Known Listenings MuHis 330

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  1. Vedró 'l mio sol (8)
    • Caccini (1550-1618).
    • Solo madrigal ca. 1590.
    • Italian
    • Figured bass.
    • Published in Le nuove musiche.
    • Caccini considers it a madrigal because it is monophonic, used accompaniment and is through composed.
    • Embellishments that Caccini wrote himself.
    • Each line ends in a clear cadence.
  2. L'Orfeo (8)
    • Monteverdi (1567-1643).
    • Opera 1607.
    • Italian.
    • Text was written by Striggio
    • 2 halves - Happy (strophic separated by ritonelli and 7-8 syllables with Abba rhyme) and Unhappy (SSLSLSLL from Marco caro's Frottola, musical climax, 11 syllable lines with no ritornelli or rhyme scheme).
    • Text painting
    • Chromatic medients
    • Monody recitative
  3. Cruda Amarilli (7)
    • Monteverdi (1567-1643).
    • Madrigal Late 1590s.
    • Italian
    • Acapella
    • 2-5 voices
    • Homophony and Imitation
    • Dissonance
  4. O Quam Tu Pulchra Es (6)
    • Grandi (1586-1630)
    • Solo motet (sacred concerto) ca. 1625
    • Italian
    • Duple meter
    • Ariosa then an aria
    • Ends in Ariosa
  5. Saul, was verfolgst du mich (10)
    • Schütz (1585-1672).
    • Sacred concerto ca. 1650.
    • German.
    • Solo/tutti, solo, tutti, etc.
    • Change in the text, dynamics, and orchestration.
    • Juxtaposed themes.
    • Dissonance.
    • Secund Practica.
    • ABA'B'A" form.
    • Not a recitative.
  6. Historia de Jephte (7)
    • Carissimi (1605-1674).
    • Oratorio ca. 1648.
    • Italian.
    • Latin Text.
    • Minor key.
    • Lament bass.
    • Sequencing.
  7. Lagrime Mie (5)
    • Strozzi (1619-1677).
    • Cantata 1650s.
    • Italian.
    • Blend of Aria, Arioso, and Recitative.
    • Word painting.
  8. L'incoronazione di Poppea (3)
    • Monteverdi (1567-1643).
    • Opera 1642.
    • Italian.
  9. Orontea (6)
    • Cesti (1623-1669).
    • Opera 1656.
    • Italian.
    • Strophic.
    • Bel canto.
    • Triple meter
  10. Ricercare after the Credo (7)
    • Frescobaldi (1583-1643).
    • Ricercare ca. 1635.
    • Italian.
    • Fiori Musicali.
    • Chromatic theme.
    • Subject augmented.
    • Countersubject inverted.
  11. Suite No. 3 in A minor (6)
    • Elisabeth-Claude Jacquet de la Guerre (1665-1729).
    • Keyboard Suite ca. 1687.
    • French.
    • Unmeasured prelude.
    • Allemande (duple meter, agréments, pick up note)
    • Chaconne (coupletrs, many ornament, repeated refrain [en rondeau]).
  12. Vingt-Cinquième Ordre (6)
    • Couperin (1668-1733).
    • Keyboard Suite ca. 1730.
    • French.
    • Binary w/repeats
    • AABB
    • Light texture.
  13. Trio Sonata Op 3, No 2 (8)
    • Corelli (1653-1713).
    • Trio Sonata 1680s
    • Italian
    • Da Chiesa
    • Grave (Slow, aria like chain of suspensions, walking bass)
    • Allegro (imitative in all the parts)
    • Adagio (Saraband with beat 2 emphasis)
    • Allegro (Gigue)
  14. Concert for Violin and Orchestra in A minor, Op. 3, No. 6, Allegro (4)
    • Vivaldi (1678-1741).
    • Violin Concerto ca. 1710;
    • Italian.
    • Riornello form.
  15. Arimide
    • Lully (1632-1687)
    • Opera 1686
    • French
    • French recitative
    • French Overture!
    • 5 parts
  16. Hippolyte et Aricie (8)
    • Rameau (1683-1764).
    • Opera 1733
    • French
    • More instruments (Flutes, oboes, bassoons, 2 violins, 1 viola, bass)
    • Fast rhythms
    • Divertissement --> Sea monster with the chorus
    • A lot of recitative
    • Ends on an appagatura
  17. Giulio Cesare (3)
    • Handel (1685-1759)
    • Opera 1724
    • German
  18. Saul, Act II, Scene 10 (6)
    • Handel (1685-1759)
    • English Oratorio 1738.
    • German
    • English text
    • Accompaniment recitative (strings only, dotted rhythms)
    • Secco recitative (chromaticism)
  19. Nun Komm, der Heiden Heiland, BWV 62 (6)
    • Bach (1685-1750)
    • Cantata 1724.
    • German
    • Paraphrase choral
    • ABCA form
    • Fortspinnung
  20. Prelude et Fuga in A minor, BWV 543
    • Bach (1685-1750)
    • Organ Prelude and Fugue ca. 1715
    • Improvisatory
    • For organ because of the long sustained notes
  21. Ave regina celorum (6)
    • Gombert.
    • 1541.
    • Marian motet.
    • Point of imitation.
    • Hidden cadences.
    • Unprepared dissonances.
  22. Il blanco e dolce cigno (6)
    • Arcadelt.
    • Madrigal.
    • 1538.
    • Enjambment.
    • Homophonic.
    • Text painting
  23. Tant que vivray (8)
    • Sermisy.
    • Parisian Chanson.
    • 1527.
    • Syllabic.
    • Short phrases and clear cadences.
    • Strophic.
    • Homophonic.
    • Plays with dynamics.
  24. In arboris/Tuba Sacre fidei/Virgo Sum (9)
    • Vitry
    • Isorhythm
    • Latin instead of French
    • Stratified
    • Motet
    • Ca 1320
    • Lots of repetition
    • Led to Ars Nova
    • Upper voices syllabic
  25. Victimae Paschali Laudes (7)
    • Wipo of Burgundy
    • Sequence
    • First half of the 11th C.
    • Syllabic
    • Follows the Alleluia
    • ABBCC
    • Monophonic.
  26. Non Al Suo Amante (8)
    • Jacopo Da Bologna
    • Circa 1350
    • Melismatic
    • Madrigal
    • Italian
    • aab
    • Rhythm
    • Each line opens and ends with a melisma

Card Set Information

Author:
 jbmetzger
ID:
 150897
Filename:
 Known Listenings MuHis 330
Updated:
2012-04-29 22:43:56
Tags:
Music History 330
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Description:
Facts about the known listenings
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