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