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16 December 2003
Genres: Secular Vocal Music Parisian chanson- French song; more homogeneous texture, rhythmic equalization of parts, & increasing use of pervading imitation as the principal structural device frottola- secular Italian vocal genre of the late 15th & 16th centuries -texture: chordal, texts that are lighthearted, comic or ironic -avoids imitation and contrapuntal artifice, lively, dancelike rhythms w/ -frequent use of syncopation and hemiola lute songs- strophic secular madrigals cultivated in England during early 17th cent. notated for lute & any combination of one or more voices (usually 4) -lute could substitute for or double as many as 3 of the 4 voices air de cour- “courtly air” - secular song in late 16th cent. & early 17th cent. France that could be either polyphonic or homophonic (voice & lute) cantata- used to denote a vocal work, usually sacred, for performance forces of varying size, from soloist & basso continuo to soloists, chorus, & orchestra
Dance Music pavane- slow, courtly dance in duple meter bourrée- lively dance in duple meter w/ prominent upbeat at beginning of each section saltarello- lively dance that often follows a slower one rondo- “round dance” performed by a large group moving in a circle at a lively tempo
Instrumental Music monody- any work of the 17th cent. w/ a solo voice supported by basso continuo sonata- “that which is sounded” (played on instruments) - used in Renaissance & Baroque in broadest sense to indicate a work for an instrument or instruments of any combo - from 18th cent. onward, used to indicate a work for one o more solo instruments, usually in 3 of 4 movements sonata da camera- “sonata of the chamber” - features a series of dance-related movements, popular in Baroque sonata de chiesa- “sonata of the church” - features a slow 1st mvmt. & at least 1 additional imitative mvmt, popular in Baroque concerto- used in 17th cent. to indicate broadly any work consisting of multiple forces, such as voices & instruments - from 18th cent. onward, reserved for works featuring a soloist or soloists contrasted against a larger ensemble concerto grosso- Baroque concerto typically featuring small group of soloists (concertino) w/ its own basso continuo, against a larger ensemble (the ripieno) ripieno concerto- work for large ensemble w/ no soloists solo concerto- features a single soloist or a pair of soloists against a ripieno ensemble suite- Allemande (moderate, flowing, duple meter) Courante (fast, triple meter) Sarabande (slow, triple meter) Gigue (fast, often w/ dotted rhythms, compound meter) variation suite- set of contrasting dance-related mvmts based on one basic thematic idea symphony- 17th & early 18th cent., a work or mvmt for large instrumental ensemble - 18th cent., an overture to an opera or stage play - 1720 onward, a multimovement work for instrumental ensemble
Keyboard Music toccata- sectional, freely constructed keyboard work unrelated to any preexistent material, & typically features rapid passagework fantasia- follows no structures of large-scale convention but follows instead (or gives the impression of following) the composer’s free flight of fantasy - lies partway between song & speech ricercar- freely composed work that “seeks out” a particular mode or thematic idea; full of runs & passagework -in the early 16th cent., improvisatory & preludial in character, often for lute or keyboard -by the mid-16th cent, term was identified w/ polyphonic works for keyboard or for instrumental ensembles -by 18th cent., term associated w/ fugues that used a large # or variety of contrapuntal devices fugue- incorporates a series of imitative entries, usually on a single theme but capable of accommodating multiple themes as well
Vocabulary:
Vocal Music through-composed- setting each line of text to essentially new music recitative- style of singing
characterized by syllabic declamation, w/ greater emphasis on
projection of the text at hand than on
melody, more nearly
Instrumental Music intabulations- any arrangement of an existing vocal work for a plucked string instrument or keyboard augmentation- lengthening of the original note values of the subject diminution- speeding up of note values head motif- thematic idea that occurs at the beginning of a mvmt or work & returns prominently throughout the course of the music that follows
Keyboard Music equal temperament- system of tuning that allowed keyboard players to play in any key style brisée- broken style; arpeggiated chords
Vocal and Instrumental Music prima prattica- “first” practice - coined in early 17th cent. to describe an older attitude toward text setting in which the projection of a sung text was subordinated to the established conventions of good counterpt - traditional style of Renaissance polyphony seconda prattica- “second” or later practice - coined in early 17th cent. to describe new attitude toward text setting in which all musical means were subordinated to the effective delivery of the text being sung - closely associated w/ emerging practice of monody basso continuo- continuous bass that provides the harmonic framework for the solo voice above it figured bass- notational convention of the basso continuo in the 17th & 18th cent. using numbers to indicate the desired intervals, thus the harmonies, to be played above a given bass line ground bass- short phrase repeated over and over again in the lowest voice musica reservata- music “reserved” for a select audience of elite noble-born or aristocratic listeners intermedi- dramatic work, often w/ music, performed btwn the acts of a larger theatrical presentation such as a play or opera ritornello- a “small return” - an opening musical idea that returns at several points over the course of a work, usually after contrasting material of some kind - especially important in the genre of the concerto mannerism- designates a style of painting & sculpture characterized by the use of distortion, exaggeration, & unsettling juxtaposition for dramatic effect genere concitato- agitated or warlike manner - style of writing, developed by Monteverdi, for evoking a mood of agitation or anger, often through the use of rapid repeated notes and fanfarelike figures
Dance Music reprises- larger sections to be repeated binary form- 2 reprises together syntactic form- central idea is presented & varied over the course of an entire movement paratactic form- each new section presents an essentially new idea basso ostinato- “ostinate bass”; bass pattern repeated many times within the course of a mvmt or work passamezzo- “step and a half” - bass pattern used throughout the Baroque - dance similar to pavane, but w/ a lighter step folia- “craziness or insanity”; wild & exuberant dance - bass pattern used throughout the Baroque
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