MUSC 1004: Introduction to Music in History Baroque Test Study Guide

The Über-Question: Be able to discuss, with confidence and erudition that will impress even the most pretentious of the professorial population, the theme of contrast in the Baroque period. How does it tie in with the philosophy and aesthetics of the time? Dazzle with examples on myriad levels... the concerted style, major/minor modes, prelude & fugue, treble/bass, recit & aria, peanut butter & jelly, you get the picture. What pieces from the list below illustrate these contrasts? I’m so excited about reading your responses! The Big Questions: With a score and a recording provided, be able to assess the genre, style, and possible composer of an unknown work and offer ideas of how you might perform it in a historically informed, stylistically appropriate manner. In essence, be able to make historically-informed, practical decisions that you can apply to your own musicmaking. Be able to summarize L’Artusi (the whole Monteverdi-Artusi debate) and identify features and representative composers of the prima and seconda prattica. Hint: Monteverdi’s Cruda amarilli is a good illustrative example. How does Monteverdi’s L’Orfeo, especially its opening toccata and prologue, serve as a manifesto of sorts for Baroque music? Be able to identify general characteristics of Baroque music. Hint: In addition to our class discussions, especially class 32, see HWM pp. 300-306. Be able to compare and contrast the musical styles and aesthetic values of the Renaissance and Baroque periods. How does this reflect changes in society and culture? Be able to identify the musical institutions (Great Stable, Chapel Royal, etc.) of Louis XIV’s court and assess how the king used music, dance, drama, etc. as propaganda. In addition, be able to describe the ways Lully adapted Italian opera to appeal to French audiences. Hint: See HWM, Ch. 16. Be able to assess why Schütz and his music are so important to the development of Western music. Also, be able to identify general features of Schütz’s musical style. Be able to identify key features of Arcangelo Corelli’s style and assess how he serves as a model for Bach, Handel, Vivaldi, et al. Assess how Vivaldi standardized ritornello form and his contributions to the concerto genre. Why is Vivaldi important to the development of Western music and our study of it? Be able to describe a typical concerto of the mature Baroque period (e.g. Vivaldi, Bach, et al.). Hint: See the powerpoint slides for Lec 32! Summarize the basic principles of Rameau’s Treatise on Harmony and his impact on the development of Western music. Hint: See HWM, pp. 430-433. Be able to outline a basic instrumental (keyboard or solo instrument) suite of Bach’s time. What characteristic movements might one encounter and in what order? Be able to assess Bach’s synthesis of many different elements and styles, historical and international. How did Bach’s music reflect his career and his beliefs? Hint: The cantata Nun komm, der Heiden Heiland is a really effective way to do this! Be able to identify the musical, dramatic, and plot conventions of high Baroque opera seria. Be able to assess how Handel adapted the musical conventions of his time in his operas and oratorios. Assess how society has rediscovered, reused, adapted, and appropriated the music of Bach and Handel from their deaths until the present.

Listening: For each work listed, please know title, composer, genre, salient musical features, as well as what is significant about this selection for the development of Western music. Fit it into one or more of the “big questions” above. In addition, be able to situate each piece in a historical/cultural context. Monteverdi, Cruda amarilli Strozzi, Lagrime mie G. Gabrieli, In ecclesiis Schütz, Saul, was verfolgst du mich Lully, Armide, Overture Lully, Te Deum, conclusion Purcell, Dido & Aeneas, Aria: When I am laid in earth Corelli, Trio Sonata, Op. 3, No. 2 Vivaldi, Concerto for Violin & Orchestra in A Minor, Op. 3, No. 6

Buxtehude, Praeludium in E Major BuxWV 141 Bach, Chorale Prelude on Durch Adams Fall, BWV 637 Bach, Cantata: Nun komm, der Heiden Heiland, BWV 62 Handel, Giulio Cesare, Act II, sc. 1-2, Recit.: Eseguiti; Aria: V’adoro pupille Handel, Messiah, Chorus: Hallelujah (not in NAWM)

Know and be able to use these terms, figures, etc. in your responses to the “Big Questions” and listening questions. Doctrine of Affections Basso continuo Basso ostinato Lament bass Monody Recitative Aria Da capo aria Prima and Seconda Prattica Figured bass Stile concertato

Sacred concerto (2 types) Treble-bass polarity Tonal harmony Florentine Camerata/Mei Ritornello Secular cantata Oratorio Sonata Trio sonata Concerto (3 types) Ritornello form

Suite (instrumental) French overture Ballet de cour Petit and grand motet Style luthé or Style brisé Agréments Binary form Fugue (and its parts) Chorale prelude Fundamental bass Chorale cantata