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EKU - MUS 171 - Class Notes - Week 6

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EKU - MUS 171 - Class Notes - Week 6

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background image The Baroque Era 1600-1750 The Baroque Era Baroque texture, harmonies, and forms tend to be more free than a 
Renaissance music
Homophony made opera and oratorio possible Emphasized energy, motion, ornamentation, and extremes Affect (expression of one particular emotion) became all-important Music and Cultural Power The arts projected power and authority Rulers vied to find and retain the best artists Handel worked for King George I of England Lully worked for King Louis XIV of France Bach worked for the Margrave of Brandenburg  The Splendor of the Church The arts projected power of the church Artistic expression awoke religious passion Churches invested in lavish decoration Baroque organ filled churches with sound Music Conveyed teaching of the church Church music and architecture built intricate structure around simple 
Opera, Oratorio, and Entrepreneurs The arts became increasingly public Opera became big business across Europe First public opera house opened in Venice, 1637 Impresarios (producers) invested in new productions and famous 
Oratorios were unstaged operas based on scared subjects, performed 
during Lent
The Virtuoso Rulers and the public coveted virtuoso singers and instrumentalists Soloists were expected to embellish from written music Compositions became more difficult to play
background image Castrati (singers who had been castrated as boys to preserve their 
high singing range.) were in high demands
The Baroque Opera House Soloists wore dazzling costumes Stage design contributed to theatrical spectacle The orchestra preformed in the pit (a lowered area between the 
audience and the stage)
Elite audience members sat in boxes, rented privately for the entire 
The libretto (script *to follow along*) allowed audiences to follow the 
10.) Claudio Monteverdi Orpheus, Selection from Act II Orpheus, Selection from Act II Composed: 1607 One of the earliest operas – a drama sung from beginning to end Orpheus is richly varied, with elaborate songs and choruses, and music
for dancers
Based on the myth of Orpheus, who uses the power of music to rescue 
his beloved Euridice from the underworld
Homophonic Texture  Homophony – A single principal voice with subordinate 
Essential to opera – allows one singer to represent one character  Basso Continuo – A group of instruments that provide a “continuous” 
bass line and harmonies
Allows words to be understood clearly Greater balance between text and music Word-Music Relationships Begins with extended recitative – A style of singing between singing 
and speaking
Recitative emphasizes the meaning of the words over melody The chorus that follows is polyphonic, representing the chorus Coexistence of homophony and polyphony typical of Baroque music Claudio Monteverdi Straddled Renaissance and Baroque eras
background image Served for many years at the court in Mantua, where he produced 
In 1613 became director of music at St. Mark’s Basilica in Venice Constantly tried new styles and genres Composed operas for the court and the public 11.) Henry Purcell / Dido and Aeneas, Overture and Act I, nos. 1-4 Listen to this First Timbre  Listen for the variety of timbres. We 
hear an instrumental overture
vocal recitative, a chorus, then an 
Texture Listen for the contrast between 
homophonic and polyphonic 
textures in individual numbers
Word-Music Relationships Listen for the way certain words are 
emphasized through repetition and 
set to music in ways that enhance 
their meaning
Dido and Aeneas, Selections Composed: 1689 One of the first operas written in English Story comes from Virgil’s Aeneid Aeneas, a refugee from Troy, promises to marry Dido, Queen of 
Carthage (not Tunisia) but abandons her, driving for to suicide
Form by the Numbers Plot advances through brief, self-contained “numbers” Overture: Purely instrumental introduction; French overture – slow 
introduction and imitative fast section
Scene and chorus: An aria (a lyrical movement for solo voice with 
instrumental accompaniment); the chorus reiterates the same idea
Form by the Numbers Song: A more elaborate aria, sung about a ground bass Recitative: A musical dialogue accompanied by the basso continuo Chorus: Comments on previous action Word-Music Relationships 
background image Emphasizes clear division between recitative and aria Recitative employed for dialogue Arias used to convey deeper feelings Choruses comment clearly and intelligibly  Each number dominated by a single affect Opera in English Operatic repertory mostly in Italian, German, and French In our day, operas are in English Difficult to translate foreign-language operas into another language Opera houses use supertitles to help listeners understand the words Henry Purcell Born into a family of musicians Worked as composer and organist at English court and Westminster 
Dido and Aeneas his true opera  English-language opera not popular in England until after Purcell’s time Dido and Aeneas rediscovered in late eighteenth century  12.) Mbuti Pygmies / “Marriage Celebration Song” Listen to this First Texture  Hoe many different vocal lines can 
you identify? Compare how they 
function independently and work 
together. How do the inner voices 
support each other on the same 
Rhythm  Listen to how the parts are arranged
rhythmically. DO the parts seem to 
function rhythmically as individuals, 
or do they work together?
Form Listen for the repetition of one basic 
unit. Hoe would you describe the 
construction of this unit?
“Marriage Celebration Song” Recorded: 1958 Ostinato is used in the music of different times and places Mbuti Pygmies are from the Democratic Republic of Congo

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School: Eastern Kentucky University
Department: Music
Course: Music Appreciation
Professor: James Willett
Term: Summer 2015
Tags: MUH171
Name: MUH 171
Description: The Baroque Era Notes
Uploaded: 03/03/2018
14 Pages 45 Views 36 Unlocks
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