Medieval Music Review Sheet PDF

Review Chapter Four : Medieval Music, 476-1450 1. What is the dominant social/political institution of the (European) Middle Ages (especially for the history of music in this era), and why was that so? 1. The Catholic Church, because of its extensive control over religion, musi...

Review Chapter Four : Medieval Music, 476-1450 1. What is the dominant social/political institution of the (European) Middle Ages (especially for the history of music in this era), and why was that so? 1. The Catholic Church, because of its extensive control over religion, music, and science. Music in the Monastery 1. What is a monastery (or convent), who inhabited these places, and what sorts of musical activities took place there? a. A monastery was a secluded place of worship occupied by monks who held regular cycles of prayer and worship, with music being in the forms of chants. 2. What is the mass and how might it have been "performed"? a. Mass was the reenactment of the Lord’s Supper that would be performed every day. 3. What is Gregorian chant. and what are its primary sounding traits? What are the presumed origins of this music? a. The Gregorian Chants were monotone chants with a free verse rhythm that drew out the text. The text would often be Latin verses from the Vulgate Bible. It is presumed that Gregorian Chants started because of Pope Gregory being “inspired” by the Holy Spirit of God. 4. How was music notated in the Middle Ages? What are neumes? a. Music was notated by neumes, which were a simple collection of up and down dashes and dots that suggested the motion of the notes. 5. Know the Listening Guide (p. 55). How is this example representative of chant? What are some of its sounding traits (how would you describe this example)? a. This is a chant because of its monotonic texture. Although there are many singers, there is no harmony used. All of the notes are conjunct. It contains a very open tone formed by only voices. There is no recogniseable meter, with each verse length being determined by the words. 6. Who is Hildegard of Bingen, and why is she remembered in the history of music? What sorts of things beyond music did she do? a. She was a nun. She wrote 77 known chants. She was also a scientist, pharmacologist, and mystic. 7. Know the Listening Guide (p. 57). How is this example representative of chant? What are some of its sounding traits (especially in comparison to the previous example)? a. This is a chant because of its monophonic texture and its free verse rhythm with no tangent meter. It has a conjunct note texture, with each note smoothly  connecting to the next, although the notes do range all around the tonic. The chant uses melismatic singing, with each syllable having many notes. Music in the Cathedral 1. What is a cathedral, who worked in that place, and how was the building used? 1. A cathedral was an extravagant church used by priests for mass and prayer. They would hold services there for the community. 2. What is the gothic style, what does that mean in terms of the interior of a cathedral, and how might this have affected the way music sounded in the cathedral? 1. The gothic style used high ceilings and natural lighting that gave an extravagant feeling to the viewer. The high ceilings would amplify the acoustics, adding a very grand sound to the chants, echoing throughout the chamber. 3. Why is the cathedral of Notre Dame of Paris important in the history of music? The church took 100 years to complete, and once completed, it was used as a chamber for new, polyphonic chants, now written with new notations. It was the location of the first complete mass. 4. Who was Perotinus (or simply Perotin), and what advance(s) in music did he create? 1. Perotin, a 12th-century composer associated with the Notre Dame school, is renowned for advancing polyphonic music by developing complex structures, including the use of multiple independent melodies (organum) and expanding the number of voice parts from two to three or four. 5. What is organum, and what advance in notation makes this music possible? 1. It was the elaboration of the chant, adding 4 voices and introducing polyphony. It was written using mensural notation. 6. Know the Listening Guide (p. 59). How is this example representative of organum? What are some of its sounding traits (how would you describe this example)? 1. It includes polyphony and a set meter. It uses melismatic singing, embellishing the words of the text. Three are moving up top, while one remains on one note. 7. Why is the cathedral of Notre Dame of Reims important in the history of music? 1. It was the home of Guillaume de Machaut. 8. Who was Guillaume de Machaut, and what important musical work did he create? 1. Guillaume de Machaut was a 14th-century French composer and poet. His most important musical work is the "Messe de Nostre Dame," one of the earliest complete Mass ordinary and helped develop the SATB. 9. In general terms, what are the ordinary and proper of the mass (and other liturgical items)? 1. In general terms, the Ordinary of the Mass refers to the fixed parts of the liturgy that are sung or recited at every Mass, such as the Kyrie, Gloria, Credo, Sanctus,  and Agnus Dei. The Proper of the Mass, on the other hand, consists of the variable parts that change according to the liturgical calendar or specific celebrations, including the Introit, Gradual, Alleluia, Offertory, and Communion. Other liturgical items can include prayers, hymns, and readings that vary depending on the occasion or season within the Church calendar. 10. Know the Listening Guide (p. 60). What is significant or unique about this example, especially in comparison to all other sacred music of the Middle ages? What are some of its sounding traits (how would you describe this example)? 1. Melismatic singing. Polyphonic and monophonic, combining traditional and new church singing. Music at the Court 1. How does secular music differ from sacred music in the Middle ages? Why does relatively less secular music survive from that time? a. Secular music in the Middle Ages focuses on non-religious themes, often reflecting everyday life, love, and chivalry, while sacred music is composed for worship and liturgical use. Relatively less secular music survives from that time due to a lack of formal notational systems and the prioritization of preserving sacred works by the Church. 2. Who are troubadours and trovéres, where did they work and perform, and what sorts of music did they create? a. Troubadours were poet-musicians from the Occitan-speaking regions of southern France, while trovéres were their counterparts in northern France, and both worked in noble courts and performed songs that celebrated themes such as love, courtly behavior, and chivalric ideals, often using sophisticated lyrical forms and melodies. 3. Know the Listening Guide (p. 62). How is this example different from sacred music of the Middle ages, and how might it be similar (How might you differentiate the two genres)? What are some of its sounding traits (how would you describe this example)? a. It is different because it includes an instrumental introduction solo. It is monophonic, with only one singer accompanied by instruments. 4. Know the Listening Guide (p. 64-5). How is this example different from sacred music of the Middle ages, and how might it be similar (How might you differentiate the two genres)? What are some of its sounding traits (how would you describe this example)? a. It includes moments of polyphony and monotony, with a chorus of heterophony, each singing at the same time. Chapter Five: Renaissance Music 1. What is the Renaissance, what does the term mean, and what effect did this new era have on the arts? a. The Renaissance is the era of “rebirth” after the middle ages. It included a bigger emphasis on the secular world, thus allowing for a more innovative time regarding music. 2. To what previous era did artists and musicians look back for inspiration? What effect did this attitude have on music of the Renaissance? a. Artists and musicians during the Renaissance looked back to the classical era of ancient Greece and Rome for inspiration. This revival fostered a focus on humanism, leading to more structured compositions, the development of polyphony, and a greater emphasis on expressive text-setting in music. 3. What is Humanism, and how was this belief reflected in the arts of the era? a. Humanism is the viewpoint of focusing more on the human experience rather than just sacred things. This led to more secular music being made and less traditional methods of music within the church. Josquin Desprez (c. 1455-1521) and the Renaissance Motet 1. Who was Josquin Des Prez (or just "Josquin"), where did he work, and what sorts of music did he composer? What is his reputation, both in his time and today? a. He was a composer in Italy during the Renaissance that worked on both sacred and secular music. He was considered to be the best composer of his era. 2. What is a motet, and how does it differ from other forms of sacred music in this (or the previous) era? a. Motet was a Latin sacred text set to polyphonic music. It includes acapella and points of imitation, unlike the monophonic Gregorian chants of the previous era. 3. What is new about Josquin's "Ave Maria", especially when compared to the styles of the Medieval era? a. Josquin's "Ave Maria" features complex harmonies and expressive text, which are more advanced than the simpler melodies of the Medieval era. The text of the song was more important. 4. Know the Listening Guide (p. 71). How does this work exemplify the "Renaissance ideal sound"? What is the texture of this work, and how does this composer treat the words of his piece? a. It includes the imitation and a four part harmony (SATB), with each piece building upon each other. Each word is given multiple notes, rather than a syllabic singing style. 5. What is imitation, and how is it used in Josquin's music?  a. Imitation is a technique where a musical idea is repeated in different voices, and in Josquin's music, it is used to create rich textures and intricate interplays between melodies, enhancing the overall complexity and cohesiveness of the composition. 6. What does the term a cappella mean? a. It means without instruments. The Counter-Reformation and Palestrina (1525-1594) 1. How does the Protestant Reformation affect religious beliefs in the Renaissance? a. The Protestant Reformation challenged the authority of the Catholic Church and led to new religious beliefs, emphasizing personal faith and scripture over tradition, which resulted in the creation of various Protestant denominations. 2. What is the Counter-Reformation, and what effect did it have upon Catholic Church music? a. The Counter-Reformation was the Catholic Church's response to the Protestant Reformation, aiming to reform the Church and reaffirm its practices, which led to a focus on clearer liturgical music that emphasized text comprehension and emotional expression. 3. Who was Giovanni Pierluigi da Palestrina (or just "Palestrina")? What sort of musician and composer was he, and where did he work? What are his most important contributions to music history? a. Palestrina was a prominent Italian composer of the Renaissance known for his sacred music, particularly his polyphonic masses and motets; he worked primarily in Rome and is often regarded as the master of Renaissance choral music. Audible texts were heavily emphasized. 4. Know the Listening Guide (p. 76). What is significant or unique about this example, especially in comparison to all other sacred music of the Middle ages, and to Josquin's sacred music? What are some of its sounding traits (how would you describe this example)? a. The piece contains peaceful and light tones with very little dissonance that gives the feeling of perfection, alluding to a higher heavenly realm, contrasting the monophonic chants of the middle ages. Popular Music in the Renaissance 1. Why does more secular music survive from the Renaissance? What new technology helps to increase the dissemination of music in this era? a. More secular music survives from the Renaissance because it was often composed for entertainment and social occasions, appealing to a wider audience, while the advent of the printing press allowed for easier distribution and access to sheet music.  2. What is a madrigal, what are the origins of the genre, and what are some of its sounding traits? a. A madrigal is a secular vocal music genre that originated in Italy in the late 14th century, characterized by its use of polyphony, expressive text-setting, and rich harmonies. 3. What are "madrigalisms" or "word painting"? Be able to supply a few examples of this technique. a. Madrigalisms, or word painting, are musical techniques that illustrate the literal meaning of the lyrics, such as ascending scales to represent "climbing" or dissonance to convey "sorrow." 4. What is the history of the madrigal, and how did this genre transfer from Italy to England? What adjustment had to be made for the "English Madrigal" to work? a. The madrigal began in Italy during the Renaissance and became popular in England as composers adapted the form, requiring adjustments in lyrical structure and language to fit English poetic styles and sensibilities. 5. Know the Listening Guide (p. 78-9). How does this example represent the genre of the Madrigal? What are some of its sounding traits (how would you describe this example)? a. This represents that madrigal style because it follows the simple meter of a dance and a homophonic style, continuing that style until the end to allow for easy dancing. Chapter Six : Early Baroque Music, Opera 1. What does the term Baroque mean, and why was it applied to various arts, including music? a. The term "Baroque" refers to a style that emerged in the late 16th century and is characterized by ornate detail, dramatic expressions, and grandiosity in various forms of art, including music, architecture, and visual arts. It was applied to these disciplines to denote the complex emotional depth and elaborate designs that were prevalent during the period, reflecting the cultural and social dynamics of the time. Baroque Architecture and Music 2. What similarities can be found in comparisons between Baroque architecture and music of the Baroque era? a. The architecture and music both appeal to emotion and contain contrasts that create a dynamic ornamentation. Baroque Painting and Music 3. What similarities can be found in comparisons between Baroque painting and music of the Baroque era?  a. They contained images that would elicit an emotional response, portraying the normal life, rather than epic eras of traditional paintings. 4. What is the Doctrine of Affections, and what does it hold for music? a. The Doctrine of Affections is a Baroque aesthetic theory that posits that music can evoke specific emotions or "affections" in the listener. It holds that different musical elements—such as tempo, key, and harmony—can be strategically employed to convey distinct emotional states, creating a direct emotional experience for the audience. Early Baroque Opera 5. What is an opera, and when and where (roughly) did this new genre arise? a. Opera is a theatrical art form that combines singing, orchestration, acting, and sometimes dance to tell a story, emerging in Italy around the late 16th century, with the first recognized operas appearing in the early 17th century. 6. What is the libretto of an opera, and what is an opera's overture? a. The libretto of an opera is the text or script that contains the dialogue and lyrics sung by the performers, while the overture is an instrumental introduction that sets the mood and themes for the opera. 7. What is monody (origins and intentions), and how might the texture of this genre be described? a. Monody originated in the late 16th century, aiming to express emotion more directly through solo singing with instrumental accompaniment. Its texture is typically characterized by a single melodic line supported by chords, allowing for greater emotional expression and clarity of text. 8. What is basso continuo, and how does it contribute to the creation of monody's texture (and that of other genres in the Baroque)? What is figured bass? a. Basso continuo is a form of musical accompaniment used in the Baroque period, consisting of a bass line played by instruments such as cello or bassoon, along with harmonic support from a keyboard or lute. It contributes to monody's texture by providing a harmonic foundation that allows the solo voice to soar above, while figured bass is a notation system indicating chords and intervals above the bass line, guiding the performers in realizing the harmonies. Claudio Monteverdi (1567-1643) 9. Who was Claudio Monteverdi, where did he work, and what sorts of music did he compose? What is his reputation, both in his time and today?  a. He was the 1st great Baroque composer, employed by princes and the church. He composed two styles, those of prima pratica (church) and seconda pratica (theater). 10. What is Orfeo, and why is it an important work in the history of music? a. 1st important opera to survive, with the total theatrical experience. 11. What--in very general outline--is the story of Orfeo? Why might this story have been chosen for an opera plot? a. The story of Orfeo follows Orpheus, who descends into the Underworld to rescue his wife, Euridice, using his enchanting music to win over Hades. He must not look back at her until they reach the surface, but ultimately he does, losing her forever. b. This myth was chosen for an opera plot due to its themes of love, loss, and the transformative power of music, appealing to the emotional atmosphere of the Baroque era. 12. Know the Listening Guide (p. 91)? What is the purpose of this toccata? What is the texture of this work, and how does the sound reflect the instruments used? a. This toccata acts as the opening of the opera. Its use of trumpets providing a fanfare establishes the epic setting of the opera and notifies the audience that the play is beginning. 13. Know the Listening Guide (p. 91-2)? Who (what character) sings this example, what is the texture of this work, and what genre does it resemble? a. In L'Orfeo, the Act 1 Prologue "Dal mi permesso" is sung by La Musica, the personification of Music. The texture of this work is typically homophonic, featuring a clear melodic line supported by instrumental accompaniment. This prologue resembles the genre of recitative, as it combines expressive singing with a focus on conveying text and emotion, setting the stage for the operatic narrative. 14. What is a ritornello, and how is it used to create musical form? a. A ritornello is a recurring instrumental passage in a musical composition, particularly common in Baroque music. It serves as a refrain that alternates with contrasting sections, often featuring soloists 15. What is recitative, what is an aria, and how can you distinguish one from the other? a. A recitative is a free-verse and homophonic piece sung by the characters as an exposition, developing plot and dialogue. An aria is a song that allows the character to express their emotions rather than focusing on plot. The distinguishing features are that a recitative usually has a soft accompaniment, while the aria has a fuller orchestral arrangement with a more established meter. An Opera in English: Henry Purcell's Dido and Aeneas (1689) 16. Who is Henry Purcell, and what is his reputation in history? a. Greatest of all english composers, organist at westminster abbey 17. What is Dido and Aeneas, and what is the source of this work? a. Dido and Aeneas is an opera composed by Henry Purcell, first performed in the late 17th century. It is based on the story from Virgil's Aeneid, which tells of the tragic love affair between Dido, the queen of Carthage, and Aeneas, a Trojan hero. 18. What is an ostinato (or ground bass)? a. An ostinato (or ground bass) is a repeating musical phrase or rhythm that serves as a foundation over which other melodies or harmonies are built. In the context of Dido and Aeneas, Purcell uses an ostinato in the famous "Dido's Lament," where the repeating bass line underscores the emotional weight of Dido's sorrow. 19. Know the Listening Guide (p. 95-6)? What is the difference in the sound of "Thy Hand, Belinda" and "When I am Laid in Earth"? a. “Thy Hand, Belinda” is a recitative accompanied by a soft stringed instrument, while "When I am Laid in Earth" is an aria accompanied with a larger orchestra, embellishing the character’s pain. Chapter Seven : Toward Late Baroque Instrumental Music 20. Why might musical instruments have become more important in the Baroque era? a. Musical instruments became more important in the Baroque era due to the increased focus on instrumental music and the development of new forms like the concerto and sonata, as well as advancements in instrument construction that allowed for greater expressiveness and technical capabilities. 21. Who was one of the most important makers of string instruments in the Baroque era? a. One of the most important makers of string instruments during the Baroque era was Antonio Stradivari, known for his exceptional violins, violas, and cellos. 22. What is idiomatic writing, and what is virtuosity (or virtuoso playing)? a. Idiomatic writing refers to music composed specifically for the characteristics and capabilities of a particular instrument, highlighting its strengths and unique sounds. Virtuosity, or virtuoso playing, denotes exceptional skill and technical prowess on an instrument, often showcased through intricate passages and demanding techniques in performance. The Baroque Orchestra 23. What is an orchestra like in the Baroque era? (kinds of instruments, numbers, etc.)  a. It is a group of 12-20+ instruments, primarily strings while led by a harpsichord and later an organ. Mouret and Trumpet Music for the French Court 24. Know the Listening Guide (p. 101)? What is the formal organization of this piece? a. It has an A,B,A,C,A form with repeated notes and a set rhythm, Pachelbel and His Canon 25. What basic formal techniques are used in the composition of Johann Pachelbel's Canon in D? a. Canon: The piece features a strict imitation where the main melody is played in succession by different voices or instruments, creating a layered texture. Ground Bass: It uses a repeating bass line (ostinato) that serves as a harmonic foundation, over which the variations and melodies are built. Variation: Each voice introduces variations on the initial melody, creating a rich tapestry of sound while maintaining the underlying structure. 26. Know the Listening Guide (p. 103)? What is the formal organization of this piece? What is the texture of this piece, and what specific devices are used to create that texture? a. It is a three part canon above, beginning with a low bass, followed by a middle and high range. The texture is relaxing and smooth, developed by a steady binary meter and simple harmonies with little to no dissonance. Vivaldi and the Baroque Concerto 27. What is a concerto, and what is the difference between a solo concerto and a concerto grosso? a. A concerto is a musical composition that typically features a solo instrument accompanied by an orchestra. A solo concerto focuses on a single solo instrument (like a violin or piano) against the orchestra, showcasing its virtuosity and range. In contrast, a concerto grosso involves a small group of soloists (the concertino) playing in contrast to the larger orchestral group (the ripieno), creating a dialogue between the two ensembles. The concerto grosso emphasizes the interaction among multiple soloists rather than highlighting a single performer. 28. What are the differences between solo, concertino, and tutti in a concerto? a. Solo refers to the individual instrument or musician that takes the spotlight, showcasing virtuosity and expressive capabilities against the orchestral backdrop. Concertino is a term used in a concerto grosso to describe the small group of soloists who interact with the larger orchestra, creating a dialogue and contrast. Tutti denotes the full orchestra playing together, providing a rich and fuller sound, often contrasting with the solo or concertino passages.  29. How is a ritornello used to create form in a concerto? a. The ritornello is the returning section of the concerto, creating an organization of the music that allows for contrasting pieces. 30. Who is Antonio Vivaldi, what sort of career did he have, and what sorts of works did he compose (especially in large numbers)? a. Violin Virtuoso, teacher, and composer. He wrote 500 concertos. 31. What was the Ospedele della pietà, why and how was music important there, and what sort of work did Vivaldi do there? a. The Ospedale della Pietà was a Venetian institution for orphaned girls, where music played a vital role in their education and development. It provided training and opportunities for public performances, which helped sustain the institution financially. Antonio Vivaldi worked there as a violin teacher and composer, creating many concertos and sacred works for the girls, significantly shaping his musical output. 32. How does Vivaldi's "Spring" Concerto tell a story? a. It switches between the ritornello, solo pieces, and tutti pieces that use different keys and rhythms to establish the settings of the spring countryside. 33. Know the Listening Guide (p. 103)? What is the formal organization of this piece? How does Vivaldi use a minimum of material to create the ritornello of this work? a. It is a ritornello form that uses repeating themes and responses to create a long piece, while being able to reuse material. He also changes the key of the ritornello to keep the theme continuing, while shift the emotion of the piece. 34. What is a sequence, and how might this be useful in creating long musical passages? a. A sequence is a musical technique where a motif or musical phrase is repeated at different pitch levels, creating a series of similar passages. This can be useful in creating long musical passages because it helps develop musical ideas while maintaining listener interest through variation. By transposing the original motif, composers can build tension and momentum, leading to climaxes or transitions within a piece, ultimately contributing to the overall structure and cohesiveness of the composition. Chapter Eight : The Late Baroque: Bach 1. What does the term "high" or "late" suggest when dealing with the Baroque (or any historical era)? How do Johann Sebastian Bach and George Frideric Handel exemplify the "High Baroque"? a. The terms "high" or "late" in the context of the Baroque period refer to its most advanced and expressive phase, roughly from 1680 to 1750, characterized by  intricate complexity and emotional depth. Johann Sebastian Bach exemplifies this through his masterful use of counterpoint and harmony, as seen in works like the "Brandenburg Concertos" and the "St. Matthew Passion," which convey profound spiritual emotion. George Frideric Handel represents the High Baroque with his dramatic operas and oratorios, such as "Messiah," showcasing memorable melodies and a blend of diverse musical styles. Together, they capture the richness and innovation of this vibrant era in music history. Johann Sebastian Bach (1685-1750) 1. Who is Johann Sebastian Bach, and why did he become a musician? What was his reputation in his day and subsequently? What instrument is most associated with him? a. Musician, family of music. He was one of the best organists of his time. 2. What (in general terms) is a Fugue? How is one composed? a. Based on an imitative counterpoint with strict rules of combining melodic lines. 3. In a fugue, what are the subject, answer, and countersubject? What is an episode? a. 1st idea, subject in new key, new idea w/ answer or subject; Section without subject or answer 4. Know the Listening Guide (p. 114). What is the texture of this work, and how does Bach make it possible to follow the multiple lines? a. The fugue only uses a fugue in which every level of harmony has its own independent melody in the form of counterpoint. 5. Why did Bach turn to the composition of orchestral music in Cöthen? a. His first wife died. 6. What are the Brandenburg Concertos, and why did Bach compose them? a. Mostly secular. Concerto grosso. He married his second wife. 7. Know the Listening Guide (p. 116)? What is the primary organizing principle of this work, and how does it compare to Vivaldi's "Spring" Concerto? a. Bach’s work emphasizes solo pieces that are embellished by accompaniment from other instruments, similar to Vivaldi’s use of different instruments to convey different emotions. The Church Cantata 1. What was Bach's final professional position in Leipzig? What were his responsibilities, and what sort of work did he do? a. Bach's final professional position was as the Cantor of St. Thomas Church and director of the Thomas School in Leipzig, starting in 1723. His responsibilities included composing music for church services, teaching students, and overseeing  the music program at the school. He wrote cantatas, organ works, and choral pieces, focusing on enhancing the liturgical experience and training young musicians. This role was central to his later works, including many of his famous cantatas and the "Mass in B minor." 2. What is a Cantata and how might it relate to other vocal music genres? a. Operatic vocal style used in secular or sacred pieces. Can be with both singers and instruments. 3. What are the central organizing principles for a church cantata? How might a musician like Bach have connected his music to the message of the service? a. The central organizing principles of a church cantata include a structured liturgical format, with movements like arias, recitatives, and choruses that reflect the themes of the scripture readings for the day. Bach connected his music to the service's message by selecting texts that emphasized theological themes and crafting expressive melodies and harmonies that deepened the emotional and spiritual impact of the worship experience. 4. What is a chorale, and how might Bach have used one? a. A chorale is a simple, harmonized hymn tune, often sung in German Lutheran worship. Bach used chorales in his compositions by incorporating them as thematic material in cantatas, organ works, and other pieces, weaving them into the music to emphasize the liturgical message and engage the congregation. 5. What sorts of movements make up the church cantata "Wachet auf, ruft uns die Stimme"? How do these movement types relate to other vocal music genres? a. Bach's church cantata "Wachet auf, ruft uns die Stimme," BWV 140, is composed of several movement types, including choruses, arias, and recitatives. The choruses serve as communal expressions, while the arias provide emotional depth and personal reflection, and the recitatives advance the narrative. These movement types relate to other vocal music genres, such as opera and oratorio, where similar structures are employed to convey drama and emotion, allowing Bach to blend liturgical themes with expressive musical forms. 6. Know the Listening Guides (p. 121, 122-3, 124)? What do these three movements have in common? How do these reflect other vocal genres? a. The movements have both instruments and choral performances, with little to no dissonance, and a smooth meter. Chapter Nine : The Late Baroque: Handel 1. How does the life and career of G.F. Handel compare to that of J.S. Bach?  a. George Frideric Handel (1685-1759) was a composer known for his operas, oratorios, and instrumental music, while J.S. Bach (1685-1750) focused primarily on sacred music and complex counterpoint. Handel had a more international career, whereas Bach spent most of his life in Germany, with both composers deeply influencing Western music. George Frideric Handel (1685-1759) 1. Who was George Frideric Handel? What sort of training did he have, where did he study music, and what sorts of music positions did he hold in his lifetime? a. Handel received formal training in Germany, studying music in Halle and later in Italy, where he learned about opera. Throughout his career, he held various positions, including court composer and conductor. 2. Why did Handel spend most of his career in London? a. He spent most of his time in London due to the city's vibrant musical scene and patronage of the king. Handel and the Orchestral Dance Suite 1. What is a Suite, and what sorts of music might it contain? a. A suite is a collection of dance-inspired movements, typically including forms like allemande, courante, and gigue. 2. What is the relationship between dance and the music of Handel's Water Music? a. Handel's Water Music features orchestral dance movements that reflect the social context of outdoor celebrations and royal festivities, using a simple meter associated with dance music. 3. Know the Listening Guide (p. 129)? What is the purpose of this music, i.e., for what event was it used? What is the basic organizing principle of this piece? a. This music was played on the Thames river for the amusement of the king after church services. The organization is the minuet and Trio style. Handel and Opera 1. Why did Handel compose operas in London, and what sorts of opera were most important? a. Handel composed operas in London to cater to the tastes of its audiences, with Italian opera being particularly significant during this period.. 2. What sort of singer starred in Handel's operas? a. His operas often starred renowned castrati and other virtuoso singers, showcasing their vocal abilities Handel and Oratorio 1. Why did Handel leave the opera business, and what sort of vocal composition did he favor in the later years of his life? a. Handel left the opera business due to changing public tastes and shifted his focus to oratorios, which allowed for more dramatic and narrative expression without the theatrical elements of opera. 2. What is an oratorio, and how does it differ from its close relative, opera? a. An oratorio is a large-scale vocal composition that tells a religious story, differing from opera in that it is typically performed without staging or costumes. 3. What--in very general outline--is the story of The Messiah? Why might this story have been chosen for an oratorio? a. The story of The Messiah outlines the life of Jesus Christ, focusing on themes of prophecy, birth, and resurrection, chosen for its religious significance and appeal. The work features recitatives and arias that highlight individual expression and culminates with a powerful chorus, emphasizing the collective voice of the community. 4. Know the Listening Guide (p. 133)? How does this recitative and aria pair compare to operatic examples? What is added to the end of this work that is associated with oratorios? a. The both relate to the style of singing, with a small piece of accompaniment following the recitative, while the aria has a large instrumentation. A chorus was added, very similar to the oratorios. 5. Know the Listening Guide (p. 134)? How does this example reflect the importance of the chorus in oratorios? What are some of the different textures used in this movement? a. It establishes the scale of the chorus used in the oratorios, with many voices and instruments. The theme includes a fanfare from trumpets, creating a regal air for the sacred piece. The movement employs various textures, including homophony (where all voices move together in harmony), polyphony (where individual vocal lines are independent yet harmonious), and contrasting dynamics to create a rich, powerful sound that enhances the emotional impact of the text.