PRESENTATION 1/5/15
Thomas Burt KONDO
Josephine Carberry JOPLIN
PRESENTATION 1/7/15
Jalen Williams VERDI
Chrystal Jones CHOPIN
Lyric Moore STRAVINSKY
Katherine Crouse MESSIAN
PRESENTATION 1/11/15
Annie Bowers RAVEL
Michelle Bharath BERNSTEIN
Nathan Vinson WILLIAMS
PRESENTATION 1/13/15
Christopher Dayney-Smith
Alec Bayne
Annabel Hinds
Brianna Westby
Rebecca Shaw
FINAL REVIEW 1/15/15
HW: Chapter 21
Online chapter quiz (26) & listening quiz (5) due by 1/15
FINAL EXAM 1/22/15 C113
Thomas Burt KONDO
Josephine Carberry JOPLIN
PRESENTATION 1/7/15
Jalen Williams VERDI
Chrystal Jones CHOPIN
Lyric Moore STRAVINSKY
Katherine Crouse MESSIAN
PRESENTATION 1/11/15
Annie Bowers RAVEL
Michelle Bharath BERNSTEIN
Nathan Vinson WILLIAMS
PRESENTATION 1/13/15
Christopher Dayney-Smith
Alec Bayne
Annabel Hinds
Brianna Westby
Rebecca Shaw
FINAL REVIEW 1/15/15
HW: Chapter 21
Online chapter quiz (26) & listening quiz (5) due by 1/15
FINAL EXAM 1/22/15 C113
12/21
*Baroque Unit 3_Quiz
*Composer Presentation Individual Project
*Chapter 21 ___________________________________________
*Handout _composer presentation information
*Composer Research
*Baroque Unit 3_Quiz review: 12/21_25 Multiple Choice
Group I : Kate Thomas Annabel Jalen
Group II: Annie Vinson Alec
Group III: Lyric Brianna Michelle
Group IV: Chrystal Josephine Rebecca
*CHAPTER 21: Process as Meaning: Bach and The Art of Fugue
12/15
Decorative and Ornate Music of the Baroque Era
https://study.com/academy/lesson/decorative-and-ornate-music-of-the-baroque-era.html
FA#1: Ornaments: Ornaments are signs written above notes indicating melodic embellishment. Write notes to show how each ornament should be played. (handout, 15 pts)
The Fugue: Bach, Definition & Examples
https://study.com/academy/lesson/the-fugue-bach-definition-examples.html
FA#2: (handout, 20 pts)
Reading: The Setting: Johann Sebastian Bach
Presentation Topics
CHAPTER 21: Process as Meaning: Bach and The Art of Fugue
Listening Activity: Bach: Contrapuntus 1 from The Art of Fugue
------------------------------------------
Interactive Listening Guide
https://wwnorton.com/college/music/ilg/ENJ_12/BachContrapunctus.html
Interact
InQuizitive
12/ 18/ 2015
Student Objective: The student will investigate and describe the life of Johann Sebastian Bach, including his most significant compositions.
12/ 9/ 2015
Student Objective: The student will listen to, analyze, and evaluate exemplary works from Vivaldi.
Content: Vivaldi: Spring from The Four seasons.
Group 1: Kate Crouse Annabel Hines Brianna Westby
Group 2: Ann Bowers Alec Bayne Thomas Burt
Group 3: Lyric Moore Josephine Carberry
Group 4: Chrystal Jones Jalen Williams
Group 5: Michelle Bharath Rebecca Shaw
*Baroque Unit 3_Quiz
*Composer Presentation Individual Project
*Chapter 21 ___________________________________________
*Handout _composer presentation information
*Composer Research
*Baroque Unit 3_Quiz review: 12/21_25 Multiple Choice
Group I : Kate Thomas Annabel Jalen
Group II: Annie Vinson Alec
Group III: Lyric Brianna Michelle
Group IV: Chrystal Josephine Rebecca
*CHAPTER 21: Process as Meaning: Bach and The Art of Fugue
12/15
Decorative and Ornate Music of the Baroque Era
https://study.com/academy/lesson/decorative-and-ornate-music-of-the-baroque-era.html
FA#1: Ornaments: Ornaments are signs written above notes indicating melodic embellishment. Write notes to show how each ornament should be played. (handout, 15 pts)
The Fugue: Bach, Definition & Examples
https://study.com/academy/lesson/the-fugue-bach-definition-examples.html
FA#2: (handout, 20 pts)
Reading: The Setting: Johann Sebastian Bach
Presentation Topics
CHAPTER 21: Process as Meaning: Bach and The Art of Fugue
Listening Activity: Bach: Contrapuntus 1 from The Art of Fugue
------------------------------------------
Interactive Listening Guide
https://wwnorton.com/college/music/ilg/ENJ_12/BachContrapunctus.html
Interact
InQuizitive
12/ 18/ 2015
Student Objective: The student will investigate and describe the life of Johann Sebastian Bach, including his most significant compositions.
12/ 9/ 2015
Student Objective: The student will listen to, analyze, and evaluate exemplary works from Vivaldi.
Content: Vivaldi: Spring from The Four seasons.
Group 1: Kate Crouse Annabel Hines Brianna Westby
Group 2: Ann Bowers Alec Bayne Thomas Burt
Group 3: Lyric Moore Josephine Carberry
Group 4: Chrystal Jones Jalen Williams
Group 5: Michelle Bharath Rebecca Shaw
11/20/15 Friday
Chapter 19: Grace and Grandeur: the Baroque Dance Suite
http://www.ufoc.org/images/stories/OBC/Handbook/G.%20INTRODUCTION%20TO%20OPERA.pdf
OBJECTIVE:
KEY POINTS:
Dance Suite Movements
Type of Dance Country/Meter/How to Play
Allemande Germany, 4/4, Moderate
Courante France, 3/4, Quick
Sarabande Spain, 3/4, Slow
Gigue England, 6/8, Fast
Baroque Suite: Definition & Dances
https://study.com/academy/lesson/baroque-suite-definition-dances.html
Chapter 19: Grace and Grandeur: the Baroque Dance Suite
http://www.ufoc.org/images/stories/OBC/Handbook/G.%20INTRODUCTION%20TO%20OPERA.pdf
OBJECTIVE:
- The student will demonstrate an understanding of the emergence of instrumental music in the Baroque period. Specifically, the Baroque Dance Suite.
KEY POINTS:
- In the Baroque era, instruments were improved and featured in several large-scale genres, including the suite (a collection of dances).
- The Baroque suite is a group of dances, usually in the same key, with each piece in binary form (AABB) or ternary form (ABA). The standard dances are the allemande, courante, sarabande, and gigue.
Dance Suite Movements
Type of Dance Country/Meter/How to Play
Allemande Germany, 4/4, Moderate
Courante France, 3/4, Quick
Sarabande Spain, 3/4, Slow
Gigue England, 6/8, Fast
Baroque Suite: Definition & Dances
https://study.com/academy/lesson/baroque-suite-definition-dances.html
Baroque Dance Forms
G.F.Haendel - Watermusic (PART III: Hornpipe-Menuet-Rigaudon I/II-etc.) dance
https://www.youtube.com/watch?v=6fa2wZEsRWM
Marie-Antoinette Ball Scene HD
Sebastiaan
https://www.youtube.com/watch?v=ESUzbLWuzY8
Notable composers of suites include Bach, Handel, Couperin and Froberger. Listen to Bach's "Cello Suite No. 1 - Prelude" courtesy of YouTube.The table below gives you further information on the main movements of the dance suite.
The Baroque Orchestra: Instruments, Structure & Forms
https://study.com/academy/lesson/the-baroque-orchestra-instruments-structure-forms.html
Baroque Dance Forms
http://beststudentviolins.com/BaroqueDanceForms.html
The suite is a type of instrumental dance music that emerged during the Renaissance and was further developed during the Baroque Period. It consists of several movements or short pieces in the same key and functions as dance music or dinner music during social gatherings.
Dance music was very popular during the 16th and 17th century and composers were often asked to play such pieces during social functions.
As a result, musicians began collecting dance pieces in the same key; these pieces became known collectively as "suites."
By the time of JS Bach, suites were composed of four main movements: allemande, courante, sarabande and gigue. Optional movements include: air, bourree (lively dance), gavotte (moderately fast dance), minuet, polonaise, and prelude.
Each of the four main movements is based on a dance form from another country. Thus, each movement has a characteristic sound and varies in rhythm and meter.
Instruments used to play suites include the cello, harpsichord, lute and violin. Suites were performed either on a solo instrument or by a group of instruments.
http://musiced.about.com/od/historyofmusic/a/baroquesuite.htm
Baroque Dance - Sarabande / Il Giardino Armonico
https://www.youtube.com/watch?v=VF9v-6B_O0A
11/18/15 Wednesday
Chapter 17: Musical Sermons: Bach and the Lutheran Cantata
*Quiz (open book) 7 Matching / 7 Multiple choice
Focus Activity: Compare the lives of Bach and Handel.
Focus Listening: Aria: REJOICE GREATLY, O DAUGHTER OF ZION
(score handout)
C311
Chapter 17 | Diagnostic Quiz
Chapter 17_LQ | Diagnostic Quiz
Chapter 18 | Diagnostic Quiz (16 questions) 11/20_online
Chapter 18_LQ | Diagnostic Quiz (8 questions) 11/20_online
11/16/15 Monday
STUDENT OUTCOMES:
The student will understand the difference between a Baroque Cantata, an Opera, and an Oratorio.
Opera, Oratorio, and Cantata in the Late Baroque
https://www.youtube.com/watch?v=NYVGtAJ7ujA
Music Appreciation -Chorale and Cantata Explained
https://www.youtube.com/watch?v=UEoXXs5zZfI
https://www.youtube.com/watch?v=NYVGtAJ7ujA
The Oratorio: Composers, Definitions & Examples
https://study.com/academy/lesson/the-oratorio-composers-definitions-examples.html
Chapter 18 |Textures of Worship: Handel and the English Oratorio
Review:
Chapter 17 Diagnostic Quiz
Chapter 18 | Diagnostic Quiz (16 questions) by 11/20_online
Chapter 18_LQ | Diagnostic Quiz (8 questions) 11/20_online
Playlist | Listening (in class)
LG 9 Handel: Messiah, No. 18, Aria, "Rejoice greatly"Launch iLG
LG 9 Handel: Messiah, No. 44 Chorus, "Hallelujah"Launch iLG
11/12 Thursday
STUDENT OUTCOMES:
The student will investigate, analyze, and describe the Baroque oratorio and its most important composer.
CONTENT / Vocal music of the Baroque
Chapter 18: Textures of Worship: Handel and the English Oratorio
(continue)
GROUP ACTIVITIES:
#1: Oratorio and its components (handout)
#2: Baroque opera and Baroque oratorio Venn diagram
#3: Write a eulogy for the burial of Handel at Westminster Abbye
Articles, videos, helpful links:
*Handel: Major Works & Oratorio (video 8')
https://study.com/academy/lesson/handel-major-works-oratorio.html
*An Appreciation and Explanation of Handel's Oratorio "Messiah"
http://www.antipas.org/handel/messiahex.html
*MYTHS AND MISCONCEPTIONS
http://messiah-guide.com/analysis2.html
*Structure of Handel's Messiah (analysis)
https://en.wikipedia.org/wiki/Structure_of_Handel%27s_Messiah
Handel "MESSIAH" | King's College, Cambridge Choir (performance)
https://www.youtube.com/watch?v=iTMJVvld9ok
Handel's 'Messiah' is a triumphant example of 'word painting'
http://www.post-gazette.com/frontpage/2006/12/19/Handel-s-Messiah-is-a-triumphant-example-of-word-painting/stories/200612190236
LISTENING ACTIVITY: Handel: Messiah, Nos. 18 and 44
11/10 TUESDAY
Vocal music of the Baroque
TEXTBOOK:
Chapter 17: Musical Sermons: Bach and the Lutheran Cantata
WHAT IS BAROQUE MUSIC? (video 5')
https://study.com/academy/lesson/what-is-baroque-music-definition-history-characteristics-composers.html
MARTIN LUTHER, the 95 Theses and the Birth of the Protestant Reformation (video 11' 41")
https://study.com/academy/lesson/martin-luther-the-95-theses-and-the-birth-of-the-protestant-reformation.html
COMPOSER: Johann Sebastian Bach (1685-1750)
https://study.com/academy/lesson/bach-important-works-organ-fugues-and-solo-works.html
LISTENING ACTIVITY : Wachet auf (Sleepers, Awake)
Handout: A brief guide to Cantata 140, 'Wachet Auf' by Bach
Study Guide: No. 1 Choral Fugue & No. 4 Unison Chorale (due 11/12)
First movement
https://www.youtube.com/watch?v=Lz0FmmNrTck
VOCABULARY FLESH CARDS
http://www.flashcardmachine.com/baroque10.html
FYI: The Protestant Reformation was the 16th-century religious, political, intellectual and cultural upheaval that splintered Catholic Europe, setting in place the structures and beliefs that would define the continent in the modern era. In northern and central Europe, reformers like Martin Luther, John Calvin and Henry VIII challenged papal authority and questioned the Catholic Church’s ability to define Christian practice. They argued for a religious and political redistribution of power into the hands of Bible- and pamphlet-reading pastors and princes. The disruption triggered wars, persecutions and the so-called Counter-Reformation, the Catholic Church’s delayed but forceful response to the Protestants.
11/6 Friday
Learning Objective:
You should be able to:
* Perceive the origins and early development of opera as a manifestation of a desire to unite text and music
*Understand that the most important new genre of the Baroque era was the Opera
* Identify the components of Opera through listening /score analysis
----Act III, Opening (Jaunty, playful tune in the style of a hornpipe) 33
----Dido and Aeneas, Act III, Dido's lament
Purcell: Dido and Aeneas, opera in three acts / Act III, Dido's Lament 40:36
https://www.youtube.com/watch?v=30Idh9ySHa8
Basso Continuo: Definition and Instruments
https://study.com/academy/lesson/basso-continuo-definition-instruments.html#lesson
https://www.youtube.com/watch?v=LKVVoexxn84
11/4 Wednesday
Baroque Composers: Bach, Handel, Vivaldi, Pachelbel & More (video)
https://study.com/academy/lesson/baroque-composers-bach-handel-vivaldi-pachelbel-more.html
To appreciate the significance of the origins of opera and the resulting new style of music
Baroque Opera Composers: Monteverdi & Lully (video)
http://study.com/academy/lesson/baroque-opera-composers-monteverdi-lully.html
To understand the doctrine of affections as an expressive element in music
The Story of the Baroque Orchestra (3:33)
http://study.com/academy/lesson/the-baroque-orchestra-instruments-structure-forms.html
Time Travel Through Music - Philharmonia Baroque Orchestra (34:11)
https://www.youtube.com/watch?v=YcDfozjh99M
What if you could travel back in time to experience see and hear what life was like 300 years ago? Music can do just that. Join the musicians of Philharmonia Baroque Orchestra on a lively exploration of the creation of baroque music. Meet members of the orchestra, and experience their passion for the music they play and the special instruments they use to travel back in time.
Lesson Summary
Music's Baroque period began in 1600 with the invention of opera, and lasted until 1750. The Florentine Camerata invented opera, and their use of monody helped popularize the accompaniment style called basso continuo. Italian composer Claudio Monteverdi wrote L'Orfeo, the first great opera, in 1607. Jean-Baptiste Lully helped popularize opera in France and used ballets and French overtures in works like Armide.
LISTENING / SCORE: Barbara Strozzi Begli occhi (Beautiful Eyes)
published 1654
https://www.youtube.com/watch?v=wNO_yqmxlkg&list=RDwNO_yqmxlkg
*Prelude 3: The Baroque Era (review)
King Louis XIV (video) 4:20
https://www.youtube.com/watch?v=N4VRxI30qmM
Michelangelo (short bio, video)
http://www.biography.com/people/michelangelo-9407628#synopsis
*Baroque Opera and Its Components (review)
LISTENING / SCORE: L'incoronazione di Poppea (The Coronation of Poppea), Act III, Scene 7 (1642)
Italian Opera and Monteverdi
http://musichistoryisthrilling.com/article/baroque/italian-opera-and-claudio-monteverdi
11/2 Monday
Homework: Watch the video
Overview of the Baroque Period 1600-1750 - OpenBUCS
https://www.youtube.com/watch?v=yin2JSsm16U
CHAPTER 17 : Musical Sermons: Bach and the Lutheran Cantata
Overview of the Baroque Period 1600-1750 - OpenBUCS
https://www.youtube.com/watch?v=yin2JSsm16U
10/23 Friday
CHAPTER 17 : Musical Sermons: Bach and the Lutheran Cantata
Keypoints
Chapter Outline
Listening Quiz 5 questions (in class)
Home Work: Chapter 17 Quiz (due Thursday 10/29)
Listening Journal Thursday (in class)
Composers (Bach)
Era Overview
Comparison Chart
10/23 Friday
CHAPTER 16 : Performing Grief: Purcell and Early Opera (Continue)
Dido and Aeneas Lament
Lamento : A song of mourning or great sadness and an important element in Italian opera of the 17th century. The lament arose to prominence along with monody. Monteverdi’s Lamento d’Arianna of 1608 was the first celebrated example and was published separately in its monadic version and in Monteverdi’s arrangement of it as a madrigal. The lament was prominent in mid-17th Venetian operas, e.g., those of Cavalli, and was often treated a variations in an ostinato bass of a descending tetrachord. Dido’s lament from Purcell’s Dido and Aeneas belongs to this tradition.
Chapter 16
Opera
Musical drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and pantomime, scenery and costumes. Page 100
Recitative
Solo vocal declamation that follows the inflection of the text, often resulting in a disjunct vocal style; found in opera, cantata, and oratoria. Can be secco or accompagnato. Page 100
Aria
Lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio. Page 101
Overture
An introductory movement, as in opera or oratorio, often presenting melodies from arias to come. Also an orchestral work for concert performance. Page 101
Sinfonias
Short orchestral work, found in Baroque opera, to facilitate scene changes. Page 101
Libretto
Text or script of an opera, oratorio, cantata, or musical (also call the "book" in a musical), written by a librettist. Page 101
Ground bass
A repeating melody, usually in the bass, throughout a vocal or instrumental composition. Page 102
Masque
English genre of aristocratic entertainment that combined vocal and instrumental music with poetry and dance, developed during the sixteenth and seventeenth centuries. Page 102
Basso continuo is a form of musical accompaniment used in the Baroque period. It means "continuous bass". Basso continuo, sometimes just called “continuo”, was played by a keyboard instrument and another bass instrument such as cello, violone (an old form of double bass) or bassoon.Era Overview
Era Transition
Drag and Drop Exercises
Chapter Quiz (20 questions)
Listening Quiz (4 questions)
10/21
CHAPTER 16 : Performing Grief: Purcell and Early Opera
What Is an Opera? Opera Term and key Parts (video)
https://www.youtube.com/watch?v=CuAlUrY74rE
Decorative and Ornate Music of the Baroque Era
https://www.youtube.com/watch?v=Cd1gq7RTf0Q
10/19
*Score Identification / Listening Test
*Unit 2 Test
PRELUDE 3: MUSIC AS EXPLORATION AND DRAMA
BAROQUE OVERVIEW (video)
https://www.youtube.com/watch?v=CUOMENNS0EI
DECORATIVE AND ORNATE MUSIC OF THE BAROQUE ERA (video)
https://www.youtube.com/watch?v=Cd1gq7RTf0Q
Chapter Outline
Read Prelude 3: p 94-99
Flashcards (terms) (in class)
Here & There, Then & Now (in class)
Era Transition: Musical Examples and Comparison Charts (in class)
HOMEWORK: Chapter Quiz (22 questions) due by 10/21_
E-mail [email protected]
TERMS:
Virtuoso:
Performer of extraordinary technical ability. Page 94
Figured bass
Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer. Also thorough-bass. Page 97
Basso continuo
Italian for "continuous bass." See figured bass. Also refers to a performance group with a chordal instrument (harpsichord, organ) and one bass melody instrument (cello, bassoon). Page 97
Major-minor tonality
A harmonic system based on the use of major and minor scales, widely practiced from the seventeenth to the late nineteenth century. See also tonality. Page 97
Opera
Music drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and dancing, scenery and costumes. Page 97
Castrato
Male singer who was castrated during boyhood to preserve his soprano or alto vocal register; prominent in seventeenth- and early-eighteenth-century opera. Page 98
Improvisation
The creation of a musical composition while it is being performed, as in Baroque ornamentation, cadenzas of concertos, jazz, and some non-Western musics. Page 98
Dissonance
Combination of tones that sounds discordant and unstable, in need of resolution. Page 97
G.F.Haendel - Watermusic (PART III: Hornpipe-Menuet-Rigaudon I/II-etc.) dance
https://www.youtube.com/watch?v=6fa2wZEsRWM
Marie-Antoinette Ball Scene HD
Sebastiaan
https://www.youtube.com/watch?v=ESUzbLWuzY8
Notable composers of suites include Bach, Handel, Couperin and Froberger. Listen to Bach's "Cello Suite No. 1 - Prelude" courtesy of YouTube.The table below gives you further information on the main movements of the dance suite.
The Baroque Orchestra: Instruments, Structure & Forms
https://study.com/academy/lesson/the-baroque-orchestra-instruments-structure-forms.html
Baroque Dance Forms
http://beststudentviolins.com/BaroqueDanceForms.html
The suite is a type of instrumental dance music that emerged during the Renaissance and was further developed during the Baroque Period. It consists of several movements or short pieces in the same key and functions as dance music or dinner music during social gatherings.
Dance music was very popular during the 16th and 17th century and composers were often asked to play such pieces during social functions.
As a result, musicians began collecting dance pieces in the same key; these pieces became known collectively as "suites."
By the time of JS Bach, suites were composed of four main movements: allemande, courante, sarabande and gigue. Optional movements include: air, bourree (lively dance), gavotte (moderately fast dance), minuet, polonaise, and prelude.
Each of the four main movements is based on a dance form from another country. Thus, each movement has a characteristic sound and varies in rhythm and meter.
Instruments used to play suites include the cello, harpsichord, lute and violin. Suites were performed either on a solo instrument or by a group of instruments.
http://musiced.about.com/od/historyofmusic/a/baroquesuite.htm
Baroque Dance - Sarabande / Il Giardino Armonico
https://www.youtube.com/watch?v=VF9v-6B_O0A
11/18/15 Wednesday
Chapter 17: Musical Sermons: Bach and the Lutheran Cantata
*Quiz (open book) 7 Matching / 7 Multiple choice
Focus Activity: Compare the lives of Bach and Handel.
Focus Listening: Aria: REJOICE GREATLY, O DAUGHTER OF ZION
(score handout)
C311
Chapter 17 | Diagnostic Quiz
Chapter 17_LQ | Diagnostic Quiz
Chapter 18 | Diagnostic Quiz (16 questions) 11/20_online
Chapter 18_LQ | Diagnostic Quiz (8 questions) 11/20_online
11/16/15 Monday
STUDENT OUTCOMES:
The student will understand the difference between a Baroque Cantata, an Opera, and an Oratorio.
Opera, Oratorio, and Cantata in the Late Baroque
- The oratorio and cantata of the eighteenth century were both linked, unlike opera, to religious themes. Although intended for very different uses and circumstances of performance, all three genres contained musical commonalities (a shared feature or attribute).
- The three genres (Opera, Oratorio, and Cantata) could be said to differ in delivery and intent rather than in musical content. All three genres featured recitative, solo and duet arias, choral movements, many of the same forms, and even dance elements.
- The opera is based upon one of the variants of the timeless story of love and loss and involves staging.
- The oratorio is also based upon a story, but a sacred one with Biblical origins rather than a secular one. Oratorio is not staged and is not used as part of worship. A significant feature is the use of the chorus as narrator.
- The cantata addresses a religious topic, but it is not narrative. Rather it is a collection of commentary set to music, and the cantata is used in worship.The two most important composers are G.F. Handel and J.S. Bach.
https://www.youtube.com/watch?v=NYVGtAJ7ujA
Music Appreciation -Chorale and Cantata Explained
https://www.youtube.com/watch?v=UEoXXs5zZfI
https://www.youtube.com/watch?v=NYVGtAJ7ujA
The Oratorio: Composers, Definitions & Examples
https://study.com/academy/lesson/the-oratorio-composers-definitions-examples.html
Chapter 18 |Textures of Worship: Handel and the English Oratorio
Review:
- Handel and the English oratorio
- invented new genre
- combined elements of Italian opera, Catholic oratorio, and grand choral style
- libretto by poets
- not sponsored by church; entrepreneurial
- growing English empire: increased interest in choral singing
- Messiah
- composed in 24 days, premiered in Dublin
- performed continuously since its premiere
- libretto: biblical verses, Old and New Testaments
- Christmas section: prophecy of Christ
- Easter section: suffering, death, spread of his doctrine
- Redemption section: redemption of the world through faith
Chapter 17 Diagnostic Quiz
Chapter 18 | Diagnostic Quiz (16 questions) by 11/20_online
Chapter 18_LQ | Diagnostic Quiz (8 questions) 11/20_online
Playlist | Listening (in class)
LG 9 Handel: Messiah, No. 18, Aria, "Rejoice greatly"Launch iLG
LG 9 Handel: Messiah, No. 44 Chorus, "Hallelujah"Launch iLG
11/12 Thursday
STUDENT OUTCOMES:
The student will investigate, analyze, and describe the Baroque oratorio and its most important composer.
CONTENT / Vocal music of the Baroque
- Sacred cantata
- Oratorio- large scale drama with religious text; not staged
- George Frederich Handel; Messiah
Chapter 18: Textures of Worship: Handel and the English Oratorio
(continue)
GROUP ACTIVITIES:
#1: Oratorio and its components (handout)
#2: Baroque opera and Baroque oratorio Venn diagram
#3: Write a eulogy for the burial of Handel at Westminster Abbye
Articles, videos, helpful links:
*Handel: Major Works & Oratorio (video 8')
https://study.com/academy/lesson/handel-major-works-oratorio.html
*An Appreciation and Explanation of Handel's Oratorio "Messiah"
http://www.antipas.org/handel/messiahex.html
*MYTHS AND MISCONCEPTIONS
http://messiah-guide.com/analysis2.html
*Structure of Handel's Messiah (analysis)
https://en.wikipedia.org/wiki/Structure_of_Handel%27s_Messiah
Handel "MESSIAH" | King's College, Cambridge Choir (performance)
https://www.youtube.com/watch?v=iTMJVvld9ok
Handel's 'Messiah' is a triumphant example of 'word painting'
http://www.post-gazette.com/frontpage/2006/12/19/Handel-s-Messiah-is-a-triumphant-example-of-word-painting/stories/200612190236
LISTENING ACTIVITY: Handel: Messiah, Nos. 18 and 44
11/10 TUESDAY
Vocal music of the Baroque
- Sacred cantata
TEXTBOOK:
Chapter 17: Musical Sermons: Bach and the Lutheran Cantata
WHAT IS BAROQUE MUSIC? (video 5')
https://study.com/academy/lesson/what-is-baroque-music-definition-history-characteristics-composers.html
MARTIN LUTHER, the 95 Theses and the Birth of the Protestant Reformation (video 11' 41")
https://study.com/academy/lesson/martin-luther-the-95-theses-and-the-birth-of-the-protestant-reformation.html
COMPOSER: Johann Sebastian Bach (1685-1750)
https://study.com/academy/lesson/bach-important-works-organ-fugues-and-solo-works.html
LISTENING ACTIVITY : Wachet auf (Sleepers, Awake)
Handout: A brief guide to Cantata 140, 'Wachet Auf' by Bach
Study Guide: No. 1 Choral Fugue & No. 4 Unison Chorale (due 11/12)
First movement
https://www.youtube.com/watch?v=Lz0FmmNrTck
VOCABULARY FLESH CARDS
http://www.flashcardmachine.com/baroque10.html
FYI: The Protestant Reformation was the 16th-century religious, political, intellectual and cultural upheaval that splintered Catholic Europe, setting in place the structures and beliefs that would define the continent in the modern era. In northern and central Europe, reformers like Martin Luther, John Calvin and Henry VIII challenged papal authority and questioned the Catholic Church’s ability to define Christian practice. They argued for a religious and political redistribution of power into the hands of Bible- and pamphlet-reading pastors and princes. The disruption triggered wars, persecutions and the so-called Counter-Reformation, the Catholic Church’s delayed but forceful response to the Protestants.
11/6 Friday
Learning Objective:
You should be able to:
* Perceive the origins and early development of opera as a manifestation of a desire to unite text and music
*Understand that the most important new genre of the Baroque era was the Opera
* Identify the components of Opera through listening /score analysis
----Act III, Opening (Jaunty, playful tune in the style of a hornpipe) 33
----Dido and Aeneas, Act III, Dido's lament
Purcell: Dido and Aeneas, opera in three acts / Act III, Dido's Lament 40:36
https://www.youtube.com/watch?v=30Idh9ySHa8
Basso Continuo: Definition and Instruments
https://study.com/academy/lesson/basso-continuo-definition-instruments.html#lesson
https://www.youtube.com/watch?v=LKVVoexxn84
11/4 Wednesday
Baroque Composers: Bach, Handel, Vivaldi, Pachelbel & More (video)
https://study.com/academy/lesson/baroque-composers-bach-handel-vivaldi-pachelbel-more.html
To appreciate the significance of the origins of opera and the resulting new style of music
Baroque Opera Composers: Monteverdi & Lully (video)
http://study.com/academy/lesson/baroque-opera-composers-monteverdi-lully.html
To understand the doctrine of affections as an expressive element in music
The Story of the Baroque Orchestra (3:33)
http://study.com/academy/lesson/the-baroque-orchestra-instruments-structure-forms.html
Time Travel Through Music - Philharmonia Baroque Orchestra (34:11)
https://www.youtube.com/watch?v=YcDfozjh99M
What if you could travel back in time to experience see and hear what life was like 300 years ago? Music can do just that. Join the musicians of Philharmonia Baroque Orchestra on a lively exploration of the creation of baroque music. Meet members of the orchestra, and experience their passion for the music they play and the special instruments they use to travel back in time.
Lesson Summary
Music's Baroque period began in 1600 with the invention of opera, and lasted until 1750. The Florentine Camerata invented opera, and their use of monody helped popularize the accompaniment style called basso continuo. Italian composer Claudio Monteverdi wrote L'Orfeo, the first great opera, in 1607. Jean-Baptiste Lully helped popularize opera in France and used ballets and French overtures in works like Armide.
LISTENING / SCORE: Barbara Strozzi Begli occhi (Beautiful Eyes)
published 1654
https://www.youtube.com/watch?v=wNO_yqmxlkg&list=RDwNO_yqmxlkg
*Prelude 3: The Baroque Era (review)
King Louis XIV (video) 4:20
https://www.youtube.com/watch?v=N4VRxI30qmM
Michelangelo (short bio, video)
http://www.biography.com/people/michelangelo-9407628#synopsis
*Baroque Opera and Its Components (review)
LISTENING / SCORE: L'incoronazione di Poppea (The Coronation of Poppea), Act III, Scene 7 (1642)
Italian Opera and Monteverdi
http://musichistoryisthrilling.com/article/baroque/italian-opera-and-claudio-monteverdi
11/2 Monday
Homework: Watch the video
Overview of the Baroque Period 1600-1750 - OpenBUCS
https://www.youtube.com/watch?v=yin2JSsm16U
CHAPTER 17 : Musical Sermons: Bach and the Lutheran Cantata
Overview of the Baroque Period 1600-1750 - OpenBUCS
https://www.youtube.com/watch?v=yin2JSsm16U
10/23 Friday
CHAPTER 17 : Musical Sermons: Bach and the Lutheran Cantata
Keypoints
Chapter Outline
Listening Quiz 5 questions (in class)
Home Work: Chapter 17 Quiz (due Thursday 10/29)
Listening Journal Thursday (in class)
Composers (Bach)
Era Overview
Comparison Chart
10/23 Friday
CHAPTER 16 : Performing Grief: Purcell and Early Opera (Continue)
Dido and Aeneas Lament
Lamento : A song of mourning or great sadness and an important element in Italian opera of the 17th century. The lament arose to prominence along with monody. Monteverdi’s Lamento d’Arianna of 1608 was the first celebrated example and was published separately in its monadic version and in Monteverdi’s arrangement of it as a madrigal. The lament was prominent in mid-17th Venetian operas, e.g., those of Cavalli, and was often treated a variations in an ostinato bass of a descending tetrachord. Dido’s lament from Purcell’s Dido and Aeneas belongs to this tradition.
Chapter 16
Opera
Musical drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and pantomime, scenery and costumes. Page 100
Recitative
Solo vocal declamation that follows the inflection of the text, often resulting in a disjunct vocal style; found in opera, cantata, and oratoria. Can be secco or accompagnato. Page 100
Aria
Lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio. Page 101
Overture
An introductory movement, as in opera or oratorio, often presenting melodies from arias to come. Also an orchestral work for concert performance. Page 101
Sinfonias
Short orchestral work, found in Baroque opera, to facilitate scene changes. Page 101
Libretto
Text or script of an opera, oratorio, cantata, or musical (also call the "book" in a musical), written by a librettist. Page 101
Ground bass
A repeating melody, usually in the bass, throughout a vocal or instrumental composition. Page 102
Masque
English genre of aristocratic entertainment that combined vocal and instrumental music with poetry and dance, developed during the sixteenth and seventeenth centuries. Page 102
Basso continuo is a form of musical accompaniment used in the Baroque period. It means "continuous bass". Basso continuo, sometimes just called “continuo”, was played by a keyboard instrument and another bass instrument such as cello, violone (an old form of double bass) or bassoon.Era Overview
Era Transition
Drag and Drop Exercises
Chapter Quiz (20 questions)
Listening Quiz (4 questions)
10/21
CHAPTER 16 : Performing Grief: Purcell and Early Opera
What Is an Opera? Opera Term and key Parts (video)
https://www.youtube.com/watch?v=CuAlUrY74rE
Decorative and Ornate Music of the Baroque Era
https://www.youtube.com/watch?v=Cd1gq7RTf0Q
10/19
*Score Identification / Listening Test
*Unit 2 Test
PRELUDE 3: MUSIC AS EXPLORATION AND DRAMA
BAROQUE OVERVIEW (video)
https://www.youtube.com/watch?v=CUOMENNS0EI
DECORATIVE AND ORNATE MUSIC OF THE BAROQUE ERA (video)
https://www.youtube.com/watch?v=Cd1gq7RTf0Q
Chapter Outline
Read Prelude 3: p 94-99
Flashcards (terms) (in class)
Here & There, Then & Now (in class)
Era Transition: Musical Examples and Comparison Charts (in class)
HOMEWORK: Chapter Quiz (22 questions) due by 10/21_
E-mail [email protected]
TERMS:
Virtuoso:
Performer of extraordinary technical ability. Page 94
Figured bass
Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer. Also thorough-bass. Page 97
Basso continuo
Italian for "continuous bass." See figured bass. Also refers to a performance group with a chordal instrument (harpsichord, organ) and one bass melody instrument (cello, bassoon). Page 97
Major-minor tonality
A harmonic system based on the use of major and minor scales, widely practiced from the seventeenth to the late nineteenth century. See also tonality. Page 97
Opera
Music drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and dancing, scenery and costumes. Page 97
Castrato
Male singer who was castrated during boyhood to preserve his soprano or alto vocal register; prominent in seventeenth- and early-eighteenth-century opera. Page 98
Improvisation
The creation of a musical composition while it is being performed, as in Baroque ornamentation, cadenzas of concertos, jazz, and some non-Western musics. Page 98
Dissonance
Combination of tones that sounds discordant and unstable, in need of resolution. Page 97