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Get books again today…. Journal Entry #9 In music, art, etc., do you enjoy a simple, pure style like that of the Renaissance, or do you enjoy the over-the-top, dramatic style of the Baroque? Why?. BAROQUE MUSIC (SHMRFT). Sound Unity of Mood

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  1. Get books again today… Journal Entry #9 In music, art, etc., do you enjoy a simple, pure style like that of the Renaissance, or do you enjoy the over-the-top, dramatic style of the Baroque? Why?

  2. BAROQUE MUSIC (SHMRFT) Sound • Unity of Mood • Usually expresses one basic mood throughout (but not in vocal music) • Emotional states represented – joy, grief, agitation, called affections • Specific rhythm/melodic patterns became associated with specific moods

  3. (SHMRFT) cont… Harmony • Chords increasingly important • Chords gave prominence to the bass, which is the foundation of a chord • Basso continuo – accompaniment made up of a bass part usually played by two instruments • a keyboard plus a low melodic instrument like cello or bassoon

  4. Harmony, cont… • Basso continuo played in left hand, while right hand creates chords based on numbers written in the music, called figured bass • Example: pg. 129

  5. (SHMRFT) cont… • Filling in chords according to figured bass is called realization • Figured bass only specifies basic chords • Performer has great freedom • Also saved time for busy Baroque composers • Also saved paper, which was very expensive

  6. (SHMRFT) cont… • Figured bass is the shorthand system that leads to song lead sheets and jazz improvisation of today

  7. (SHMRFT) cont… Rhythm • Patterns repeat throughout piece • Created forward momentum • Forward motion rarely interrupted • Beat emphasized more than Renaissance

  8. (SHMRFT) cont… Melody • Repeated throughout piece, melodies heard again and again throughout • Character of the melody remains constant • Continuous expanding, unfolding, and unwinding of melody • Sequences used • Ornamentation • Hard to sing and remember

  9. LISTENING FOR ORNMENTATION • Sonata da chiesa, Op. 5, No. 1 • Arcangelo Corelli • Also listen for harpsichord

  10. (SHMRFT) cont… Dynamics • Volume level stays constant for long time • Terraced dynamics – sudden shifts in dynamics • Organ, harpsichord, clavichord: narrow dynamic changes • Organ and harpsichord – incapable of gradual dynamic changes • Clavichord – very small piano-like instrument • Capable of gradual dynamic changes, but only within small range (ppp-mp)

  11. LISTENING FOR TERRACED DYNAMICS • Hallelujah Chorus from Messiah • George Frederic Handel • Listen for trumpet and timpani

  12. (SHMRFT) cont… Texture • Early Baroque: homophonic • Late Baroque: usually polyphonic • Soprano and Bass: most important • Imitation • Some vocal pieces may switch texture for change of mood

  13. SHMRFT, cont… Texture, cont… • Music depicts specific meanings (word painting) • “heaven” – high, “hell” – low, “grief” – descending chromatic scale • Words emphasized by writing many rapid notes for a single syllable of text - mellismas • Technique also demonstrated singer’s virtuosity

  14. LISTENING TO MELLISMAS • Ev’ry Valley Shall Be Exalted from Messiah • George Frederic Handel

  15. THE BAROQUE ORCHESTRA • 10-40 players • Based on instruments of violin family • Main parts • Basso continuo – harpsichord & cello or bass & bassoon • Upper strings – 1st and 2nd violins & violas

  16. Use of woodwind, brass, percussion varied • Other instruments could be added – recorder, flute, oboe, trumpet, horns, trombone, timpani • Trumpet & timpani joined in for festive music

  17. LISTENING FOR FESTIVE TRUMPET • Gloria from Gloria in D Major • Antonio Vivaldi

  18. Different than modern orchestra: • 4 groups of instruments • Trumpet was different, no valves • Difficult to play, associated with royalty • Trumpeters were the top of the orchestra ladder • Treated like military officers

  19. BAROQUE FORMS • movement – a piece that sounds fairly complete and independent but is part of a larger composition • each movement: • has its own themes • comes to a definite end • is separated from the next movement by a brief pause

  20. 3-Part: ABA • 2-Part: AB • Through-composed • Always contrast between bodies of sound • Examples: • alteration between small and large groups of instruments • Voices and instruments

  21. CHAPTER 2: MUSIC IN BAROQUE SOCIETY • Before 1800: music written to order for • Churches, aristocratic courts, opera houses • All new; no one wanted “old-fashioned” • Music was main source of entertainment • One court might employ an orchestra, chapel choir, opera singers • Large court might have 80+ performers, including best opera singers of the day

  22. Court Music Directors • Supervised/composed performances • Operas, church music, dinner music, concerts • Discipline of other musicians • Upkeep of instruments and music library • Job: good and bad • Pay and prestige very high • Anything they wrote got performed • Most were slaves to their employer

  23. Church music very grand • Most churches had organ, choir, orchestra every service • Most ordinary citizens heard music in church • Fine church music increased prestige of each city • Cities competed to attract best musicians

  24. Church Music Directors • Also had to produce steady flow of new music • Trained choristers • Upkeep of instruments and library • Earned less, lower status than court directors • Low income was often supplemented by firewood, grain, irregular fees for weddings/funerals

  25. Other Musicians • Some town musicians also employed • Some earned money writing operas for commercial opera houses • Venice: city of 125,000 people, 6 opera houses between 1680-1700 • Handel worked for a London opera house 1719-1728. When it went bankrupt, Handel started his own, working as composer, conductor, manager. Handel: one of the first great freelance musicians.

  26. How to become a musician in the Baroque • Often passed from father to son (Bach, Vivialdi, Purcell, etc.) • Apprenticeships for young boys • Starting as choirboys • Orphanages • Many orphans and poor children received the best musical training in orphanage schools

  27. Women not allowed to be music directors or court instrumentalists, many succeeded in composing • To get a job, musicians had to pass difficult exams, auditions, and composition submissions • Also nonmusical requirements: • Donations to town treasury • Marrying the daughter of retiring musician (Bach and Handel turned down same job because they didn’t want to marry the organists daughter)

  28. Galileo Newton Baroque Ornamentation Opera Affections Basso continuo Figured Bass Realization Terraced Dynamics Sequences Clavichord Orchestra Written-to-Order music Court Music Director Church Music Director Apprenticeship Orphanage VOCABULARY

  29. GROUP PRESENTATIONS Isaac NewtonBaroque DanceFamous Baroque Operas Alec Camp Dominique Flyte Chris Pearson Aaron Brunnworth Claire Chandler Nate Novak Taimoor Aziz Emma Brown Ryan Kaminsky Nick Caban Julian Harvey Blake Noud Galileo Baroque Royal Courts Bilal Aziz Phil Kosydor Jacob Burns Kalyn Moore Kieryn Beyerl Andrew Drake Anna Stamer Sami Greytak

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