Textbook Notes (381,212)
CA (168,403)
UTSC (19,325)
VPMC88H3 (4)
Chapter 3

Chapter 3 Study Guide

6 Pages
102 Views

Department
Music and Culture
Course Code
VPMC88H3
Professor
Ken Mc Leod

This preview shows pages 1-2. Sign up to view the full 6 pages of the document.
Chapter 3 Baroque music
-vocal recitative flexible, speech-like rhythms
-toccata and prelude improvisatory solo instrumental piece
-dance regular rhythm
-bar line became common in Baroque
indicate recurring pattern of strong and weak beats
-active bass lines propulsive harmonic motion
Homophonic
-firm bass, florid treble
-held together by unobtrusive harmonies
-contrast between bass and treble
-emphasize two essential lines (treble and bass) of the texture
-subordinate inner parts
Thorough bass or basso continuo (accompaniment)
-composer wrote only melody and bass, leaving it to performers to fill in the appropriate chords
or inner parts
-bass and chords were played on continuo instrument
-harpsichord, organ, lute, theorbo were used at first
-viola da gamba, cello, bassoon to sustain notes were used later
Figured bass
-added figures (flat or sharp) above or below the bass note to indicate the precise pitches required
Concertato
-combined voices with instruments
-assign different roles to each instrument and voice
Chromaticism
-express intense emotion
-suggest harmonic exploration
-create distinctive subjects for treatment in imitative counterpoint
Tonality
-standard cadential progression
-bass movement by a fourth or fifth
-conventional bass patterns
-use of suspension and other dissonances to create forward motion
Opera
-drama sung to continuous music
-staged with scenery, costumes and action
www.notesolution.com
-composed of libretto
Monody
-ancient style of solo singing
-emotional message of text can be expressed
Recitative
-imitate speech
Orfeo
-recitative achieves more continuity and longer line
-intensely expressive at dramatic moments
-librettist is Alessandro Striggio
Ritornello
-recurring instrumental sections
Orfeo’s strophic canzonet
-dance song
-hemiola rhythm, harmonization with root position chords
Orfeo’s lament
-each phrase builds on the preceding one
-intensifies through pitch and rhythm
-dissonances against sustained chords
-rests, syncopation, word repetition
Aria
-melodious and mainly strophic
Coronation of Poppea
-historical opera on the Roman emperor Nero’s illicit affair with ambitious Poppea
-expressive recitative inflected with dissonance
-chromaticism as Pop-ea pleads with Nero not to leave her bed chamber
Arioso
-transition between recitative and aria style
Chorale prelude
-entire melody is presented just once
-single variation on a chorale
Harpsichord Music
-de la Guerre and Couperin were composers of the genre
www.notesolution.com

Loved by over 2.2 million students

Over 90% improved by at least one letter grade.

Leah — University of Toronto

OneClass has been such a huge help in my studies at UofT especially since I am a transfer student. OneClass is the study buddy I never had before and definitely gives me the extra push to get from a B to an A!

Leah — University of Toronto
Saarim — University of Michigan

Balancing social life With academics can be difficult, that is why I'm so glad that OneClass is out there where I can find the top notes for all of my classes. Now I can be the all-star student I want to be.

Saarim — University of Michigan
Jenna — University of Wisconsin

As a college student living on a college budget, I love how easy it is to earn gift cards just by submitting my notes.

Jenna — University of Wisconsin
Anne — University of California

OneClass has allowed me to catch up with my most difficult course! #lifesaver

Anne — University of California
Description
Chapter 3 Baroque music -vocal recitative flexible, speech-like rhythms -toccata and prelude improvisatory solo instrumental piece -dance regular rhythm -bar line became common in Baroque indicate recurring pattern of strong and weak beats -active bass lines propulsive harmonic motion Homophonic -firm bass, florid treble -held together by unobtrusive harmonies -contrast between bass and treble -emphasize two essential lines (treble and bass) of the texture -subordinate inner parts Thorough bass or basso continuo (accompaniment) -composer wrote only melody and bass, leaving it to performers to fill in the appropriate chords or inner parts -bass and chords were played on continuo instrument -harpsichord, organ, lute, theorbo were used at first -viola da gamba, cello, bassoon to sustain notes were used later Figured bass -added figures (flat or sharp) above or below the bass note to indicate the precise pitches required Concertato -combined voices with instruments -assign different roles to each instrument and voice Chromaticism -express intense emotion -suggest harmonic exploration -create distinctive subjects for treatment in imitative counterpoint Tonality -standard cadential progression -bass movement by a fourth or fifth -conventional bass patterns -use of suspension and other dissonances to create forward motion Opera -drama sung to continuous music -staged with scenery, costumes and action www.notesolution.com
More Less
Unlock Document


Only pages 1-2 are available for preview. Some parts have been intentionally blurred.

Unlock Document
You're Reading a Preview

Unlock to view full version

Unlock Document

Log In


OR

Don't have an account?

Join OneClass

Access over 10 million pages of study
documents for 1.3 million courses.

Sign up

Join to view


OR

By registering, I agree to the Terms and Privacy Policies
Already have an account?
Just a few more details

So we can recommend you notes for your school.

Reset Password

Please enter below the email address you registered with and we will send you a link to reset your password.

Add your courses

Get notes from the top students in your class.


Submit