Quiz 8

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kaila.lifferth
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186735
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Quiz 8
Updated:
2012-12-02 23:12:26
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Music History
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Late 17th Early 18th C
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  1. Alessandro Scarlatti
    La Griselda Act I, Scene 2 1720-21
  2. Arcangelo Corelli
    • Trio Sonata, Op. 3, No. 2 1680s
    • -Grave (1st movement) 
    • -Allegro (2nd movement)
    • -Adagio (3rd movement)
    • -Allegro (4th movement)
  3. Dietrich Buxtehude
    Praeludium in E Major, BUX WV 141 Late 17th C
  4. Francois Couperin
    • Vingt-Cinquieme ordre 1730s
    • -La visionaire
    • -La muse Victorieuse
  5. Antonio Vivaldi
    • Concerto for Violin and orchestra in A minor, Op. 3 No. 6 1710
    • -Allegro (1st movement)
    • -Largo (2nd movement)
    • -Presto (3rd movement)
  6. Concerto for Violin and Orchestra in A minor, Op 3, No. 6
    -Allegro
    • Antonio Vivaldi
    • 1710
    • 1st movement 
    • 6 ritornellos and 5 episodes RE1RE2RE3RE4RE5R
    • Harmony I-V-I modulates in episodes, sometimes in ritornellos
  7. Concerto for Violin and Orchestra in A minor, Op 3, No. 6
    -Largo
    • Antonio Vivaldi
    • 1710
    • 2nd movement
    • slow movement
    • typically expressive (compares to aria--solo/ virtuosity fucus)
    • Unusual: no continuo or bass instruments
  8. Concerto for Violin and Orchestra in A minor, Op 3, No. 6
    -Presto
    • Antonio Vivaldi
    • 1710
    • 3rd movement
    • Ritornello form: 5 ritornellos, 5 episodes with closing cadence
    • different approach to the form here than I
  9. Vingt-Cinquieme ordre 
    -La visionaire
    • Francois Couperin
    • 1730s
    • French overture style (binary form with 2 contrasting sections). Overdotting.
    • First section: stately rhythms- notes inegals, homophonic
    • second section: meter change- imitative, more contropuntal
    • Allemand characteristics at the end of the 2nd section
  10. Vingt-Cinquieme ordre
    -la muse victorieuse
    • Francois Couperin
    • 1730s
    • passepied (3/8 upbeat, 4 measure phrases)
    • balanced binary form
    • End of both sections is the same, but transposed (musical rhyme)
  11. Praeludium in E Major, BUX WV 141
    • Dietrich Buxtehude
    • Late 17th C
    • Form: 5 free sections (last a coda)- around 4 fugal sections
    • Fugal: in 4 or 3 voices with or without pedal (subject, answer, expositions vs. episode)
    • Harmony: all sections in E major, avoids interior tonic cadences
    • Toccata style: fugal imitation vs. free counterpoint
  12. Trio Sonata, Op. 3, No. 2
    -Grave
    • Arcangelo Corelli
    • 1680s
    • 1st movement
    • tonal progression I-V-V/V-vi-I
    • march in walking bass: sequences, suspension chain
  13. Trio Sonata, Op. 3, No. 2
    -Allegro
    • Arcangelo Corelli
    • 1680s
    • 2nd movement
    • fugal: subject sometimes inverted
    • Basso continuo: included in imitative texture
  14. Trio Sonata, Op. 3, No. 2
    -Adagio
    • Arcangelo Corelli
    • 1680s
    • 3rd movement
    • compare to vocal duet- imitation or parallel 3rds.
    • Saraband characteristics: triple time, emphasis on beat 2, hemiola at candence- organ continuo
  15. Trio Sonata, Op. 3, No. 2
    -Allegro
    • Arcangelo Corelli
    • 1680s
    • 4th movement
    • fugal imitation (gigue)
    • binary form: 2nd half subject is an inversion of the 1st section subject
    • Technique: inversion, stretto (ms. 32-35), pedal points (m 15-18), sequence (m 8-10)
  16. La Griselda 
    Act 1, scene 2
    • Allesandro Scarlatti
    • 1720-21
    • Da capo ario (ABA1)- RA1RA2RB
    • 4 part orchestra
    • A section: Griselda as obedient wife- dignity, quiet strength.
    • melodic contrast for herself vs. Gualtiero
    • B section: her as queen. Refuses to stop loving Gualtiero. Military figures, rising melody

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