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Baroque (1600-1750)

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

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Baroque (1600-1750)

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

  2. Announcement • New web page • www.colorado.edu/music/courses/emus1832004

  3. Monody • a homophonic musical texture • one singer with instrumental accompaniment

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

  5. Doctrine of the Affections • The idea that music expresses specific emotions and arouses these emotions in the listener. • Certain types of music were used to expresses certain types of emotion

  6. Baroque Opera • Philosophical background • The Camerata • Sought Recreate the style of Greek Drama • drama sung throughout • INVENTION of Opera • stile rappresentativo • led to speechlike style of singing

  7. Types of music in Opera • recitative - derivative of monody • disjunct vocal style • speech like • used for places where ACTION occurs • aria - formal number • lyrical style • organized formally • action stops- emotional REaction

  8. Singing Baroque Opera • Rise of virtuoso singing • Castrato 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

  9. Dido and Aeneas • Listening guide 15 (not 14, as on the syllabus) • By Purcell • Based on Virgil’s Aeneid • Tragic story of fate- Aeneas must leave Dido to found Rome- she commits suicide

  10. “Dido’s Lament” • Affect -- a “Lament” (dissonances used for expressive means) • Recitative - “Thy hand” -expressive • Aria- formal, organized and tuneful section • ground bass repeating bass line-typical for lament

  11. Johann Sebastian Bach (1685-1750) • 19 children- 2 wives • held positions in … • Weimar- court organist and chamber • Cöthen- chamber music • Leipzig- extensive church duties • cycles of cantatas for the entire church year (200 extant)

  12. Lutheran Cantatas • Liturgical music for protestant service • Bach’s works are multimovement (5-8) • with arias, recitatives and choruses • some based on a single tune that appears throughout the movements

  13. A Mighty Fortress • Choral tune “A Mighty Fortress” … • Created in the time of the Reformation, by Martin Luther himself • hymn tune- in German rather than Latin • originally sung monophonically- then in homophonic settings • permeates the entire cantata by Bach

  14. Cantata: A Mighty Fortress • First 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

  15. Cantata: A Mighty Fortress • Second movement • Duet for soprano and bass • Also derived from chorale tune

  16. Cantata: A Mighty Fortress • Das wort, sie sollen (#8) • Homophonic setting • Bach harmonized the original tune in 4-parts • His son Wilhelm added the timpani and trumpets … for grandeur

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