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146 Cards in this Set
- Front
- Back
The term baroque was first applied to art and music by |
critics in the mid-1700s who disliked the style |
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How did Baroque artists, poets, and musicians evoke theatricality in their works? |
by using contrasts and motion to arouse feelings |
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You find a music manuscript that sets a poem's vivid words with unprepared dissonances. Who is a probable composer? |
Claudio Monterverdi |
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The practice of basso continuo reflects what trend that occurred around 1600? |
increased emphasis on the melody and bass lines |
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The excerpt above shows an early form of |
figured bass |
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The primary purpose of the basso continuo part is to |
accompany |
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Which of the following was not a common continuo instrument during the 1600s? |
piano |
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Which of the following does not follow concertato medium and concertato style? |
solo harpsichord |
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During the Baroque era, chromaticism was used to |
express intense emotion in vocal works, suggest harmonic exploration in instrumental works, and create distinctive subjects in contrapuntal ones |
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In music, the word idiomatic refers to |
music composed for a specific instrument or instrument family |
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The prevalence of dance rhythms in Baroque music fostered the use of |
barlines in scores |
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Composers in the seventeenth and early eighteenth centuries would describe their works as |
operating within the modal system, although to modern listeners they sound tonal |
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The illustration below shows how Baroque architecture often used ________, similar to that found in music. |
intricate embellishments |
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In music, the Baroque period lasted from approximately |
1600-1750 |
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The bottom two staves of the following example are |
the basso continuo part |
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The top line of the following excerpt is the original melody. It and the line immediately below it show what? |
how some performers added extended embellishments |
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By the end of the Baroque period, counterpoint became |
more harmonically driven |
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This is an early Baroque composition that sparked controversy |
Cruda Amarilli |
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Early Baroque composers' emphasis on drama and theatricality led to more of this type of performer |
professional |
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"The invidious enemy, Love, circles The fortress of my heart, Hurry up, for he is not far away. Arm yourselves!"
The excerpt above reflects how Baroque poets |
used words to suggest action or a theatrical performance |
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The following excerpts show |
two contrasting renderings of a continuo part |
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________ helped stimulate music publications, opera houses, and public concerts. |
Capitalism |
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Opera originated |
ca. 1600 |
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This group intently studied the writings of the ancient Greeks about music |
The Camerata |
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Which person is most closely associated with Le nuove musiche? |
Giulio Caccini |
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Arias in the early 1600s were generally in what form? |
strophic |
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The first opera was |
Peri and Runuccini's Dafne |
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The excerpt below appears to be what type of piece? |
recitative |
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What important step for opera happened in 1637? |
the first public opera house opened |
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All of the following conditions fostered opera in Venice except |
religious restrictions were vigorously enforced |
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The practice of castrati developed because |
women were not allowed to sing in Catholic churches or on stage in Rome |
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Galilei argued that which musical technique created contradictory impressions and obscured the meaning of a text? |
polyphony |
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Le nuove musiche contains |
the score of Dafne |
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You are a pupil of Jacopo Peri's and want to imitate his recitative style. What type of harmonies do you use on important syllables? |
consonance with the bass |
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Roman operas in the 1620s contributed to what important change in the genre? |
increasing distinction between recitative and aria |
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In opera, the impresario is the |
theater manager who decides how many and which operas are performed |
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You are a young Italian composer in the late 1600s. To ensure your opera is a success, you want to |
tailor the arias to the leading soprano's talent and preferences |
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Why was Anna Renzi important? |
she was a talented and charismatic performer whose career set the standard for later sopranos |
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This prominent mid-1600s opera composer studied with Monteverdi |
Francesco Cavalli |
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Why did Venetian composers in the mid-1600s start to eliminate choruses from their operas? |
to save money and increase profits |
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Why did composers such as Peri and Monteverdi sometimes employ extreme dissonances in their operas? |
to imitate speech and express the characters' emotional reactions |
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You hear a tuneful, rhythmic piece for solo singer in a late seventeenth-century opera. You have just heard |
an aria |
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Claudio Monteverdi wrote ______ throughout his lengthy career. |
madrigals |
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Giulio Caccini often |
set each line of poetry as a separate phrase ending in a cadence |
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Giulio Strozzi's description of the person who "bear[s] the full weight of an opera, repeating it virtually every evening....in the most perfect voice" refers to the |
prima donna or diva |
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A prolific composer of dramatic music who worked in Florence in the mid-1600s was |
Francesca Caccini |
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Although the term ________ originally meant abnormal, bizarre, and exaggerated, it now has a more positive meaning. |
Baroque |
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The _______ relied on mathematics, observation, practical experiments, and perceived effects, rather than on tradition and received wisdom. |
scientific revolution |
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In the early 1600s, new styles in art, architecture, and music began in which country? |
Italy |
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The two statues below reflect the shift in artistic values from the ______ era to the _______. How does the on eon the right reflect emerging values? |
Renaissance to the Baroque
Because they are moving. The focus isn't solely on the human form. |
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The Baroque era initiated many musical developments the endure today. Name and describe at least three of these. |
Opera, concerto, solo sonata, fugue, development of professional performers, dissonance, emphasis on melody |
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According to René Descartes and other seventeenth-century thinkers, the _______ were relatively stable states of the soul. Another more modern term for these states is _______. |
affections emotions |
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The basso continuo gradually caused composers and theorists to think of consonant sounds as _____ rather than as a set of intervals over the bass. |
chords |
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Baroque composers often juxtaposed or paired very ______ rhythms with very ________ ones. Recitative are aria paris and fugues preceded by toccatas reflect this practice. |
free strict |
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Baroque musicians used _____ as a means of moving the emotions. Examples include trills, appoggiaturas, and mordents. |
ornamentation |
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The text of an opera is referred to as the |
labretto |
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Le nuove musiche translates as |
the new music |
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Ornamentation serves what purpose in Le nuove musiche? |
enhances message of text |
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A recurring instrumental refrain is referred to as a |
ritornelle |
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The excerpt below is from what type of piece? List two reasons for your answer. |
Recitative 1. Speech like rhythms in the vocal lines 2. Consonances with the bass |
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The excerpt below is what type of piece? List two reasons for your answer. |
Aria 1. single voice 2. accompanied with strings 3. clearly metered |
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Prior to becoming Pope, how was Clement IX involved with operas? |
He was a labretto |
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List two enduring traits that opera had acquired by the middle of the seventeenth century. |
No longer have many choruses, more focus on the singer, more separation between arias and recitatives |
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Italian for "first lady" a _______ is the lead soprano in an opera. |
premma donna |
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To "take a moderate course between...song and fluent rapid [tones] of speech" describes _____ |
Recitative style |
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a large lute with extra bass strings |
theorbo |
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a style of polyphony |
prima pratica or first practice |
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from the Italian "to reach agreement" combining instruments and voices |
concertato medium or style |
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broke voice-leading rules to express the text |
seconda pratica or second practice |
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melody and bass line are notated; inner parts are not |
basso continuo or throughbass |
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playing the basso continuo part |
realization |
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an extended embellishment |
division or figuration |
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decorating an important cadence |
cadenza |
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harmonic system that uses major and minor keys |
tonality |
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composers add flat or sharp signs or numbers over the staff |
figured bass |
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characterized by rapid reiteration on a single note to convey anger |
concitato genere or stile concitato |
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halfway between aria and recitative |
arioso |
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altering the harmonies and melodic line to accentuate the content of each stanza |
strophic variation |
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men who, as children, were subjected to operations to prevent puberty from changing their voices |
castrati |
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in the 1600s, an instrument piece, especially one that serves as a prelude |
sinfonia |
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Ground refers to what type of bass movement? |
a repeating pattern |
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A concerted madrigal is one that is written for |
solo voice or small vocal ensemble with basso continuo and/or other instruments |
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What is the general name for a repeating pattern in the lowest voice of a composition? |
basso ostinato |
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Which of the following is not a characteristic of Gabrieli's large-scale sacred concerti? |
a unified compositional style |
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Which of these genres is not based on a biblical or religious text? |
madrigal |
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Why does Schütz use dissonance in Saul, was verfolgst du mich? |
to reflect the meaning of the text |
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Which of the following best describes the function of a Latin-language oratorio? |
Latin oratorios were aimed at the elite, and formed a sacred alternative to opera seria |
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What was the primary aim of church music in the seventeenth century? |
communicating the church's message effectively to the people |
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Stile antico is associated primarily with which musical technique? |
counterpoint |
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What is Barbara Strozzi primarily known for? |
composing and publishing her works |
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Which composer is best know today for his/her Latin oratorios? |
Carissimi |
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Why were Viadana's sacred concerti so popular? |
they were written so that many churches could use them |
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In what context was stile antico most likely to be heard in the middle of the seventeenth century? |
church music |
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Large-scale concerti were often written for what occasions? |
feast days in large churches |
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Which of the following best describes the difference between a canzona and a sonata in the early seventeenth century? |
sonatas were more idiomatic and expressive; canzonas are formal and abstract |
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Unusual skips and dissonances are components of what compositional technique? |
musical figures |
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During the early 1600s, a piece that uses continuous imitation was called a |
ricercare |
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During the early 1600s, a piece in an improvisatory style was called a |
toccata |
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Which of the following refers to a piece that uses variation as its primary means of contrast? |
passacaglia |
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Which of these contains examples of instrumental music used in church services? |
Fiori musicali |
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How does Schütz differentiate between narrative and dialogue in his settings of the Passion story? |
he uses plainsong for the narrative and a motetlike polyphony for dialogue |
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Which of the following best describes the style of Salamone Rossi's liturgical music? |
similar to contemporary Italian secular music, with few elements of traditional Jewish music |
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What type of work sets the story of Jesus' crucifixion? |
Passion |
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Which composer studied in Italy and the established Germany as a center of musical activity in Europe? |
Schütz |
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In the 1600s, a cantus-firmus variation refers to what type of variation? |
melody is repeated; other voices change |
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Why were the arts, especially dance, so important durin gthe reign of Louis XIV? |
Louis XIV used the arts to establish his authority |
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What motivated the development and improvement of wind instruments in seventeenth-century France? |
the desire for greater control over intonation and tone color and the prominence of winds |
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How did string music at the French court in the 1600s influence the development of the modern orchestra? |
it featured instruments from the violin family with more than one player per part |
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Which of the following is not characteristic of the French overture? |
imitative entries in a slow tempo |
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Collections of keyboard music by D'Anglebert, Couperin, and others often contain tables that show performers |
various methods of notating ornaments and options for performing them |
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Which of the following was not typically included in a suite? |
tarantella |
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In seventeenth-century Germany, how was a suite normally structured? |
an allemande followed by a courante, minuet, sarabande, and improvisatory toccata |
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In seventeenth-century France, how was a suite normally structured? |
an unmeasured prelude followed by a series of dance-inspired movements (which ones and their order varied) |
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What is one reason for the popularity of masques during the 1600s? |
Cromwell's government prohibited stage plays, but permitted concerts and private musical entertainments |
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You discover a new collection of music manuscripts by Elisabeth-Claude Jacquet de la Guerre. It could include all of the following except |
symphonies |
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This musical example appears to be what type of dance? |
minuet |
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Why did other countries emulate the French style in music, arts, and architecture from the 1660s forward? |
Louis XIV was admired by other rulers for his power and his artistic patronage; French arts were considered to be highly refined |
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"There is a prodigy who...sings at sight the most difficult music. She accompanies herself...on the harpsichord, which she plays in an inimitable manner." Who does this describe? |
Elisabeth-Claude Jacquet de la Guerre |
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This musical example appears to be |
an unmeasured prelude |
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Harmonies in Lully's music tend to |
be tonal, rather than modal |
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You find a previously lost opera by Henry Purcell. What elements might it contain? |
overture and prologue based on those of French operas; arias in the Italian style; and choruses and diatonic songs in the English style |
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In this excerpt, Henry Purcell |
shortens accented syllables and uses reverse dotted rhythms to reflect the rhythms of English speech |
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Why is John Playford's collection of dances, The English Dancing Master (1651), important? |
it preserves folk and popular music that, until the twentieth century, often went undocumented |
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Why did music in the Spanish colonies in the Americas borrow elements from many cultures? |
Spanish colonies were ethnically diverse, and acculturation (the process by which one culture adopts traits of another culture) took place |
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A distinctly Spanish operatic practice is to set dialogue as |
strophic songs |
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Variations between song manuscripts in Spain and Spanish colonies tell us that |
composers and performers expected improvisation and alteration rather that strict adherence to the score |
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A tiento written by Juan Bautista José Cabanilles would most likely |
sound improvisatory and incorporate imitation |
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The continuo part in Spanish operas had a distinctive color because it was frequently performed by |
harp, guitar and viol |
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This musical excerpt employs what repetitive musical technique? |
grand bass |
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In the mid-seventeenth century, a secular work, usually for solo voice or vocal ensemble with continuo, is referred to as a |
contata |
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In the Baroque, composers used both the descending tetrachord motive and chacona as______, but they portray opposite emotions; the descending tetrachord frequently indicates a ______ and the chacona is a _______ |
grand bass lament joyful dance |
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List three ways oratorio differs from opera |
sacred, seldom staged, used a narrator |
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How did the language of an oratorio's libretto affect its purpose? |
Latin oratorios were for the educated (elite), Italian oratorios were for larger groups of less educated people |
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How did Giovanni Gabrieli take advantage of the architecture of St. Mark's in his sacred concerti? |
He was able to write works for multiple balconies with multiple organs and choirs |
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Why did Schütz focus on the small sacred concerto rather than the large, especially in the 1630s and 1640s? |
Economical reasons (war) |
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In addition to compositional types, list and describe three other approaches to categorizing instrumental music in the early Baroque |
Social function, nationality, performance forces |
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You find a manuscript of untexted music written on two staves, which suggests it was composed for what type of instrument? |
keyboard/harpsichord |
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With his librettist Quinault, Lully integrated drama, music, and ballet in a new French form of opera called |
Tragedy Musique |
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Elegance and restraint characterized _______ music during the 1600s, while more florid ornamentation and overt emotional expression characterized ______ music of the time. |
French Italian |
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Spanish music of the seventeenth century frequently incorporated ______ rhythms |
syncopated |
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The uniform bowing and precision that _____ demanded became the foundation for the modern orchestra |
Lulee |
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Describe or diagram binary form. How many sections are there? How is it structured harmonically? |
2 sections From tonic to dominant |
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French Baroque music employed _______ to emphasize important notes and give melodies shape. |
ornaments |
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Name on type of music written for home performance by amateurs in the seventeenth century. |
suites for harpsichord, fantasias |
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Colonization led to the dissemination of what dance from Central America? |
sarabande |
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French harpsichord music absorbed many characteristics of music written for what instrument? |
lute |