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Exam 2 Study Guide

by: Aubrie Bowlan

Exam 2 Study Guide MUSI 3763

Aubrie Bowlan
OK State
GPA 3.86

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About this Document

This is a study guide for the second exam in Music History 1600-1800
Music History 1600-1800
Allen Scott
Study Guide
Music History
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This 5 page Study Guide was uploaded by Aubrie Bowlan on Tuesday March 1, 2016. The Study Guide belongs to MUSI 3763 at Oklahoma State University taught by Allen Scott in Winter 2016. Since its upload, it has received 33 views. For similar materials see Music History 1600-1800 in Music at Oklahoma State University.


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Date Created: 03/01/16
Aubrie Bowlan MUSIC HISTORY EXAM 2 STUDY GUIDE 1. THE FRENCH BAROQUE A. J.B. Lully and opera i. Born in Florence, came to Paris ii. Divertissements: Long interludes of dancing with solo and choral singing iii. Tonal rather than modal B. Acadamie Royale de Musique i. Created French opera ii. Tragedie lyrique C. French overture i. Beginning of an opera ii. Marks the entry of the king iii. Slow-fast-slow D. Recitatif and air i. Air: Song with a rhyming text and regular meter and phrasing, often in the meter of a dance ii. Recitatif simple and recitative mesure, switches between duple and triple E. Notes inegales and overdotting i. (Uneven notes): Passages notated in even, shot durations were often rendered by alternating longer notes on the beat with shorter offbeats, producing lilting rhythms like triplets or dotted figures ii. Overdotting: A dotted note is held longer than its notated value F. Petit and Grand Motet i. Small or large motets composed for few voices and continuo (sacred) and soloists, double chorus, and orchestra G. Lute and Keyboard music i. Gaultier ii. Clavecin (French for harpsichord) iii. Agrements: Ornaments designed to emphasize important notes and give the melody shape and character iv. Style luthe H. Dance suite and standard plan i. Prelude, Allemande, Courante, Sarabande, Gigue, Minuet I. Binary form i. Two roughly equal sections, each repeated, the first leading harmonically from the tonic to close on the dominant (or relative major), the second returning to tonic 2. THE ENGLISH BAROQUE A. Masque i. Poetry, music, dance, costumes, choruses, and elaborate sets ii. Like the French court ballet B. Henry Purcell i. Dido and Aeneas ii. Dramatic or semi- opera: A spoken play with an overture and four or more masques or substantial musical episodes 3. ITALY A. Neapolitan opera i. Repetition meant ornamentation B. Recitative i. C. Da capo aria and arioso i. “From the head” ii. ABA D. Alessandro Scarlatti i. Opera and Chamber cantata ii. Founder of Neapolitan School of Opera E. Cantata i. Leading form of vocal chamber music ii. Elegance, wit, refinement F. Sonata (Two types) i. Chamber sonata- Stylized dances beginning with prelude 2 ii. Church sonata- Mostly abstract movements G. Sonata (Two textures) i. Trio sonata- 2 treble and basso continuo ii. Solo sonata- violin or other with continuo H. Sonata da Chiesa plan i. Slow-fast-slow-fast ii. 2nd movement usually fugal allegro rd th iii. 3 and 4 were binary forms (sarabande or gigue) I. Arcangelo Corelli i. Established standars of form, style, and playing technique ii. Lyricism over virtuosity iii. Tonal J. Concerto i. 1680’s-1690’s orchestral work ii. Contrasting forces into a harmonious whole K. Concerto grosso and plan i. Small ensemble of solo instruments set against a large ensemble ii. Fast-slow-fast L. Tutti/ripieno/concerto grosso i. Tutti: All ii. Ripieno: Full M. Soli/concertino i. Soli: Solo voice ii. Concertino N. G. Torelli and ritornello form i. Two passages for the soloists framed by a ritornello, returns at the end of the movement in abbreviated form and a different key 4. GERMANY AND AUSTRIA A. Lutheran organ music i. Buxtehude B. Prelude and various types C. Toccata i. “To touch;” fast moving D. Fugue (subject, countersubject, etc.) 3 i. Imitative counterpoint ii. Exposition, answer is call and response in tonic/dominant relation iii. Episodes: Periods of free counterpoint between statements of the subject E. Chorale prelude i. Chorale-based organ work ii. Short piece where the melody is presented just once in readily recognizable form F. Orchestral suite i. Patterned after Lully’s ballets and operas ii. Not in any standard form or order TH 5. EARLY 18 CENTURY ITALY A. Antonio Vivaldi th i. Best known Italian composer in early 18 century ii. 500 concertos iii. Pieta: orphanage for girls in Venice B. Concerto and ritornello form i. Full orchestra alternates with episodes for soloist(s) ii. Opening: several small units that are repeated or varied iii. Solo episodes characterized by virtuosic playing iv. Fast-slow-fast 6. EARLY 18 TH CENTURY FRANCE A. Francois Couperin i. Harpsichord pieces with “character pieces:” Works with evocative titles that are depicted in the music B. Ordre i. Church sonata in several movements C. J. P. Rameau i. Founded the theory of tonal music D. Music theory i. Fundamental bass: Essentially the root ii. Driven forward by dissonance and came to rest at consonance iii. Tonic, Dominant, Subdominant 4 iv. Modulation E. Operas i. Minimized contrast between recit and air 5


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