11.302.patel.kavita.ppt
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This document provides examples of how to properly cite additional common sources like performances, musical scores, and works of visual art in an academic text. For a performance, the title, site, and date should be included. For a musical source, include the score as a book reference and any libretto information. For a work of visual art, cite the artist's name, name of the institution housing the piece, and the city where it is located. The document was prepared by Kavita B. Patel as part of her studies.
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1. The form of the melody called the bar form is represented by
A. AAB.
B. ABA.
C. ABBA.
D. ABB.
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A. chorale.
B. cantata.
C. oratorio.
D. opera.
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B. orchestra.
C. harmonic ensemble.
D. basso continuo.
4. Another word for "round" is
A. canon.
B. rhapsody.
C. gigue.
D. sarabande.
5. The first opera to win widespread acclaim was
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B. Handel's Rinaldo.
C. Handel's Messiah.
D. Monteverdi's Orpheus.
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B. sarabande
C. concerto grosso
D. chorale prelude
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B. A ritornello
C. Homophonic
D. Polyphonic
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A. recitative.
B. gigue.
C. pavane.
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A. single
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D. duple
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B. The opera is based on a sacred topic and an oratorio isn't.
C. An opera is staged and an oratorio isn't.
D. An oratorio doesn't include recitatives.
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B. Trio sonata
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D. Sonata da camera
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B. Der Messias.
C. Messiah.
D. Orpheus.
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A. aria.
B. overture.
C. prima prattica.
D. procession.
18. The main theme of a fugue is called the
A. melody.
B. exposition.
C. episode.
D. subject.
19. All of the following instruments would be likely to play the basso continuo in a Baroque musical piece
except the
A. harpsichord.
B. violin.
C. lute.
D. cello.
20. Instrumental work written for a soloist and a larger ensemble is called a
A. fugue.
End of exam
B. concerto.
C. cantata.
D. prelude.
1-Native American chant incorporates meaningless sung syllables that serve as a form of melodic
instrument called
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B. vocables.
C. pulse.
D. duple meter.
2. A measured performance that adheres consistently to the duple meter would be read as
A. 1-2-3.
B. 1-2-3-4.
C. 1-2-3-4.
D. 1-2-3-4.
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C. concerto grosso
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C. Episodic
D. Middle entry
13. A _______ performance usually requires the musicians to embellish the part written for them.
A. transcripted
B. passacaglia
C. virtuoso
D. canzona
14. What is the difference between an oratorio and an opera?
A. An oratorio doesn't include an aria and an opera does.
B. The opera is based on a sacred topic and an oratorio isn't.
C. An opera is staged and an oratorio isn't.
D. An oratorio doesn't include recitatives.
15. The use of two violins and a basso continuo forms which combination of music?
A. Cantata
B. Trio sonata
C. Sonata da chiesa
D. Sonata da camera
16. The most popular oratorio is
A. Aeneas.
B. Der Messias.
C. Messiah.
D. Orpheus.
17. An instruments-only piece played at the opening of an opera is known as a/an
A. aria.
B. overture.
C. prima prattica.
D. procession.
18. The main theme of a fugue is called the
A. melody.
B. exposition.
C. episode.
D. subject.
19. All of the following instruments would be likely to play the basso continuo in a Baroque musical piece
except the
A. harpsichord.
B. violin.
C. lute.
D. cello.
20. Instrumental work written for a soloist and a larger ensemble is called a
A. fugue.
End of exam
B. concerto.
C. cantata.
D. prelude.
1-Native American chant incorporates meaningless sung syllables that serve as a form of melodic
instrument called
A. drone bass.
B. vocables.
C. pulse.
D. duple meter.
2. A measured performance that adheres consistently to the duple meter would be read as
A. 1-2-3.
B. 1-2-3-4.
C. 1-2-3-4.
D. 1-2-3-4.
3. Landini's tendency to intersperse occasional melismas in .
1. The form of the melody called the bar form is represented byA.docx
This document appears to be a multiple choice exam covering various topics in music history and theory. It includes 20 multiple choice questions testing knowledge of topics like musical forms, instruments, time periods, composers, and musical elements/techniques. The questions cover a wide range of classical, folk, and popular music.
17 DATA SOURCES AND BIBLIOGRAPHY
This document provides a list of primary sources and bibliography for Linda Hornzee-Jones' fieldwork on drama groups and theatres in 2001, including:
1. A list of over 50 drama groups and theatres encountered during fieldwork classified by type (amateur, professional, receiving house, etc.).
2. A list of other organizations encountered during fieldwork.
3. A list of over 20 plays engaged with in production during fieldwork classified by author, title, publisher and date.
4. A list of other works of fiction depicting drama and theatre.
5. A list of unpublished manuscripts, theses, and notes from public lectures, seminars and workshops on related
20thcenturymusicjeopardy
The document discusses various classical music terms and composers. It provides information about musical forms such as ballet, opera, oratorio, fugue, and cantata. It mentions composers like Tchaikovsky, Wagner, Haydn, Mozart, Beethoven, Bach, Stravinsky, Copland, and Debussy. It also defines musical terms like leitmotiv, art song, program music, and counterpoint.
A Bibliographic Overview of English-Language Opera Translation
This document discusses opera translation, providing resources and guidelines. It summarizes key points about translating opera, including principles translators follow like suitability for singing and maintaining meaning. It also outlines problems translators face, such as differences between languages. Ideal translator characteristics are musical understanding, poetic skill, and comprehending each element's contribution. Resources provided include libretti, supertitles, and writings examining translation.
Page 94 Understanding MUsic MUsic of the BaroqUe Period.docx
Page | 94
Understanding MUsic MUsic of the BaroqUe Period
1:08 Ritornello starts with opening
phrase. Opening phrase returns and
then a softer new phrase with oscil-
lating notes to depict the murmur-
ing brook;
Forte for the return of the opening
phrase; then forte repeated low
notes foreshadowing the appear-
ance of lightening.
“Murmuring streams” “caressed
by the breezes”;
1:49 Solo section. Solo violinist playing
rapid notes in groups of three to
represent lightning; answered by
low repeated note in other strings
representing thunder
“Thunderstorms…roar”
2:07 Orchestra plays the ritornello. Open-
ing theme (just three measures)
2:15 Solo section: Solo violin + 2 violins;
cello sustains a drone pitch. More
high-pitched, ornamented and re-
peated notes to represent
More chirping birds
2:33 Orchestra. Return of a motivic
fragment from the opening phrase
now more legato and repeated in a
sequence.
2:45 Solo violin + basso continuo. More
fast, repeated and oscillating notes
Final reference to birds and
streams
2:58 Orchestra: ritornello. Forte for the
first melodic phrase of the ritornel-
lo; last phrase ends piano
4.7 musiC of GeorGe frideriC handel (1685-1759)
George Frideric Handel was one of the superstars of the late Baroque period
He was born the same year as one of our other Baroque superstars, Johann Sebas-
tian Bach, not more than 150 miles away in Halle, Germany. His father was an at-
torney and wanted his son to follow in his footsteps, but Handel decided that he
wanted to be a musician instead. With the help of a local nobleman, he persuaded
his father to agree. After learning the basics of composition, Handel journeyed to
Italy to learn to write opera. Italy, after all, was the home of opera, and opera was
the most popular musical entertainment of the day. After writing a few operas, he
took a job in London, England, where Italian opera was very much the rage, even-
Page | 95
Understanding MUsic MUsic of the BaroqUe Period
tually establishing his own opera company and producing scores of Italian operas,
which were initially very well received by the English public. After a decade or so,
however, Italian opera in England imploded. Several opera companies there each
competed for the public’s business. The divas
who sang the main roles and whom the public
bought their tickets to see demanded high sala-
ries. In 1728, a librettist name John Gay and a
composer named Johann Pepusch premiered a
new sort of opera in London called ballad opera.
It was sung entirely in English and its music was
based on folk tunes known by most inhabitants
of the British Isles. For the English public, the
majority of whom had been attending Italian
opera without understanding the language in
which it was sung, English language opera was a
big hit. Both Handel’s opera company and his
competitors fought for financial stability, and
Handel had to find other ways to make a profit.
He hit on the id.
Page 94 Understanding MUsic MUsic of the BaroqUe Period.docx
Page | 94
Understanding MUsic MUsic of the BaroqUe Period
1:08 Ritornello starts with opening
phrase. Opening phrase returns and
then a softer new phrase with oscil-
lating notes to depict the murmur-
ing brook;
Forte for the return of the opening
phrase; then forte repeated low
notes foreshadowing the appear-
ance of lightening.
“Murmuring streams” “caressed
by the breezes”;
1:49 Solo section. Solo violinist playing
rapid notes in groups of three to
represent lightning; answered by
low repeated note in other strings
representing thunder
“Thunderstorms…roar”
2:07 Orchestra plays the ritornello. Open-
ing theme (just three measures)
2:15 Solo section: Solo violin + 2 violins;
cello sustains a drone pitch. More
high-pitched, ornamented and re-
peated notes to represent
More chirping birds
2:33 Orchestra. Return of a motivic
fragment from the opening phrase
now more legato and repeated in a
sequence.
2:45 Solo violin + basso continuo. More
fast, repeated and oscillating notes
Final reference to birds and
streams
2:58 Orchestra: ritornello. Forte for the
first melodic phrase of the ritornel-
lo; last phrase ends piano
4.7 musiC of GeorGe frideriC handel (1685-1759)
George Frideric Handel was one of the superstars of the late Baroque period
He was born the same year as one of our other Baroque superstars, Johann Sebas-
tian Bach, not more than 150 miles away in Halle, Germany. His father was an at-
torney and wanted his son to follow in his footsteps, but Handel decided that he
wanted to be a musician instead. With the help of a local nobleman, he persuaded
his father to agree. After learning the basics of composition, Handel journeyed to
Italy to learn to write opera. Italy, after all, was the home of opera, and opera was
the most popular musical entertainment of the day. After writing a few operas, he
took a job in London, England, where Italian opera was very much the rage, even-
Page | 95
Understanding MUsic MUsic of the BaroqUe Period
tually establishing his own opera company and producing scores of Italian operas,
which were initially very well received by the English public. After a decade or so,
however, Italian opera in England imploded. Several opera companies there each
competed for the public’s business. The divas
who sang the main roles and whom the public
bought their tickets to see demanded high sala-
ries. In 1728, a librettist name John Gay and a
composer named Johann Pepusch premiered a
new sort of opera in London called ballad opera.
It was sung entirely in English and its music was
based on folk tunes known by most inhabitants
of the British Isles. For the English public, the
majority of whom had been attending Italian
opera without understanding the language in
which it was sung, English language opera was a
big hit. Both Handel’s opera company and his
competitors fought for financial stability, and
Handel had to find other ways to make a profit.
He hit on the id.
'Found' and 'after' - a short history of data reuse in the arts
A presentation prepared as emergency backup for RDMF10 (http://www.dcc.ac.uk/events/research-data-management-forum-rdmf/rdmf10-research-data-management-arts-and-humanities), while we were struggling to secure a replacement keynote speaker. It was fun to prepare, though, so here it is, minus the multimedia bits such as the sound files on the 'sampling' slide.
The lost dimension of greek tragedy, by peter d. arnott
The document discusses differing perspectives on how Greek tragedies were intended to be experienced. While some argue the plays were meant solely for a single live performance, the author believes the playwrights had both performance and publication in mind. Though the immediate impact came from performances, the choruses may have been mainly spectacular rather than conveying intricate ideas. To fully understand the plays, readers would need to study the published texts, as some dramatic elements may have been lost in live performances alone. There is debate around how choruses should be handled in modern productions to best preserve the original experience.
Classical Vocal Music
The document discusses vocal music genres of the Classical era, including masses, requiems, oratorios, and opera. Sacred genres like the mass and requiem moved from churches to concert halls. Opera was a dominant genre and most important to composers like Mozart, who was especially skilled at writing exciting vocal ensembles. The document provides examples of operas by Mozart like Don Giovanni, analyzing their overtures and arias/ensembles. Comic opera eclipsed earlier forms and had more down-to-earth plots and characters like the buffo.
Classical Vocal Music
This document discusses vocal music genres of the Classical era. It outlines major choral works like masses and requiems by Haydn, Mozart, and Beethoven. Sacred music began moving from churches to concert halls. Opera was a dominant genre performed in opera houses and came in forms like Opera Seria and Comic Opera. Mozart was a master of Classical opera, composing works like Don Giovanni, which featured exciting vocal ensembles. Examples from Don Giovanni are provided for analysis.
Arrive at Opera as we know it today Peri’s and Monteverdi’s ope.docx
Arrive at Opera as we know it today: Peri’s and Monteverdi’s operas
Since the early twentieth century, European musical style has significantly changed its tradition for music as having take place around 1600.[footnoteRef:1] In general, it is described as the transition from Renaissance to Baroque style. Opera as an art originated from Italy in the 16th century and it spread out to Europe. This work is associated with drama, dance, vocal and visual music with impressive effects of the Greek and Romans. Orpheus was the greatest of musicians in ancient Greek mythology, it is challenging the gods with his capability to sing and play. Euridice by Peri and Orfeo by Monteverid are well-known works of early opera, which made use of Orpheus’ story and the same libretto. Peri’s Euridice is first survived and credited with early advances in opera composition as recitative and advancing Florentine Camerata’s ideas of Greek drama. On other hand, Monteverdi’s Orfeo Baroque operatic works include a variety of genres and types of styles. The text and plots are drawn from classical antiquity or ancient history, and the action involves a variety of special scenic effects.[footnoteRef:2] Because both works used the same libretto, in examining the two is very informative between two operas. Monteverdi’s opera is more widely known and performed today because it has a greater variety of musical style and richer sounds in instrumental and chorus. The purpose of this essay is to discuss the operas of Peri and Monteverdi’s libretto in various adaptations. This essay will cover an examination of monadic style works, instrumentations, and choral music. Ultimately, it will be shown that the conceptual and composers goals of Jacopo Peri and Claudio Monteverdi are in setting text to music. These ideas and changes effectively influenced the gradual growth of opera with the invention and improvement of today’s opera. [1: David Schulenberg, Music of the Baroque. New York; Oxford; Oxford University Press, 2014, 35.] [2: Schulenberg, 59.]
Before we examine Peri’s Euridice and Monteverdi’s Orfeo, it is necessary to acknowledge the experiments of Florentine Camerata. Florentine Camerata was an important group who met to discuss societies or academies and they were leading to write an ancient Greek and music. Florentine Camerata involved in Vincenzo Galilei and Giulo Caccini, but also Jacopo Peri, Ottavio Rinuccini, and Girolamo Mei participated. Florentine Camerata started with the experiment of stile recitative,which was a Greek style between speech and songs that was eventually called opera.
Rinuccini’s poems were a favorite subject for operas because the mythical hero is himself a singer and the combination of a simple action with a diversity of expressive situations.[footnoteRef:3] Peri was the monadic of the Florentine composers who wrote Eurydice, which is the earliest surviving opera with a completed setting of Rinuccini’s poem. It premiered on October 6, 1600 at .
Arrive at Opera as we know it today Peri’s and Monteverdi’s ope.docx
Arrive at Opera as we know it today: Peri’s and Monteverdi’s operas
Since the early twentieth century, European musical style has significantly changed its tradition for music as having take place around 1600.[footnoteRef:1] In general, it is described as the transition from Renaissance to Baroque style. Opera as an art originated from Italy in the 16th century and it spread out to Europe. This work is associated with drama, dance, vocal and visual music with impressive effects of the Greek and Romans. Orpheus was the greatest of musicians in ancient Greek mythology, it is challenging the gods with his capability to sing and play. Euridice by Peri and Orfeo by Monteverid are well-known works of early opera, which made use of Orpheus’ story and the same libretto. Peri’s Euridice is first survived and credited with early advances in opera composition as recitative and advancing Florentine Camerata’s ideas of Greek drama. On other hand, Monteverdi’s Orfeo Baroque operatic works include a variety of genres and types of styles. The text and plots are drawn from classical antiquity or ancient history, and the action involves a variety of special scenic effects.[footnoteRef:2] Because both works used the same libretto, in examining the two is very informative between two operas. Monteverdi’s opera is more widely known and performed today because it has a greater variety of musical style and richer sounds in instrumental and chorus. The purpose of this essay is to discuss the operas of Peri and Monteverdi’s libretto in various adaptations. This essay will cover an examination of monadic style works, instrumentations, and choral music. Ultimately, it will be shown that the conceptual and composers goals of Jacopo Peri and Claudio Monteverdi are in setting text to music. These ideas and changes effectively influenced the gradual growth of opera with the invention and improvement of today’s opera. [1: David Schulenberg, Music of the Baroque. New York; Oxford; Oxford University Press, 2014, 35.] [2: Schulenberg, 59.]
Before we examine Peri’s Euridice and Monteverdi’s Orfeo, it is necessary to acknowledge the experiments of Florentine Camerata. Florentine Camerata was an important group who met to discuss societies or academies and they were leading to write an ancient Greek and music. Florentine Camerata involved in Vincenzo Galilei and Giulo Caccini, but also Jacopo Peri, Ottavio Rinuccini, and Girolamo Mei participated. Florentine Camerata started with the experiment of stile recitative,which was a Greek style between speech and songs that was eventually called opera.
Rinuccini’s poems were a favorite subject for operas because the mythical hero is himself a singer and the combination of a simple action with a diversity of expressive situations.[footnoteRef:3] Peri was the monadic of the Florentine composers who wrote Eurydice, which is the earliest surviving opera with a completed setting of Rinuccini’s poem. It premiered on October 6, 1600 at ...
Exam 250450RR - The Middle Ages and the Renaissance 1. Who .docx
Exam: 250450RR - The Middle Ages and the Renaissance
1.
Who of the following wrote a morality play that could be likened to
Star Wars
and
Lord of the Rings?
A.
Guillaume de Machaut
B.
Hildegard von Bingen
C.
William Byrd
D.
Thomas Weelkes
2.
An example of a percussion instrument is the
A.
drum.
B.
lute.
C.
shawm.
D.
violin.
3.
The early forms of notes in the Middle Ages are called
A.
neumes.
B.
plainchants.
C.
cadences.
D.
melismas.
4.
The original version of _______ is for voices, with a text to be sung, but the common medieval practice of performing music involves using whatever instruments were at hand.
A.
"I Can All Too Well Compare My Lady"
B.
"Eagle Dance"
C.
"He Who Gladly Serves"
D.
"Behold, Spring"
5.
Accented notes that run against the regular pulse of the musical meter are referred to as
A.
duple meter.
B.
anapestic.
C.
syncopated.
D.
iambic.
6.
A single, long note held underneath a melodic line is known as a
A.
drone bass.
B.
phrase.
C.
plainchant.
D.
homophonic line.
7.
An example of a double reed musical instrument is the
A.
bassoon.
B.
piccolo.
C.
saxophone.
D.
clarinet.
8.
In _______ texture, every line is a melody.
A.
polyphonic
B.
monophonic
C.
homophonic
D.
harmonic
9.
What does it mean when cadences are elided?
A.
A single syllable of text is sung to many notes.
B.
The melodic lines are sung by three singers.
C.
A new line of text and music begins before the previous one has come to a complete stop.
D.
The notes run against the regular pulse of the musical meter, with accents on beats other than "1" and "3."
10.
When a composer sets a single syllable of a word to several notes of music, he or she is using _______ style.
A.
melismatic
B.
cadence
C.
plainchant
D.
syllabic
11.
Renaissance composers used which of the following to create polyphonic textures?
A.
Ternary forms
B.
Counterpoint
C.
Word-painting
D.
Elision
12.
Which of the following statements is
not
true of music written in the major mode?
A.
All national anthems begin and end in the major mode.
B.
Music written in the major mode generally conveys optimism and joy.
C.
The major mode corresponds to the scale produced by singing "do-re-mi-fa-so-la-ti-do."
D.
Two of the seven notes are slightly higher than those of the minor mode and thus create a different kind of sound.
13.
A _______ is a sacred choral work composed by those writing for the Roman Catholic Church.
A.
madrigal
B.
plainchant
C.
secular song
D.
motet
14.
Roy will play a melody in triple meter and place the pulse of the meter on the first beat. Chuck will play the triple meter melody and place the pulse of the meter on the third beat. Who is playing the melody with the correct pulse?
A.
Chuck
B.
Both are playing the melody correctly.
C.
Roy
D.
Neither is playing the melody correctly.
15.
In plainchant, a sentence of text almost always ends with
A.
the note
D.
B.
disjunct motion.
C.
cadence.
D.
a minor chord.
.
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Symbolic representation of beggar in the swamp dwellers
11.302.patel.kavita.ppt
- 1. CITING ADDITIONAL COMMON SOURCES PREPARED BY: KAVITA B. PATEL PART: I, SEM:I YEAR: 2011-2012
- 3. The title
- 4. Site of the Performance
- 5. Example: Heartbreak House By George Bernard Shaw. Dir. Robin Lefevre. Perf. Philip Bosco and Swoosie Kurtz. Roundabout Theatre Company. Amer. Airlines Theatre, New York. 1 1 Oct. 2006. Performance.
- 7. Prepare score as a Book
- 9. Example : Oakas, Meredith. The Tempest: An Opera in Three Acts. Composed By Thomas Ades. London: Faber Music, 2004. Print.
- 11. Artist’s name
- 13. Name of city
- 14. Example : Bearden, Romare. The Train. 1974. Photogravure and aquatint. Museum of Mod. Art, New York.
- 15. GUIDE :BARAD SIR Thanking you.