Chapter_11_6e

Chapter_11_6e - Chapter 11 Early Baroque Chapter 11 Early Baroque Vocal Music Opera – “work” Definition A drama Actors sing their parts

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Unformatted text preview: Chapter 11: Early Baroque Chapter 11: Early Baroque Vocal Music Opera – “work” Definition A drama Actors sing their parts Elaborate stage sets and costumes Emerged in northern Italy Florence, Mantua, and Venice First promoted by Florentine Camerata Influenced by ancient Greek drama Opera Terminology Libretto The text Story usually from ancient Greece and Rome Sitle rappresentativo Expressive, flexible style of solo singing Move imperceptibly between moods Eventually split into recitative and aria Recitative Communicates the plot Musically heightened speech Mirrors rhythm of speech patterns Rapidly repeating notes, long notes at the end Simple recitative Basso continuo accompaniment Bass line and chords Aria Express the character’s emotion Musical style passionate, expansive and tuneful Clear meter and regular rhythms Virtuosic melismas A self­contained, independent musical unit Accompanied by basso continuo and orchestra Arioso Style between aria and recitative More tuneful than recitative Not as melismatic as the aria Similar to the stile rappresentativo OPERA Performance location Theater Purpose Secular entertainment Performance style Fully dramatized (staging, costumes, etc.) Subject Classical mythology Ancient history Musical forms Recitative Aria Accompaniment Orchestra CANTATA ORATORIO Orfeo (1607) The first important opera Myth of Orpheus and Eurydice Recitative: “At the bitter news” Arioso: “Thou art dead” Aria: “Powerful spirit” Chamber cantata Primary genre of vocal chamber music Cantata: “something sung” Sonata: “something sounded” (on an instrument) Performance In a private home or small auditorium For a select audience Emphasized accompanied solo singing Chamber cantata A “mini­opera” Topic Unrequited love Heroes of ancient history and mythology Contrasting sections of recitative and aria Single soloist Omits costumes and scenery Lasts 8­15 minutes The Secret Lover (1651) Lament Basso ostinato “I want to die” from The Secret Lover Aria from Chamber Cantata Composed by Barbara Strozzi Dedicated to the emperor of Austria Dido and Aeneas (1689) One of the first operas written in English Based on Virgil’s Aeneid* Dido’s Lament “When I am laid in earth” Begins with a recitative (“Thy hand, Belinda”) Chromatically descending vocal line Accompanied by the basso continuo The aria is based on a basso ostinato (also called a ground bass) Repeated bass line provides a solid foundation Technique a common feature of Baroque music Often used to symbolize grief Dido’s Lament “When I am laid in earth” Aria based on a basso ostinato (ground bass) Bass line provides a solid foundation Basso ostinato common in Baroque music Often symbolized grief ...
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This note was uploaded on 01/10/2012 for the course MUS 1751 taught by Professor Harris during the Summer '08 term at LSU.

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