Baroque (1600-1750)

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Baroque (1600- Baroque (1600- 1750) 1750) Rise of Instrumental Music Rise of Instrumental Music Tonality - harmony is Tonality - harmony is regularized, sounds more regularized, sounds more modern modern Chords move in regular Chords move in regular patterns patterns Vigorous (Motoric) Rhythm Vigorous (Motoric) Rhythm

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Baroque (1600-1750). Rise of Instrumental Music Tonality - harmony is regularized, sounds more modern Chords move in regular patterns Vigorous (Motoric) Rhythm. Announcement. New web page www.colorado.edu/music/courses/emus1832004. Monody. a homophonic musical texture - PowerPoint PPT Presentation

Transcript of Baroque (1600-1750)

Page 1: Baroque (1600-1750)

Baroque (1600-1750)Baroque (1600-1750)• Rise of Instrumental MusicRise of Instrumental Music• Tonality - harmony is regularized, Tonality - harmony is regularized,

sounds more modernsounds more modern• Chords move in regular patternsChords move in regular patterns• Vigorous (Motoric) RhythmVigorous (Motoric) Rhythm

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AnnouncementAnnouncement

• New web pageNew web page• www.colorado.edu/music/courses/www.colorado.edu/music/courses/

emus1832004emus1832004

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Monody Monody

• a homophonic musical texturea homophonic musical texture• one singer with instrumental one singer with instrumental

accompaniment accompaniment

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Figured bassFigured bass

• bass instrument + chording instrument (reads numbers written at bottom-harmonic blueprint)

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Doctrine of the AffectionsDoctrine of the Affections

• The idea that music expresses The idea that music expresses specific emotions and arouses these specific emotions and arouses these emotions in the listener.emotions in the listener.

• Certain types of music were used to Certain types of music were used to expresses certain types of emotionexpresses certain types of emotion

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Baroque OperaBaroque Opera

• Philosophical backgroundPhilosophical background• The Camerata• Sought Recreate the style of Greek

Drama• drama sung throughout• INVENTION of Opera

• stile rappresentativostile rappresentativo• led to speechlike style of singing

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Types of music in OperaTypes of music in Opera

• recitative - derivative of monodyrecitative - derivative of monody• disjunct vocal style• speech like• used for places where ACTION occurs

• aria - formal numberaria - formal number• lyrical style• organized formally • action stops- emotional REaction

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Singing Baroque OperaSinging Baroque Opera

• Rise of virtuoso singingRise of virtuoso singing• Castrato singersCastrato singers

• Power of male voice with range of female voice

• Died out in opera by 1830 by continued in church music until late 1800s

• Recording “The Last Castrato” made in 1904

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Dido and AeneasDido and Aeneas

• Listening guide 15 (not 14, as on the Listening guide 15 (not 14, as on the syllabus)syllabus)

• By PurcellBy Purcell• Based on Virgil’s AeneidBased on Virgil’s Aeneid• Tragic story of fate- Aeneas must Tragic story of fate- Aeneas must

leave Dido to found Rome- she leave Dido to found Rome- she commits suicidecommits suicide

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““Dido’s Lament”Dido’s Lament”

• Affect -- a “Lament” (dissonances Affect -- a “Lament” (dissonances used for expressive means)used for expressive means)

• Recitative - “Thy hand” -expressiveRecitative - “Thy hand” -expressive• Aria- formal, organized and tuneful Aria- formal, organized and tuneful

sectionsection• ground bass repeating bass line-ground bass repeating bass line-

typical for lamenttypical for lament

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Johann Sebastian Bach Johann Sebastian Bach (1685-1750)(1685-1750)

• 19 children- 2 wives19 children- 2 wives• held positions in …held positions in …• Weimar- court organist and Weimar- court organist and

chamberchamber• Cöthen- chamber musicCöthen- chamber music• Leipzig- extensive church dutiesLeipzig- extensive church duties

• cycles of cantatas for the entire church year (200 extant)

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Lutheran Cantatas Lutheran Cantatas

• Liturgical music for protestant Liturgical music for protestant serviceservice

• Bach’s works are multimovement Bach’s works are multimovement (5-8) (5-8)

• with arias, recitatives and choruseswith arias, recitatives and choruses• some based on a single tune that some based on a single tune that

appears throughout the movementsappears throughout the movements

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A Mighty FortressA Mighty Fortress

• Choral tune “A Mighty Fortress” …Choral tune “A Mighty Fortress” …• Created in the time of the Created in the time of the

Reformation, by Martin Luther himselfReformation, by Martin Luther himself• hymn tune- in German rather than hymn tune- in German rather than

LatinLatin• originally sung monophonically- then originally sung monophonically- then

in homophonic settingsin homophonic settings• permeates the entire cantata by Bachpermeates the entire cantata by Bach

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Cantata: A Mighty Cantata: A Mighty FortressFortress

• First part: choral fugueFirst part: choral fugue• Fugue: a type of imitation (very

systematic and formal way of writing music)

• Fugue theme (called subject) is based on chorale tune

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Cantata: A Mighty Cantata: A Mighty FortressFortress

• Second movementSecond movement• Duet for soprano and bass• Also derived from chorale tune

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Cantata: A Mighty Cantata: A Mighty Fortress Fortress

• Das wort, sie sollen Das wort, sie sollen (#8)(#8)• Homophonic settingHomophonic setting• Bach harmonized the original Bach harmonized the original

tune in 4-partstune in 4-parts• His son Wilhelm added the His son Wilhelm added the

timpani and trumpets … for timpani and trumpets … for grandeurgrandeur