music APPRECIATION - week 7
(EBOOK: Chapters 22-24)
lecturenotes_g_and_studyguide.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 | ||
Released in 1969 by the WHO, it is hailed as the very first ROCK OPERA. Many commercial musical groups imitated their direction and, for awhile, it was considered very "trendy" to compose and perform a ROCK opera. Although deserving of many accolades (and I am certainly a "WHO" fan), this work (about an hour long) pales in comparison with TRUE opera in just about every respect. |
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Handel (1685 - 1759), Tamerlano (Opera, 1719); Recitative and Trio (Aria) For a complete synopsis, click here. |
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A harpsichord example (Bach [1685 - 1750], Invention, 1723) -- a precurser to the piano, it was a popular instrument used in the Baroque period; strings were plucked rather than struck with hammers, therefore, could NOT produce changes in volume or sustain sounds very long; used as a solo instrument or part of basso continuo accompaniment. |
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George Frediric Handel (1685 - 1759), Hornpipe from Water Music, (orchestral suite), 1717; specifically written for larger baroque orchestra (including brass and percussion) without continuo instruments. Handel is noted for his use of energetic, lively rhythms. |
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Jean-Joseph Mouret (1682 - 1738), Rondeau from Suite de Symphonies (orchestral suite), 1729; baroque orchestra with brass, woodwinds, strings, and percussion; note the freely embellished melodic lines with trills and mordents, etc. |
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J.S.Bach (1685 - 1750), Orchestral Suite in D Major, 1731; baroque orchestra with basso continuo; this is actually a collection of 5 movements (pieces) based on popular dances of the day. Several movements were orchestrated by Bach's son, C.P.E. Bach, as well as one of Bach's students. EXAMPLE BEGINS AT 3:29 |
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Antonio Vivaldi (1678 - 1741), Spring (MMT. 1), from The Four Seasons (1725); solo concerto for violin, orchestra, and basso continuo, in four movements, each of which depict a season (with direct literary reference -- "program" music); not formally defined as with the later classical concerto, it incorporates ritornello passages between movements. |
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J. S. Bach (1685 - 1750), Brandenburg Concerto No. 2, 1st MMT. (1721) A concerto grosso featuring the solo concertino group (trumpet, recorder, obe, and violin) and accompanied by the primary orchestra ripieno group (two violins, viola, violone, and basso continuo). Allegro, in F major; this is considered as an example of Bach's greatest works, featuring extremely contrasting solo instruments (notably a very high-pitched trumpet part that is considered EXTREMELY difficult to perform). |
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Bach (1685 - 1750), "Little Fugue", in G minor, originally for organ (1703-1708); improvisatory treatment of a simple theme, set in strict fugue form involving several basic components:
Note Bach's complete mastery of polyphony and harmony (vertical sonorities), ingenious treatment of thematic material, and high degree of chromaticism. |
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Bach (1685 - 1750), Contrapunctus 1 from The Art of Fugue (1749), for organ; improvisatory treatment of a simple theme, set in strict fugue form as explained in the above example. Note Bach's complete mastery of polyphony and harmony (vertical sonorities), ingenious treatment of thematic material, and high degree of chromaticism. This collection of fugues was never completed and is representative of Bach's most advanced compositions. |