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1. How is the word “Baroque” generally used? How do critics apply the term?
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2. What was the original sense of the word Baroque, and when did it take on a positive meaning? (Give the time frame, not the events surrounding it, please.)
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MUS 371 T 4 no 1
Music History Test 4 Chapters 29-31
| Question | Answer |
|---|---|
| 1. How is the word “Baroque” generally used? How do critics apply the term? | Baroque is the term used generally to describe the art, architecture, and music of the period 1600-1750. Critics applied the term “Baroque” to indicate a rough, bold sound I music and excessive ornamentation in the visual arts. |
| 2. What was the original sense of the word Baroque, and when did it take on a positive meaning? (Give the time frame, not the events surrounding it, please.) | The term “Baroque” had a pejorative meaning. It signified the extravagant, the excessive, even the bizarre. Only during the twentieth century has the term “Baroque” come to assume a positive meaning in Western cultural history. |
| 3. Baroque art coincides roughly with what political age? What is the meaning of the political term? | Age of Absolutism. The meaning of the political term was that a king enjoyed absolute power by reason of divine right. |
| 4. What was the reason much music came into being in this era? | Much Baroque are, architecture and music came into being to reflect and extend their absolute power. |
| 5. Which monarch built the palace at Versailles? How many people lived there? Include the dates of the monarch. | French King Louis XIV (1638-1715) built the palace of Versailles of which several thousand court functionaries. |
| 6. What was a general difference between instrumental music of the Renaissance and instrumental music of the Baroque era? | Renaissance—every part played by a single instrument. Baroque— many parts were doubled so as to increase the volume of sound |
| 7. What is the name of the style of Baroque music for multiple choruses with instrumental accompaniment? Give both names. | Grand or colossal Baroque |
| 8. How are visual and musical arts alike in the Baroque era? | These artists and composers filled their artwork with engergetic figures and were normally large-scale |
| 9. What was the most progressive genre of music in the late 1500s? | Madrigal |
| 10. What was the topic of the argument in the Artusi-Monteverdi controversy, and who was on which side? | A war of words over what was more important, music or text was the topic. Monteverdi was on the seconda pratica (text driven approach) and prima pratica, mainly the church style that dutifully followed the traditional rules of linear counterpoint |
| 11. What is another term for prima pratica, and to what do the terms refer? Be specific. 3 | Stile antico (Old or traditional style) which refers to the conservative church style. |
| 12. What is another term for seconda pratica, and to what do the terms refer? Give more than a literal translation of the other term. | Stile moderno (Modern Style) which was the newer idea. |
| 13. Where did Monteverdi and his colleagues get the idea that music might have the power to move the soul? | Ancient Greek music. |
| 14. Give a summary of the Doctrine of Affections. What are five of the affections? | The Doctrine of Affections held that different musical moods could and should be used to influence the emotions, or affections, of the listener. The five of the affections are anger, hate, sorrow, joy, or love. |
| 15. The early Baroque period saw a shift in emphasis in vocal music. What was the shift? | From vocal ensemble to accompanied solo song. |
| 16. What is the literal meaning of the term monody, and to what genres does it refer? 3 | From Greek terms meaning “to sing alone”. Solo madrigals, solo arias, and solo recitatives were all designated this single word. |
| 17. Early Baroque music has an essentially different orientation from Renaissance music. How are the two different? *Renaissance | Renaissance—the prevailing texture of music, vocal as well as instrumental, involved imitative counterpoint. |
| 17. Early Baroque music has an essentially different orientation from Renaissance music. How are the two different? *Baroque | Early Baroque—Has a fundamentally different composition. Instead of having three, four, or five contrapuntal lines, composers now emphasized just the top and bottom parts, using the other voices to add chordal enrichment in the middle. |
| 18. If music of the Renaissance was created horizontally, how was music of the early Baroque conceived? | Homophonically, its chords springing up vertically from the bass. |
| 19. “Basso continuo” is an Italian term. What is its English equivalent? | Thorough bass |
| 20. Basso continuo often consisted of two instruments. What types of instruments were they? | Linear bass instrument and chordal instrument |
| 21. One of the players in the continuo ensemble was expected to improvise. How did he or she know what to play? What do the numbers mean? 2 | While one performer played the written bass line, another played a harmony above the bass on a chord-producing instrument. Figured bass – a numerical shorthand with the bass line that tells the player which unwritten notes to fill in above the written bas |
| 22. How are modal polyphony and harmony generally different from tonal polyphony and harmony? | Modal—emphasized triads that were often only a second or third apart Tonal—tended increasingly to construct chords upon notes of the scale that were a fourth or fifth apart. |
| 23. What four things helped create the colors and contrasts typical of Baroque music? | 1. loud against soft 2. winds against strings 3. soloist against chorus 4. major against minor |
| 24. What genre of early Baroque music was most likely to demonstrate idiomatic vocal writing? | Emerging Opera |
| 25. What three traits characterize the arts in the Baroque era? | 1. vivid colors 2. strong contrasts 3. grand designs |
| 1. When did western opera emerge? | Opera emerged rather late in the history of Western art music around 1600. |
| 2. What is the literal meaning of opera, and how was it first used? Give the Italian phrase with its English translation. | Opera literally means “work”. The Italian phrase opera drammatica in musica (a dramatic work, or play, set to music) |
| 3. What is a libretto? | The text that conveys the story of the opera is called the libretto, and it is written in poetic verse. |
| 4. What arts often combine in opera? | Music, poetry, drama, scenic design, and dance. |
| 5. Where did opera first appear in Western culture? | Opera in the West first appeared at the court of the Medici princes in Florence, Italy, at the turn of the seventeenth century. |
| 6. Why did most early operas use a story drawn from mythology? | The creators of opera were trying to recapture the spirit of ancient drama while carrying the listener to magical world far from reality. |
| 7. Who were the Florentine camerata, and where did they meet? | Textual scholar Girolamo Mei (1519-1594) and musician-scientist Vincenzo Galilei (c1528-1591). They met in the home of Count Giovanni Bardi (1534-1612) discussed literature and science. |
| 8. Vincenzo Galilei was important to history and music history for at least three reasons. Name them. Include the Italian and English names as well as the date of his important work. *first two | Father of the famous astronomer Galileo Galilei 2. He was one of the earliest to advocate equal temperament as most practical way of dealing with tuning in music |
| 8. Vincenzo Galilei was important to history and music history for at least three reasons. Name them. Include the Italian and English names as well as the date of his important work. *last one | first to argue for a new style of solo singing as stated in his Dialogo della musica antica, et della moderna (Dialogue on Ancient and Modern Music, 1581) |
| 9. What common purpose did the camerata share | A vocal delivery called Stile rapresentativo to create |
| 10. What was stile rappresentativo? Give its literal meaning as well as a definition that is as thorough as your text’s definition. | Dramatic style or theater style. It was a vocal expression somewhere between song and declaimed speech. |
| 11. What was an intermedio? What were some typical traits? | A sung play within a play. Each intermedio was fully sung, yet each was an isolated dramatic scene; they did not form a unified sung drama. |
| 12. Give the title and composer of the first true opera. Include its date. | Jacopo Peri created the first true opera, Dafne (1598). |
| 13. Give the title and composer of the first completely preserved opera. Include its date. Why was the story important? | Peri’s setting of the story of Orpheus and Euridice, simply called Euridice (1600). The story of Orpheus and Euridice is important in the history of opera because numerous composers would set it to dramatic music over the next three centuries. |
| 14. Where, when, and how does the composer in #13 bring emphasis to the text at strategic moments? | The composer drives through lines of text with queickly repeating pitches. At strategic moments usually at ends of lines where rhyming words appear, he underscores the text through long notes. The bass moves more rapidly or slowly as the text requires. |
| 15. What are monody and stile rappresentativo? | Monody— the term used generally to describe accompanied solo song at the turn of the seventeenth century Stile rappresentativo—the dramatic or theatrical style |
| 16. What work did Caccini publish? Give its original and English titles. What is truly new about it? | Le nuove musiche (The New Music, 1602). What is truly new about it is Caccini’s description of the vocal techniques that grace his monodies. |
| 17. Describe/explain each of the following terms: | . Esclamazioni—Exclamations 2. Passaggi—running scales 3. Trillo—repeating percussive effect placed on a single pitch 4. Gruppo—the counterpart of our modern neighbor-note trill |
| 18. What is a toccata? Include its literal meaning. | Literal Meaning: a “touched thing” Toccata: an instrument piece, for keyboard or other instruments, requiring the performer to touch the instrument with great technical dexterity. |
| 19. Why did Monteverdi want his toccata to be played three times? List the purpose of each. | 1. Get the attention of the audience 2. Announce the arrival of the patron, the duke of Mantua 3. Signal that the action is about to begin. |
| 20. What types of pieces does Monteverdi include in Orfeo? What type is saved for the dramatic high points of the opera? | Choral songs, choral dances, instrumental dances, instrumental interludes, and solo singing of various kinds. The accompanied solo singing, the monody, is stylistically the most progressive music and he saves it for dramatic high points of the opera. |
| 21. What is stile recitativo? Describe it, but include the literal meaning of the term. | (Recited style). Recitative is musically heightened speech. |
| 22. What is recitative semplice? Describe it, but include the literal meaning of the term. | Simple recitative. Recitative in opera usually tells the audience what has happened. Because recitative attempts to mirror the natural stresses of oral delivery, it is often made up of rapidly repeating notes. |
| 23. Describe arioso style. Be thorough in your description. | Is a manner of singing halfway between a recitative and full-blown aria. It involves fewer repeating pitches and is more rhythmically elastic than purely declamatory recitative, but it is not as song-like and expansive as an aria. |
| 24. What are two ways beside vocal intervals that Monteverdi uses to intensify the depiction of grief? | Changing rhythms of speech, and bitter harmonies to intensify the hero’s grief. |
| 25. Give the literal meaning of “aria” and describe it. | Italian for “song” or “ayre,” is more florid, more expansive, and more melodious than recitative or arioso. Occasionally, an aria is set for two or three singers. |
| 26. What sort of work by the librettist was a cue to the composer to write an aria? | An aria invariably sets a short poem made up of several stanzas. In face, a closed strophic poem created by the librettist became a cue to the composet to create a lyrical aria. |
| 27. What is a strophic variation aria, and why did composers use the form? | An in which the same melodic and harmonic plan appears, with slight variation, in each successive strophe. Composers used this form as a way of giving variety to the otherwise utterly repetitive strophic form. |
| 28. How is accompaniment for an aria different from accompaniment for a recitative? | Often accompanied by more than just the basso continuo. |
| 29. What accounts for the “wavy” lines in the version of Monteverdi’s music shown in your text on p. 247? | The printer is still making use of single-impression printing, a technique developed in Paris nearly a hundred years earlier. This accounts for the “wavy” lines on the staves. |
| 30. How did Monteverdi use the different styles of monody to highlight dramatic events in Orfeo? | He shows that declamatory recitative can be used to deliver impersonal narration, whereas the more expansive aria is best saved for intense personal expression and rhetorical persuasion. |
| 31. What was the most prestigious music job in all of Italy? Include the Italian title of the job with its English translation. 2 | Maestro di cappella (director of music) at St. Mark’s Basilica in Venice, the most prestigious musical post in Italy. |
| 32. The audience for opera in Venice was different from the audience for opera in other places. In what way was that true? | it was the enterprise of wealthy merchant families a way to make money. The patrician families of Venice created theaters especially for opera. The audience was a fee-paying crowd of as many as 1,500 drawn from a cross section of society: merchants, soldi |
| 33. The public nature of opera in Venice led to changes. What changes were there for singers? What changes were there to the libretto and music? *singers | Singers—became more important as opera lovers became enamored with the special qualities of one or another of the leading voices of the day. |
| 33. The public nature of opera in Venice led to changes. What changes were there for singers? What changes were there to the libretto and music? *libretto | Libretto and music— were forced to tailor the music to suit a leading singer’s vocal range, capacity for ornamentation, and dramatic skills. |
| 34. Which opera by which composer is considered by many to be the greatest opera of the 17th century? Give its full original title as well as its English translation. How does its subject matter differ from earlier operas? | L’incoronazione di Poppea (The Coronation of Poppea). The subject matter is not drawn from Greek mythology but Roman history. |
| 35. Many musical changes took place between the time of Monteverdi’s early operas and his last one. Which change is most important? | A clear stylistic distinction exists between recitative and aria – the one syllabic and declamatory, the other florid. |
| 36. Name the two operatic successors of Monteverdi, and give the titles of their best-known works. | Francesco Cavalli (1602-1676) and follower Antonio Cesti (1623-1669) |
| 37. How are the operas of the two composers named above in #36 generally different from the operas of Monteverdi? | Fewer choruses and instrumental interludes and more arias for the star singers. They distinguished more clearly between the recitative and the aria. More emphasis was made on solo singing in opera, more and longer arias, and more vocal display. |
| Clarino refers to which modern instrument? | Trumpet |
| 1. Where was the focus of civic life in Venice in the 17th century? | Basilica of St. Mark |
| 2. What are the literal and practical meanings of the term cori spezzati? | 2. What are the literal and practical meanings of the term cori spezzati? |
| 3. Venice was at the forefront of several industries. What were they? What musical instruments were built there? Be as complete as your text is. | The European center for printing generally, and for music printing , shipbuilding, glass production, and the fabrication of musical instruments. Recorders, shawms cornets, sackbuts, viols and violins, harpsichords, and clavichords. |
| 4. What is the English translation of stile concertato? How is the term generally used? | Stile concertato is Italian for “concerted style.” It is a term broadly used to identify Baroque music marked by grand scale and strong contrast, either between voices and inst, between sep instr ensembles, between separate choral groups, or even between |
| 5. Give the Italian and English titles of the first work to use the title concerto, and tell who wrote it. | Concerti …continenti musica di chiesa (Concertos … containing church music) was written by Andrea Gabrieli (1533-1585) and his nephew Giovanni. |
| 6. How did composers, particularly at St. Mark’s, adapt their music to the acoustics? 3 | They avoided complex counterpoint and quick harmonic changes in favor of short units of homophonic declamation in which the text is clearly audible. Textual clarity is particularly important in large, stone building such as St. Mark’s which, then and now, |
| 7. Complete by typing in the blanks: Giovanni Gabrieli became the first composer in the history of music to indicate ____ in a musical score. Specifically, his ____ requires the instruments to play soft and loud at various times. | Dynamic and Sonata pian e forte |
| 8. Complete as above: Giovanni Gabrieli was also the first composer to write idio-matically for particular instruments and ____. | Specify the instruments in the score. |
| 9. Which composer, more than any other, set the standard for early Baroque music? | Claudio Monteverdi |
| 10. Why does Monteverdi’s secular music survive when his sacred music is lost? | The sacred music existed only in manuscript copies. The secular music intended for the large domestic market, was published and thus survives mostly intact. |
| 11. What are characteristics of the concerted madrigal? | In the later Venetian madrigals, however, instruments appear, and textures and timbres are strongly contrasting; all are characteristics of the concerted madrigals. |
| 12. What is stile concitato, and what did Monteverdi do to create it? | (the agitated style). One particularly suited to warlike music. He simply took whole notes and divided them into machine gun – like short notes – sixteenth notes all firing on the same pitch. |
| 13. What became the primary genre of vocal chamber music in the Baroque era? What is the literal meaning of the term? | Cantata (something sung) |
| 14. Why were cantatas often known as chamber cantatas? What were the usual traits? | It was usually performed before a select group of listeners in private residence. |
| 15. Who may be credited with the idea of transforming a cantata into a sacred work? | Bach and his gellow German composers |
| 16. What is a basso ostinato, and what function did it serve in the mid 17th century? | Basso ostinato is a bass line that insistently repeats, note for note. Above these popular bass lines composers wrote vocal and instrumental variations. |
| 17. What three terms are used interchangeably and indiscriminately during the 17th century to indicate almost any repeating bass pattern of short duration? | Ciaconna (called chaconne in French) and passacaglia. |
| 18. What is a lament bass (also known as a lamento bass)? 2 | Four-note descending passacaglia bass regulates the flow of most of the piece. Such descending tetrachordal figures, almost always in triple meter, are common in the Baroque period. |
| 19. “Thus in a cantata, stile concertato is effected not so much by alternating units of contrasting timbres, but rather by changing to distinctly different vocal styles.” What does this statement mean, i.e. what two styles are alternated? | Tiple-meter arias alternate with duple-meter recitatives. |
| 20. “In 1615 Schütz joined the chapel of the Elector…” What or who was an elector? | In german history, an elector was one of nine powerful princes with the right to vote in the election to choose the Holy Roman Emperor. |
| 21. What was a Kapellmeister? This was the equivalent of what job in Italy, and what duties did the job entail? | Kapellmeister – chief of music at court, the German equivalent of maestro di cappella (Chapel master) |
| 22. What event severely hindered Schütz in his duties? Name two specific ways it hindered him. | His professional activities were hindered by the wars of religion that swirled around Saxony, Thirty Years’ war. No German ensembles left capable of performing fully concerted scores for voices and instruments. Even as Kapellmeister, his own salary often |
| 23. Heinrich Schütz composed almost exclusively one type of music almost exclusively in one language. What type of music in what language did he compose? | German. Religious music. |
| Anthology #83, Giovanni Gabrieli, In ecclesiis (p. 351) 27. The acoustics of the basilica of St. Mark, for which this work was written, makes composing and performing complicated. What decisions did the composer make as a result? | the lively acoustics would reverberate for 8 - 10 seconds. Intricate polyphony would get lost. Gabrielis shows to emphasize simple harmonies, engaging rhythms and short melodies. Attracted attention to text. |
| In ecclesiis (Giovanni) 28. This work is for three choirs. The choirs are comprised of solo voices, choral voices, and instruments. How many parts are in each? (Do not consider the continuo as part of a choir, instrumental or otherwise.) | Solo voices— 4 Choral voices— 4 Instruments— 6 voices for instruments but only 3 instruments. |
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