Medieval/17th Century History Final
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- Claudio Monteverdi
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Important for his Madrigal's and Opera's
First and major job is church musician for the Duke of Montua
Chapelmeister at San Marco (most prestigious music position at the time)
Wrote 9 books of madrigals, each with 20+ madrigals
Wrote: stage ballets, church music, operas - 9 Books of Madrigals
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Monteverdi
First 4 books, prima prattica
Book 5 titled, "Second Practice" or "On the Perfection of Modern Music" (first use of basso continuo)
Books 6-9, second prattica - Madrigals of War and Love
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In the 8th book of Madrigals by Monteverdi
Contains many musical qualities: operatic, cantata, small madrigals, orchestra, trio's, duets
Cals for pizzicato (the first kind of specific call from the composer for the performer to play a certain way) - Background of Vocal Music before Opera
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In chroal works, it was used to enhance the drama
Used in comedies as musical entertainment between acts of a play
Began to write madrigals on the same subjects of the larger work telling a short story
This is during time of the 2nd Generation of Italian Madrigals - Monody
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More information, more text, more story, less melody
Reaction against polyphony
Florentine Camarata
Le Nueve Musiche-1602 - Florentine Camarata
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People that met together to talk about the status of the arts
Wanted to get back to the idea of Greek drama
Deliver a lot of text over a somewhat simple melody
Stile representato - Orfeo-1607
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Monteverdi
Writes the first real important opera
Wider range and specified instrumentation
Uses Castrati
Has a ritornello: a short instrumental piece that is repeated; used as a dance, moving music) - Monteverdi--Florence
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Primary composer of the day
Achieved cariety and flexibility in his pieces
Wrote strophically, and strophic variation (one amount of music with several versus to it)
Wrote recitative style - Opera in Rome
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Becomes more popular as a perfomance opportunity
Overture grows (slow-fast-slow)
More chorus than other places (presence of Pope made music more restricted)
Recitative style (secco-dry, sparse accompaniment) - Opera in Venice
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San Cassiano-1637 (first opera house was built and opened)
Monteverdi - Monteverdi--Venice
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Very important there
Writing for virtuoso singers
Aria/recitative becomes very important
Orchestra is for strings and basso c.
By late 17th century, aria is more and more popular (music over text) - Neopolitan Opera-1650
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Recitative/Aria/Recitative/Aria
Not much chorus
Scene structure
Leads to Handel - Aria Types
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More important than Recitatives
Aria cantabile: singing style
Aria parlante: speaking style (words are more humorous, and are more important than the melody, but more tuneful than recitative) - Recitative Types
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Secco recitative: dry, not as fun, less accompaniment
Accompanied recitative - French Opera
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1 violin; 3 viola's; 1 cello-bass
Most always in 5 acts
Meter is changed to properly stress the text
Music matches language
Adopted "peasant" dances
gavotte 4/4
bouree 2/4
minuet 3/4
Dances were used primarily for ballet
Ballet was huge for French Opera
Chorus not used extensively
Lully - Jean-Baptiste Lully-1632-87
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Born in Florence
Worked for King Louis XIV (superintendent of the Kings music)
Had secured a financial monopoly over all operas in France
Wrote 28 complete versions of ballets - Madrigals
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Stile moderno
Still being written,but not new fashion
Monteverdi's books have madrigals with addition of basso c.
Madrigal comedy-telling a story - Oratorio
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An entire opera, but no sets or costumes
Intended as worship music
Weren't as long as opera's - Cantata (17th c. Vocal Chamber)
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Smaller scale, secular form
basso continuo or instrumental accompaniment
Series of recitative/aria's
Not intended for large space, usually done in a small room (cantata da camera) - Alessandro Scarlatti
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Most active in Naples
Wrote about 600 chamber cantatas
See the beginning of Da Capo aria's
- becomes standard of Baroque - Praetorius
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Germany/Austria
"Syntagma Musicum"
-scale drawings of all instruments of that period - H. Schuetz
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Early was mostly sacred composer
Large Style/Small Style/Large Style
Early Middle Late
"Saul"- sacred symphony, concertato style, mixes ideas - Buxtehude
- Important because he establishes the form by which Bach takes and runs-fugue
- Vocal Chamber (France)
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Basso continuo comes in late to France
-Lully used it a lot
Grande and Petit Motet
-Petit for shorter services - Vocal Chamber (England)
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Aren't the best innovators
Nothing really new comes out - Improvisation (instrumental Baroque)
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Becomes more important because of basso c. and figured bass
Variation
Sequence
Tuning - Variation
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Basic tune is taken then varied
Theme and Variation comes out of process - Sequence
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Harmonic sequence
Taking a melody and a chord progression and repeat on higher/lower pitches
Used a lot in the Baroque period - Tuning
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Half steps being equal is a Baroque phenominon
Multiple types of tuning were done to make a leading tone attack tonal center - Baroque Instruments
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Violin developed from Viol
Keyboard Inst.: Harpsichord; Clavichord; Organ; later...piano
Winds developed from the Shyam
Timpani is about only percussive instrument of the time - Ricercare
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Non-sectional (monothematic), through-composed
Imitative
Develops into what is known as fugue - Canzona
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Like ricercare except Sectional
Imitative counterpoint
Sonata develops out of canzona
Sonata de chiesa (for the church) - Variations
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Also called a partita: later becomes suite
English called them divisions - Dance Types
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Suite-(German) primarily a collection for keyboard players, of the same 4 dances
Ordre-(French) simply a collection of pieces - Style Brise
- arpeggiated figures
- Agrements
- marks in the piece that identify improvisation
- Toccata
- means, "to touch"
- Sonata de chiesa
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Church sonata
Usually 4 mvts; slow/fast/slow/fast
tempo markings for mvts. ex. presto - Sonata da camera
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More secular sonata
Most often an introductory piece (prelude) followed by 3-5 mvts.
Dance names for mvts. ex. sarabande - Sonata
- It is a piece for a small group of instrumentalkists, 2-4 + basso continuo (2 players)
- Suite
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Mainly German style
Intended for keyboard only - Arcangelo Corelli
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Wrote NO vocal music
Foundation for modern violin technique
Wrote sonata de chiesa/da camera, concerti grossi, solo sonatas - Techniques of A. Corelli
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Not technically different
Solo sonatas can be virtuosic, but not trio sonatas
Suspensions all over music, very Baroque
Beginning of tonic/dominant relationship
Music often based off single musical idea