Music Appreciation textbook reading notes.docx

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University of California - Santa Barbara
MUS 15

Chapters 16 and 17, prelude 3 Purcell, Strozzi, Handel 10/1/2012 10:13:00 AM  Baroque opera and its components  The components of opera o Opera: large scale drama that is sung o Recitative: musical declamation/speech that moves the opera’s plot  Styles of recitative  Secco: Italian for “dry”; accompanied by continuo instruments/moves with freedom  Accompagnato: accompanied by orchestra; moves more evenly o Aria: Italian for “aid”; released emotional tension through the melody  Usually highly emotional  Da capo aria: ternary, A-B-A o Ensemble  Ensemble numbers: duets, trios, quartests  characters state feelings  Overture: performed by orchestra; instrumental number heard at beginning of most operas (may introduce melodies from arias)  Orchestra: supports action of opera, sets appropriate mood for different scenes  Sinfonias: interludes in between scenes o Libretto  Librettist: writes the text of the work  Libretto: text or script of the opera  The spread of opera o Early opera in Italy o Opera in England th  Masque (early 17 century)  Combined vocal and instrumental music with poetry and dance  Popular among aristocracy o Purcell’s Dido and Aeneas  1689, English Opera  based on Virgil’s The Aeneid  listening for:  melody: playful, jaunty  rhythm/meter: triple meter, sprightly tempo  harmony: major key  form: instrumental, solo voice, ensemble voice  Barbara Strozzi and the Baroque Aria  General facts o Composer of high-quality, masterful music o Singer o One of the few professional female musicians of her time  Amor dormiglione (Sleepyhead, Cupid!) o General  Published 1651  Da capo aria o Listening  Melody: rising opening melody; lines shaped to express text  Rhythm/meter: lilting triple meter; brief switch to duple nd at beginning of 2 section  Form: da capo aria  3 parts (A-B-A)  solo soprano voice, anonymous Italian poem  The baroque cantata and oratorio  Bach and the church cantata o Cantata: mostly written for Lutheran church services; unified by chorale o Chorale: hymn tune specifically associated with German Protestantism  Bach’s Cantata Wachet auf (Sleepers, Awake) o General  Bar form (A-A-B)  1731, performed in Leipzig  basis: chorale by Philipp Nicolai o listen for  melody:  sopranos: slow moving melodic line  rhythm: triple meter  form: AAB, separated by instrumental ritornellos  Handel and the Oratorio  Oratorio o Descended from religious Counter-Reformation o Name from “a place of prayer”  Messiah, Nos. 18 and 44 o General  1742 o Christmas section  listen for  melody: lyrical lines on “rejoice”  duple meter  jolly tone  form: de capo ABA o Easter section  “hallelujah”; very famous  duple meter  overlapping melodies/voices o Redemption section Chapters 18 and 19 Handel, Mouret, Vivaldi 10/1/2012 10:13:00 AM  Baroque instruments and the suite  The baroque suite o Allemande – quadruple meter; moderate temp (German) o Courante – triple meter; moderate tempo (French) o Sarabande – stately dance in triple meter (Spanish) o Jig – lively 6/8 or 6/4 (English)  Optional dances o Minuet o Gavotte o Bourree (lively) o Passepied o Hornpipe (jaunty)  Overture – often opened suite  All pieces of baroque suite either A-A-B-B or A-B-A  Handel o Water Music, Suite in D major, Alla hornpipe  General  Date: 1717 (first performance)  Genre: dance suite  Movements: allegro, alla hornpipe, minuet, lentement, bourree  Musicality  Melody – ascending line with leaps and trills; second section descending minor-scale melody  Rhythm/meter – triple meter in spritely tempo  Form – 3 part A-B-A  Music at the French royal court o Mouret: Rondeau, from Suite de symphonies  General  Date: 1729  Genre: rondeau, from dance suite  Musicality  Melody – fanfare like opening in regular phrases (4 and 8 measures); trills in melody  Rhythm/meter – regular rhythms in duple meter, punctuated by timpani  Form – 5 parts (A-B-A-C-A) with A ritornello o Ritornello – recurring theme  The baroque concerto  Solo concerto – concerto for solo instrument and accompanying instrumental group  Concerto grosso – based on opposition between small group of instruments (concertino) and larger group (tutti or ripieno)  Antonio Vivaldi and the solo concerto o Spring, from The Four Seasons (la primavera, from le Quattro stagioni), Op. 8, No. 1, I  General  Date: published 1725  Genre: programmatic concerto for solo violin  Musicality  Melody: flashy solo violin line; fast-running scales and trills  Form: ritornello as unifying theme; alternates with contrasting episodes  Pages 89-91, 120-125, 140-147 Josquin, Bach 10/1/2012 10:13:00 AM  Renaissance sacred music  A cappella – vocal work without ins
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