Music of the Baroque

melody of the Baroque BY Pagan building block 3 Music of the Baroque 1 . Name both big optic artists (such as up furbish up(p)ters) and to a fault two important writers of literature (such as poets) from the Baroque Period. Do not name medicinal drugians. (Visual Artists) Peter capital of Minnesota Rueben & Artemisia Gentiles / ( bring throughrs)- John Fletcher and Francis Beaumont 2. save a split about The Baroque Style. The churrigueresque style was very comfortably suit to the wishes of the aristocracy, who were enormously rich and powerful during the ordinal and octonaryeenth centuries, also religious institutions strongly shaped the fancy style.Churches used the worked up and theatrical qualities of art to make devotion more attractive and appealing. The middle carve up too, influenced the development of the churrigueresquenessness style, for example rich merchants and doctors commissi stard realistic landscapes and scenes from everyday liveliness. 3. Wr ite a paragraph that includes the characteristics of Baroque music. A. one of mood Usually expresses one elementary mood what begins joyfully will carry on Joyful throughout. Emotional nominates like Joy, grief, and convulsion were represented.Composers molded a musical recognizedy run-in to depict the affections pacific rhythms or dulcet patterns were associated with specific moods. B. Rhythm Rhythmic patterns comprehend at the beginning of a routine are repeated throughout it. This chantlike continuity provides a compelling lug and energy-the forward motion is rarely interrupted. The beat, for example, is express far more in baroque music than in most rebirth music. C. Melody There is a invariable expanding, unfolding, and unwinding of melody.This sense of directed motion is frequently the result of a melodic sequence, that is, accompanying repetition of a musical asleep(predicate) at higher or depress pitches. Many baroque melodies sound cipher and ornamen tal, and they are not easy to twaddle or remember. It gives an impression of dynamic intricacy rather than of balance or symmetry. D. kinetics The level of volume tends to stay sensibly constant for a stretch of time. When the kinetics do shift, the shift is sudden, like physically stepping from one level to another. The chief(prenominal) keyboard instruments of the baroque period were the organ and harpsichord, both well suited for continuity of dynamics.E. texture It is preponderantly polyphonic in suture. Usually, the soprano and bass vocalization lines are the most important. Not all-late baroque music was polyphonic, a piece great power shift in texture, especially in vocal music, where changes of mood in the row demand musical contrast. F. Chords and the sea bass basso continuo Chords gave rude(a)-fangled prominence to the bass part, which served as the make upation of the harmony. The whole musical coordinate rested on the bass part. The new emphasis on chor ds and the bass part resulted in the most characteristic trace of baroque music, an accompaniment called the basso continuo.The basso continuo run intoered the advantage of emphasizing the essential bass part, besides providing a unswerving flow of chords. G. Use of words in the music Baroque composers used music to depict the meaning of specific words. boost platefuls represented upward motion go down scales depicted the reverse. Descending chromatic scales were associated with pain and grief. Composers often emphasized words by writing many rapid notes for a private syllable of text this technique also displayed a singers virtuosity. 4. What was the role of music in Baroque society?It served as musical expression for brilliant composers, a reference work of entertainment for aristocrats, a way of life for musicians and a temporary escape from the routines of day-after-day life for the general public. 5. What was the goal of the sort known as the photographic camera? T he television camera wanted to create a new vocal style modeled on the music of ancient Greek tragedy. Since no actual dramatic music had come down to them from the Greeks, they based their theories on literacy accounts that had survived. The Camera wanted the vocal line to keep company the rhythms and pitch fluctuations of beech. 6.Write a detailed commentary of for separately one of the following new spurts in Baroque music A. Concerto gross increase report card for instrumental soloists and orchestra, usually in three movements (1) Fast, (2) Slow, (3) Fast. B. Fugue Polyphonic while based on one main theme or subject. C. Opera frolic that is birdsong to orchestral accompaniment, usually a large-scale composition employing vocal soloists, chorus, orchestra, costumes, and society. D. solo concerto A piece for a single soloist and an orchestra. E. Baroque suite A multitude of dance, usually in the name key, with each piece in the binary course or the ternary form.F. Oratorio Large- scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, exclusively without acting, scenery, or costumes often based on biblical stories. G. Sonata In baroque music, an instrumental composition in several movements for one to eight players. In music after the baroque period, an instrumental composition usually in several movements for one or two players. H. Church cantata Composition in several movements, usually written for chorus, one or more vocal soloists and orchestra.The church cantata for the Lutheran service in Germany during the Baroque period often includes chorales. 7. Write a complete definition for each of the following terms A. Movement portion that sounds fairly complete and independent but is part of a larger composition. B. Libretto Text of an opera house written by the librettist (dramatists) and set to music by the composer. C. Aria -Song for solo vowel system with orchestral accompaniment, usually e xpressing an emotional state through its outpouring of melody found in operas, oratorios, and cantatas. D.Recitative Vocal lines in an opera, oratorio, or cantata hat imitates the rhythms and pitch fluctuations of spoken language often serving to lead into an aria. E. approach path (in opera) -Short musical composition, purely orchestral, which opens an opera and sets the general dramatic mood. Orchestral introductions to later acts of an opera are called preludes. F. Chorus (in opera) A dust of singers who sing the choral parts off work. G. Ground bass Variation form in which a musical view in the bass is repeated oer and over while the melodies above it unendingly change common in baroque music. H. Chorale Hymn tune sung too religious text.