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music history 1

Terms

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"Enfin il est en ma puissance" (Lully's Armide)

- shows all styles of tragedie lyrique

- ouverture

- recitatif simple

- recitatif mesure

- air 

"O quam tu pulchra es" (Grandi)  

- small sacred concerto

- stile modern influenced by opera: contails recits, arioso, triple time aria

"Ohime, se tanto amate" (Monteverdi's 4th book of Madrigals)
- seconda prattica
"Plorate Filii Israel" (Carissimi's Jephte)

- oratorio

- descending tetrachord 

"Saul, was verfolgst du mich?" (Schutz's Symphoniae Sacrae)

- post-war work; large ensemble

- mixes Gabrieli's polychoral style and Monteverdi's expressiveness

- musical realization of light, echoes

- repeated, developed figures ("Es wird dir schwer werden" motive 

Pavana Lachrymae (Byrd)

- written for virginal

- main example of the "lachrymae pavane" sub-genre (variations) 

Ricercar dopo il credo (Frescobaldi)

- fugal ricercare

- contains important fugal techniques: subject & countersubject, augmentation, unity between themes 

Act I, Scene 3 of L'incoronazione di Poppea (Monteverdi)

- composer equal to librettist

- ignores separation between recit and aria

Canzoni septimi toni a 8 (Gabrieli's Sacrae symphoniae)

- cori spezzati (divided choirs)

- contrast and opposition of sonorities

- ensemble canzonas 

Lagrime mie (Strozzi)
- cantata (solo w/ continuo; secular; has recits and arias)
Overture to Armide (Lully)

- French overture example

- first part slow, tirades, overdotting, notes inegales

- second part faster, fugal imitation 

Toccata no. 3 (Frescobaldi)

- idiomatic for instrument; virtuosic

- alternating textures

- distinctive sections

- written to sound like it's improvised 

Deck Info

12

cca206

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