Music of the Baroque

Music of the churrigueresqueness BY Pagan Unit 3 Music of the churrigueresco 1 . Name 2 important visual graphicsists (such as painters) and also two important writers of literature (such as poets) from the Baroque Period. Do not stir medicamentians. (Visual Artists) Peter Paul Rueben & Artemisia Gentiles / ( releasers)- John Fletcher and Francis Beaumont 2. Write a paragraph nearly The Baroque Style. The baroque style was very well suitable to the wishes of the aristocracy, who were enormously rich and powerful during the seventeenth and eighteenth centuries, also sacred institutions powerfully shaped the baroque style.Churches employ the e driftal and theatrical qualities of art to make worship much attractive and appealing. The middle class too, influenced the culture of the baroque style, for example prosperous merchants and doctors commissi sensationd realistic landscapes and scenes from everyday life. 3. Write a paragraph that includes the characteristics of Baroque music. A. Unity of mood Usually expresses one basic mood what begins joyfully will remain Joyful passim. ruttish states like Joy, grief, and agitation were represented.Composers molded a tuneful language to fancy the affections pacific rhythms or honeyed patterns were associated with specific moods. B. Rhythm Rhythmic patterns hear at the beginning of a peck argon repeated throughout it. This rhythmic continuity provides a compelling drive and energy-the forward motion is r atomic number 18ly interrupted. The beat, for example, is emphasized far more in baroque music than in well-nigh Renaissance music. C. Melody There is a never-ending expanding, unfolding, and unwinding of melody.This sense of directed motion is frequently the result of a melodic sequence, that is, successive repetition of a musical dead at higher(prenominal) or lower leafes. Many baroque melodies sound elaborate and ornamental, and they are not easy to sing or remember. It gives an impression of dyn amic blowup rather than of balance or symmetry. D. Dynamics The level of volume tends to tick fairly constant for a stretch of time. When the dynamics do permutation, the shift is sudden, like physically stepping from one level to another. The main keyboard instruments of the baroque completion were the organ and harpsichord, both well entouraged for continuity of dynamics.E. Texture It is predominantly polyphonic in suture. Usually, the soprano and thick lines are the most important. non all-late baroque music was polyphonic, a piece might shift in texture, especially in point-blank music, where changes of mood in the words require musical contrast. F. Chords and the basso basso continuo Chords gave invigorated prominence to the bass part, which served as the compriseation of the harmony. The whole musical structure rested on the bass part. The new emphasis on chords and the bass part resulted in the most characteristic feature of baroque music, an accompaniment calle d the basso continuo.The basso continuo polish offered the advantage of emphasizing the all-important bass part, besides providing a unfaltering flow of chords. G. Use of words in the music Baroque composers used music to depict the meaning of specific words. Rising dentures represented upward(a) motion descending scales depicted the reverse. Descending chromatic scales were associated with pain and grief. Composers a lot emphasized words by writing many rapid notes for a single syllable of text this technique also displayed a singers virtuosity. 4. What was the role of music in Baroque society?It served as musical expression for resplendent composers, a source of entertainment for aristocrats, a way of life for musicians and a temporary escape from the routines of daily life for the general public. 5. What was the goal of the radical known as the Camera? The Camera wanted to create a new vocal style modeled on the music of antiquated Greek tragedy. Since no actual dramatic m usic had come implement to them from the Greeks, they ground their theories on literacy accounts that had survived. The Camera wanted the vocal line to do the rhythms and pitch fluctuations of beech. 6.Write a detailed description of each of the following new forms in Baroque music A. Concerto gross Extended composition for slavish soloists and orchestra, usually in three movements (1) Fast, (2) Slow, (3) Fast. B. Fugue Polyphonic composition based on one main theme or subject. C. Opera free rein that is sung to orchestral accompaniment, usually a large-scale composition employing vocal soloists, chorus, orchestra, costumes, and society. D. Solo concerto A piece for a single soloist and an orchestra. E. Baroque suite A group of dance, usually in the name key, with each piece in the binary form or the ternary form.F. Oratorio Large- scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, exclusively without acting, scenery, or costume s often based on biblical stories. G. Sonata In baroque music, an instrumental composition in several movements for one to eight players. In music after the baroque period, an instrumental composition usually in several movements for one or two players. H. Church cantata patch in several movements, usually scripted for chorus, one or more vocal soloists and orchestra.The church cantata for the Lutheran service in Germany during the Baroque period often includes chorales. 7. Write a complete definition for each of the following terms A. Movement Piece that sounds fairly complete and autarkic but is part of a larger composition. B. Libretto Text of an opera written by the librettist (dramatists) and set to music by the composer. C. Aria -Song for solo voice with orchestral accompaniment, usually expressing an emotional state through its outpouring of melody found in operas, oratorios, and cantatas. D.Recitative Vocal lines in an opera, oratorio, or cantata hat imitates the rhyt hms and pitch fluctuations of speech often serving to lead into an aria. E. Overture (in opera) -Short musical composition, stringently orchestral, which opens an opera and sets the overall dramatic mood. Orchestral introductions to later acts of an opera are called preludes. F. Chorus (in opera) A body of singers who sing the choral parts off work. G. Ground bass Variation form in which a musical idea in the bass is repeated over and over era the melodies above it constantly change common in baroque music. H. choral Hymn tune sung too religious text.