text setting that contains melismas; a melisma is a single syllable of text that is set to large groups of pitches * Pitch: a sound producing vibration that oscillates at a definite and prescribed rate of speed. Are named using the first seven letters of the alphabet (A B C D E F G) * Equal Temperament * The man made division of the octave into 12 pit intervals (measured in ? yards) * The man made division of the octave in 12 half steps (12 half steps per octave) *Equal temperament tuning Accidentals: a note whose pitch is not a member of a scale or mode indicated by the most recently applied key signature. In musical notation, the symbols used to mark such notes, sharps (? ), flats (? ), and naturals (? ), may also be called accidentals. An accidental sign raises or lowers the following note from its normal pitch, * Sharp, raises ha lf step ? * Flat, lowers half step ? * Natural, cancels sharp and flat ? * Metrical (has a discernable beat) /Nonmetrical (has no discernible beat or meter) * Tempo: refers to the relative speed of the beat in music * Presto: very fast * Allegro: fast * Moderato: at a moderate rate * Adagio/adante: slow * dynamics: refers to the relative brassyness or softness of the music. * tacky = f = play loudly mezzo-soprano effectiveness = mf = somewhat loudly (less loud than f) * Mezzo piano = mp = somewhat softly (less loud than mf) * Piano = p = play softly * increase = < = to become gradually louder * Descrescendo = > = to become gradually softer recapitulate of Genres Studied * Chanson: French Secular Song * chorale (Lutheran chorale): * concerto grosso * fugue * hymn / harmonized hymn * madrigal * Mass * motet * opera * oratorio * organum * plainchant / chant / Gregorian Chant * sacred cantata * solo concerto * sonata (solo sonata) * suite / dance suite / baroque dance suite * trio sonata Sinfonia: in the 18th deoxycytidine monophosphate sinfonia and overture were used interchangeably. Later on the melody was a genre was created\r\n'