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Baroque (1600-1750) Study Notes Name: ____________________________Date: _______Period #: ____

Baroque OVERVIEW: read & study pages 124 – 127. Watch openBUCS ‘Overview of the Baroque Period’ video: https://www.youtube.com/watch?v=yin2JSsm16U To listen to & study music from the text, go to this site: https://www.youtube.com/playlist?list=PL6A284D1773515E2F Listen to the top link above (‘Overview of the Baroque Period’), read pages 124-127 and answer the questions below:

A. Give 3 characteristics (descriptions) of ‘Baroque Style’

1.

2.

3.

B. What and where was the Versailles palace?

1.

C. How did the ‘Versailles’ palace exemplify the ‘Baroque Style’?

1.

D. Contrast how most people lived during the Baroque era with how the aristocracy lived:

1.

2.

3.

4.

E. Describe what artists like Caravaggio, Gentileschi, Bernini, Rubens, and Rembrandt emphasized through their art:

1.

2.

3.

4.

5.

F Give 4 reasons why the Baroque era was called the “age of absolutism”:

1.

2.

3.

4.

G. How did the Catholic church use the ‘Baroque Style’?

1.

H. What is Protestantism?

1.

I. What were the Protestant and Catholic parts of Europe?

1. Catholic:

2. Protestant:

J. How did the middle class influence the development of the ‘Baroque Style’?

1.

K. List 4 important scientists/mathematicians and their discoveries during the Baroque period:

1.

2.

3.

4.

L. In your own words, summarize the ‘Baroque Style’:

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Chapter 1 ‘Baroque Music’: read & study pages 128-132 Watch openBUCS ‘Baroque Musical Style’ video: https://www.youtube.com/watch?v=YMHz_wcOi4g Listen to the link above (‘Baroque Musical Style’), read pages 128-132, and answer the questions below: Workbook Listening Exercise, page 46. Students will listen to 3 selections, and place them in the Renaissance or

Baroque period, and then describe their style at the bottom of page 46 in the ‘Baroque workbook’ packet.

A. What composers are considered the ‘giants’ of the Baroque:

1. George Frederic Handel

2. Johann Sebastian Bach

The Baroque period can be divided into three phases. Give the date of each and what was significant about each era:

B. Explain how & when tonality shifted to Major and minor:

1.

2.

C. Early Baroque dates: Describe what was significant about ‘Early Baroque’ music:

1.

2.

3.

4.

D. Middle Baroque dates: Describe what was significant about ‘Early Baroque’ music:

1.

2.

3.

4.

E. Late Baroque dates: Describe what was significant about ‘Early Baroque’ music:

1.

2.

3.

4.

F. Describe the ‘Baroque revival’ of the 1940’s:

1.

2.

G. The text will focus mainly on what phase of the Baroque period? Why?

1.

Read pages 129-131 and answer these questions on the ‘Characteristics of Baroque Music’:

H. Give 4 characteristics (descriptions) for ‘Unity of Mood’ in Baroque music:

1.

2.

3.

4.

I. Explain the Baroque concept of ‘Affections’ in Baroque music:

1.

2.

J. Give 4 characteristics (descriptions) for ’Rhythm’ in Baroque music:

1.

2.

3.

4.

K. Give 4 characteristics (descriptions) for ’Melody’ in Baroque music:

1.

2.

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3.

4.

L. Give 4 characteristics (descriptions) for ’Terrraced Dynamics’ in Baroque music:

1.

2.

3.

4.

M. Give 4 characteristics (descriptions) for ’Texture’ in Baroque music:

1.

2.

3.

4.

N. Give 4 characteristics (descriptions) for ’Basso Continuo’ in Baroque music:

1.

2.

3.

4.

O. Give 4 characteristics (descriptions) for ’Words and Music’ (word painting) in Baroque music:

1.

2.

3.

4.

P. Describe the ‘Baroque Orchestra’:

1.

2.

3.

4.

5.

Q. Describe ‘Baroque Forms’ in music:

1.

2.

3.

4.

Define these Chapter 1 Terms:

Terraced Dynamics (129)

Clavichord (130)

Basso Continuo (130)

Figured Bass (130)

Imitation (130)

Movement (132)

R.

What was significant about the ‘clavichord’ during the Baroque period:

1.

2.

S. List and describe some ‘Baroque’ period music you’re familiar with:

1.

2.

3.

4.

5.

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Chapter #2 ‘Music in Baroque Society’: read and study pages 133-135 First, listen to: TBD, then answer the questions below: A. What is ‘Music written to order’, and why was that significant in the Baroque period?

1.

2.

B. Describe music as a ‘diversion’ in aristocratic courts during the Baroque:

1.

2.

C. JS Bach was an overworked court music director in 1717. Describe the duties of a court music director:

1.

2.

3.

4.

C. Describe the pros and cons of a court music director:

1.

2.

3.

D. In what context can we place this dedication written by Bach to a nobleman: “Begging Your Highness most humbly not to judge their imperfection with the rigor of the fine and delicate taste which the whole world knows Your Highness has for musical pieces; but rather to infer from them in benign Consideration the profound respect and the most humble obedience which I try to show Your Higness”:

1.

2.

E. Who was ‘Frederick the Great’ and what were his musical attributes?

1.

2.

3.

F. Describe music for the church and the duties of church musicians:

1.

2.

3.

4.

5.

6.

Read pages 110-113 and answer the following questions about ‘Palestrina and the Renaissance Mass’

G. Did Church or Court musicians earn more? How did church musicians supplement their income?

1.

2.

H. Large towns employed musicians for a variety of functions. Describe several:

1.

2.

3.

I. Venice, Italy, had six opera companies between 1680 - 1700! Describe Handel’s London Opera company:

1.

2.

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3.

J. Define (describe) these important terms:

1. Commercial Opera Houses:

2. Who was an Opera composer, conductor,

manager, & impresario in

London:

3. ‘Freelance’ Status:

J. How did one become a musician in the Baroque Period? (page 134)

1.

2.

3.

4.

K. Describe significance of orphanages especially related to musical training and orchestra performance:

1.

2.

3.

4.

L. Describe a famous orphanage orchestra in Venice, led by Vivaldi:

1.

2.

M. To get a job, what did musicians have to do?

1.

2.

3.

4.

N. How were composers integral to the musical fabric of the Baroque?

1.

2.

.

Chapter #3, ‘The Concerto Grosso and Ritornello Form’: read and study pages 135 - 139 First, listen to:

1. Concerto Grosso (in Ritornello Form - Uses A Ritornello Theme): 2. https://www.youtube.com/watch?v=Nq8GA2BJPgI

A. Describe the concerto grosso (page 135)

1.

2.

3.

4.

B. Define, describe each of the following terms associated with the concerto grosso:

1. Soloists

2. Tutti

3. Movements of

4. Ritornello form

5. Ritornello

C. Describe and diagram a movement in Ritornello Form (page 136):

1.

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2.

3.

4.

D. Contrast the solo sections with the tutti’s ritornello:

1.

2.

Listen to JS Bach’s ‘Brandenburg Concerto No. 5 in D Major, Mvt I’ (1721) Here’s a link http://www.youtube.com/watch?v=ZK6-x9sdEYo Listen to the link above, read pages 136-137 and answer the following questions:

E. How many Brandenburg Concertos did Bach write?

1.

F. Who were the Brandenburg Concertos dedicated to:

1.

G. What is the instrumentation of Bach’s ‘Brandenburg Concerto No. 5 in D Major’?

1.

2.

H. What is unusual about ‘Brandenburg Concerto No. 5 in D Major’?

1.

2.

I. Provide 6 characteristics (descriptions) of Bach’s ‘Brandenburg Concerto No. 5 in D Major’:

1.

2.

3.

4.

5.

6.

Additional References: - BBC Production – general video about Renaissance: https://www.youtube.com/watch?v=yTrEazY_pGo - Lindsey Stirling – Ren tune set to modern beat: https://www.youtube.com/watch?v=RrutzRWXkKs - Overview of Renaissance, 15 minutes, especially Greek and Roman cultures:

https://www.youtube.com/watch?v=HiTyTx13Clo

Terms: Concerto Grosso, Tutti, Ritornello Form, Ritornello

. Chapter #4 ‘The Fugue’, read pages 139 - 142 Watch openBUCS ‘The Fugue’ video: https://www.youtube.com/watch?v=YMHz_wcOi4g Listen to the link above (‘Baroque Musical Style’), read pages 128-132, and answer the questions below: Listen to, describe the instrument(s) and diagram Bach’s Organ Fugue in G Minor (page 141-142)

Here’s a link http://www.youtube.com/watch?v=ddbxFi3-UO4

A. Describe and define a Fugue (page 139-140)

1.

2.

3.

4.

5.

B. Why were Fugues important during the baroque?

1.

2.

3.

C. Describe and define these terms associated with fugues:

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1. Subject:

2. Voices:

3. Flexible Form:

4. Tonic:

5. Dominant:

6. Answer:

7. Countersubject:

8. Episodes:

9. Stretto:

10. Pedal Point:

11. Inversion (describe):

12. Retrograde (describe):

13. Augmentation (describe):

14. Diminution (describe):

15. Prelude: Note: A friend of Bach’s observed that “Skill in fugue was so indispensable in a composer that no one could have

attained a musical post who had not worked out a given subject in all kinds of counterpoint and in a regular fugue”

Note: Independent Study #1: Listen and study this “Fugue Analysis” for Bach’s ‘Fugue in G Minor’ Here’s the link: https://www.youtube.com/watch?v=OyvSrpQ2eWY

Open your textbook to page 141-142, listen to this link of Bach’s ‘Organ Fugue in G Minor (Little Fugue)’: https://www.youtube.com/watch?v=ddbxFi3-UO4 and answer the following questions:

D. List 8 important musical characteristics of Bach’s ‘Organ Fugue in G Minor’:

1.

2.

3. -

4.

5.

6. -

7.

8.

-

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Chapter #5 ‘The Elements of Opera’, read pages 143 - 146 Watch ‘MUSC 1100 13 - Opera in the Baroque Period Part 1’ video: https://www.youtube.com/watch?v=tyAKyGj5WLA Listen to the link above, read pages 143 - 146, and answer the questions below: Read pages 143-146, review the following link (openBUCS Baroque Opera):

https://www.youtube.com/watch?v=QL5cO8twR9s and answer the following questions:

A. Describe 5 characteristics of Opera (page 143)

1.

2.

3.

4.

5.

B. When & where did Opera begin?

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1.

2.

3.

C. What was early Opera based on?

1.

2.

D. In Opera, how are characters and plot revealed (explain fully)

1.

2.

3.

E. Why is music the ‘drama’ in Opera?

1.

2.

3.

F. Are plots believable in Opera, and if not, what makes them believable?

1.

2. Note: Independent Study #2: Listen and study this “MUSC 1100 14 – Opera in the Baroque Period Part 2”:

https://www.youtube.com/watch?v=ZWnHajQPCoM

Independent Study #3: Listen and study this “MUSC 1100 15 – Handel and the Oratorio”: https://www.youtube.com/watch?v=NgmuMuwpKkg

G. What unique demands are placed on Singers in Opera?

1.

2.

H. What is a ‘supernumerarie or super’ in Opera, what do they do?

1.

2.

I. Describe the use of Scenery, lighting, and stage machinery in Opera during the Baroque period?

1.

2.

3.

J. Why could the personnel for Opera reach almost 700 people, and what were some of the jobs?

1.

2.

K. Historically, Opera was associated with what class?

1.

2.

Independent Study: watch the video ‘What is Opera Libretto?’: https://www.youtube.com/watch?v=9wh5f_DvTH8

L. What is an Opera libretto?

1.

2.

M. What is the difference between an Opera composer and an Opera librettist?

1.

2.

N. Describe why or why not the terms ‘Dramatist’ and ‘Librettist’ are the same:

1.

2.

O. Explain why or why not Opera plots are sensible:

1.

2.

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3.

P. Describe the different types of Opera:

1.

2.

3.

Q. List & Describe the Voice Categories of Opera:

1.

2.

R. Describe how Operas are divided into Acts:

1.

2.

S. Are the Acts in Opera similar to Acts in a Play?

1.

2.

T. Describe, define, and explain Aria and its role in Opera:

1.

2.

U. Describe, define, and explain Recitative and its role in Opera:

1.

2.

V. What is the biggest difference between Aria and Recitative in Opera?

1.

2.

W. Google ‘YouTube Opera Recitative’, listen to at least one example and describe it in your own words:

1.

2.

X. Google ‘YouTube Opera Aria’, listen to at least one example and describe it in your own words:

1.

2.

Y. Describe, define, and explain Ensemble and its role in Opera:

1.

2.

Z. Describe, define, and explain Chorus and its role in Opera:

1.

2.

A1. Describe, define, and explain Orchestra Pit and its role in Opera:

1.

B1. Describe, define, and explain Prelude and its role in Opera:

1.

2.

C1. In what other context then Opera are Preludes frequently heard?

1.

2.

D1. In what languages are Operas usually written, and should they be translated?

1.

2.

E1. Describe, define, and explain Supertitles and its role in Opera:

1.

F1. Describe significance of orphanages especially related to musical training and orchestra performance:

1.

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2.

G1. Before you attend any Opera, it’s a a good idea to do what first? Explain fully (Page 146)….

1.

2.

H1. Who were some famous Opera composers during the Baroque period, and what Operas did they write?

1.

2.

Chapter #6 ‘Opera in the Baroque Era’, read pages 147 – 149 A. In what country was Opera ‘born’? (page 147)

1.

B. Describe the Camerata, who was in it, the year they first met, and its influence in creating Opera:

1.

2.

3.

C. On what ‘classical’ or ‘ancient’ art form was Opera based?

1.

2.

Independent Study: watch ‘What is a recitative in an opera’: https://www.youtube.com/watch?v=ipNa-g4ZlG8

D. Define/explain ‘Recitative’:

1.

E. Recitative was modeled on what? Explain its origins:

1.

2.

F. Why was Polyphony rejected by the Camerata?

1.

2.

G. Explain the story behind the Greek myth, ‘Orphues & Eurydice’:

1.

2.

3.

4.

H. Explain the significance of the following early Opera: ‘Orfeo’ by Claudio Monteverdi

1.

2.

3.

4.

I. For what occasions was Baroque Opera composed?

1.

2.

3.

J. Explain the rise of commercial Opera houses in Europe:

1.

2.

3.

K. Describe Venetian Opera:

1.

2.

3.

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L. Define Castrato, their use in Opera, and time frame during which they were common :

1.

2.

M. Why can’t some Baroque Operas be performed today?

1.

2.

N. Define and explain Secco Recitatives and when they were used during the Baroque period:

1.

2.

O. Describe and explain Accompanied Recitatives:

1.

2.

Independent Study: watch ‘What is an aria in an opera’: https://www.youtube.com/watch?v=0a7lvFbrMvU

P. What happened during the Aria?

1.

2.

Q. Define da capo:

1.

R. Define da capo Aria:

1.

S. Review and study these Chapter 6 ‘Basic Terms’:

1. Camerata (page 147)

2. Castrato (plural, castrati) (147)

3. Secco recitative (148)

4. Accompanied recitative (148)

5. Da capo aria (149)

6. Da capo (149) Notes:

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Chapter #7 ‘Claudio Monteverdi’, read pages 149 – 152 Go to these links to experience his great opera, ‘Orfeo’: 1. Monteverdi’s Orfeo, with original instruments (really good)

a. https://www.youtube.com/watch?v=EcRFFmgVGlc 2. Monteverdi’s Orfeo, with Italian subtitles (very good)

a. https://www.youtube.com/watch?v=toXIBTGZUfU

A. Who was Claudio Monteverdi (1567-1643) and why was he important in the early Baroque period?

1.

2.

3.

4.

5.

B. What was his first operatic masterpiece, and where and when was it written?

1.

2.

3.

C. Why did life improve for Monteverdi in 1613?

1.

2.

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3.

D. List 4 reasons why Monteverdi was a monumental figure in the history of music:

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2.

3.

4.

E. What characteristics of the ‘Baroque Style’ were exhibited in his music?

1.

2.

3.

F. What new orchestral effects did Monteverdi introduce and what he hoped to achieve with them?

1.

2.

3.

Open your textbook and read pages 150-152, then follow your listening guide as you listen to this link of Monteverdi’s “Tu se’ morta’ from Orfeo: https://www.youtube.com/watch?v=Fyql1do6KH4 and answer the following questions:

G. Now describe the important musical characteristics displayed in Monteverdi’s Recitative: ‘Tu se’ morta’:

1.

2.

3.

4.

5.

6.

7.

H. How does Monteverdi use ‘word painting’ in Tu se’ morta from Orfeo?

1.

2. Notes:

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Chapter #8 ‘Henry Purcell’, read pages 152 - 154 Go to these links to experience his great opera, ‘Dido & Aeneas’: 1. Purcell’s ‘Dido & Aeneas’ with original instruments (really good)

a. https://www.youtube.com/watch?v=EcRFFmgVGlc 2. Purcell’s ‘Dido & Aeneas’;

a. https://www.youtube.com/watch?v=toXIBTGZUfU

A. Describe Purcell’s career and musical accomplishments:

1.

2.

3.

4.

5.

B. What was his first operatic masterpiece?

1.

C. Summarize the plot of ‘Dido and Aeneas’:

1.

2.

3.

4.

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5.

6.

7.

D. Describe those elements of the opera that contribute to its great variety:

1.

2.

3.

4.

E. Define ‘ground bass’ and give two other Italian words for it:

1.

2.

3.

F. Discuss Purcell and his success with the English language:

1.

2.

3.

Open your textbook and read pages 153-154, then follow your listening guide as you listen to this link of Purcell’s “Dido’s Lament’ from Dido and Aeneas: https://www.youtube.com/watch?v=uGQq3HcOB0Y and answer the following questions:

G. Now describe the important musical characteristics displayed in Purcell’s aria ‘Dido’s Lament’:

1.

2.

3.

4.

5.

6.

7.

I. How does the opening ‘recitative’ contrast with the ‘aria’ that follows it?

1.

2.

3. Notes: