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Baroque Period
| Term | Definition |
|---|---|
| Baroque | Time period- 1600-1750 |
| Aristrocatic patronage | Noble people, paying money for music |
| Ecclesiastic patronage | The chuch, paying money for music |
| Civic patronage | Middle class, paying money for music |
| Theory of Affects | Doctrine of the Affections. Using art to create emotion. Lead to opera |
| Prima Practica | Stile Antico. Old way of harmony and music. Invented by Monteverdi. Style and practice of 16 century polyphony |
| Seconda Practice | Stile Moderne. New way of harmony and music. Invented by Monteverdi. Style using chromaticism. Allowed rules to be broken for emotion, |
| Basso Contiuno | Figured Bass. Symbols used to indicate the chords used, and changes to intervals ie slashes through numbers |
| Figured Bass Realization | Performing of Basso Continuo. (incompleted music notation) |
| Concertato | Combination of multiple instruments playing different parts ie. |
| Chromaticism | Movement by halfsteps, used to portray emotion |
| Tonality | System used to replace modal system. Music now thought about vertically instead of horizontally |
| Opera | Developed by Florenine Camerata; believed Greek Tragedies were set to music. First opera house opened in Venice in 1637. Became sensation; diva/divo culture. Staged theatrical production consisting of arias, recitatives and instrumental pieces. |
| Libretto | "little book" The actual text of the opera |
| Florentine Camerata | Organization consisting of Giovanni Bardi, Girolamo Mei, Vincenzo Galilei. Started developing Greek Tragedy into opera. |
| Giovanni Bardi | Host of the Florentine Camerata |
| Girolamo Mei | Read Ancient Greek in the Florentine Camerata |
| Vincenzo Galilei | Musician; interested in tuning system. Father of Galileo. Member of Florentine Camerata |
| Intermedi | Musical interlude of a pastoral, allegorical or mythological subject. Performed before, between or after a spoken comedy or tragedy. |
| Orfeo | The first opera. Enchanted with his music. 1602. Written by Monteverdi. |
| Recitative | Portion of Opera; not repetitive, tells the story. Dialogue; multiple characters. |
| Aria | Portion of Opera; repetitive. Tells singers emotion. Usually A-B-A' format (da capo aria). Became crowd favourite; later operas began to consist of almost all arias. To show off. Wide range. Very melismatic. |
| Castrato | Men that were castrated before puberty to retain their high singing voice. Became divos, high voices considered manly. |
| Farinelli | The most famous castrato |
| Ritornello | A short instrumental interlude at beginning or between sections of singing |
| Chamber Music | A form of music written for a small group; originally performed in royal chamber |
| Basso Ostinato | Short pattern in bass that repeats under changing melody (REPETITIVE) |
| Cantata | Short musical number; 10-30 minutes long. Lyrical or quasi-dramatic text. |
| Stile Antico | Prima Practica. 1600s. Many rules. Church music |
| Stile Moderno | Seconda Practica. Counterpoint more free. 1700's. |
| Sacred concerto | Composition on sacred text. One or more singers. Instrumental accompaniment. |
| Polychordal motet | Piece when two choirs are singing |
| Oratorio | Occurred during lent. Similar to opera, except sacred subject. Held in an oratory. Not staged; a choir and instruments telling a story instead of showing it. Narrative dialogue. |
| Heinrich Shutz | German composer. Combined German text with Italian style. |
| Giacomo Carissimi | Leading composer of oratorios -9 & 9 |
| Chaconne | Variations over a basso continuo (figured bass) |
| Passacaglia | Lively dance song; derived from chaconne. Variations over a figured bass. |
| Suite | Collection of dance songs; contrasting pieces linked together in a single work. |
| Toccata | "touched" Keyboard or lute. Resembling improvisation. May include imitative sections or serve as prelude to fugue. |
| Girolami Frescobaldi | Organist at St Peters Bascillica in Rome. Composer of taccatas. -frescos, angels, church, touched by an angel |
| Fantasia | "fantasy" Improvisation on instrument; lack of fixed form. |
| Prelude | Intro piece for solo instrument. Improv style. Or intro movement like opera or suite. |
| Fugue | Very structured, metric piece. One subject, successive statements. |
| Canzona | Instrumental piece with several contrasting sections. Imitative counterpoint. |
| Sonata | Instrumental piece with several contrasting sections. |
| Solo sonata | Piece played by one or more instruments. Baroque instrumental piece with contrasting sections "movements". |
| Trio sonata | Piece played by treble instruments (usually violin) over a basso continuo (usually keyboard) |
| Arcangelo Corelli | Violinist; composer of solo and trio sonatas |
| Lute | Stringed instrument, most popular "virtuoso" instrument in baroque period. |
| Organ | Pipes, loud. Used in sacred music, churches. |
| Clavecin | French name for harpsichord |
| Style brise | "broken style". Arrpegiated chords in 17th century France. |
| Clavichord | Small plucked instrument, keyboard. Soft, expressive sound. |
| Opera Seria | "serious opera". Recitative and aria. Diva culture formed. 1637 first opera house. |
| Da capo aria | A B A', second A section = tons of showing off, runs, trills etc. |
| Alessandro Scarlatti | Composer of operas and cantatas |
| Jean-Baptiste Lully | Italian composer who moved to France to compose for King Louis the 14th. Had sole writing rights to writing operas in France until his death. |
| King Louis the 14th. | The Sun King. Advocate of arts. Loved to dance. Employed Lully and Moliere as his sole entertainment providers. |
| Tragedie Lyrique | 17-18th century form of opera by Lully; combines French classic drama with ballet and music |
| French overture | Orchestral piece introducing an opera |
| Ornamentation | Addition of embellishments to a melody |
| Notes inegales | "Unequal notes"; used by French, alternating longer on-beat, shorter off-beat |
| Overdotting | Used by French, long notes held longer than written; short notes shorter |
| Henry Purcell | England's leading composer; wrote Dido and Aenus opera and vocal music |
| Antonio Vivaldi | Best known composer of the 18th century; worked at the orphanage and composed for the girls. Taught them music lessons at Ospedali |
| Ospedali | Orphanage. Vivaldi worked here, taught the girls music. Enhanced their prospects of marriage. |
| Solo concerto | Piece where a single instrument contrasts with orchestra |
| Concerto grosso | Small ensemble of solo instruments and a large ensemble |
| Ritornello form | Vocal music with instrumental between stanzas/verses |
| Francois Couperin | Blended French and Italian tastes. Organist in France. Wrote ondres aka suites |
| Jean-Phillipe Rameau | Unknown before age 40. Leading composer after Lully's death. |
| Traite de l'Harmonie | Treatise on Harmony. By Rameau. Summarized the counterpoint methods and ideas we study today. |
| Johann Sebastian Bach | German composer; never left Germany. Had 3 stages of his life; a) organist, b) court, c) director. a) organist at Arnstadt, Muhlhausen and Weimar. b)Cothen c) Leipzig |
| The Well-Tempered Clavier | Set of organ works by J.S. Bach |
| George Fredric Handel | Travelled a lot with his music. Born same year as Bach, but lead a very different life. 1685. German composer, Germany to France to England. Famous for opera and oratorios. |
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