History of Western Music I Test 3

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History of Western Music I Test 3
2012-12-10 12:43:08

Composers and Terms
Show Answers:

  1. Claudio Monterverdi
  2. Henry Purcell
    Dido and Aeneas
  3. Jean-Baptiste Lully
    Overture to Amide
  4. Arcangelo Corelli
    Trio Sonat, Opus 3, No.2
  5. Francois Couperin
    La Muse Victorieuse
  6. Biagio Marini
    Sonata IV per il violin per sonar con due corde
  7. Antonio Vivaldi
    Violin Concerto in A minor
  8. Gerorge Frideric Handel
  9. Dieterich Buxtehude
    • Praeludium in E Major
  10. J.S. Bach
    Prelude and Fugue in A minor
  11. Compare
  12. Contrast
  13. Baroque
    Period of music history from 1600 - 1750 overlapping the late renaissance and early classical periods
  14. Affections
    Objectified or archetypal emotions or states of mind, such as sadness, joy, fear, or wonder: one goal of much of Baroque music was to arouse the affections.
  15. First  & Second Practice
    •     First: stile antico,
    • stylus gravis, Claudio Monteverdi’s term for the style and practice of 16th
    • century polyphony, in contradistinction to the

    • Second: stile moderno, stylus luxurains,
    • Claudio’s Monteverdi’s term for the use of counterpoint and composition that
    • allows the rules of the 16th century counterpoint (1st
    • practice) to be broken in order to express the feelings of the text.
  16. Basso Continuo (Throughbass)
    1. System of notation and performance practice, an instrumental bass line is written out and one or more players or keyboard, lute fill in the harmony with appropriate chords or improvised melodic lines.

    2. The bass line itself.
  17. Figured Bass
    A form of a continuo basso, in which the bass line is supplied with numbers or flat or sharp signs to indicate the appropriate chords to be played.
  18. Basso Ostinato
    Osinato: Short musical pattern that is repeated persistently throughout piece or section of music.

    Chaconne: Derived from chacona (dance from Latin America/Spain) consisting of variations over a basso continuo.

    • Passacaglia: Variations over a repeated bass
    • line or harmonic progression in triple meter.
  19. Basso Sequence
    Reinstatement of a pattern, either melodic or harmonic, on successive of different pitch levels
  20. Concertato
    The combination of voices with one or more instruments, where the instruments do not double the parts but play independent parts.
  21. Ornamentation
    The addition of ornamentation to an given melody, either during a performance or in the act of composition.
  22. Cadenza
    Highly embellished passage, often improvised, at an important cadence, usually just before the end of a piece or section.
  23. Opera


    Opera: Drama with continuous or nearly continuous music. Staged with scenery, costumes, and action.

    Aria: More melodic, more rhythmically consistent, orchestral accompaniment is fuller and more complex, music is more elaborate, more vocally demanding, poetic text, freezes action-reflection, clear beat

    Recitative: Recitation, a free style of singing, follows natural flow of speech, used for development, moved the story forward, also used for dialogue with 2+ characters, only a scant, simple accompaniment in the orchestra
  24. Libretto
    Literary text from an opera or other musical stage work.
  25. Mondoy
    1. An accompanied solo song.

    • 2. The musical texture of solo singing accompanied by one or more instruments.
  26. Tragédie en musique (tragédie lyrique)
    French form or opera, pioneered by Jean- Baptist Lully, that combined the French classic drama and ballet traditions with music, dances, and spectacles.
  27. Sinfonia
    1. Generic term used for an abstract ensemble piece, especially one that serves as an introduction to a vocal work.

    2 Italian opera overture.

    3. Early symphony.
  28. Ritornello
    •   1. Vocal music, instrumental introduction or interlude between sung stanzas.
    • 2. In an Aria or similar piece, an instrumental passage that recurs several times, like a refrain. Typically played at the start as an interlude and again at the end, it states the main theme.

      3. In a fast movement of a concerto, the recurring thematic material played at the start by full orchestra and repeated, usually in varied form, throughout the movement and at the end.
  29. Air de cour
  30. Type of song  for voice and accompaniment, prominent in France.
  31. Oratorio
    • Genre of dramatic music, combining narrative, dialogue, and commentary through arias, recitatives, ensembles, choruses, and instrumental music, like an unstaged
    • opera. Usually religious or biblical subjects.
  32. Toccata
    Piece for keyboard instrument or lute resembling an improvisation that may include imitative sections or may serve as a prelude to an independent fugue.
  33. Fantasia
    1. Instrumental composition that resembles an improvisation or lacks a strict form.

    • 2. Imitative instrumental piece on a single
    • subject.
  34. Sonata
    Instrumental piece with contrasting sections or movements, often with imitative counterpoint.
  35. Ordres
  36. Suite
    A set of pieces that are linked together into a single work. During the Baroque it usually referred to a set of stylized dance pieces.
  37. French Overture
    A type of overture used in tragédie en musique and other genres, that open with a slow, homophonic and majestic section, followed by a faster second section that begins with imitation.
  38. Notes inégales
    French “unique notes”: a passage notated in short, evendurations, such as a succession of eight notes, are performed by alternating longer notes on the neat with shorter offbeats to produce a lilting rhythm.
  39. Agréments
  40. Zarzuela
    Spanish genre of musical theater, a light, mythological play in a pastoral setting that alternates between sing and spoken dialogue and various types of ensembles and solo song.
  41. Da Capo aria
    An Aria form with 2 sections. 1. First section is repeated after the second section’s close, which carries the instruction da capo creating an ABA form.
  42. Trio Sonata
    Genre a sonata for two treble instruments above a basso continuo, A performance featured four or more players if more than one was used for the continuo part.
  43. Concerto
    Orchestral:Genre ins several movements, that emphasized the first violin part and the bass, avoiding the move contrapuntal texture of the sonata.

    Solo: One or more instruments contrasts with an orchestral ensemble.

    Grosso: Instrumental work that exploits the contrast in sonority between a small ensemble of solo instruments, usually the same forces that appeared in the trio sonata, and a large ensemble. (Corelli Pastoral)
  44. Concerto Grosso (The Genre)
    Concertino: Soloists (Luc/Morgan)

    Ripieno(rest of 1st/rest of 2nds and ensemble)
  45. Hauptwerk
  46. Chorale Preludes
    Relatively short setting for the organ of a chorale melody, used as an introduction for congregational singing or as an interlude in a Lutheran church service.
  47. Scordatura
  48. Ritornello form
    Standard form for fast movements in concertos, featuring a ritornello  for full orchestra that alternates with episodes characterized by virtuosic material played by one or more soloists.
  49. Coloratura
    Florid vocal ornamentation
  50. Fugue
    Fugue: composition or section in imitative texture that is based on a single subject and begins with successive statements of the subject in voices.

    Subject: Theme, used especially for the main melody in a Riceracre, fugue,  or other imitative work.

    Exposition/answers: a set of entries of the subject.

    Episode: A passage of counterpoint between statements of the subject

  51. Fugue forms
    Retrograde: backward statement or a previously heard melody, passage, or twelve-tone row.

    Inversion: reversing the upward or downward direction or each interval while maintaining its size.

    Diminution: Uniform reduction of note values in a melody or phrase.

  52. King Louis XIV
  53. Jean-Baptist Lully
  54. The Florentine Camerata
  55. Jacopo Peri
  56. Giulio Caccini
  57. Claudio Monterverdi
    Henry Purceli
  58. Antonio Vivaldi
    Redhead, 1678 -1741, ordained as a priest, most successful in Italy, virtuoso violinist,
  59. Arcangelo Corelli
  60. Dieterich Buxtehude
  61. Georg Phillip Telemann
  62. Johann Sebastian Bach
    1685– 1750, learned violin 1st from his dad, married his cousin, friends with Telemann, 2nd wife Ana, 20 kids, wrote cantatas every Sunday for the most part, familiar with all international styles of the day, theologist, glorify God, dedicated work to sdg, and ended JJ, had his works cataloged. BWV, BWV Ana – someone else?, S-Schmieder who cataloged them, not by date. Like Vivaldi, circle of 5th harmonic progression,
  63. Wolfgang Schmieder
    The guy who cataloged Bach’s works.
  64. George Frideric Handel