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Chapter 7: The Early Baroque Period

Style Features; Opera

Key Terms
basso continuo ground bass (basso ostinato) functional harmony opera recitative aria arioso chorus

Style Features of Early Baroque Music


emotional expression tempered by control methodical use of musical elements to express emotions
rhythm and meter basso continuo ground bass functional harmony

Rhythm and Meter


strong beat and regular meter consistent repetition of patterns different patterns for different emotions range between two extremes
recitative dance music

Texture: Basso Continuo


consistent feature of Baroque music
strong, reinforced bass line strong harmonic foundation

played by
bass melody instruments (cello, bass) chording instruments (keyboard, lute)

Texture: Ground Bass


ground bass = basso ostinato, repeating bass line

ostinato is a nearly universal practice

Functional Harmony
relies on major and minor scales
sense of stability disorientation of dissonance or modulation

more focus on chord progressions over strong bass line more predictable, purposefulmore modern!

Stylistic Features cont.


Shift from Modal to Tonal Writing
Diatonic scale vs. dorian, lydian, etc. Major vs. Minor

Coexistence of old and new styles


Counterpoint Prima prattica, seconda prattica

Stylistic Features
Greater Rhythmic Freedom
Elaborate, complex rhythms Because of homophonic texture

From Intervallic to Chordal Harmony


Harmonic progression with counterpoint

Stylistic Features
Emergence of Program Music
Instrumental music connected to story or idea

Cultivation of Contrasting Timbres


Blend of voices, strings, and winds

Allowance for Virtuosity


More opportunities for performers to display their talent

Style Features
Growing importance of Instruments and Instrumental Music
The Golden Age of organ building and violin making Harpsichord vs. Piano Emergence of the orchestra Instrumental Virtuosos

Style Features
Emergence of National Styles
Italian VS French VS German

Opera
most characteristic Baroque art form ideal vehicle for individual emotionalism ideal example of extravagance and control
lavish mix of many art forms rigid schemes (recitative and aria)

Recitative vs. Aria


Recitative free, speechlike rhythms pitches follow speech patterns continuo accompaniment prose text (words stated once) advances the action (movement) dialogue (free interaction) Aria clear beat, consistent meter pitches form melodic patterns and phrases orchestral accompaniment poetic text (phrases often repeated) freezes the action (reflection) soliloquy (expresses one emotion)

Claudio Monteverdi (15671643)


leading figure in music c. 1600 the last great madrigalist and the first great opera composer Mantua court (15891612)
Orfeo, operas first masterpiece

St. Marks, Venice (16121643)


The Coronation of Poppea

The Coronation of Poppea


Poppea is mistress to Emperor Nero. Their love triumphs after
Poppeas former lover is banished the Empress is set to sea Neros adviser is forced to commit suicide

Poppea is crowned Empress of Rome.

The Coronation of Poppea


Act I: Neros guards grumble outside Poppeas house Poppeas former lover shows up Poppea and Nero sing a lingering farewell (recitative) Poppea sings of her hopes and her ambition to become Empress (aria)

From Act I, Recitative


rhythm dictated by words and dialogue
speeds up and slows down freely

short arioso (songlike) passages


support Neros flattery of Poppea

From Act I, Aria


a kind of victory dance in three sections recitative indicates moment of uncertainty energetic rhythms depict section 3s battle

Henry Purcell (16591695)


greatest English Baroque composer member of Chapel Royal and organist at Westminster Abbey sacred, instrumental, and theater music influenced by French and Italian music wrote the first real English opera, Dido and Aeneas

Purcell, Dido and Aeneas


Story from Virgils epic poem, The Aeneid After escaping from Troy, Aeneas falls in love with Queen Dido of Carthage. Malicious witches make Aeneas believe that Jove has ordered him to continue his journey. Furious at his rejection, Dido spurns him. Dido commits suicide in the final scene.

Dido and Aeneas Act III, final scene


recitative
dark, somber tone mostly minor mode with chromaticism

aria
descending bass line repeated phrases

chorus
alternates imitation and homophony uses word painting

Act III, final scene, Aria

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