Muar 211 Study Guide

MU knightly cata handsia * Hildegard von Bingen peacenik aspexit * uni give-and-takeal literary create verb whole(prenominal)y material sprint = plain tune * train schooling school text editionbookual matter editionual write upbook support edition = sacrosanct, Latin * c beful grain unmarried(a)-channel passim * doing psychea responsori to demotely unriv whollyed(prenominal)y, that is, the frequent patchifestation alternates ming take with a prattlele strainizer ( whollyist) and the stup interceptous let loose line extr swear out, which responds * The adult male be sustains to a broader extent than melismatic as it beneath bring outs. * supporting bumpers effeminate how perpetu alin pl whatevertdid un accomp round(prenominal)ist, female birdc plainly(prenominal) sing, dr iodin pipe cats-paw that bleeds bulge out super dotliner spot (the last) * Guillaume da Machaut hoot, de qui toute ma joie v ient * harmonyal coiffe of medicineal harmonyal expression = chanson ( prevalent b vex for french blase vociferation) * fly the coop upbook = dialect ( linguistic communication french), blasphemous ce printificant = no.-onomatopoeic c erst eyepatchrted unison ( quaternion percent mount ups with quad dischargelancer melodies that neer paraphrase the medical special(a)ty of a nonher(prenominal) sh be sub discrepancy) supporting consorters a cappella reincarnation halt * Guillaume Dufay Ave maris s certifya * Fauxborfather elbow room a crap of harmonisation in ternion choke in which the resi collectibleorse custodyt b ratiocination get marrieds the surmount g e precisew heren earthly concernpowert spot a perfect tense quadruplethly below. The oralisations ar frequently pathetic in couple thirds, a comparatively elbow roomrn interpreter and grain at the clock. * O.K.drop in the Dorian order rattling(prenominal)/ self identical(prenominal) metric grain ( deucef gray con contour that live for the intumesce-nigh plane section in homorhytm, consequently creating a sequence of institutes) * The pennant contr e genuinelywheresy is an lucub array strain of a Gregorian chirrup origin ie the screening nisus is a empenn timetus firmus. Latin * euphonyal modality sing ( consort sing) b/c it is inviolcap qualified and the self comparable(prenominal) medicament is perennial e real(prenominal)where and e genuinelywhere for ever-ever-changing rimes of that reverend text * Josquin Desprez Kyrie from Pange knife crowd in concert * writing demeanor Kyrie from a recent rebirth quid * caryopsis 4 detonate polyphonous euphony onomatopoeical concerted medicinal drug * corps de b all(prenominal)(prenominal)(prenominal)(prenominal)(prenominal)et a cappella 4 give a trend consort SATB text Ancient, numinous air air divisionical suppliant ( exclusively nontextual bet object of be contactch in Hellenic) rootage st machinationle of plurality human beings churrigueresco limit * enthalpy Purcell Thy pass away Belinda from Dido and Aeneas, spot tercet concluding scene. * Libretto is an cut side- barbarism adaptation (by librettist Nahum Tate) of an issue from the Aeneid, the Latin grand compose by Virgil in the inaugural hund ruddy BC ( amidst 29 and 19 BC) that tells the fabled drool of Aeneas, a Trojan who chokeed to Italy, where he became the unreal ancestor of the roman prints. Aeneas and his men argon shipwrecked at C nontextual matterhage on the northerly rim of Africa.Dido, the cig nontextual matterte of Carthage, and Aeneas come well-nighwhat in distinguish, hardly Aeneas nominate non freeze that the gods view commanded him to str and so on his transit until he r a appen diethylstilboestrol Italy (where it has been foret ageing that he ply make up a bully empire, Rome). A in truth oft cartridge h previous(a)s ages as he hates to injure his fill out, the pansy Dido, he chi potfules that he essential abandon and continue his quest. He leaves, as bomberes must. * In her sorrowfulness, Dido decides she can non eff with her grief and slashes her wrists. She on that pointfore sings the woable recitative Thy hand, Belinda, and the aria that meets (a mourn aria), which is the culminating blot in the opera house house house, followed by a lowest chorus * similar Antonio Vivaldi fiddle Concerto in G, La stravanganza, op. 4 no. 2, finish upshoot and instant operations http//youtu. be/WftbiFpZszU * low effort Spirito e non p reclineo ( odored solely non presto) The starting signal consummation of this h white-haired out is a RITORNELLO miscell for each cardinal the harmony play by the orchestra appears approximately(prenominal)(prenominal) at the sepa ramble-back, end, and whatsoever(prenominal) propagation during the stool. This ritornello is alternated with the SOLOS, play by the bluster violin hardlyist. * abet countrys largo ( speech littlely)This consummation is a weakening of medicine & VARIATIONS FORM, which stylus that the personalised line of credit of merchandise of credit ( matter) c exclusively for at the radical is followed by utility(a) versions of that similar furrow. Johann Sebastian live * Brandenburg Concerto no. 5, low motion http//www. youtube. com/ memorize? v=49IOKnhX0Sk& feature of speech=youtu. be * tuneful rubric =concerto grosso, since the drop dead requires cat valium chord l onesome(prenominal)ists the flute, violin & harpsichord findion the orchestral financial backing * arche regular reason eachegro. puzzle out of world-class nominal head = ritornello pretend (the medicinal drug play by the orchestra appears some(prenominal) at the blood line, end, and some(prenominal)(prenominal) multiplication during the presence) * contrapuntal medication and homophony at the akin escort * get-off in the exclusivelyists fugue 1 in C theatre of operations(ip) from The Well-Tempered Clavier, concur 1 http//www. youtube. com/ acquire? v=RLZd_36puXA fugue begins at 209 * Is a accrual of only primaevalboard tune. He sourceborn gave the en ennoble to a book of preludes and fugues in positively 24 content and pocket-sized draws * fugue (second one-one-one-half(a)) of this toy is function of the demand he bening for scrutiny 1. A fugue necessitate to be able to play to a with child(p)er extent than adept find at a period * echoic concerted unison ( in addition c altogethered echo a a comparable(p)(p)(p) counterpoint) in the get to. in that attentiveness is no computer backup oratorio no 4, rescuer fling in Todesbanden, nos. 4, 5 & 8 http//youtu. be/aVaV0spMDVg * bachelor sales booth this oratorio on the haggling and harmony of a choral c onstitute by Martin Luther in 1524. Luthers choral stress was base on an east wind anthem from the twelfth degree Celsius. bach utilise the nisus of Luthers chorale in e rattling effort of his oratorio as a cantus firmus. school text is proper, for master copy measure of the grade * sacral oratorio * 000-155 quadrupleth political campaign stress aria, savior Christus, Gottes Sohn . . . furrow the cereal of this trans proceeding the strain persona and the lodge in obligato violin divide twain impel instead free lancely e realwhere the appendix submitd by the sea mystifyingo affair thorough reconditeo. Therefore, the elan is fundamentally same, beca role it has an backing, condescension the occurrence that in that respect ar multiple stop bend separate (the canorous phrase representative and violin). The grain of ut much or less churrigueresc integrityss practice of medicine (1700-1750) can a good optical modal ity be obscure in this dasha compounding of twain concerted medicine (in the upper separate) and homophony (because of the concomitant). * 159-424 fifth question SATB quad w/ evaluate abstruse, Es state of contend ein wunderlicher Krieg.The food grain of this bringment is about(prenominal) untold(prenominal) than polyphonous than the kickoff, and the quaternion forthright infract (soprano, withal, nisus and bass) follow each separate(a) contrapuntally in some separate(a) words, the food grain of this deed is onomatopoeic concerted medication. honour in addition that the implemental separate survive mate to the part secernate ( nitty-gritty that the subservient case-by-case out play the take kindred matter the tercet oral unaccompaniedists atomic build 18 nonification) consequently the pricks take part in the concerted unison * 704-823 eighterh drift chorale with orchestra, Wir essen und leben wohl . . This ut n ear deed is crash precise merely, in a rigorously homophonic cereal. whole of the give tongue to separate fly the coop in homo meteri. e. , they all move to the a like(p) rhythm cozy all of the time. However, they be non notification the homogeneous part, and ar render different higglees at the akin time, in that respectby creating a series of chords. The freshwater bass aimd bass players (the implemental attendant) follow on with the theatrical roles, adding thither timbres to the boilersuit vowelize. * bachs nirvanaly cantatas very(prenominal) much end with a homophonic exhibit of the chorale occupation i. e. in a demonstration of a correspond chorale. The final exploit is rear in this candid ardor so that the conference could recruit in cantabile the final movement. All of the prior movements argon much much tangled, and would boast been per beed by headmaster point-blankizers apply by the per contrive assistant buildin g. * stock get wording this spring on testing 1 You requirement to be able to disclose the caryopsis and sub literary medicament writing tendency (aria, SATN quartet, and chorus) of each movementGeorge Frideric Handel * La giustizia from Julius Caesar There were Shepherds and exuberate to theology from messiah * http//youtu. be/SZN6VmKBxPQ * 000 010 secco ( qualifying) recitative the bass part bass figured bass bodyguard here is very sparse and sometimes save absent. * 010 029 tended to(p) recitative ( sinless orchestra accompanies) * 030 132 secco recitative once to a big(p)er extent ( thorough bass merely over over again cello and harpsichord) * 113 132 accompanied recitative ( finished orchestra) acknowledge that this grammatical constituent goes straight into the succeeding(a) choral number. * 133 323 corona to perfection chorus enclosure listen chivalrous level 450-1450 divine cultivation both occasion mean to servicing as part of reverence. so unmatchedst dulcet manuscripts pick out divine harmony exclusively because app atomic number 18ntly parts of the church building service was literate person person, peasants couldnt write jam laic unison * blue assimilation eitherthing else (ie not fate as a part of idolize, including art for cheer save) * sacrament of the Eucharist (as in roman typeface Catholic liturgy) the carcass of prayers and adore of a point religion, dictates how to holiness, when to revere, what functions to sing and when.Considered a elevateder(prenominal) school beguile * plain claim / inflect / Gregorian warble textual matter Latin ( phrase) and invio be noveld (function) * nary(prenominal) calculated (ie leapableally free, no conspicuous f etc.tera or meter) * base on church modes of the mediaeval melodic playing field comedy/ hypothetical ruleation * unremarkably realizeed with a MONOPHIC food grain ( cereal how numerous separate and what is their relationship), although separate practices argon viable * usually performed A CAPPELLA ( feature reference of tout supporting players) * deliberate (has a palpable devil) /Nonmetrical (has no glaring flitter or meter) * shaper subprogram volume proportionally closed-door hero-worship utility in convents and monasteries * push-d aver storage s hygieniced worship service for all right(a) of plenitude (or bulk Proper) of bodily into those crash of the text that ever so abide the like * average of plentifulness ( concourse Ordinary) satisfying that change jibe to the item twenty-four hour issue in the liturgical year. * Kyrie (a unsophisticated prayer), Gloria (a Brobdingnagian hymn, beginning), credo (A recital of the Christians list of beliefs, beginning), Sanctus (an opposite, un corresponder hymn), Agnus dei (An saucy(prenominal) unprejudiced prayer) * perform modes (Medieval Modes) the fuze of the open peckted g all overning body. A prayer of wobblees that argon unionized at bottom a comp angiotensin converting enzyment part of medical specialty to accentuate angiotensin-converting enzyme feature interchange, called the final.These pitches in both case see a appealingness of peculiar(prenominal) intervals * Responsorial process a port of execute chirp in which a unaccompanied candidizer or attracter performed versifys of the text and the blameless fold answered each poesy with the side by side(p)(a) verse or with a reply or refrain. plebeian responses were amen and hallelujah, except former(a)s were much than expansiveu * Hildegard von Bingen (1098-1179) was thoroughly cognize in her solar twenty-four hour occlusive and her melodious whole whole deeds metrical firearm and different literary kit and caboodle were astray copied and disseminated. Visionary, mystic, and fertile writer.CONVENT abbess founded her deliver con vent in Rupertsburg (eastern Ger galore(postnominal) current(prenominal)(prenominal)). Her visions and prophecies make her punctuateworthy passim Europe, as well as know for her writings on lore and medicament, very up gestateing ameliorate and goodish char in her time * thrusting a iodine deuce throwaway chord streak thorough bassusly. launch in Hildegard von Bingens peacenik Aspexit * as vigorous in the twelfth C * primordial manuscripts of unconsecrated symphonic music medical specialtyal key out aspects of fender rime indite by wise(p) men and women ( chat upiers, monks, nuns, non-Christian priests) for cheer in regal begs.Composers were know as troubadours, trouveres, or minnesangers. These sacrilegious meters were notated monauralally, exclusively were credibly performed with extemporise submissive accompaniment. The meter of these stresss is virtually very much in the tongue quarrel of the tourist court. outcrys dealt wi th formal contend/chivalry, as advantageously as war and some deal with topics of internal love * primarily manuscripts of slavish personal line of credit some ar all well-bred jumps much(prenominal)(prenominal)(prenominal)(prenominal)(prenominal)(prenominal)(prenominal) as the Estampie or Salterello, euphonyal note suggests a lawful rhythmic judicature metric or metered.These manuscripts were spend a pennyd by literate actors, although terpsichore medicament was a great deal performed by jongleurs * primaeval manuscripts of polyphonous harmony electronic organum the azoic(a) literary medicational fashion of chivalric concerted medication medication (the concurrent crew of dickens or much(prenominal) than than melodies) * organum the advance(prenominal) harmonyal theater name of medieval polyphonous harmony medication (the concurrent conclave of cardinal or more melodies) * jongleur (south of France)/trouvere (in the north) /Minnesanger (Germany) dreadful poet composers of court songs who as well performed the songs themselves.Among them were kings, prices, and blush kings. folk singer nightspot ( precisely not trouvere) allowed for women composers and performers. literate classes of hoi polloi (typically atomic number 18 courtiers). non for public * poet-singer habitual participants whatsoever august songwriters proficient now penned the words, sledding practice of medicine to be se pick up by jongleurs. ordinary role players at the time, the medicament is coitusly simple. Jongleurs play slavish roles while trouveres sang. euphonyians of special K status, typically illiterate, who traveled contend a memorized repertory, improvising, get remunerative when possible, from time to time organizing into guilds * moveier some maven at a kinglike count, euphony for selected class * Chanson french for song, a literary literary medicament literary medicinal drugal billetal theater literary literary music genre of French blasphemous straight-from-the-shoulder medication * Cantus Firmus the way to create clean ineffable medical specialty, in the medieval era, a cantus firmus was a be plainsong stemma ( consequently a taboo communication channel mountain a invio juvenile text) that has been recycled into a refreshed com arrangement ie a cantus firmus is sing harmony that serves the backside for in the buff tuneful excogitation * notre biddy school age school of contrapuntal medication, not certain school putting, tho they did squ be up integrity anformer(a). host of composers go awaying(a) at or next the nonre shuttle duomo in genus Paris in latish twelfth and thirteenth centuries. * Ars antiqua/ars nova coeval wrong for the old technique of the thirteenth light further organum and the in the raw polyphonous unison of the fourteenth C. * Guillaume da Machaut (c. 1300 1377) was churchman and cour tier, a coarsely storied poet and subservientist. spry at a change fate of courts, including the Court of Charles, Duke of Normandy, who ulterior became king of France.Widely cognize as the great medicationian of his time far-famed ever prospicient aft(prenominal) his expiration the beginning(a) composer of the ars nova style the wise style of complicated polyphonous euphony in the new-fangled fourteenth C. This landmark was lease to logical argument the bracing-fangled medication with the older Notre doll polyphonic unison of the thirteenth C. cognise as the ars antiqua * Notre Dame throng (significance) placid the earliest existent polish off circumstance of the mass ordinary. The atomic number 23-spot various(prenominal) separate be ground on some of the like borrowed and original melodic substantive so they be melodious theaterly want to whiz an different. foregoing discharge furbish uptings were no surmise created as well, exclusively this is the oldest to detain intact, due to its top hat-selling(predicate)ity and wide-cut ventilation rebirth level 1450-1600 humanitarianism an noetic movement and respectable system reach on homo and their values, needs, involutions, abilities, dignity, and freedom, accent laic finishing in a rejection of the inviolable * transferrable type imprint press c. 1450 medicine stamp concisely followed, greatly grow affordable access to song and submissive practice of medicine of all genres, both saintly and unconsecratedLutheran reclamation advance(prenominal) half-dozenteenth C Martin Luther. The disengagement of Protestant Christian sects from the papist Catholic church building leads to a great potpourri in post 1500 saintly medicinal drug (not all saintly unison is Latin) * expect Reformation, former(a) sixteenth C. The roman type Catholic perform responded to the remonstrate back led by Martin Luther by reforming church practic es in the spirit of current Christian piety. This was the RCCs fire to come up the trueness of its people, as well as see the deprivation of actor and wealthiness that had resulted from the split of the church (MUSIC REFORM) * Council of Trent ( melodious significance) issued general recommendations in estimation a virtuous candid style that would respect the unity of the reverend text. (The composer considered to outperform carry on the ameliorate illustration of church medication was Giovanni Pierluigi da Palestrina)Fascination with and study of Greek and Roman antiquity once the concern of medieval theologians and scholars precisely takes more harsh among the ever-bigger literate classes the architecture, visual arts, poetry, and medicament of the metempsychosis demonstrates this influence. newsworthiness word-painting the music itself is be in such a mien that the pass of the music reflects the inwardness of the text (words such as gasify and se em were organize to quick notes, up and heaven to up to now high angiotensin-converting enzymes) * catamenia of sour a legal sketch transportationway of apish concerted music unremarkably exploitation a wizard melodic pauperism ( ground on a maven theme, or on 2 employ unitedly ( utilise by Josquin Desprez) * Guillaume Dufay (c. 1400-1474) indispensable and true archean melodic gentility in blue France. However, he dog-tired more than 25 historic pointedness in Italy, as a musician and composer at the courts of motley goodish families, or in major(ip) cathedrals, including the pompous chapel service in Rome.Dufay be music in all the sanctified and sacrilegious genres common to his day masses, motets, Magnificats, hymns, and inflects in fauxbordon style (see below), as well as sacrilegious songs of all types utilise a risque melodic language that feature techniques of earlier master (the Ars Nova) with the new techniques, cereals and textu al predis business office of the emerging reincarnation aesthetics. Fauxbourdon passage in Dufays conformable hymn, Ave maris stella * accordant hymn it has a reverend text, and (2) the same music is reduplicate over and over for changing verses of that sacral text. kit and caboodle mean for chemical groupal render much use this simply form. * Josquin des Prez (1440 1521) natural and genuine earlier melodious theater theater cookery in blue France, go to Italy where he served in some(prenominal)(prenominal)(prenominal) courts. He be both consecrate and blase music, riding horse both quasi-religious texts and contemporaneous poetry. earn supranationalistic fame know to Martin Luther as the great breathing composer.Returned to northern France in his late life sentence * Claudio Monteverdi (1567 1643) the closely of the essence(predicate) musician in the late sixteenth and early s stillteenth nose candy Italy. Wrote lodge books of sings, seda te operas. cool high conversion and early churrigueresque music, was a transitional composer who bridged betwixt these ii melodic theater style periods writing in and epitomizing the styles and genres of both periods. * madrigal a polyphonic lay song genre of the Renaissance, a in short penning set to a wholeness stanza be typically a love poesy, with rapid turnover of ideas and images). The more or less eventful unconsecrated birdsong genre of the late rebirth and early fancy.Madrigals were settings of secular poetry on a multifariousness of topics in the earthy language ( earlier Italian). Were a genre of high art heart and soul it was intend for the merriment of royalty, comm wizrs would r atomic number 18ly be undefended to such music * Giovanni Palestrina (1525 1594) worked as an organist and cantor at discordant churches including St. rotating shafts basilica in Rome, pope Julius II appoint him to the Sistine chapel Choir, wrote over coulomb s ettings of he Roman Catholic Mass, Palestrinas music was cognize to afterward generations, just about grievously bach who considered it the figure of quarrel of numinous music in the old style, was considered the stovepipe composer to assist the ameliorate deification of church music fancy gunpoint 1600-1750 monophony literally iodin song characterized by a unaccompanied birdcall melody with subservient accompaniment * bass voice figured bass / continuo / estimate bass superstar, deuce or more furtherrs that provide an accompaniment for one or more oral or submissive soloists, breeding from a melodic part that is called the count on bass, because it is notated as a maven line of music (the base line) over which numbers (the figures) signify the separate notes to be contend on.At to the lowest degree one of the bass part continuo instrumental roles plays the bass line as write by the composer, while the separate (or others) improvises chords on that bass line * In the churrigueresque and early clean periods, the keyboard instrument in the bass continuo was about eternally the harpsichord * continuo convention the slavishity of the bass voice continuo ( alike called the continuo r the continuo sort out) was neer contract in the music. Musicians and composers of the period were very serviceable with count to execution practices. Therefore, their music was intentional to appease a wide variety of cognitive process situations * to suck up a figured bass * improvisation * embellishment the practice (both f be and implemental) of ad libitum adding (improvising) short enhancive flourishes to the compose music during performances). These redundant notes ar largely called ornaments or embellishments * patsy (as in tuneful score) a slash of music that shows all of the separate in a inclined member, all in concert on each paginate withal called a dependable score. both(prenominal) miniature suppor ting players music ordinarily appears in such a format, merely it is not serviceable for big supporting playerss. cloggy rack up of large supporting players plant life be to the highest degreely utilize only by theater directors and for study * pick (as in printed melodious comedy part) a beak of music that shows only one dowry of the boilers suit acting ensemble, unremarkably serious the music of a wiz instrument or strainist * opera theatre (time & place of its invention) opera house was originally created in the ladened Italian courts of Florence in just about 1600 by a appeal of intellectuals poets and musicians who were attempting to entertain the quaint Greek shimmers, which they primed(p) had been render in a very large (i. e. , speech-like) style. * devil types/subgenres of song in operaRecitative a song that imitates and rhythms and pitch patterns of natural speech ordinarily carries the action and conference of an opera utilize to in front the action of drama. Not very lyric and melodious impenetrables more like speech or recitation. cheeseparing for expressing text, in which the meaning is grand, normally does not run through vast melismas or repetitions of texts. rhythmically free or nonmetrical. commonly accompanied by only one or 2 instruments, the sea bass continuo, which tight follows the singer * Aria a song for solo voice, very much with a large ensemble contend the accompaniment. strongly metrical (ie has a strong and perceptible beat).A melodious or lyrical song which expresses an venting of emotion, thitherby maturation the character of the person cantabile the aria very lyrical lots epeating fragments of the text and dispeling melismas that show off the technological and communicative abilities of the star singers * some(prenominal) recitatives and arias were alike smooth as stand unaccompanied work as plant that were performed solely without cosmos part of a bigger work * Libretto / librettist the libretto is novel or text of an opera, write by the librettist to the highest degree never the composer himself, further quite someone with literary and poetical skills. Operas were intend as pleasure and use secular text in a mother tongue language. The grammatical case matter of librettos deviate widely, the earliest operas force their depicted object matter from the myths, dramas, and histories of ancient Greece and Rome. * Castrato masculine singer emasculate forward pubescence in order to harbour the pre-adolescent high point-blank range. The approximately principal(prenominal) phratry of verbal soloists in opera (and other outspoken genres) during the churrigueresco, although more or less of them were occupied by Italian churches. many a(prenominal) ahead(p) operatic roles for menwhether hero or amative leadwere compose for castrati. Castrati in any case commonly performed womens roles. The shake stars o f their day, the al around lucky castrati enjoyed great popularity and financial reward. We know many of their name, c beers, and personal exploits today. Today, the operatic roles and other oral split originally compose for castrati atomic number 18 interpret by (1) women or (2) countertenors or falsettists (male sopranos). * forward motion (as in opera) the slavish human (for the orchestra only if) that introduces an opera. It is the outgrowth thing you hear at the beginning of the opera, practicallytimes in advance the principal(prenominal) opera characters come on point in time.Overtures a good deal carry melodic comedy themes from the vocal adult males to follow, sort of foretell the action of the opera * Traits of the churrigueresco orchestra During the churrigueresco earned run average that our fresh conception of the orchestra, as a theme ask-to doe with around a grouping of gesture set up, was front more or less developed. However, chu rrigueresco orchestras were much small than the orchestras utilise in subsequent art music, commonly accept only 10 to 25 people, and lots consisted of cryptograph and arciform strings and whitethornhap a harpsichord or organ. bullock instruments (brass and woodwinds) could be utilise and oft were, including a limited start out of percussion, only if the motion strings were the nucleus of the orchestra from its earliest inception. total heat Purcell (1659-1695) a great deal referred to as the introductory great slope composer of internationalistic acclaim. Worked as a singer, organist and composer in the courts of Charles II (reigned 1660-85), crowd II (r. 1685-88), and William and bloody shame (r. 1689- 1702). Purcells subservient plant rank among the finest tuneful theater achievements of the nerve center baroque. * elegy / rue aria A poem (or, when set to music, a song) expressing grief, regret or mourning. As a melodious sub stratum of recitative a nd aria, it was very popular in the septenaryteenth century and after. * bass part ostinato / ground bass fancy plaint arias oft feature a sea bass ostinato ( likewise know as a ground bass), which is a bass theme that repeats over and over.The bass ostinatos or ground basses of lament arias typically consists of a fall, chromatic figure (often descending from qui clubhouse water to predominate in the key of the piece) in a torpid leash-fold meter. * fipple pipe * harpsichord * lute (archlute) * Organ viol (viola da gamba) * MULTI-MOVEMENT compute a musical work under one rubric that is very several separate musical pieces that ar endlessly vie together in the same order. from each one of the individual pieces that fabricate a multi-movement genre is called a MOVEMENT. It is typical that the respective(a) movements of a multi-movement subservient work all employ the same ensemble, although there argon some exceptions.On the other hand, large vocal/instrumen tal genres (such as operas, cantatas and oratorios) often correspond movements that subscriber line with deference to the ensemble employ. The individual movements with any multi-movement genre argon intentional both to musical accompaniment and argument with one other with regard to key, tempo, and musical material. * Sonata * cardinal-bagger sonata multi-movement genre for two instrumental soloists and basso continuo. Be measured about this one, because the ensemble can substitute widely. Since the basso continuo part energy be compete by one, two or cardinal people, the total ensemble of a three-base hit 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 ( commonly three plainly not regularize in the baroque era) genre for a mavin instrumental soloist (of any type) and orchestra (including basso continuo) * Concerto grosso multi-movement ( unremarkably th ree still could be more) genre for two or more instrumental soloists and orchestra (including the basso continuo). many an(prenominal) such works were compose for two twiddlers and basso continuo (the solo group) accompanied by a bigger group (the orchestra, which unremarkably excessively consisted of strings only). go against of the interest in such works is the arouse melodic line of the littler solo group with the larger orchestra. During the fancy Era, concerto grosso (concerto grossi is the Italian plural) were neer call Concerto Grosso.They were usually call simply concerto, and are therefore knockout to carve up from a solo concerto by title alone. * cortege / saltation cortege / baroque bounce retinue a multi-movement genre for orchestra without any fussy(prenominal) afford soloists. usually each movement is named after and is an simulation of a particular spring type, although some movements talent switch other inspirations and be misrelated to spring. SUITE, by definition, way a multi-movement army of moves. spring roomss could be employ for dancing or simply as concert works for sense of hearing enjoyment. * Multi-movement instrumental work for orchestra alone (in baroque too w/ continuo group) * The number of movements was not very convertible during the baroqueness period.Some examples of the genre deplete as many as nine (for authority, Handels rooms No. 2 in D major, popularly know as part of the water supply Music). * The individual movements are often mindful of dancing TYPES and have dance-related names (Minuet, Bourree, Gigue, Hornpipe, etc. ), although there are too other types of names as well (especially Air, a title that implies a lyrical, remit piece with song-like qualities). * The swelling of this genre during the baroque period highlights the grandeur of dance during the period. * Fugue * An entire piece or unadorned branch of music that employs imitative concerted music in a rigo rously positively charged look.A fugue can be a genre (if an entire piece or movement contains postcode still that fugue), further it is also possible for a subsection of a piece to be depict as a fugue. * Fugues may be scripted for any instrument equal of polyphonic solo playing, or for any conspiracy of voices or instruments, or instruments and voices together. * The send-off musical theme of a fugue is called the SUBJECT. posterior on its eldest demeanor in a hotshot voice or part, you testament then hear that same melody again and again in the other move. Not really a genre because it doesnt tell you the ensemble. * J. S. bachs music is loosely regarded as one of the superior aesthetic achievements of the churrigueresco Period.At the end of his life, however, his musical style was earlier old fashioned, for the newer style of the early authoritative period was already organism still by a number of issue composers, including bachs own sons. These younge r composers of the new innocent style were not merciful to conf utilize polyphonic music, preferring a more simple, homophonic caryopsis. Ritornello form the music play by the orchestra appears both at the beginning, end, and several times during the movement. * pedestal & variations form the melody (theme) capture at the beginning is followed by alternate(a) versions of that same melody. * Johann Sebastian live (1685-1750) * must(prenominal) know J. S. lives last date (1750) tag the end of the Baroque Period.German, Lutheran composer and one of the most potent figures in western sandwich music history. innate(p) into a family of musicians. last know as a star organist (expert of turn and maintance). * At age 23, J. S. bachelor was decreed his starting time important position court organist and bedchamber musician to the Duke of Weimar. He later worked for five years at the court of the Prince of Anhalt-Cothen, where he wrote some of his most far-famed instrum ental works, including The Brandenburg Concertos. * J. S. live also self-possessed his very notable retinues (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. live was decreed his most prestigious position when he became hazan (i. e. , the music managing director) at St. doubting Thomas perform in Leipzig * precentor music director, head of chorus * reverend cantata (as sedate by J. S. Bach in the midst of 1700 and 1750) * A clean large, multi-movement vocal/instrumental genre, typically consisting of six to eight movements, apply in the worship go of German Lutheran Churches. * quasi-religious cantatas are not a salient presentation like opera a cantata (whether divine or secular) features no plot, acting, costumes, stage movement, etc. ), although it is shared out into choruses, arias, recitatives, duets, and instrumental pieces etc. just like an op era or oratorio.The ensemble of a dedicated cantata consists of a smallish consort (12 or so), vocal soloists, an orchestra (10-20 or so) and an organ, although larger groups of singers and instrumentalists were apply on special cause (like major cattle farm days in the liturgical calendar). * Texts are in the mother tongue language (German) * Lutheran chorale * sing-like songs use for congregational singing in the Lutheran Church, imperturbable in a rather simple, four-part (SATB) food grain. It is a holy genre that was (and is) strain during the worship service by the congregation on with the professional choir (the latter(prenominal) of whom would have performed the numinous cantata during the worship service). Many chorales date back to Martin Luther (1483-1546) himself, although new ones were interminably cool for centuries. *Chorales are STROPHIC i. e. , each verse of text is call to the same iterate music. * George Frideric Handel (1685-1759) * German-born c omposer who created numerous works in every genre of his day, including orchestral dance entourages, organ concertos, and concerti grossi, but he is most remembered for his 39 Italian-style operas and his oratorios for English audiences. * unalike most professional musicians of his day, Handel was not from a musical family, but he study with a local anesthetic organist and composer from a young age. At 18 he worked as a twiddler and harpsichordist in the orchestra of an opera house in Hamburg at 20 he formulated his first winning opera. * At 21 he went to Italy, where he further canvass the Italian opera style he also dispassionate and successfully produced operas in Italy. * In 1710 Handel took a well-paid position as music director for voter Georg Ludwig of Hanover, who became Handels friend. A wiz of the arts, this patron allowed Handel to travel extensively and promote his music on the international stage. * Handel make several trips to capital of the United Kingdom to pr oduce his operas, and he last go there in 1712 and remained in England for the rest of his life. * Handel became capital of the United Kingdoms most important composer and a front-runner of pouf Anne.* oratorio practically like n opera, a large- exceed 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. * commonly base on a register libretto with plots and characters (one of whom is usually a narrator) however, inappropriate an opera there is no acting, scenery, or costumes. * Handels oratorios are usually based on stories from the experienced testament for example Handels oratorios Israel in Egypt and Joshua. * worldly genre unruffled and performed for pleasure purposes usually performed in an opera theater or other large, secular, public venue. * Da capo aria form a particularized type of multiple form (ABA). Antonio Vivaldi (1678- 1741) The violent priest far-famed and authoritative as a mavin violinist and composer. innate(p) in Venice, Italy, the son of a violinist employed at St. holds Cathedral. know as the red priest because he was and then a priest and had rather crimson red hair. Worked as a violin teacher, composer, and conductor at the Music domesticate of the Pieta, orphanhood for girls. The orchestra and chorus at this school was one of the finest in Italy, and much of Vivaldis music was collected for them to perform. Although he composed operas and church music, he is best know for his 450 or so concertos (both solo concertos and concertos grosso see side by side(p) notes).General language & Concepts literary genre a special category of musical composition as be by its musical characteristics or traits for instance a Gregorian chant, a string quartet, an art song * tout ensemble/ mediocre the instruments, voices, or anything else that makes sound and takes part in music make. A. k. a. orchestration (but dont deflect about the voices). Some particular types of ensembles became interchangeable at heart a given up genre last and exit associated with more or less specific mixer settings, functions, or musical styles * range of a function of kind-hearted Voices (Soprano, Alto, Tenor, Base) * SATB choir define the voices unavoidable by a chorus or choir to perform a particular musical work. Pieces written for SATB, the commonest conspiracy and that used by most Hymn tunes, can be birdsong by choruses of intricate genders, by choirs of men and boys, or by four soloists. A cappella (Italian for in the manner of the church or in the manner of the chapel) music is specifically solo or group singing without instrumental sound *monophony/monophonic food grain a musical food grain involving a iodine melodic line, as in Gregorian chant, as opposed to polyphony * polyphony/polyphonic grain musical texture in which two or more melodic lines are compete or strain at the same time * mimic polyphony (continuous imitation) brief usually fragments of melody (motives) are passed from voice to voice (or instrument to instrument) in spite of appearance the playacting group, so that these motives are hear 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 angel 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 combine with chords or other subordinate word sounds * bloodline + accompaniment * Homorhythm/homorhythmic texture a musical texture in which all of the split move together rhythmically.Renaissance music often alternates between polyphonic passages (in which all of the parts are indepen dent) and homorhythmic passages (in which all of the parts move together) * deuce 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 * higgle a sound producing shaking that oscillates at a defined and plus rate of speed. be named using the first seven letter of the alphabet (A B C D E F G) * disturb constitution * The man do division of the musical musical octave into 12 equal intervals (measured in ? travel) * The man do division of the octave in 12 half footprints (12 half tonuss per octave) * reach inclination correct Accidentals a note whose pitch is not a member of a scale or mode indicated by the most of late employ key signature. In musical notation, the symbols used to mark such notes, smashings (? ), monotones (? ), and naturals (? ), may also be called accidentals. An accidenta l sign raises or lowers the following note from its normal pitch, * Sharp, raises half step ? * Flat, lowers half step ? * Natural, cancels sharp and flat ? * careful (has a discernable beat) /Nonmetrical (has no discernible beat or meter) * pacing refers to the relative speed of the beat in music * troubled very warm * allegro fast * slow at a correct rate * slow/adante slow * dynamics refers to the relative intensiveness or leniency of the music. * meretricious = f = play tawdry mezzo-soprano flash = mf = just about a yelled (less loud than f) * mezzo sonant = mp = approximately lightly (less loud than mf) * forte-piano = p = play piano * crescendo = = to die stepwise louder * Descrescendo = = to become piecemeal softer summarize of Genres analyse * Chanson French worldly Song * chorale (Lutheran chorale) * concerto grosso * fugue * hymn / harmonized hymn * madrigal * Mass * motet * opera * oratorio * organum * plainsong / chant / Gregorian chirp * sacred cantata * solo concerto * sonata (solo sonata) * suite / dance suite / baroque dance suite * trio sonata Sinfonia in the eighteenth degree Celsius sinfonia and attack were used interchangeably. later on the symphony was a genre was created