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music101
| Term | Definition |
|---|---|
| BAROQUE | PORTUGUESE JEWELERS CALLED ODDLY SHAPED, DISTORTED PEARLS "BAROCCO." |
| BAROQUE MUSICIAN | EMPLOYEE |
| EMPLOYERS | ROYALTY, OTHER NOBILITY, THE CHURCH |
| DOCTRINE OF ABSOLUTE POWER | LOUIS XIV. THIS PERIOD IN HISTORY = AGE OF ABSOLUTISM L' etat c'est moi - the state is me. |
| JOHANN SEBASTIAN BACH | 1685-1750 WROTE A DEDICATION TO THE MARGRAVE OF BRANDENBURG, LOOKING FOR A JOB. THE DEDICATION WAS ATTACHED TO THE MUSICAL SCORES (THE ACTUAL HANDWRITTEN MUSIC FOR THE INSTRUMENTS TO PLAY) OF SIX CONCERTOS. THESE WORKS HAVE COME TO BE KNOWN AS THE BRANDEN |
| CONCERTO | A MUSICAL WORK FOR A SOLOIST OR SOLOISTS. ACCOMPANIED BY AN ORCHESTRA (LARGE OR SMALL). |
| MOVEMENT | A DISTINCT, UNIQUE SECTION OF A WHOLE WORK. THINK OF AN ORANGE: ON ONE HAND, IT IS A WHOLE THING, BT IT IS MADE UP OF DISTINCT SMALLER PARTS. |
| MELODY | SIMPLE, CATCHY TUNES THAT ARE MEMORABLE. THEY ARE SINGABLE. YOU DON'T HAVE TO HAVE WORDS TO BE A MELODY. |
| TEXTURE | INTERACTION OF DIFFERENT MUSICAL LINES |
| IMITATIVE POLYPHONY | SPECIFIC KIND OF TEXTURE - THE MUSICAL LINES ARE BASED ON THE SAME THEME (MELODY, TUNE, SEQUENCE OF NOTES) |
| NON-IMITATIVE POLYPHONY | MUSICAL LINES ARE BASED ON DIFFERENT THEMES (MELODIES,ETC.) |
| CANTATA | A WORK FOR CHORUS, VOCAL SOLOISTS AND ORCHESTRA WITH A TEXT THAT WAS BASED ON SACRED OR SCRIPTURAL WORDS. A SUNG COMPOSITION. |
| GEORG FRIEDRICH HANDEL | B. GERMANY 1685. MOVED TO ENGLAND IN HIS TWENTIES (1712) MOST FAMOUS COMPOSITION: THE MESSIAH -(A WORK CALLED AN ORATORIO). |
| ORATORIO | LARGE SCALE COMPOSITION FOR ORCHESTRA, CHORUS AND SOLOISTS BASED ON EITHER A BIBLICAL OR NON-BIBLICAL TEXT. |
| ANTONIO VIVALDI | B. 1678-1741. BORN AND SPENT HIS LIFE IN ITALY. DIRECTOR OF MUSIC AT A SCHOOL FOR ORPHANED GIRLS IN VENICE. THE "RED PRIEST" BECAUSE OF HIS BRIGHT ORANGE HAIR. MOST FAMOUS COMPOSITION - A COLLECTION OF 4 CONCERTOS FOR SOLO VIOLIN AND STRING CALLED THE "F |
| WOLFGANG AMADEUS MOZART | 1756-1791 SALZBURG, AUSTRIA SYMMETRY - BALANCE NEW CLASSICAL STYLE |
| BAROQUE PERIOD | 1600-1750 NEGATIVE VALUE JUDGEMENT |
| BAROQUE STYLE CHARACTERISTICS | EXHIBITED IN THE BRANDENBURG CONCERTOS; ONE OF THE MOST IMPORTANT CHARACTERISTICS OF THE MUSIC IS IT IS CONTINUOUS, WITH FEW, IF ANY PAUSES DURING A MOVEMENT. |
| TEMPO | FAST MOVEMENTS THAN SLOW. STEADY; ALTERNATES BETWEEN FAST AND SLOW TEMPO MOVEMENTS: FAST MOVEMENTS FOLLOWED BY SLOW MOVEMENTS. |
| BEAT | SOMETIMES QUITE AUDIBLE, BUT NOT ALWAYS AND IS STILL APPARENT. STEADY, CONSISTENT, EVENLY SPACED PULSE. |
| RHYTHM | A LOT OF ACTIVITY, FOLLOWED BY SLOWER ACTION. BUSY ACTIVE RHYTHM DOMINATES THE STYLE. THE MUSIC IS CONTINUOUS - NO PAUSES OR RESTS. |
| PITCH | FOCUSES MORE IN THE MUSIC ON HIGH PITCHES. SOMETIMES REFERRED TO AS "TREBLE-DOMINATED" STYLE. |
| TONE COLOR | STRING INSTRUMENTS DOMINATED, SOME HAVE WOODWINDS. BRASS IN SOME CONCERTOS, NO DRUMS; HARPSICHORD IN EVERY MOVEMENT. EARLY VERSIONS OF WOODWINDS AND BRASS: FLUTES ARE BOTH RECORDER LIKE AND PLAYED SIDEWAYS; BRASS INSTRUMENTS DO NOT HAVE VALVES. INSTRUMENT |
| MELODY | DOESN'T REALLY FEEL LIKE IT HAS "MELODIES" IN THE WAY WE UNDERSTAND THEM (SIMPLE, CATCHY TUNES THAT ARE MEMORABLE). |
Created by:
ellenln101
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