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Music History
terms
| Question | Answer |
|---|---|
| 17th Century Pholosophy that focused on reason superseeding authority received from the church | Rationalism |
| the musical period 1600-1750. meant "something overused" | baroque |
| the principle/theory that humans experience states of mind or passions or humors | affections |
| love, hate, joy, sorrow, wonder, and desire | passions |
| 1570s in Florence, a group of intellectuals, including musicians, who met in the home of Bardi to discuss the art and philosophy of ancients and their application to the contemporary culture. these philosophers were known as camerata. | Florentine camerata |
| the hosted the florentine camerata | Giovanni de' Bardi |
| among the camerata. was a lute player and singer who wrote a treaty titled dialogo dela musica antica e della moderna and this presented a technique based on aestetics | Vincenzo Galilei |
| a Roman scholar who corresponded with Galilei and explained that music of the ancient Greeks was about monody. | Girolamo Mei |
| from the prefix mono- plus the root aeidein meaning to sing | monody |
| created by Galilei, with a single vocal melodic line and accompainment | homophonic texture |
| a simple formulaic setting for voice and lute in familiar style that was used to sing poetic texts in a variety of standard forms | aria |
| first composer to get credit for putting the Camerata's ideas into practice | Giulio Caccini |
| collection by Giulio Caccini | Le nuove musiche |
| Caccini explains ornamental passages in 17th century performance. one of these is the free melosmatic _____. | passaggi |
| another one of Caccini's ornamental figures. It is a run-up to a note from a 3rd below. | accento |
| shaping of a single note. (from Caccini) | esclamatione |
| rapid repeat of a pitch (from Caccini) | trillo |
| modern day trill (from Caccini) | gruppo |
| evolved from a short-hand of church organists who often assisted choirs by playing along with the lowest line of the vocal parts, doubling the bass | basso seguente |
| typical figured bass | basso continuo |
| typical figured bass | thoroughbass |
| numbers written underneath single pitches, implying chordal structures | figured bass |
| scoring that featured contrasting timbres | concertato |
| 1600 theorist that attacked recent madrigals written by Monteverdi. His essay was titled Delle Imperfezioni Della Moderna Musica. In this he wrote that there were a lot of counterpoint errors. | G.M. Artusi |
| Maestro Di Cappella who brought new dissonances to the madrigal and argued against Artusi saying that it was just contempory work. | Claudio Monteverdi |
| Caludio Monteverdi's younger brother. Sided with his brother. | Giulio Cesare Monteverdi |
| An older style that explains the dissonances Monteverdi used. | prima prattica |
| An older style that explains the dissonances Monteverdi used. | stile antico |
| Harmonic style that operates on the fundamental premis that the text or expressive intention controls the details of the music. | seconda prattica |
| Harmonic style that operates on the fundamental premis that the text or expressive intention controls the details of the music. | stile moderno |
| Marco Scacchi | |
| church style | stylus ecclesiasticus |
| chamber style | stylus cubicularis |
| theatrical style | stylus theatralis |
| music written in the form of conversations | madrigal dialogues |
| series of polyphonic ensemble songs that traced a brief comic story | madrigal comedies |
| music being combined with drama | opera |
| composed the first opera Liberatto. also a poet | Ottavio Rinuccini |
| composed the music for Rinuccini's opera. Name Dafne | Jacopo Peri |
| it's a recitative. speech like style | stile rappresentativo |
| speech like style | recitative |
| the director who staged the first performance of Euridic. helped develop the early opera. | Emilio de' Cavalieri |
| Monteverdi's librettist | Alessandro Striggio |
| ritornello | |
| Stefano Landi | |
| a composer who proceeded Monteverdi. the style eventually became compartmentalized into long recitative ending with a closed aria. within the reccitative it was now fast and not melodic. the aria arrested the action | Francesco Cavalli |
| a composer who proceeded Monteverdi. the style eventually became compartmentalized into long recitative ending with a closed aria. within the reccitative it was now fast and not melodic. the aria arrested the action | Antonio Cesti |
| an aria style meaning beautiful singing | bel canto |
| another aria style feeding rapid coloratura passages that showed vocalists' ability | florid style |
| agitated style | stile concitato |
| a texture of three parts that was accompanied by basso continuo | trio texture |
| a type of form | strophic variation |
| one of the two types strophe that make up the strophic variation | romanesca |
| one of the two types strophe that make up the strophic variation | ruggiero |
| one of the two types of pieces that use a short bass line that lasts only a few measures | chaconne |
| one of the two types of pieces that use a short bass line that lasts only a few measures | passacaglia |
| a device for indicating saddness | lamento bass |
| song | cantata |
| serious style. in the sacred music drama | stylus gravis |
| developed from the polyphonic motet | sacred concerto |
| the first composer to publish monodic pieces under the genre of concerto | Lodovico Grossi da Viadana |
| leading composer of the new style in sacred music. he was a more contemporary verison of Monteverdi. His style was a synthesis of the monodic style and affective with an aesthetic style | Heinrich Schutz |
| developed from the motet and sacred concerato as an outgrowth of the musical settings of biblical texts and dialogue | oratorio |
| a part of an oratorio | historia |
| if the text was in latin | oratorio latino |
| if the text was in italian | oratorio volgare |
| means text | testo |
| means text, testo. also means action was not staged like an opera, but was narrated by a singer | historicus |
| the composer who wrote an oratorio | Giacomo Carissmi |
| instrumental composer who wrote the book Syntagma Musicum | Michael Praetorius |
| having one theme | monothematic |
| fantasia | |
| one point of immitation throughout an entire piece | subject |
| the point where the subject might be altered in any given piece | exposition |
| the result of the technical glitches in the canzona. means played | sonata |
| a texture of three parts that was accompanied by basso continuo | trio sonata |
| compositions, usually duets, but could be more, that are made of many parts | partita |
| a type of partita that was structured around a cantus firmusq | chorale partita |
| he composed the chorale partitas | Samuel Scheidt |
| the practice of pairing slow and fast dances together | suite |
| the introduction to dance music | prelude |
| the opening movement to dance music | allemande |
| the second piece of dance music. triple or compound rhythms. fast. | courante |
| featuring triple meter. the third piece of dance music. | sarabande |
| another movement for dance music. fast. | gigue |
| composed suits of dance music | Johann Jacob Froberger |
| composed dance suites. one is titled Musical Banquet | Johann Hermann Schein |
| established in 1669. It's purpose was to establish and maintain high intellectual and artistic standards in a French national style. | Academie royale de musique |
| a French special tradition of court entertainment. This was a production where the court goers were dancers | ballet de cour |
| the liberist who criticized the Italian manner. He was French | Pierre Perrin |
| He took over the academy that Perrin established. He was a member of King Louie's orchestra, the Vingt-quatre violons du roi | Jean-Baptiste Lully |
| King Louie's 24 string orchestra. | Vingt-quatre violons du roi |
| Lully created these. They are productions that combined traditions of the Italian pastoral operas and the French ballet decor and laid the groundwork for the full French opera | comedie-ballet |
| the combinations of Lully's musical style | tragedie lyrique |
| the librist that Lully collaborated with in his operas | Philippe Quinault |
| the flexible barrings that scores demonstrated in the recitatives | air |
| an influential contribution to the history of instrumental form in which composers treated the opening of a large scale musical work | French overture |
| aristocratic entertainments with recitatives songs, choruses, dances, and costumes. This was the English version of the French court ballet | masque |
| Henry Lawes | |
| an English composer of operas | John Blow |
| the leading English composer during the restoration period | Henry Purcell |
| contains abbreviated and adapted spoken versions of plays. It provides the frakework for a series of brief, unrelated masks. | Semi-opera |
| songs to celebrate royal events. | odes |
| songs to celebrate royal events. | welcome songs |
| polyphonic fantasies for instrumental ensembles | fancy |
| a composer. He wrote operas in Naples, Italy. | Alessandro Scarlatti |
| series of operas | opera seria |
| a thinning of the score became the standard orchestra opening of the Italian opera | sinfonia |
| simple recitative (secco recitative) | |
| accompagnato recitative | |
| arioso | |
| da capo aria form | |
| ritornello | |
| castrati | |
| German composer of sacred conceratos who served as the organists in Lubeck | Dietrich Buxtehude |
| German composer of sacred conceratos | Johann Pachelbel |
| the introduction to congregational chorale singing, which had the statement of the meldody, supported by independent material | chorale prelude |
| a manner of handeling chorale prelude, which involved integrating the cantus firmus, with the rest of the text, by setting the main melody in long notes | Vorimitation (fore-imitation) |
| a chorale fugue | chorale fantasia |
| a chorale fantasia | chorale fugue |
| Germany's native musical drama. Employed spoken dialogue and a vocal style like song | singspiel |
| composer of singspeil | Reinhard Keiser |
| dynamic contrasts | terraced dynamics |
| a technique that could be showed in satisfing music product in contrapuntal texture | fugue |
| in a fugue when the second voice enters on the fifth and it can be adjusted so that it doesn't leave the key of the originial melody | tonal answer |
| the point in the modulation that might use free material or fragments of motives from the subject | episode |
| at the conclusion of the fugue. Composers increase the credential climax by rapidly overlapping immitative entries of the subject. | stretto |
| part of the stretto that reinforced harmonic stability | pedal point |
| dance movement of German suite | bourree |
| dance movement of German suite | gavotte |
| dance movement of German suite | minuet |
| German theorist who listed the affects of his dance compositions. Also has his collection of dances | Johann Mattheson Der vollkommene Capellmeister |
| suite | ordre |
| He served the court and royal church of france and offerec a leyboard playing trees called l'art de __________ | Francois Couperin L'art de toucher le clavecin |
| topics discussed in the treaty about the proper performance of embellishments | agrements |
| having two parts | binary form |
| sonata with three players | solo sonata |
| one of two classes of sonatas. chamber sonata | sonata da camera |
| one of the two classes of sonatas. chanber church sonata | sonata da chiesa |
| composer of the 17th century. His music established new harmonic syntax | Arcangelo Corelli |
| in the late 17th century the composers expanded the sonata, which created this | concerto |
| In the German concerto, the small group that plays throughout is called _____. | concertino |
| In the German concerto when the full group plays it is called the ____. | tutti |
| In the German concerto when the full group plays it is called the ____. | ripieno |
| In the German concerto when the full group plays it is called the ____. | concerto grosso |
| A style of German concerto where there is one solo player that is intermittenly supported by the ripieno. | solo concerto |
| A style of Germa concerto where there are no dirrect soloist by random moments within the ripeno. | ripieno concerto |
| Composer that took advantage of the altered German concerto. | Giuseppe Torelli |
| Italian concerto composer. (most prolific) | Antonio Vivaldi |
| 18th century composer-- late Rational period. | George Frideric Handel |
| Handel studied here. | Royal Academy of Music |
| Genre that emerged in the late Baroque period, which combined spoken dialouge with simple songs accompanied by basso continuo. | ballad opera |
| First "Ballad opera." | The Beggar's Opera |
| Created the BEggars opera. | John Gay |
| Helped compose the Beggars Opera | Johann Christoph Pepusch |
| Composer within Handel's rival company, the Opera of the Nobility. | Nicola Porpora |
| Opera Director-- favored in Italy and Greece. | Johann Adolf Hasse |
| Interruption within the opera that provides comic relief. | intermezzo |
| popular Italian street theater genre. | commedia dell'arte |
| Describes the technique on how an intermezzo may be created (through pieces of several exisitng works) | pasticcio |
| The most famous intermezzo was ____. And was composed by _____. | Giovanni Battista Pergolesi La serva padrona |
| tHIS fRRENCH COMPSOER ALSO WROTE THIS TREATY THAT ADDRESSED HARMON, WHICH AIDED IN ESTABLISHING HIM AS A THEORIST. | Jean-Philippe Rameau Treatise on Harmony |
| popular type of patronage in Germany. | Kantor |
| Composer, successful Kantor. | Georg Philipp Telemann |
| Started by Telemann it was created for his fellow students. | collegium musicum |
| Was the Kantor of Leipzig's opera house, before Handel. | Johann Kuhnau |
| Georg Bohm | |
| Rationalist composer that did not compose operas. | Johann Sebastian Bach |
| A collection of chorale arrangements for the organ, based on systematic organization coordinated to the liturgical calendar. | Orgel-Buchlein |
| book that aided in teaching music performance and technique (one of the first method books) | Well-Tempered Clavier |
| Meaning "keyboard practice," on of the first collections of paradigm keyboard pieces. | Clavierubung |
| Bach's composition, represented the paradigm of vocal compositions. | B-minor Mass |
| Bach's fugue he dedicated to the king. | Musical Offering |
| Bach's incomplete composition. Considered to be the perfect example of counterpuntal composition ever created. | Art of Fugue |
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