MUS250 Exam 3

Bach's Brandenburg Concerto No. 5

***Bach wrote these six concertos and dedicated them to a German nobleman of Brandenburg, possibly as an encouragement for this person to consider Bach for a musical position in his court. ***The small group, or concertino, consists of a flute, violin and harpsichord. ***Bach was a master at keyboard improvisation and this may be the reason that he included an extended cadenza for the harpsichord in the first movement, which was unusual for this time. ***At this time listen to this performance with the Active Listening Guides. ***As is the case with most 3 movement works, the 2nd movement is slow. ***The 3rd movement is faster, with a dance-like character.

Sonata

***During the Baroque the word sonata just meant a piece of instrumental music, which admittedly is a pretty broad definition. Most Baroque sonatas called for one instrument whether it be keyboard, violin, or flute. You might notice the similarity to another form we have already studied, the cantata. The cantata is a piece to be sung while the sonata is a piece to be played. In the Early Baroque Period (from about 1600 to 1650), two types of sonatas are found, the Sonata da chiesa and the Sonata da camera. The main distinction is that the former is performed in a church setting and the latter in a secular setting. ***During the Middle Baroque a new form of sonata emerges known as the trio sonata. The trio sonata had three instrumental parts, two for melody and one for the continuo. What is somewhat confusing is that even though it is called a trio, there were usually four instruments as the continuo part was played by a keyboard and an additional bass instrument. ***Sonatas usually consisted of three and sometimes four movements arranged in a fast-slow-fast or a slow-fast-slow-fast pattern of tempos.

Jacopo Peri

-Dafne: first work recognized in the genre of opera -> 1598; only fragments remain -Euridice -> Wedding of Maria de' Medici to King Henry IV of France -> October 6, 1600; first fully complete opera that survives -> Vincenzo Gonzaga, Duke of Mantua; possibly Monteverdi, attended -Stile rappresentative (representative/representational style) -> More expressive than speech, but not as melodious as song -> Recitative -> Used for narrative, dialogue, and action

The Brandenburg Concertos

-Six concertos sent to the Margrave of Brandenburg (Berlin) -Probably meant as a resume to look for a new job -3rd and 6th are orchestral (ripieno) concertos -The other 4 movements are concerto grosso

Meter

-Standardized during Baroque era -Time signatures invented

Chorale

-Sung by congregation -A means of achieving participation -Became the hymns of the Lutheran Church -The traditional latin was replaced by the vernacular German, which is what the people spoke. They were adaptions of existing chant tunes, secular tunes, or may even be newly composed works -Chorales regularly had several verses sung to the same melody. They were strophic & the rhythm was very steady -In order to aid singer in worship, the tunes themselves were very simple, using mostly stepwise motion with small leaps on occasion

Handel's Messiah

-Contains 53 sections -19 choruses -16 arias -16 recitatives -2 sections for orchestra -3 hours long -Text entirely from the Bible -Three parts: the birth, the passion, and the aftermath

Cantata

-Contains recitatives, choruses, and arias -Much shorter than oratorio (20 min) -To be performed in worship service -Several parts contain chorale melody -Often begins with a Chorale Prelude and ends with a 4 part (SATB) chorale -Can be heard in "zion hears the watchmen"

The Concerto Grosso

-Contrasts small group with large group ->Concerted style (concertato style, stile concertato [It.]) ->Interaction of two or more groups (voices, instruments) ->Evolved from polychoral style of Gabrielli -Three movements (fast-slow-fast) ->1st movement: ritornello form (usually) ->2nd movement: slow, lyrical movement (contrast to 1st) ->3rd movement: fast and fugue-like (usually)

Italian Baroque Style

-Cultivation of vocal music in Italy ->Medieval church's focus on vocal music; church was based in Rome ->Italy was the center of the Renaissance and the musical capital of Europe ->Nature of Italian language (close to Latin) ->Italian replaced Latin as the primary language of vocal music -Homophonic: (melody and accompaniment) -Preference for melodic directness ->French: ornamental complexity ->German: polyphonic and harmonic complexity

Purcell's "Dido's Lament" from Dido and Aeneas

Storyline -Aeneas: hero of Troy -Dido: widowed queen of Carthage -He leaves her to establish Rome -She commits suicide in despair Recitative and aria Ostinato ("stubborn") bass line repeated 11 times No virtuoso singing

What is a style?

The treating of musical elements -in a similar way -in many works -over an extended period of time

A Vocabulary for Melody Continued

Tune: subcategory of melody -Clear beginning, middle and end -Lyrical (songlike, singable) All tunes are melodies; not all melodies are tunes. Theme: principal musical idea -Can be a tune, motive, harmony, timbre Conjunct/disjunct melody

What did the term baroque originally refer to?

An irregularly shaped pearl

German Baroque Style

Historical Background -Martin Luther (1483-1546) ->1517; 95 Theses posted on door of the Castle Church in Wittenberg ->"Justification by Faith" (Romans 1:17) -Thirty Years War (1618-1648) Lutheranism -Increasing use of vernacular (instead of Latin) in worship -Chorales replaced plainchant -Music had power to impact emotions and convey ideas (similar to ancient Greek view) -Embraced instrumental music as suitable for worship. Nature of language -Italian: melismatic language (focus on vowels and consonants) ->Focus on vocals and lyrical melodies ->Instrumental music would tend to follow this lyrical style -German: syllabic language (focus on explosive consonants) ->Tends to create sharply articulated, compact melodies ->Complex polyphony and instrumental music equal to vocal music

Basilica of Saint Mark

Hot spot of music in Venice during the Baroque period. Was unique because its construction allowed for 2 choruses and 2 organs on opposite sides of the sanctuary as well as other instruments. Resulted in groups of performers being able to answer the other, which is called polychoral or antiphonal singing

Technical term for pitch

Frequency, determined by the number of vibrations of the molecules in air. This is also known as wavelength and is measured in hertz

Pitch

Highness or lowness of a sound

Baroque Intellectual Activity

Isaac Newton - theory of gravity William Gilbert - electricity Robert Boyle - chemistry Rene Descartes - analytical geometry Robert Hooke - cellular structure of plants William Harvey - circulation of blood Galileo Galilei, Johannes Kepler - astronomy

Vivaldi: "Spring" from The Four Seasons, First Movement

***The Four Seasons by Vivaldi (CD 1, 29) is an unusual work. It is largely a solo concerto, with some virtuoso passages. But it also contains elements of a concerto grosso, with its continuo part and places where three violins play as a small group. ***It is a collection of four concertos, one for each of the 4 seasons, each having 3 movements. ***The first concerto is entitled Spring and presented a model for what a solo concerto should be. The music is highly programmatic. Vivaldi actually inserted lines of a sonnet in the score. If you listen with the Active Listening Guide ready, you can clearly see the programmatic associations of the first movement of the "Spring" concerto by clicking on the button at the bottom of the screen. A translation of the sonnet will then appear with certain words in red - "hot words." Clicking on a red word will play that segment of the music. As the slide indicates, there are four very clear ones: spring, birds, brooks, storm. There is also a second section for the birds.

Other Keyboard Forms

***The chorale prelude and chorale variations are keyboard works that use a chorale melody as a theme. ***A passacaglia begins by presenting the theme, often eight measures long, alone in the bass part. It remains in the bass, where it is repeated over and over. The melodic material changes with each appearance of the theme . The repeating bass provides unity to the work, while the changes of melody provide variety. ***The prelude is a common work for keyboard. In the Baroque period it simply refers to a short instrumental piece, usually exhibiting some characteristics of improvisation. During the Baroque the title "prelude" simply meant a short piece of instrumental music.

Passacaglia

***The chorale prelude and chorale variations are keyboard works that use a chorale melody as a theme. ***A passacaglia begins by presenting the theme, often eight measures long, alone in the bass part. It remains in the bass, where it is repeated over and over. The melodic material changes with each appearance of the theme. The repeating bass provides unity to the work, while the changes of melody provide variety. ***The prelude is a common work for keyboard. In the Baroque period it simply refers to a short instrumental piece, usually exhibiting some characteristics of improvisation. During the Baroque the title "prelude" simply meant a short piece of instrumental music.

The Fugue

***The fugue is a type of music (genre) that begins with its main theme, called the subject, played alone in one line, also called a voice (even though it is played on an instrument). ***When the subject has been stated, the subject then enters in another voice (usually in a different key) while the first voice presents the countersubject. Then the first voice continues with free counterpoint, the second voice takes up the countersubject, and the third voice enters with the subject. This process continues for as many voices as the fugue has, which is generally three or four. The initial section in which the voices enter with the subject and countersubject is called the exposition. ***The development follows the exposition. It consists of reappearances of the subject and countersubject in different keys between sections of free counterpoint. Often a fugue closes with a restatement of the subject.

Arcangelo Corelli

***Was one of the first great violinists. He was also a well-known teacher and composer. ***The abbreviation op. is short for opus which means work. It is a method used to identify a composer's instrumental music and is usually, but not always chronological. A lower opus number would then mean a piece written early in the composer's career, and a higher number would point to a later composition. ***It is a church sonata and has four movements that contrast with each other. The third movement has a waltzlike character. This will become an important part of four movement works in the Viennese classical period such as the symphony and the string quartet. These third movements will usually be related to a dance, most often the minuet.

Ensembles

-A small group of soloists -Choruses are the large group of extra vocalists

Aria

-Accompanied vocal solo -Rather long -Orchestra plays important role -Shorter texts -Expresses feelings -Repeats words -Formal pattern -Strict metrical rhythm -Memorable melody

Recitative (more info)

-Accompanied vocal solo -Rather short -Orchestra supports the solo -Longer texts -Advances the story -Seldom repeats words -No formal pattern -Unmetered -Melody not memorable

Enjoying opera

-Almost all operas have truly beautiful - and sometimes stunning - music. -And the impact of the music and drama combined is often greater than either one alone. -Operas need to be seen as well as heard, unless you already know that particular opera very well. -Operas usually have a "bigger than life" quality that offers interesting viewing and listening.

Tonal Harmony

-Also called functional tonality or harmony -Chords have one of three functions ->Tonic (resting), Dominant (resolving), Subdominant (transitioning)

Continuo

-Basso continuo (continuo for short, has bass line with realized accompaniment) -Continuo part, often 2 instruments (keyboard or plucked string) (low string; bass viol/violoncello) -Figured bass (used the notational shorthand system, which used a melody/bass line, & numbers to indicate inner parts) (also used realization, within which keyboard players read figured bass and supplied inner parts)

Chorale continued

-Chorale melodies were harmonized by Bach and other composers -Usually in the standard 4 parts of a soprano, which sang the chorale melody, alto, tenor, and bass -Also served as themes for organ works (chorale preludes) and cantatas -Can be heard in Bach's Cantata No. 140

Handel: "Hornpipe" from Water Music Suite

-Composed for King George I and his party on the Thames River -Water Music Suite consists of an overture and twenty dances -"Hornpipe" ->Triple meter ->Binary form repeated several times ->For strings and woodwinds

Patronage System in the Baroque period

-Composers composed exclusively for their employer -Steady employment -Composer had to please patron -Involved teaching singers, rehearsing instrumentalists, and writing music -More music was written (music rarely repeated)

Characteristics of Baroque Music

-Development of homophony, although much polyphonic/contrapuntal music was still composed -If you take a look at the time line you will see what this development looked like -Starting from the monophonic Gregorian chant -Which led to organum around 1000 -Around 1200 polyphonic music began to be written -Which then led to the 2 streams of the Baroque period, which included both homophony and polyphony -The use of definite metrical rhythm began & at this point bar lines became a standard feature of the notation of music -The emphasis switched to major & minor keys and the almost complete abandonment of the other modal scales -This allowed music to be in certain keys which created tonal or key centers -The Doctrine of Affections has little to do with love. Instead, it involves the expression of nonmusical ideas in the music. In vocal music this sometimes involved word painting. In instrumental music it meant the maintaining of the same mood through a movement or piece of music

Terraced dynamics

-Dynamic changes were immediate -Emphasis on abrupt changes (this dramatic contrast is a characteristic of the Baroque) -Dynamic markings (not common) (composers performed their own works)

Operatic Conventions

-Everything is sung, in an "operatic" style -Often in foreign language -> Effective translations are very difficult -Compressed time frame ->It takes longer to sing a phrase; often repeated (aria)

The Baroque Concerto

-First appeared around 1680 -Adapted from opera ->Virtuosic, dramatic vocal soloist contrasting with orchestral accompaniment -Single most important type of orchestral music by High Baroque period (1700 to 1750) -First musical genre to be a part of the "standard repertoire". -Three different types (p. 105) ->Orchestral or ripieno (strings and continuo; no soloist) ->Concerto grosso ->Solo concerto (most familiar today; simply "concerto")

Oratorio continued

-First appeared early in the Baroque period -Similar to operas but based on religious topics -Early on, like opera, they used scenery, costumes, and acting, but by the end of this period the staging elements had been put aside -The most fertile ground for the stories would come from the Old Testament -Were created for the concert hall and therefore were seldom used in churches except for special church occasions. They were too long and used too many performers to make them practical for worship services

Recitative

-Focused on expressing the text -A wider vocal range -Often narrative (explains what is happening) -More movement by half-steps, known as chromaticism, and more rhythmic freedom -Because the recitative was created to move along with the action, being a form of musical narrative, they were usually not a memorable melody as that would draw attention to the tune at the expense of the text -For this reason, words are rarely repeated as they would be in the contrasting form of the aria

The Fugue Pt. 3

-Fugal writing centered in Germany ->J. S. Bach considered the great master of fugue writing -->Combined Baroque extravagance with Baroque control -Three basic structural elements of the fugue; ->exposition, episodes, and subject restatements -Exposition ->All the parts (voices) are stated one at a time -->Each voice has equal importance ->After each entrance, each voice continues with a countersubject ->After the countersubject comes free (non-thematic) material *Thus, fugues are non-strict imitative polyphony -Episodes (transitions) ->Melodic fragments ->Modulations -Restatements (return of subject)

Florentine Camerata

-Group of noblemen in Florence (1570's and 80's) -Met @ home of Count Giovanni de' Bardi -Included Vincenzo Galilei; musician & father of Galileo Galilei -Wanted to recreate drama of Ancient Greece -Developed recitative -Earliest operas almost entirely recitative

The Suite

-In the case of music, it applies to a group of pieces that were originally dances. Most of the dances were no longer used for dancing. -They were "stylized," meaning that they had been "dressed up," musically speaking, even though the meter, tempo, and other characteristics came directly from the dances represented. These versions are more sophisticated than the original dance music as they are intended for listening. -Suites were written for the Baroque orchestra, chamber groups and keyboard instruments. -Most dances are in AB, or binary form, with each section usually repeated. -Although, most of the pieces in the suite are based on dances, sometimes you will find a non-dance piece such as a prelude, an overture, or an air.

Baroque Art

-Infused with drama and action -Dramatic treatment of light (ex. Descent from the Cross by Rembrandt) -Figures often in "corkscrew" shape -Love of size and grandeur (Frescoes by Michelangelo)

Oratorio

-Lengthy work for voices and orchestra (1 hr+) -Consisting of recitatives, choruses, and arias -Somewhat like a musical drama, but w/o props, scenery, costumes, and acting -Often the soloists sing particular roles and the chorus tends to offer commentary

Beginning of opera

-Love of drama (main feature of Baroque) -Florentine Camerata -Recitatives were not enough by themselves -Goal of expressive music was eventually replaced by virtuoso singing

Monteverdi: The Coronation of Poppea

-Monteverdi is probably another one of the most important composers you have never heard of. He shows in his compositions the transition for one major period to the next. He wrote 9 volumes of madrigals, the first 4 in the polyphonic style of the late Renaissance and the last 5 in the monodic style of the early Baroque. Although he did not write the first opera, he wrote the first great opera which was entitled L'Orfeo. It premiered in 1607 and set the stage for a golden age of early opera in Italy. In 1613, Monteverdi took over the coveted position of the director of music at St. Mark's in Venice which he held for the next 30 years until his death in 1643. -As well as his innovations in composition he also was responsible for instrumental advancements including the tremolo and vibrato on the violin. -His Last Opera, The Coronation of Poppea, was first performed in 1642 and although using other developing forms such as the aria, many attributes of the recitative can be found throughout the work. -Listen now to the recitative from Act 1, Scene1. In this portion of the opera we find that Poppea and Nero have spent the night together. He has to leave for awhile, and the scheming Poppea tries to entice him to return as soon as possible. The music and singing styles reflect the feelings of each character as Poppea repeatedly asks Nero when he will return. Nero seems more than willing to come back promptly.

Staging

-Oftentimes very elaborate -Adds to the overall cost of opera productions -Projection in movie theaters helps with cost

Ritornello Form

-Opening musical idea returns periodically (like a refrain) -One of the most common musical forms of the Baroque -Ritornello heard in entirety only at beginning and end -Statements of ritornello played homophonically -Episodes between ritornello often played polyphonically; sometimes with light accompaniment by ripieno.

The Concerto Grosso Continued

-Players in small group remain seated and do not memorize their music -Small group (concertino) usually plays same music as large group with variations -Most common form of the movements is ritornello (return) form ->Main theme alternates with a contrasting section ->Main theme only presented fully first and last time ->Tutti alternates with concertino -Problems with listening to recordings ->Volume levels not always indicative of size of group

National Styles

-Powerful regional differences emerged during Baroque era ->Italian style: vocal, especially opera ->German style: highly technical vocal and instrumental ->French: wind instruments and embellishment -Predominant musical styles in Baroque ->Italian and German -Nature of language set to music will determine the nature of the melody that results

Handel: "Hallelujah Chorus" from Messiah

-Probably the most famous chorus -Important words occur on important beats -Contains text painting (in places like "king of kings, and lord of lords," which move one step each time the phrase is repeated) -Imitation is heard at several places in the first section of the chorus, but it is very clear at track 26 when the basses enter singing, "And He shall reign forever and ever," and are followed by the tenors, then the altos, and finally the sopranos

Performance of Baroque Music

-Public concerts as we know them today hardly existed, so most performances took place either in palaces or churches -One exception to this is that in Italy, where opera houses were established that were open to the paying public. Eventually this would catch on & public opera houses began to be built in other countries also -Because orchestras were small, & because the composer often was the keyboard player leader, there was little need for a conductor as we know that role today -Many Baroque composers, such as Bach and Handel, were extremely good at improvising at the Keyboard. They would also add decorations to the music, known as ornaments

Tuning

-Pythagoras (2/3 ratio which led to the Pythagorean comma) -Especially problematic for keyboards -Equal temperament (tuning) (this overcame the restrictions of the comma, made all half-steps equal in size, and keyboards were then able to play in every key w/o retuning)

Passion

-Similar to the oratorio -Focuses on the suffering of Christ during the week before the crucifixion

The Fugue Pt. 2

-Single most representative music procedure (form) to emerge from the Baroque era. ->A "form" is not a mold ->A "form" is a process -Baroque musical duality ->Melodic extravagance (ornamentation/embellishment) ->Systematic organization and control -Definition: systematic examination of a single thematic melody (fugue subject) ->Only one principal melody (monothematic) ->If two or more principal melodies; double or triple fugue

Voices and Roles in Opera

-Tenors usually get to sing the lead male roles in operas, while sopranos normally sing the lead female roles. Baritones and basses get to sing the roles of kings, older men, and villains. Altos are assigned the roles of older women and villainesses. Not only do opera singers need to sing difficult music well and project their voices over the orchestra, they must act convincingly in doing so. -The orchestra is placed in front of the stage in what is called the pit. It not only accompanies the singers, it also sets mood and enhances the action on stage, as well as plays overtures and preludes. -Seldom do composers write both the text and music for an opera. Usually they take a set of words, called the libretto, which is developed by someone especially skilled at doing that. Then they develop the music around it. The libretto is often poetic in nature, especially the portions that are most likely to be used for arias and choruses. -Operas are to be seen as well as heard. The staging can make a big difference in the audience's enjoyment of a performance. A major opera house can stage events in a convincing and at times dazzling fashion.

The Chorus (choral section)

-The chorus sings the chorus -Somewhat lengthy -Often repeats words -Strict rhythm -Accompaniment important -Written for skillful vocalists -Often contrapuntal with imitation -Different than an ensemble (group of soloists)

Libretto ("little book")

-The script (text) of an opera -Usually not written by the composer, but by a librettist

Motet

-Unaccompanied -Religious text -Polyphonic -Vernacular -Metrical rhythm

Chant

-Unmetered -Latin -Melody rarely repeats -Unaccompanied

New Music during the Baroque Period

-Used a notational shorthand system called "figured bass" (also called thorough bass) -Often used melodies in more than one work -Borrowed melodies from other composers. Was a common and accepted practice & no acknowledgment of the borrowing was given or expected -They used young boys as apprentices to copy parts -Didn't fuss over the details -Viewed themselves more like skilled craftsmen -Was rarely if ever revised -Compositions of the Baroque period were usually not as long or as technically challenging as in later times

Orchestra

-Usually in front of the stage in an orchestra pit -Performs overtures when curtain is closed -Overture

Differences between viols & violins

-Viols have frets, while violins do not -Viols have 6 strings (renaissance) or 7 (baroque) while violins have 4 -Finally, the viols have a flatter and less curving body than the violins which affects their resonance and sound

Handel's "Ev'ry Valley Shall Be Exalted" from Messiah

-Virtuoso runs on "exalted" -Text painting on "the crooked straight" and "mountain" and "low" -A B A B form (binary), with introduction and closing section

Pachelbel: Canon in D

-is a case of a work that was ignored or forgotten for over 250 years. But after it was "discovered," it has enjoyed enormous popularity for a classical work, including movies, commercials, and arrangements in a variety of styles. -Pachelbel's ground bass consists of notes a fourth apart that are all of equal rhythmic value. This is probably one of the most familiar themes of this course. -The three violin parts play in follow-the-leader imitation. The musical term for this is canon which is reflected in the title of the piece. The second violin can be recognized when it comes in, but the third is more obscure, because by then the first violin has started new melodic material. -In the first minute and a half of the work the violin entrances change from quarter notes to eighth notes, and then to sixteenth notes and finally thirty-second notes. The pitches also tend to become higher as the music builds. -The work is an imaginative combination of the ground bass giving the work a unified quality, and the variations over the ground bass, which add variety to the music. -The website listed will give you more information on this piece and Pachelbel.

Standard pitch to which an orchestra tunes

A above middle C. Vibrates 440 times per second

Continuo (basso continuo or thorough bass)

Chord producing instrument (harpsichord, lute) Bass line instrument (cello, bassoon) Any baroque work (except solo) will feature

Divisions in the Baroque Period

Early (1600-1650) Middle (1650-1700) Mature (late or high, 1700-1750)

Baroque Style

From about 1600 (birth of opera) -1750 (death of J.S. Bach) -Began to change prior to 1750 -Grandiose dimensions -Love of drama (opera, oratorio, cantata) -Religious intensity (conflict of Catholic vs. Protestant) -Is usually associated with the later 2 sub-periods, Middle & Mature

Bach: Toccata and Fugue in D Minor

Fugues are often paired with an introductory keyboard piece such as a prelude, a passacaglia, or as in this case, a toccatta. ***The toccata is a showy, virtuoso work, usually for a keyboard instrument. It is highly dramatic and offers many opportunities for the organist to demonstrate his or her playing skill. ***As you listen to the fugue, you should be able to identify the subject when it enters. Pay attention to the repeated note between the notes of the theme. ***Listen to the countersubject when it enters as the second voice part plays the subject for the first time. ***An important musical idiom is the sequence, which is a pattern of notes repeated at a different pitch level. These are usually easy to identify by listening and oftentimes serve as ways to change key centers which is also known as modulation. ***Count the number of voices you hear entering during the exposition. If you heard four, you would be correct. If not listen to the opening of the fugue again until you can hear each entrance. ***After the exposition, which is tightly controlled, the rest of the piece is considered a development section where the composer has much more freedom to create. ***Every section that does not contain the subject of the theme in some form is called an episode. ***An important idiom you can hear in this piece, especially near the end is the suspension. This is where a note from one chord is held over into the next chord and then usually resolved downward. The Music Listening Today Resource Center has a section called "Hear It Now: Suspensions" which will help you be able to identify them. ***A second toccata, which Bach labeled "Recitativo," concludes the Toccata and Fugue in D Minor (CD 1, 37). ***The alternation between rapid notes and long chords sets up a tension which leads to ***the long powerful minor chord at the very end.

Baroque Instruments

Keyboard Instruments -Pipe organ -Harpsichord Other Instruments -Recorder -Trumpet (smaller, no valves) -Violin (replacing viol)

When are names of styles given?

Names of styles are given later

Baroque Instrumental Forms

Musical Form -Way of organizing thematic material ->How many large sections of music are in a movement ->How the sections relate to one another -Essential step in emergence of instrumental music Vocal and Instrumental Form -Vocal form dependent upon words -Instrumental music has no literary structure (until programmatic music) ->Form is the result of compositional processes ->Repetition, variation, contrast, and development -Understanding form gives us the context to understand the details and expressive message of a movement -Some musical compositions do not use a pre-existing form ->They are improvisatory in nature ->Common names: Fantasia, Toccata, Rhapsody, Prelude, Impromptu

Do all works in a given period fit the same style?

Not all works in a given period fit that style

Terms we may hear instead of pitch

Note or tone

Giovanni Gabrieli

One of the most famous organist choirmasters of Saint Marks right at the beginning of the 1600's. He was the first composer to indicate specific instruments as well as dynamics in his scores

A Vocabulary for Melody

Pitch: two properties -Fundamental frequency -Timbre Note: pitch with duration Melody: succession of notes Motive: a small group of notes to construct a melody -Repetition -Sequence (repetition of a motive, or part, at a higher or lower pitch level) -Transformation

How long do styles last for?

Some styles occur for only a short period of time and transition to or overlap the major periods (e.g. Rococo, Empfindsamkeit, etc.)

Three Important Baroque Composers

Three composers merit attention in addition to Bach, Handel, Corelli, and Vivaldi. ***Gabrielli we have already mentioned. He was influential in bringing about the Baroque style with his works for two choirs and instruments performing polychoral music, works involving groups placed on each side of the church. The two balconies in St. Mark's in Venice made such music very effective. ***Lully developed what is called the "French Overture" with its slow introduction followed by a fast section containing elements of imitation. ***Telemann composed an astounding amount of music - over 3,000 works. He was the first choice for the position at St. Thomas Church in Leipzig, the one Bach held for the last 27 years of his life.

Representative city in which there was a transition from the Renaissance to the Baroque period

Venice

Handel's "The Voice of Him That Crieth in the Wilderness"

is a good example of a recitative. It is: 1) very expressive, 2) features a single line of melody with accompaniment, 3) does not have a memorable melody, 4) is sung with flexible rhythm, 5) begins in one key (E major) but modulates to another (A major), 6) concludes with a clear V-I cadence, and 7) demonstrates the Doctrine of Affections with its emphasis on crucial words such as "crieth" and "highway."