Unit+10

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//What characteristics of Baroque music and visual art/architecture are similar?// Art, music and architecture in Baroque period are similar and related to each other, because in that period, they inspired each other. Like in art and architecture did, they put a lot of details in their works, so do in the music, they put a lot of different sound from an instrument that play a lot, either the instrument that play very detail part.

__**Chapter 7 vocabulary:**__ --a feature unique to the period that enrich homophonic and polyphonic textures in early Baroque music, it has the double effect of clarifying the harmony and of making the texture bind or jell --a characteristic Baroque form that is constructed literally bottom up --short musical gesture repeated over and over again in the bas or anywhere else, especially one used as a building block for a piece of music --technique of declaiming words musically in a heightened, theatrical manner --an extended piece for solo singer that has much more musical elaboration and cogerence than a passage of recitative --Nero's most extended evasion is a short aria like fragment --groups of sance selected from operas and ballets --characteristic polyphonic genre of the Baroque era --it can be and has been applied to a great many different types of instrumental music over the centuries.
 * basso continuo**
 * ground bass**
 * basso ostinato**
 * recitative**
 * aria**
 * arioso**
 * suites**
 * fugue**
 * sonata**

__**Chapter 8 summarize the following:**__ "Baroque" is a period of term used by art historians and musicologists. Students of the history of ideas, on the other hand, speak of this as the Age of science. In this era, the telescope and microscope revealed their first secrets; Newton and Leibniz invented calculus; Newton developed his laws of mechanics and the theory of gravity. Absolutism and science were just two of the most vital currents that defined life in the seventeenth and early eighteenth centuries. Louis XIV (1638-1715) is called Sun King. All of French life orbited around the royal court, like planets, comets, and cosmic duct in the solar system. The main musical vehicle of Baroque absolutism was opera. One aspect of Baroque opera is unlike opera today: The stories were allegorical tributes to the glory and supposed virtue of those who paid for them. The very term theatrical suggests some of the extravagance and exaggeration we associate with Baroque. Below the surface, furthermore, science is at work in even the most grandiose and dazzling of Baroque artistic efforts. Various aspects of Baroque music reflect the new scientific attitudes that developed in the 17th century. In the important matter of musical expression, too, science was a powerful influence. The 18th century was great age for the crafts. There were three main institutions where composers could make a living by practicing their craft: the church, court, and the opera house.
 * Absolutism and the age of Science**
 * Art and Absolutism**
 * Music of Absolutism**
 * Art and Theatricality**
 * Science and the Arts**
 * Science and Music**
 * Musical Life in the Early 18th Century**

__**Late Baroque:**__ --the beat of music --steady feature of Baroque music --presents something of a contradiction in Baroque --a groups of instruments of the violin family --Baroque melody tends toward complexity --In the Baroque era, enough improvisations were written down, as guides for musicians who were not the most imaginative, to give us a good idea of the art of such a great virtuosos --The standard texture of Baroque music is polyphonic. --The central importance of harmony in Baroque music appears in the universal practice of the basso continuo --Musical forms are clearer and more regular in the Baroque period than in most other historical periods. --The emotional effect of baroque music strikes the m,odern listener as very powerful and yet, in a curious way, also impersonal.
 * Rhythm**
 * Dynamics**
 * Tone Color**
 * Orchestra**
 * Melody**
 * Virtuosity & Improvisation**
 * Texture**
 * The Continuo**
 * Music Form**
 * Emotion**

__**Chapter 9 vocabulary**__ --contrast between an orchestra and a soloist --contrast between an orchestra and a small group of soloist --a self-contained section of music that is part of a larger work --movement form focuses on contrast between two musical ideas, or group of ideas --an improvised of improvisatory solo passage of this kind within a larger piece --a single principal theme for fugue --all the voices present the subject in an orderly, standaridized way --a distinctive contrapuntal line that regularly accompanies the principal subject --the later subject entries of a fugue are spaced by passages of the other music --a favourite device that has one subject entry overlapping another entry in time, with the second jumping in before the first is over --a dance in compound meter that may have been derived from the Irish jig. --a form that indicate everything between the symbols is to be repeated --a dance suite begins not with the first dance but with special preparatory
 * concerto**
 * concerto grosso**
 * movement**
 * ritornello**
 * cadenza**
 * subjext**
 * exposition**
 * countersubject**
 * episodes**
 * stretto**
 * gigue**
 * binary form**
 * french overture**

__**Chapter 10 Summarize the following:**__ The most operatic of all religious genres was oratorio, which is existed in Catholic and Protestant countries alike. An oratorio is basically an opera on a religious subject, such as an Old Testament story or the life of a saint. Intimately tied up with Italian opera seria was the castrato singer. The starring male roles in opera were hardly ever sung by tenors or basses but rather by men who had submitted to castration as young boys in order to preserve their voices in the soprano or alto range. At its best, the castrato voice was a prized virtuoso instrument, more powerful and brilliant than a woman's soprano. What we now think of as "careers" were simply not open to women, with very few exceptions. Music provided one of those exceptions. It did so by way of the theater, for an opera singer, like an actress or a ballet dancer, could attain fame and fortune and the oppportunity to develop her talents in the same way as men in those same fields. Cantata is a general name for a piece of moderate length for voices and instruments, and in Germany church cantatas were written to be performed during Lutheran Church services. The words of cantatas addressed the religious content of the day in question. Sung before the sermon, the cantata was in effect a second, musicalized sermon. A special feature of nearly all Lutheran cantatas is their use of traditional congregational hymns. Kutheran hymns are called chorales, from the German word for hymn. The chorale prelude or organ chorale, an important genre of keyboard music at the time, is an organ composition incorporating a hymn (chorale) tune.
 * Oratorio**
 * Castrato**
 * Women in Music**
 * Church Cantata**
 * Lutheran Chorale**
 * Organ Chorale**