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AU - MUSI - Study Guide - Midterm

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AU - MUSI - Study Guide - Midterm

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Musi 2730 
Exam 1 Study Guide Terms to Know: Opera: A large scale drama sung rather than spoken Recitative: Part of the opera designed to imitate the natural inflections 
of speech
Arias: solo singers and instrument Overture: Introduces melodies  Libretto: The text or script used in an opera Chorale: Lutheran musical worship is structured around congressional 
hymns known as a chorale 
Cantata:  Lutheran vocal/instrumental pieces for Sunday services,  based on theme on bible not whole story Oratorio: Catholic response to Canatas, a large scale dramatic genre 
with a sacred text performed by professional solo voices, chorus and 
orchestra. Similar to an opera, but no costumes or scenery. 
Da Capo Aria (ABA): The overall form of a da capo aria is ABA. After the
first A section, there is a contrasting B section. This is then followed by 
da capo, a return to the beginning of A
Dance Suite: A collection of dances for large or small ensemble Minuet: An elegant triple meter dance, movements are slow and 
graceful
Hornpipe: Country dance in a lively triple meter Binary Form (AABB) Ternary Form (ABA) Concerto: Showcases soloists w/ a larger ensemble (Vivaldi is main 
concerto guy)
Keyboard Music: toccatas and fugues Ritornello Form: A short, recurring instrumental passage Toccata: free-form, improvisatory pieces that focus on a theme and 
show contrast in tempos and textures
Fugue: see page 6 & 7 Imitation: One “voice” begins with the theme, and then another enters 
with the same theme and then another
Subject: The theme of a fugue Answer: After the subject is played in the first voice, the second voice 
enters in imitation with the answer (in a fugue)
Countersubject: After the second voice answers, the first voice 
continues with new material or a countersubject, a new melody
background image Exposition: The first section of a fugue, all voices have finished Episodes: After the exposition is over the fugue alternates between 
sections that feature the subject and sections that do not have the 
subject, the thematic material changes
Well-Tempered Clavier: One of Bach’s books for toccatas and fugues The major characteristics of music in the Baroque era:  Homophony and polyphony are becoming the standard textures  How Catholic Church and Protestant Church viewed music differently; 
how this affected the composers of those churches and what they were
writing (cantatas vs. oratorios) 
Secular music was becoming just as relevant as sacred; expressing 
human emotions; growing appreciation for music by the masses 
Instrumental music was beginning to grow in popularity; dance suites 
and concertos 
Virtuosity was becoming valued; birth of the concerto  Contrast was the major focus (especially contrasts in color, texture)  Women Composers: Women were composing, but could not be public with it  Women often spent time in convents, unable to compose Chiara Margarita Cozzolani:  A Benedictine nun who was a musician and composer, was able to  have her works published and circulated beyond the convent she was in  Magnificat by Cozzolani: I. Tempo: Fluxuates fast and slow II. Texture: Fluxuates between duets, solos, full ensembles Barbara Strozzi One of few women of her day to pursue a composing career in the  secular world, received public recognition.  Amor Dormiglione by Strozzi I. Tempo: Remains constant and lively  II. Form: Da Capo Aria  III. Texture is homophonic
background image Early Opera Opera:  A large scale drama sung rather than spoken I. Arias II. Recitatives III. Overture IV. Libretto Dido and Aneas
Didos Lament by Henry Purcell 
The Birth of The Lutheran Cantata The Lutheran Church believed music should be performed by the entire
congregation 
Sung chorales  J.S Bach and his Cantatas A German composer who grew up in the Lutheran Church Created Cantatas that showcased voice and instruments  Primary composer of this time His Pieces
Wachet Auf
For a congregation getting ready for Christmas 7 Movements  Presented in the purest form at the end of the piece 7 th  Movement: Chorale Theme I. Texture: homophonic II. Key: major key to sound triumphant III. Form: AAB form IV. Text: German  1 st  Movement: Chorale Fantasia I. Texture: polyphonic II. Key: major key (E Flat) III. Form: AAB form
background image IV. Text: German, “Christ is coming” 4 th  Movement: Unison Chorale   I. Texture: homophonic and polyphonic II. Key: major key (E Flat) III. Form: AAB with ritornellos  IV. Text: German, “we are happy to greet Christ”  The Birth of the English Oratorio Oratorio: means “place of prayer” in Italian Similar to an opera, but no acting or costumes  Took place in the Catholic Church All trained performers Soloists, choirs and orchestra Use recitatives and arias to depict the story Messiah by George Frederic Handel An oratorio Handel was a German composer, primary for oratorios  George Frederic Handel uses strings, woodwinds, trumpets and drums 
along with a full choir in Messiah
The libretto of Messiah is broken down into 3 sections: 1) Story of Christmas (Birth of Jesus) “Rejoice Greatly” Texture: homophonic Melismatic singing Form: Da Capo Aria; ABA with ritornellos Text: English, “The King is Coming” 2) Story of Easter (Death and Resurrection of Jesus) “Hallelujah” Texture: switched between homophony and polyphony Dynamic: strong forte 3) Redemption of the World through Faith Instrumental Music They are becoming more sophisticated and refined Composers saw this as an opportunity  Composers + New instruments = More money needed A rise in the middle class provides money to composers

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School: Auburn University
Department: Music
Course: APPRECIATION OF MUSIC
Term: Spring 2019
Tags: Music Appreciation
Name: Musi 2730, Study Guide for Exam 1
Description: This study guide covers all of the concepts that will be on the first exam.
Uploaded: 01/28/2019
14 Pages 89 Views 71 Unlocks
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