1. Baroque (1600-1750) Rise of Instrumental Music Rise of Instrumental Music Tonality - harmony is regularized, sounds more modern Tonality - harmony is regularized, sounds more modern Chords move in regular patterns Chords move in regular patterns Vigorous (Motoric) Rhythm Vigorous (Motoric) Rhythm

2. Announcement New web page New web page www.colorado.edu/music/courses/emus 1832004 www.colorado.edu/music/courses/emus 1832004

3. Monody a homophonic musical texture a homophonic musical texture one singer with instrumental accompaniment one singer with instrumental accompaniment

4. Figured bass bass instrument + chording instrument (reads numbers written at bottom-harmonic blueprint)

5. Doctrine of the Affections The idea that music expresses specific emotions and arouses these emotions in the listener. The idea that music expresses specific emotions and arouses these emotions in the listener. Certain types of music were used to expresses certain types of emotion Certain types of music were used to expresses certain types of emotion

6. Baroque Opera Philosophical background Philosophical background The Camerata Sought Recreate the style of Greek Drama drama sung throughout INVENTION of Opera stile rappresentativo stile rappresentativo led to speechlike style of singing

7. Types of music in Opera recitative - derivative of monody recitative - derivative of monody disjunct vocal style speech like used for places where ACTION occurs aria - formal number aria - formal number lyrical style organized formally action stops- emotional REaction

8. Singing Baroque Opera Rise of virtuoso singing Rise of virtuoso singing Castrato singers Castrato singers Power of male voice with range of female voice Died out in opera by 1830 by continued in church music until late 1800s Recording “The Last Castrato” made in 1904

9. Dido and Aeneas Listening guide 15 (not 14, as on the syllabus) Listening guide 15 (not 14, as on the syllabus) By Purcell By Purcell Based on Virgil’s Aeneid Based on Virgil’s Aeneid Tragic story of fate- Aeneas must leave Dido to found Rome- she commits suicide Tragic story of fate- Aeneas must leave Dido to found Rome- she commits suicide

10. “Dido’s Lament” Affect -- a “Lament” (dissonances used for expressive means) Affect -- a “Lament” (dissonances used for expressive means) Recitative - “Thy hand” -expressive Recitative - “Thy hand” -expressive Aria- formal, organized and tuneful section Aria- formal, organized and tuneful section ground bass repeating bass line- typical for lament ground bass repeating bass line- typical for lament

12. Johann Sebastian Bach (1685- 1750) 19 children- 2 wives 19 children- 2 wives held positions in … held positions in … Weimar- court organist and chamber Weimar- court organist and chamber Cöthen- chamber music Cöthen- chamber music Leipzig- extensive church duties Leipzig- extensive church duties cycles of cantatas for the entire church year (200 extant)

13. Lutheran Cantatas Liturgical music for protestant service Liturgical music for protestant service Bach’s works are multimovement (5- 8) Bach’s works are multimovement (5- 8) with arias, recitatives and choruses with arias, recitatives and choruses some based on a single tune that appears throughout the movements some based on a single tune that appears throughout the movements

14. A Mighty Fortress Choral tune “A Mighty Fortress” … Choral tune “A Mighty Fortress” … Created in the time of the Reformation, by Martin Luther himself Created in the time of the Reformation, by Martin Luther himself hymn tune- in German rather than Latin hymn tune- in German rather than Latin originally sung monophonically- then in homophonic settings originally sung monophonically- then in homophonic settings permeates the entire cantata by Bach permeates the entire cantata by Bach

15. Cantata: A Mighty Fortress First part: choral fugue First part: choral fugue Fugue: a type of imitation (very systematic and formal way of writing music) Fugue theme (called subject) is based on chorale tune

16. Cantata: A Mighty Fortress Second movement Second movement Duet for soprano and bass Also derived from chorale tune

17. Cantata: A Mighty Fortress Das wort, sie sollen (#8) Das wort, sie sollen (#8) Homophonic setting Homophonic setting Bach harmonized the original tune in 4-parts Bach harmonized the original tune in 4-parts His son Wilhelm added the timpani and trumpets … for grandeur His son Wilhelm added the timpani and trumpets … for grandeur