for MU361
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| The group of scholars from Florence, Italy who discussed literature, science and the arts | Florentine Camerata
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| Recitative | Speech song, declamatory style over a chordal bass
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| composer of L'Orfeo of 1607 | Claudio Monteverdi
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| stile concitato | fast repeated notes to musically express anger and war
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| was given exclusive rights to produce all sung drama in France | Lully
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| the preferred dramatic presentation in France until the mid-17th century, made popular by King Louis XIV | ballet
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| French version of opera called | Tragedie lyrique
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| the tempo structure of the French Overture was | slow-fast-slow
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| performing a series of eighth notes with a lilt similiar to dotted rhythms | notes inegales
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| performing a dotted note longer than its notated value and shortening the following note | overdotting
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| brief ornaments to be added to cadences and other important notes | agrements
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| instrumental section of music that separated sections of action in an opera | ritornello
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| opera reform occurred in the middle of this century | 18th century
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| leading composer in opera reform | Gluck
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| aria in ABA form; second A section is usually ornamented | Da Capo aria
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| Italian poet who was the most prolific librettist of opera seria in the 18th century | Pietro Metastasio
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| type of opera is famed for its focus on the solo singer or "diva/divo" | Opera Seria
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| The story line for the first REFORM opera | Orfeo
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| The divos of the mid-18th century operas were these unique men | castrati
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| type of recitative that used basic chords and simple harmonic movement to accompany voice | seco recitative
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| type of recitative that used an active accompaniment that contributed more to the melodic structure of the opera | accompanied recitative
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| Fast repeated notes musically express anger and war | stile concitato
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| Who is the composer that called for less ornaments, less over-singing, and more equality between instruments and the singers? | Gluck
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| This English composer wrote Dido and Aeneas | Henry Purcell
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| Florentine Camerata, a group of scholars who discussed literature, science and the arts was led by | Count Giovanni Bardi
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| The Italian form of comic opera | Opera Buffa
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| The French form of comic opera | French Opera Comique
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| The German form of comic opera | German Singspiel
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| He writes Italian Opera for London audiences | GF Handel
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| The first public Opera house - built in 1637 | Teatro San Cassiano
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| Composer who took over as music director of St. Marks Cathedral in Venice after Gabrielli | Claudio Monteverdi
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| Ancient dramatic model that the plot of an Opera was commonly based on | Greek Tragedy
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| The tempo structure of the Italian Overture was | fast-slow-fast
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| This composer was credited with first utilizing fast repeated notes to express anger | Claudio Monteverdi
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| Known as the greatest Castrati of all | Farinelli
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| The type of opera where the plots were often far-fetched depictions of real-life situations | Opera Seria
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| characteristics of reform opera | simplicity
poetry expresses the drama
less ornamentation
less focus on the diva/divo
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