Chapter 17 Italy and Germany in the Late 17th Century

Chapter 17 Italy and Germany in the Late 17th Century -...

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Dorothy Chung 3/28/16 Chapter 17 Italy and Germany in the Late 17th Century Italy Opera The principal Italian center remained Venice Opera was well established in Naples and Florence Growing importance in Milan and other major cities Singers and the arias were what attracted the public and assured the success of an opera production Typical number of arias in an opera increased By 1670s, ~60 Favorite form was strophic song 2+ stanzas were sung to the same music Arias often reflected the meaning of the text through musical motives in the melody or accompaniment Vocal Chamber Music The cantata had become the leading form of vocal chamber music in Italy Center of cantata composition was Rome Cantata meant for small discriminating audience in a room without stage, scenery, or costumes Elegance, refinement, and wit Different from a spacious opera house Alessandro Scarlatti Wrote 600+ cantatas Often used diminished seventh chords to convey strong emotions Da capo aria ABA form A typically includes 2 different settings of the same text framed by instrumental ritornellos Serenata Midway between cantata and opera Semi-dramatic piece for several singers and a small orchestra Secular subject matter Resembled Italian oratorios Same patrons, high-level clergy and nobility in Rome and other Catholic cities Scarlatti cantatas more than 600 cantatas C lori vezzosa, e bella , second recitative wide harmonic range, chromaticism, diminished chords
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Church music and oratorio trio sonatasa. emphasized lyricism over virtuosity b. two violins treated exactly alike c. suspensions, forward momentum
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  • Spring '14
  • Kim,S
  • Music History, B. Concerto Grosso, vocal chamber music, Italian Style

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