music APPRECIATION - week 6
(EBOOK: Chapters 19-21)
lecturenotes_f.pdf | |
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medieval_ren_baroque_art.pdf | |
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parts_of_opera.pdf | |
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tempered_tuning.pdf | |
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MUSICAL EXAMPLES | ||
A popular song very similar to an early Baroque monody. | ||
A performance of the English Baroque monody "Flow My Tears" by John Dowland (1600), with additional thoughts by the performer (STING); improvised chordal accompaniment played on a Lute-type instrument (the song begins at 47 seconds). | ||
Flow My Tears, performed by the trained classical singer Alfred Deller; improvised chordal accompaniment played on a Lute. | ||
Giulio Caccini(1551 - 1618), Amarilli (an Italian monody). | ||
Michael Jackson's Thriller, (1980s) was a revolutionary blend of current musical style and staged drama; the "buzz" it created was probably extremely similar to the impact the new operatic genre (codified and popularized in the Baroque period) had on its public audiences. | ||
L'Orpheo, Claudio Monteverdi's (1567-1643) first opera (1607). This is the Nymph Chorus followed by a Ritornello (a short recurring instrumental interlude performed by the ripieno, or orchestra's core instruments). This opera contains many solo arias in the style of the monody (a homophonic song setting created by the "Camarata", consisting of a single melodic vocal line with simple chordal accompaniment), and is considered to be one of the very first operas ever composed. TRANSLATION: Nymphs, come down from the hills leave the springs |
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Henry Purcell (1659-1695): Come Away, excerpt from Dido and Aeneas; BEGIN AT 33:20 in this example. Baroque opera composed in 1689; Prelude, Verse and Chorus. |
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Henry Purcell: Dido's Lament, excerpts from Dido and Aeneas Baroque opera composed in 1689; Recitative and Aria based on a repeated chromatic ground bass accompaniment. |
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Johan Sebastian Bach (1685 - 1750), Wachet auf, Cantata No. 140 (1731) Ritornello and Chorale 1. |
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Johan Sebastian Bach, Wachet auf, Cantata No. 140 (1731) Ritornello and Chorale 4 (begins at 13:30). |
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George Friderick Handel (1685 - 1759), Rejoice, from Messiah (1742) A Da Capo Aria (in A-B-A1 form, with the final A1 section typically highly embellished by the featured soloist. |
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George Friderick Handel, Hallelujah, from Messiah (1742) Chorus (closing of second part of the oratorio). |