terraced dynamics
abrupt alternation between loud and soft dynamic levels, characteristic of baroque music
basso continuo
a compositional characteristic of Baroque music using organ or harpsichord with a low pitched instrument; allowed the keyboardist to improvise the composer's intended harmony. Baroque accompaniment made up of a bass part usually played by two instruments:
movement
piece that sounds fairly complete and independent but is part of a larger composition
ritornello form
Compositional form usually used in the baroque concerto grosso, in which the tutti plays a ritornello, or refrain, alternating with one or more soloists playing new material
ritornello
In Italian, refrain; a repeated section of music usually played by the full orchestra, or tutti, in baroque compositions
fugue
Polyphonic composition based on one main theme, or subject
-usually shows a single mood with a continuous flow
-usually introduced by a prelude
-It can be written for a group of instruments or voice, or for a single uinstrument such as an organ or harpsic
subject
Theme of a fugue
countersubject
In a fugue, a melodic idea that accompanies the subject fairly constantly
answer
second presentation of the subject in a fugue, usually in a dominant scale
episodes
Transitional section in a fugue between presentations of a subject, which offers either new materials or fragments of the subject or countersubject
stretto
compositional procedure used in fugues, in which a subject is initiated before it is completed; one voice tries to catch the other.
pedal point
single tone, usually in the bass, which is held while the other voices produce a series of changing harmonies against it; often found in fugues
inversion
variation of a fugue subject in which each interval of the subject is reversed in direction
retrograde
variation of a fugue subject in which the subject is presented by beginning with its last note and proceeding backward to the first
prelude
1) short piece usually serving to introduce a fugue or other composition; a short piece for piano. 2) short musical composition, purely orchestral, which opens an opera and sets the overall dramatic mood. Orchestral introductions to later acts of an opera
augmentation
Variation of a fugue subject in which the original time values of the subject are lengthened
diminution
variation of a fugue subject in which the original time values of the subject are shortened
sonata
In baroque music, an instrumental composition in several movements for one to eight players. In music after the baroque period, an instrumental composition usually in several movements for one or two players.
trio sonata
Baroque composition with three melodic lines ; two high ones each played by one instrument; and a basso continuo, played by two instruments
improvisation
creation of music at the same time it is performed
suites
In baroque music, a set of dance inspired movements all written in the same key but differing in tempo, meter, and character.
french overture
Common opening piece in baroque suites, oratorios, and operas; usually in two parts: the first slow, with characteristic dotted rhythms, full of dignity and grandeur, the second quick and lighter in mood, often starting like a fugue
chorale
hymn tune sung to a German religious text
cantata
principle means of expression in the Lutheran service: a "sermon in music" . Composition in several movements, usually written for chorus, one or more vocal soloists, and instruments ensemble. The church cantata for the Lutheran service in Germany during
oratorio
large scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative test, but without acting, scenery, or costumes, often based on biblical stories
tutti
In Italian, all; the full orchestra, or a large group of musicians contrasted with a smaller group, often heard in baroque music.
concerto grosso
Composition for several instrumental soloists and small orchestra; common in late baroque music.
baroque music
1600-1750
early: 1600-1640 (homophonic)
middle: 1640-1680
late: 1680-1750 (polyphonic)
unity of mood, unity of rhythm, continuity of dynamics ,polyphonic texture, basso continue
George Frederic Handel
(1685-1759)
-operas, concerti, and oratorios
-born in Germany, most of adulthood in England
-Messiah oratorio (King James Bible), Water Music, Music for the World Fireworks.
-monophonic and polyphonic
Baroque composers
Claudio Monteverdi: strove to create unprecedented passion and dramatic contrast in his works.
Henry Purcell
Arcangelo Corelli
Antonio Vivaldi
baroque revival
long forgotten musicians became familiar to music lovers in the 1940s when long playing records appeared
opera
drama sung to orchestral accompaniment. Melodic lines imitated the rhythms and inflections of speech.
early baroque
1600-1640 (homophonic)
-dissonance with a new freedom
-contrast of sounds were stressed, solos over chorus/instrument
-voices were accompanied by melodic lines designed for instruments
middle baroque
1640-1680
-church gave way to major and minor scales
-compositions for specific instruments
-violin family becomes popular
late baroque
1680-1750 (polyphonic)
-harmony aspects: emphasis on the attraction of the dominant chord to the tonic
-equality between instrumental and vocal music
Baroque Suite
Usually in palace ballrooms, made up of movements that are all written in same key but differ in melody, tempo and meter... frequently begin with movement thats not dance inspired (french overture commonly opened with. slow section to quick section)
Johann Sebastian Bach
(1685-1750)
-death marks end of baroque music
-born in Germany
-church organist-court organist-concertmaseter of the court orchestra
-married twice, 20 children (bawse) : 9 survived, 4 musicians
affectations
the moods, emotional states like joy, grief, and agitation