MUSIC 1A03 FINAL

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The Baroque Era

The Baroque Era

1600 -1750. Period between Renaissance and Classical Era. The term was used to describe the extravagent and bizarre qualities of the music

Affect

single emotional expression

Doctrine of affections

1 feeling per movement

represented passions through music

Homophony

one voice clearly more important than others. Allowed possibility of

• soloist portraying single dramatic character

• opera

• the concerto

• elaborate embellishments

***makes it easier to understand the text and restores balance between text and music

Operas

first performed in private theatres in the courts of the nobility and royalty.

• A drama sung from beginning to end

• Thoughts and emotions by singing

Oratorios

operas without costumes and staging, usually on a sacred topic; created for performance in church or in an opera house during Lent

Castrati

Beginning of importance of virtuoso performers. They were singers/instrumentalists of high technical and musical skill. Men who were castrated as boys so their voices would not change

Claudio Monteverdi

Wrote "Orpheus" (Act II)

1567 - 1643

Career straddled Renaissance and Baroque Eras - mastered both old and new textures

Two distinct phases in his career: Mantua and Venice

Mantua

Phase of Monteverdi's career

Serving the Gonzagas and writing music to order

Venice

Phase of Monteverdi's career

The Maestro di Cappella at St. Mark's - very prestigious position

Basso Continuo

Chords played by lute, harpsichord, etc.

Base line played by cello, bassoon, etc. (instruments that can sustain a sound

Baroque compositions/movements

Recitatives, arias, choruses, duets, trios, sextets, etc

Recitative

a style of singing that lies somewhere between lyrical song and speech. Also the operatic number that is sung in this style

• moves the action along

• speaking style of singing

• not very elaborate musically

• simple accompaniment

Aria

Italian for air or melody: any lyrical movement

• character(s) pause(s) to reflect

• musically elaborate, often virtuoisc

• accompaniment does not overshadow the singer

Chorus

polyphonic texture; comment on the action, reflect emotions, etc

Orpheus (story)

His beloved, Euridice, gets bitten by snake and dies, goes to the underworld. He sings to persuade the gaurdians of the underworld let Euridice live again. they agree as long as he doesn't look back while leaving the underworld, he does and loses her forever. Euridice becomes a constellation

"Orpheus" (Act II)

Written by Claudio Monteverdi

• Most frequently performed early opera, lively music for dancers

Henry Purcell

Wrote "Dido and Aeneas" Act I

1659 - 1695

• Born into musical family

• wrote many semi operas

• Despite success little is known about his life

Dido and Aeneas

One of the first known operas written in English.

• First performed at girls school in Chelsea in 1685

• Not performed again until after composer's death

semi operas

plays interpolated with songs and music

overture (Dido and Aeneas)

gets the audience ready

• purely instrumental

• uses common musical themes from the opera

• A French _________

French Overture

slow intro in dotted rhythms (long-short)

• Followed by imitative fast section

Mbuti Pygmies

Perform Marriage Celebration Song

• From northeastern region of the Democratic Republic of the Congo (DRC) formerly known as Zaire

• Nomads

• Life is a communal affair

Marriage Celebration Song

Performed by Mbuti Pygmies

• an ostinato

• call and response

• heterophony

• hocket

Melody: rhythmic fragments overlap

Form: ABBB - melodic unit, repeats over and over to create ostinato

Ostinato

short pattern of notes repeated over and over

• Common in Baroque music

• Also occurs in music passed down orally

Hocket

rhythmically interlocking voices; one fills space left by another's rests to make complete melody

• a form of polyphony where two or more voices rhymically interlock

Barbara Strozzi

Wrote "Revenge"

1619-1677

• Overcame many obstacles

• Unmarried, had 4 children

• Came from musical and cultured family

• Adopted by Guilio Strozzi, but may have been biological daughter

• Published 8 volumes of music (~ 125 works)

female musicians

Very few professional opportunities

Some were Barbara Strozzi, Francesca Caccini and Elizabeth Jacquet de la Guerre

Revenge

written by Barbara Strozzi

"la vendetta" in Italian

• Poetic text expressesa jilted lover's thirst for revenge: energetic and extroverted music

Timbre: singer, 2 violins, basso continuo (cello and lute)

Chamber Music

Meant to be performed in a small room at a private gathering of friends