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Unit 6 (Chapter 21 (Opera: large scale drama sung (Orcehstra (Overtures…
Unit 6
Chapter 21
Recitative: Solo vocal declamation that follows the inflections of the text, often resulting in a disjunct vocal style; found in opera, cantata, and oratorio. Can be secco or accompagnato. (page 113)
Aria: Lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio. (page 113)
Masque: English genre of aristocratic entertainment that combined vocal and instrumental music with poetry and dance, developed during the sixteenth and seventeenth centuries. (page 114)
Hornpipe: Country dance of the British Isles, often in a lively triple meter; optional dance movement of solo and orchestral Baroque suites. A type of duple-meter hornpipe is still popular in Irish traditional dance music. (page 115)
Libretto: Text or script of an opera, oratorio, cantata, or musical (also called the "book" in a musical). (page 114)
ground bass: A repeating melody, usually in the bass, throughout a vocal or instrumental composition. (page 115)
Sinfonias: Short instrumental work, found in Baroque opera, to facilitate scene changes. (page 114)
Opera: large scale drama sung
Orcehstra
Overtures and sinfonias
Sets mood
Used for hyper reality and
Emotions through music
Recitative
Speech like singing
Aria
Emotional
Ensemble
Chorus with duos, trios, and quartets
Backup and plot development
Overture: An introductory movement, as in an opera or oratorio, often presenting melodies from arias to come. Also an orchestral work for concert performance. (page 114)
Listening Guides
LG 32 (Symphonie fantastique, IV. Hector Berlioz)
a large, colorful orchestra that tells the story of young lovesick musician in despair who, after taking too much opium, falls into a deep sleep full of crazy dreams.
The woman he loves (his “beloved”) is conveyed in this program symphony by a recurring idea or theme that is heard in all five movements.
In each movement, the idée fixe changes as the beloved’s role in the story changes
Date: 1830, Romantic
Genre: Program symphony
Medium: Large orchestra (flute, piccolo, 2 clarinets, 4 french horns, 4 bassoons, 2 trumpets, 2 cornets, 3 trombones, 2 ophicleides, 2 timpani, bass drum, bells, strings)
Form: alternating two themes
Theme A and Theme B. Theme A is a descending scale in duple meter that first sounds while theme B contrasts with Theme A. Theme B begins in ascending motion and is played loudly by brass and percussion
the French term for a fixed idea is idée fixe
LG 39 (Libera me, from Requiem, Op. 48, Gabriel Fauré)
Medium: two soprano soloists and two double choirs (SATB) with organ
This movement of Fauré’s Requiem is performed by a baritone soloist (lowish male voice)
Date: 1887–89 (revised 1893, 1900)
Genre: Mass for the Dead
Form: three-part form (A-B-A´)
Harmony: Consonant; some dissonance
Texture: Shifts between homophonic ensemble sections and two-voiced duets
1) baritone solo with orchestral accompaniment
2) chorus and orchestra
3) SATB singing a melody in unison with orchestral accompaniment
Throughout this movement, the music conveys the mood of the lyrics
LG 25 (Dies Irae, from Requiem, Wolfgang Amadeus Mozart)
Date: 1791 (unfinished)
Genre: Requiem Mass
Roman Catholic Mass for the Dead.
Medium: Four soloists (soprano, alto, tenor, bass), chorus, and orchestra
variety of textures and colors
vocal melody supported by orchestral accompaniment
featuring trumpets and timpani, and loud dynamics, all of which are designed to convey a fearful tone
third verse, opening with a trombone solo and proceeding with a trombone and bass duet and slower tempo, conveying wonderment
sixth verse, featuring solo alto
seventh verse begins with solo soprano and concludes with all four soloists
eighth and final verse features a dramatic chorus with slower tempo and loud dynamics that eventually become soft
utilized a mostly homophonic texture.
LG 61 (blue cathedral, Jennifer Higdon)
Date: 2000
Medium: Large orchestra with many percussion instruments (crotales, celesta, marimba, vibraphone, bell tree, chimes, triangle, tuned glasses, Chinese reflex balls)
Genre: Orchestral tone poem
large orchestra with many percussion instruments.
there is also a focus on individual lines and duets
Form: Sectional, with a structure resembling a rondo
Muscial form in which the first section recurs, appears as the last movement in various forms, including A-B-A-B-A, A-B-A-C-A, and A-B-A-C-A-B-A.
Harmony: Frequent use of major triads, but no clear key center
Texture: Homophonic
Rhythm: Mostly in 5/4 but often undefined
there are often consonant harmonies with no sense of center
LG 11 (Dido and Aeneas, Act III, Opening, Henry Purcell)
male soloist and a chorus of male and female voices accompanied by a string orchestra and harpsichord
1689, Baroque
Form: strophic with orchestral prelude, solo verse, and chorus
each strophe or stanza of text is sung to the same melody
Scotch snap is a short-long rhythm that helps convey playfulness, and you can hear it most clearly on the word “never”
Chapter 41
idée fixe: "Fixed idea"; term coined by Berlioz for a recurring musical idea that links different movements of a work. (page 233)
absolute music: Music that has no literary, dramatic, or pictorial program. Also called pure music. (page 231)
thematic transformation: Musical expansion of a theme by varying its melodic outline, harmony, or rhythm. (page 233)
program music: Instrumental music endowed with literary or pictorial associations, especially popular in the nineteenth century. (page 231)
Hector Berlioz (1803-1869)
Symphonie Fantasique
Changes form
Varied harmony, meter, and dynamics
Intense and bold
5 movements
Chapter 35
Mass: Central service of the Roman Catholic Church. (page 193)
Oratorio: Large-scale dramatic genre originating in the Baroque, based on a text of religious or serious character, performed by solo voices, chorus, and orchestra; similar to opera but without scenery, costumes, or action. (page 193)
Motzart (1756-1791)
Funeral Mass Requiem
Deis Irae
Chapter 48
Gabriel Faure (1845-1924)
Requiem Libera Me
Ostanato, French Horns, Chorus
Serene to Forceful to Serene
Homophonic
Mélodie: An accompanied French art song of the nineteenth and twentieth centuries; the French parallel to the German Lied. (page 272)
Chapter 66
Jennifer Higdon (1962- P)
Higdon's Blue
Lyrical
Shifting meter
neo-Romanticism: A contemporary style of music that employs the rich harmonic language and other elements of Romantic and post-Romantic composers. (page 398)