Exam #3

A period of music (17th-18th century ) characterized by dramatic expression, ornamentation (soloistic), and contrast. It reflects broader cultural aesthetics of grandeur and complexity.

Male singers castrated before puberty to maintain their high vocal range. Significant in opera and sacred music for their unique sound and virtuosity.

Continuous bass line with improvised chords, foundational in Baroque and opera music, emphasizing harmonic structure. Can be played by Organ, Harp, Bass Viol, etc.

Tuning system allowing instruments to play in all keys, crucial for the development of complex harmonic music. Not technically equal.

System of organizing music around a central key, emerging strongly in the Baroque period.

Tuning standard lower than modern pitch (A ≈ 415 Hz), impacting instrument design and sound.

Expansion and cultural exchange during the Baroque - involves the idea of European culture being superior and others inferior. Influenced how tonality is organized.

Concept representing non-European cultures, often exoticized in Baroque music. Seen as "savages" and "feminine".

Use of non-Western elements in music to evoke foreignness and novelty.

Theory linking specific musical techniques to evoke particular emotions, central to Baroque aesthetics. Example: large intervals = happy, small intervals = sad

courtly dance music that is stylized to not be for dancing, used in suites and solo music.

Expressive solo vocal works with basso continuo, created to make a more interesting form of music to cater to audience's interests. More ornamentation and expressive.

A staged dramatic work combining music, text, and visual elements; emerged in Italy around 1600. Stared as private in Italy for the wealthy, eventually opened to public (Aria, Recicative)

Speech-like singing with flat contour used to advance the plot in operas and cantatas. Calls for more words, natural speech pattern rhythm.

Lyrical, meodic expressive song showcasing emotion or virtuosity, often in operas or cantatas. Dynamic contour.

Two-part instrumental piece with a slow, stately opening followed by a lively section; associated with Lully. Designed to show off the king.

Instrumental work for one instrument with continuo, follows sonata form (Exposition, Development, Recapitulation)

Chamber piece for two melodic instruments and basso continuo, often in contrasting movements, follows sonata form

Work for soloist(s) and ensemble, emphasizing contrast and virtuosity of soloist (typically composer); developed by composers like Vivaldi. Late Baroque

Multi-movement vocal work incorporating hymns, often for church services, developed by J.S. Bach.

16th century composer, pioneer of monody (solo madrigal) and early opera, wrote Le nuove musiche. Specific about notating ornamentation

17th century prolific composer of secular cantatas in venice, significant for her contributions as a female composer.

Founder of French opera, developed French overture.

17th century composer that bridged Renaissance and Baroque, known as a pioneer for operas like L’Orfeo.

18th century music theorist and composer, influential on Baroque aesthetics and believed in doctrine of affections.

17th century philosopher whose ideas on emotions influenced Baroque music theory.

17th century Female composer known for keyboard and vocal works. Favorite of french king. Composed operas, stylized dance suites.

18th century prolific composer of concertos, particularly The Four Seasons. One of best known products of Baroque period.

17th century master of violin virtuosity and innovative instrumental compositions. Made "mystery" sonata

Iconic composer of sacred and secular works, master of counterpoint. Talented organist, wrote "well tempered clavier". Bach's death signaled end of baroque period.

18th century known for operas, oratorios (The Messiah), and public concerts. Very taleneted keyboardist.

Opera originated in Florence (c. 1600) as a revival of Greek drama. Beginning opera was all about Orpheus, aesthetic ideal reflected in story. Spread through Italy and Europe, adapted by French (Lully) and English (Purcell) traditions. Started as private, then public later.

Similarities - Both German-born, worked across sacred and secular genres with an ephasis in sacred. Differences - Bach focused on church music and counterpoint; Handel thrived in opera and oratorio.

Genres like the concerto and opera emphasize dramatic contrasts, emotional expression, and virtuosic display. Emphasized ornamentation and soloistic practices.

Church and courts were major patrons; rise of public concerts broadened audiences. Printing technology allowed widespread dissemination of music, fostering popularity of new forms.

Artistic movement (mid-18th century) revive classical practices, emphasizing order, balance, and clarity, mirroring Enlightenment ideals; influenced music’s structured forms.

The palace of Prince Nikolaus Esterházy, where Haydn composed and directed music for decades, showcasing patronage’s role in fostering art.

A structural template for first movements of symphonies, sonatas, and concertos, featuring exposition, development, and recapitulation.

Financial and social support from aristocrats and the church, crucial for composers like Haydn and Mozart. Kings employed musicians to create compositions that glorified them.

Public concerts funded by advance ticket sales, reflecting the growing accessibility of music for broader public audiences. Season tickets, rentable spaces

Intimate music for small ensembles, like string quartets, often performed in private settings.

Distinction between music performed in public concerts (e.g., symphonies) and private salons or courts (e.g., chamber music). Depended on status of person (private: wealthy, public: not so much)

Organization of music around a key center, clear where piece was heading

Intellectual movement advocating reason, individualism, and science, shaping music’s clarity, balance, and emotional restraint. "Natural and rational"

Stylistic elements evoking different social or emotional contexts, such as the pastoral, heroic, or comic. Politics, enlightenment, and individualism, emphasizing social issues.

Haydn’s last 12 symphonies (1791–1795), celebrated for their innovation and public appeal. Aristocratic, prestige.

Organizer or manager of public concerts and operas, key in promoting large-scale works.

Reuse of existing melodies with new texts, often for sacred or political purposes. "Yankee Doodle"

Musical style of Haydn and Mozart, characterized by clarity, balance, and formal innovation.

Work for soloist and orchestra, emphasizing virtuosic interplay (solo, big group work).

Multi-movement orchestral work; centerpiece of public concerts, perfected by Haydn and Mozart. Prestigious grandeur.

Serious Italian opera focusing on noble themes and virtuosic arias.

Comic opera with everyday characters and social satire, exemplified by Mozart’s "The Marriage of Figaro".

Chamber ensemble (two violins, viola, cello) representing the pinnacle of Classical instrumental intimacy.

Printed songs reflecting popular culture, often used for political or social commentary. "Yankee Doodle" and its contrafact

Rhythmic songs to coordinate labor, particularly among enslaved African-American people in the Americas.

Spiritual or celebratory songs, often tied to African American traditions of resistance and hope.

18th century composer, Father of the symphony and string quartet; worked under patronage at Esterháza and influenced public concert music.

Afro-French composer, virtuoso violinist, fencer, and talented conductor; broke racial barriers in European music.

18th century Prolific composer known for operas, symphonies, and chamber music; exemplified Viennese Classicism. Famous when he was young.

18th century Transitional figure between Classical and Romantic eras, celebrated for his symphonies, sonatas, and innovations in emotional expression.

20th century musicologist who illuminated the contributions of African Americans to music history, emphasizing colonial and early American music. Wrote "The Music of Black Americans-A History"

Rise of subscription concerts in cities like London and Vienna created a new marketplace for symphonies and concertos. Haydn’s London Symphonies exemplify the shift toward public appreciation of instrumental music. Politics heavily involved, interested in what composers have to say.

European settlers brought classical forms, hymns, and folk traditions to the New World. Colonized regions adapted European music with indigenous and African influences, creating hybrid genres.

Came to represent cultural sophistication during the late 18th century due to court patronage and composers like Mozart and Haydn. Emphasized balance, clarity, and formal innovation aligned with Enlightenment ideals.

Imported European musical traditions blended with enslaved African and indigenous music. The emergence of Creole, spirituals, and early African American musical forms reshaped colonial music culture. People who were against it tried to stop it.

Enslaved Africans preserved and transformed musical traditions, introducing rhythms, call-and-response, and spirituals. These forms influenced early American folk, religious, and labor songs.

Served as a tool for unity and morale, with patriotic songs like “Yankee Doodle.” Reflected diverse influences, from European marches to African work songs. Patriotism

Giulio Caccini
17th Century

Barbara Strozzi
17th Century

J.S. Bach
17th Century

Jean Baptiste-Lully
17th Century

Heinrich Ignaz Franz Biber
17th Century

Elizabeth Claude Jaquet de la Guerre
17th Century

La Primavera
17th Century

J.S. Bach
17th Century

Joseph Haydn
18th Century

Joseqph Boulogne Chevalier de Saint George
18th Century

Wolfgang Amadeus Mozart
18th Century

Wolfgang Amadeus Mozart
18th Century

Joseph Haydn
18th Century