Music History 3402 Exam 1 Listenings

Card Set Information

Author:
kaela.crystal
ID:
67552
Filename:
Music History 3402 Exam 1 Listenings
Updated:
2011-02-20 22:12:41
Tags:
music history listenings exam
Folders:

Description:
Listenings for exam 2, baroque
Show Answers:

Home > Flashcards > Print Preview

The flashcards below were created by user kaela.crystal on FreezingBlue Flashcards. What would you like to do?


  1. Clori vezzossa, e bella, Conclusion
    • A. Scarlatti
    • 1690-1718
    • Cantata
    • Recit and Aria
    • Female voice with basso continuo, then strings and harpsichord
    • Use of diminished 7 chords
    • expressive use of harmony
    • the gigue rhythm in the ritornello and vocal line contrast with text
    • A+B sections offer differing feels
    • Pastoral love poem
    • word painting
    • conflicted speaker
    • Ritornello confirms tonal center
  2. La Griselda, excepert from Act 1, scene 2
    • A. Scarlatti
    • 1720-21
    • Opera
    • steady fast 16ths show commitment
    • wide leaps suggest strength and resolve
    • TONAL, vocal statements are modulatory while rit establishes tonic
    • strings accompany
    • DA CAPO ARIA shows duality of character
  3. Trio Sonata, Op. 3, No. 2
    • Corelli
    • 1680s
    • Trio Sonata
    • slow (grave) fast () slow (adagio) fast (allegro, could be gigue)
    • each movement is thematically independent
    • TONAL, SUSPENSIONS show character
    • 2 vlns, bass, basso continuo
    • 4 movements through composed
    • gigue= binary
    • fugal imitation in Allegro #1 (2nd mvmnt)
    • Walking bass
  4. Praeludium in E major, BUXWV 141
    • Buxtehude
    • Late 17th Century
    • Organ Prelude
    • Highly ornamented
    • E Major, I V I
    • Organ
    • fugal imitation, fugal sections
    • toccata style
    • free and fugal sections alternate
  5. Violin Concerto in A minor, Op.3, No.6
    • Vivaldi
    • 1710
    • Violin Concerto
    • Slow fast slow movement
    • Episodes separated by ritornellos
  6. Hippolyte et Aricie, Conclusion of Act IV
    • Rameau
    • 1733
    • Opera
    • Sparked debate between Ramistes and Lullistes
    • Recit and fast lines in orchestra
    • dissonant apoggiaturas
    • highly dissonant
    • descriptive orchestral writing to portray waves and wind
    • The chorus plays a bigger role and tells Phedre what has happened
  7. Vinqt-cinquieme odre, excerpts
    • Couperin
    • 1730
    • Keyboard Suite
    • Allemande (free), gigue (3/4)
    • Hemiolas at cadences
    • in RH, ornamented replacing notes with fast triplets
    • balanced binary form
    • intended amateurs
    • Gave fanciful titles to his ordres
  8. Prelude and Fugue in A minor, BVW 543
    • J.S. Bach
    • 1715
    • Organ Prelude and Fugue
    • Violinistic with drone and playing different intervals above the one note
    • tonic then it ranges through the harmonies
    • toccata like and fugal sections
    • adaptation of ritornello form
    • composed at Weimar
  9. Chorale Prelude on Durch Adams Fall
    • J.S. Bach
    • 1716
    • Chorale Prelude
    • in bar form AAB
    • modal
    • top line, chorale tune without ornamentation
    • dissonant
    • chromatic leaps in pedals
    • Little Organ book
  10. Brandenburg Concerto No. 2, BWV 1047 1st Movement
    • J.S. Bach
    • Concerto grosso
    • Highly complex structure
    • varied musical terrain
    • Trumpet in F, recorder, oboe, solo vln
    • orchestra of 2 violins, viola, violone, and basso continuo
    • some imitation
  11. Sarabande from Partita No. 1 in M minor for Violin Solo
    • J.S. Bach
    • Suite
    • Allemande, courante, sarabande, Bouree
    • Each movement followed by variations called double in French
    • Each of these movements are polyphonic
    • Triple meter, slow solemn, emphasis on 2nd beat
  12. Nun komm, der Heiden Heiland
    • Bach
    • 1724
    • Cantata
    • Opening chorus begins w/ ritornello w/ chorale tune in bass
    • ABSORPTION OF MULTIPLE STYLES
    • -rit, cantus firmus, lutheran hymn
    • 2nd cycle at Leipzig, incorporates chorale tune of the same name
    • opening chorus is based on chorale
    • final chorus = simple 4 part arrangement of the tune
    • in btwn chorale mvmnts, bach inserts recit + arias in operatic style
    • goes from complex to simple
    • max. variety
    • chorale, aria, recit, aria, recit, chorale
  13. Mass in B minor, "Credo in unum Deum"
    • Mass
    • Far too big for practical use
    • only one of his settings
    • most of it is music previously composed
    • juxtaposes contrasting sacred styles
    • stile antico: strict contrapuntal style
    • stile moderno
    • Close imitation, overlapping entries ->stretto
    • -intensifies emotional impact throughout
  14. Giulio Cesare, Act II, scene 1-2
    • Handel
    • 1724
    • Opera
    • after the recit between the 2, cleopatra's aria has other elements mixed in
    • cleo sings, cesar recit, cleo AB aria, cesar brief recit, Cleo A aria
    • MIX- French sarabande rhythm, italian da capo form, germ. voice + inst. doubling, it. divided concerto grosso
  15. Saul, Act II, scene 10
    • Handel
    • 1738
    • Oratorio
    • Saul wants to get rid of David
    • in English
    • blending of styles
    • recit, then chorus comments on morality of situation ( O fatal consequence of rage)
    • -3 fugues end with homorhythmic passage
    • -chorus filled with rhetorical things to reflect passage
    • recit
    • chorus (soloists talk to him)
    • full chorus
    • lots of dynamic and word painting
  16. Music for the Royal Fireworks, Overture
    • Handel
    • 1749
    • 1)sounds like Fr. overture, overdotting
    • 2) quicker and lighter section
    • 3) extreme slow overdotting (lament, death)
    • 4) repeat of fast 3
    • no tempo marking, so didn't want Fr. ov., more "speaking Lully style"
    • FANFARE = English
    • CAVALRY DOTTED = French
  17. Music for the Royal Fireworks, La Paix
    • Handel
    • 1749
    • in 3
    • moderate tempo
    • legato, smooth lines
    • pastoral peace
    • NOT military like at all
  18. Music for the Royal Fireworks, La Rejouissance
    • Handel
    • 1749
    • Joyous sounding, triumphant
    • snare
    • fanfare
  19. Chaconne in G Major
    • Handel
    • Set of Variations
    • extensive minor section
    • W/ "lament bass"
    • virtuosic arpeggiations and scale passages
    • expressive chromatic harmonies
    • Bass line or harmoinc progression are constant, with variations over it
    • Continuous variation
    • 1-8 M, 9-16 m, 17-21 M

What would you like to do?

Home > Flashcards > Print Preview