PERIODS OF MUSIC

Advanced Higher Understanding Music

Baroque Period

Music HistoryAll of the different styles of music we listen to today have evolved over a

long period of time. Musical styles have not always been so diverse, in fact before c.1450 music was pretty simplistic.

In order to understand modern music we must first understand its origins, history and development through the ages.

In this unit you will learn about the development of music through the following periods of time:

Medieval & Renaissance (1450 – 1600)Baroque (1600-1750)Classical (1750-1830)Romantic (1830-1900)20th Century (1900 – Present Day)

These eras describe the style and characteristics of that period in time, particularly in the areas of science, art, architecture, literature and music.

Unit Learning Intentions• Listen to and discuss the main features of

Baroque music• Complete aural analysis tasks• Research and present a social/cultural

commentary on a chosen feature of Baroque musicUnit Success

Criteria• I can listen to and identify features of Baroque music in a variety of musical examples.

• I can effectively describe and explain in depth the social and cultural context of a chosen musical feature.

• I have developed my music literacy skills through analysis and annotation of music.

Baroque Period 1600-1750The term Baroque is a word borrowed from architecture which is used to describe a highly decorative style of building, found in the palaces and churches of Germany and Austria in the 1600s and 1700s.

The Baroque period was a time of contrapuntal music (tunes or melodies played above or below each other in harmony). People also became interested in music and drama which led to the creation of opera (a play that is sung).

Five composers from this period are Vivaldi, Purcell, Bach, Handel and Pachelbel.

Different textures are present such as:• Homophonic – Music built on chords where all

parts move at the same time.• Polyphonic – Two or more parts playing independent

melodies and rhythms.

• Basso Continuo - is a simple accompaniment consisting of a bass line, usually played by cello, and either harpsichord or organ playing the chordal harmony part. It is called a basso continuo because it continues throughout the piece.

Two of the major works found in the Baroque period are the opera and oratorio.

• Recitative - a recitative is sung speech and it is used to move the story along in an opera, oratorio or musical. It sounds like a sung conversation.

• Recitative

• Da capo aria - A Da capo aria is in ABA (Ternary) form but with only the first two sections written out. At the end of section B the composer wrote Da capo or D.C. meaning ‘from the beginning’. In repeating the first section (A) the singer was expected to add his/her own vocal decorations to the printed melody.

• Ruddier Than The Cherry

• Ground Bass – is a repeated theme in the bass while the upper parts are varied. English composer Henry Purcell uses this in his opera Dido and Aeneas in the aria When I am Laid In Earth.

Ground Bass - When I Am Laid In Earth

• Passacaglia – the Passacaglia is variations over a ground bass frequently composed for organ. Like the Renaissance Pavan & Galliard, the Passacaglia is often paired with a Chaconne.

Bach Passacaglia & Fugue in C Minor Bach - Passacaglia & Fugue in C Minor (graphic score)

ConceptsCONCEPT DEFINITION

Contrapuntal Parts played above or below each other in harmony

Homophonic Music built on chords where all parts move at the same time.

Polyphonic Two or more parts playing independent melodies and rhythms.

Basso Continuo

Sometimes referred to as continuo. Continuo consisted of a bass line (basso continuo) played by cello, bass or bassoon. In addition the harpsichord or organ was expected to fill in harmonies built on that bass line

Recitative A type of vocal writing where the music follows the rhythm of speech. It is used in operas and oratorios to move the story or plot on

Da capo aria Aria in ternary form where the repeated A section is not written out, but embellished with ornamentation

Ground Bass Repeated phrase or motif heard in the bass line

Passacaglia Variations over a ground bass

During the Baroque period sacred music continued to develop.

• Oratorio - is a large scale sacred work for soloists, chorus and orchestra. Though originally it was rather like a sacred opera, it is more often performed without acting or stage design and is based on a sacred story, usually taken from the bible.

• An oratorio which tells the crucifixion story is know as a passion meaning ‘to suffer’.

• Obbligato - is a prominent solo instrumental part which is always heard with a solo voice.• Handel - The Trumpet Shall Sound

• Chorale – is a German hymn tune, written for SATB voices, and is a common feature within an oratorio. As with most hymn tunes it has a homophonic texture. Chorales would often be used at key points in the work to intensify the most solemn and deeply-moving moments of the story.

• Bach - O Haupt voll Blut und Wunden (St Matthew Passion)• Handel is the most famous composer of the oratorio – the most popular of all being his

Messiah. Handel uses recitative to move the story along and arias for more thoughtful, reflective moments.

ConceptsCONCEPT DEFINITION

Oratorio Usually a story from the Bible set to music for soloists, chorus and orchestra. It may include recitatives, arias, duets and chorus. It is performed without acting or stage design

Obbligato A prominent solo instrument part in a piece of vocal music

Chorale German hymn tune for SATB voices with a homophonic texture, often heard in oratorios

OrnamentsOrnaments are used to decorate the melody. In the Baroque period the

piano had not yet been invented, and neither the harpsichord or organ had a sustain pedal. While ornamentation was used to elaborate the melody it’s other purpose was to create a continual line of music with fewer gaps.

Commonly used ornaments include:

• Trill – two notes rapidly alternating.

• Acciaccatura – a crushed grace note.

• Mordent – made up of the first note, the note above and then back to the first note. This can also be heard as a lower mordent where the second note goes down instead of up.

• Appoggiatura – an ornament which sounds like a leaning note. It takes half the value of the main note which follows it.

• Turn - four notes which turn around the main notes with the note above, the main note, the note below, and the main note again. An inverted turn starts with the note below reversing the process.

ConceptsCONCEPT DEFINITION

Trill Moving quickly and repeatedly between two notes which are a step apart

Acciaccatura An ornament which sounds like a crushed note played very quickly on the beat or just before it

Mordent An ornament which sounds the main note, the note above and then the main note again. An inverted mordent sounds the main note, the note below and then the main note again

Appoggiatura An ornament which sounds like a leaning note. It takes half the value of the note which follows it (or two-thirds if the main note is dotted)

Turn Four notes which turn around the main note with the note above, the main note, the note below, and the main note again

Fugue Fugue explained - Bach (Little Fugue in G Minor)

During the Baroque period, instrumental music became, for the first time, equal in importance to vocal music. One of the important forms that appeared was the fugue.

•A fugue is a contrapuntal piece of music, essentially based upon the idea of imitation. It is usually written in three or four parts called ‘voices’ and these are referred to as soprano, alto, tenor and bass.

•The entire piece grows mainly from a single fairly brief tune. The composer calls this this tune the subject (in the sense of subject for discussion). This is the basis for the whole piece and reappears throughout the work. The subject is imitated by the other voices in turn, each at it’s appropriate pitch.

•The answer, as it is called, initially imitates the subject in the dominant key. If the interval patterns between the subject and the answer are exact it is called a real answer and if it’s slightly altered it is called a tonal answer.

• After the statement of the subject and the answer enters, the subject does not stop but continues against the answer and is now called the countersubject.

• Throughout the fugue, the subject enters in new keys in different voices. These entries are separated by sections of music called episodes. A composer my base an episode on an idea taken from the subject or countersubject.

• Overall there are 3 main sections in a fugue:– Exposition– Development– Recapitulation

• In the exposition the main subject is first presented in each voice. The middle section follows and the music usually modulates. In the final section the main subject returns in the tonic key sometimes with a coda. If the answer comes in before the subject has been completely stated this is called stretto. Another common device in fugal writing is an extended pedal note which is held in the bass part whilst the other parts move above it. A pedal point usually happens towards the end of a piece.

• Bach Fugue no.2 in C minor

• TASK – Fugue analysis Bach Fugue in G Minor from the Well Tempered Clavier

Subject

Episode

One of the most exciting types of music in the Baroque period is the Concerto Grosso. In this type of composition composers such as Bach and Handel contrasted two groups of instruments:

• You are now going to listen to an example of a Concerto Grosso by Handel - Arrival of the Queen of Sheba

• Concertino – this is a small group of soloists (often two violins and a cello) which play against an orchestra of strings and harpsichord.

• Ripieno – this is the large group of instrumentalists that accompany the concertino.

• Ritornello – this means ‘return’ and refers to the main theme which was played by the orchestra at the beginning of the movement and then returned after each solo section.

• Episode - a contrasting linking section which is played after each theme within ritornello.

You are now going to watch a short film about one of the most famous concerto grosso written by Vivaldi – The Four Seasons. Listen out for the concertino, ripieno, ritornello and episodes.

Vivaldi - 'Spring' The Four Seasons

Ritornello

(Tutti)

Episode 1

(Soloist)

Ritornello

(Tutti)

Episode 2

(Soloist)

Ritornello

(Tutti)

ConceptsCONCEPT DEFINITION

Concerto Grosso

A type of concerto in which a group of soloists (concertino) is combined and contrasted with a larger group (ripieno)

Concertino In a Concerto grosso this is the name given to the small, solo group of instrumentalists

Ripieno In Baroque music, especially Concerto grosso, the term means the main group of instrumentalists as opposed to the small/solo group which was known as the Concertino

Ritornello Little return. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo

Episode A contrasting linking section which is played after each theme within ritornello