Introduction to the primary foundations of Modern Music.The presentation both the traditional roots of music structure and illustrates how they are used in recent years. It explains the history and birth of electronics integrated into music and how that impacted music industry and composition as a whole..
I've included the section from "Making It: Modern Music", that explains realistic avenues for young artists to join the Music Industry as an Artist. This includes the list of online retailers and their requirements for selling one's music (this slide makes a useful handout).
Chapter 10Baroque Instrumental MusicThe Rise of .docxcravennichole326
Chapter 10
Baroque Instrumental Music
The Rise of
Instrumental MusicRequired new understanding between composers and audiencesWhen to end a piece?How to make instrumental works coherent?How to sustain interest and drama?
*
Concerto and
Concerto GrossoThe most important orchestral genres of the Baroque eraUnderlying idea is contrast
-Virtuosity vs. stabilityConcerto: Soloist against orchestraConcerto Grosso: Group of soloists against orchestra
*
MovementsMovement = Self-contained section of a larger workTypical concerto has threeI: Bright, extroverted, fastII: Slower, quieter, more emotionalIII: Similar to I, often faster
*
Ritornello FormBased on contrast of musical ideasOrchestral material (ritornello)Solo materialReturns many times to a stable elementIn whole or in partIn various keysUsually full theme in tonic key to end piece
*
Standard Ritornello Form
RIT = Complete ritornello statement
[RIT] = Partial ritornello statement
Solo 1, 2, 3, etc. = Solo episodes
*
Titles of Instrumental WorksOpus – Latin for “work” Sometimes given evocative titles: “Harmonic Whims” or “Extravagance”Number (No.) – the piece within the opusEx- Concerto in G, La stravaganza, Op. 4, No. 12
Vivaldi, Violin Concerto in GOpus 4 = Fourth published set of concertosLa stravaganza = Descriptive title of setNo. 12 = Concerto’s number within the setStandard three-movement formatI and III fast and brilliant, in ritornello formII slower and gentler, in ground bass form
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Insert CD 1 of 6-CD set. Double-click buttons on slides to play; click button again to stop playback.
Violin Concerto in G, IRitornello theme (for orchestra)Three short sections (a, b, c)Alternates between first and second violins
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Concerto GrossoConcerto for a group of solo instruments and orchestraOtherwise similar to concertoThree movements: fast, slow, fastFast movements usually ritornello formEmphasis on contrast (contest) between soloists and orchestra
*
Vivaldi The Four Seasons
Violin Concerto in E, SpringMost famous movementSimple but catchy ritornellosPhrases repeat: a (loud) a (soft) b (loud) b (soft)Next-to-last ritornello introduces new melodies; all others based on b phraseComplicated solo sections—sound more like concerto grosso at times
*
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J. S. Bach (1685–1750)From family of musiciansFirst a church organist, later a court composer1723—Cantor and Director musices, Leipzig (St. Thomas Lutheran Church)Prolific, wrote in almost every genre
*
Brandenburg Concerto No. 5Solo group = Flute, violin, harpsichordSome soloists do double dutyViolin leads orchestra in ritornellosHarpsichord provides continuo chordsStandard three-movement format
*
Insert CD 2 of 6-CD set. Double-click buttons on slides to play; click button again to stop playback.
Brandenburg Concerto
No. 5, Mvt. IRitornello themeHomophonic feelComplete theme only at beginning and endThree subsections (a, b, c)
*
Brandenburg Concerto
No. 5, Mvt. ISol ...
120 CHAPTER FOUR .. MUSIC AND OPERA FORMAL AND TECHNICAL.docxmoggdede
120 CHAPTER FOUR .. MUSIC AND OPERA
FORMAL AND
TECHNICAL QUALITIES
We all have favorite forms of music: tejano, reggae, rock,
rhythm and blues, rap, gospel, or Classical. Occasionally
we are surprised to find that our favorite tune or musical
form was once something else: a rock tune that first was
an operatic aria, or an ethnic style that combines styles
from other ethnic traditions. W hatever the case, all music
comprises rhythms and melodies-they differ only in the
ways they are put together. In this chapter we shall con
centrate first on some traditional forms, but after that we
discuss qualities that apply to all music.
Music has often been described as the purest of the art
forms because it is free from the physical restrictions of
space that apply to the other arts. However, the freedom
enjoyed by the composer becomes a constraint for us lis
teners because music places significant responsibility on
us. That responsibility is especially critical when we try to
learn and apply musical terminology, because we have
only a fleeting moment to capture many of the character
istics of music. A painting or a sculpture stands still for
us; it does not change or disappear, despite the length of
time it takes us to examine and appreciate. Our attempt to
grasp musical terminology appears more challenging
because many of the concepts seem technical and most of
the terminology foreign: specifically Italian. Nonetheless,
music plays such a natural and ever-present role in our
lives that we undoubtedly know and can perceive more
than we suspect at both a formal and a technical level.
FORMS
At a formal level, our experience of a musical work begins
with its type, or form. The term fonn is a very broad one.
In addition to the forms we identify momentarily, all of
which are associated with what we call "classical" (seri
ous, or "high" art) music, we can also identify broader
"forms" of music of which "classical" is only one-for
example, the musical forms of jazz, pop/rock, and so on
(see the Companion Website: Music, Musical Forms). As
we will see in Chapter 11, the term Classical also refers to
a specific style of music within this broad "classical" form.
The basic form of a music composition shapes our ini
tial encounter by providing us with some specific
parameters for understanding. Unlike our experience in
the theatre, we usually find an identification of the musi
cal composition, by type, in the concert program. Here are
a few of the more common forms: three vocal forms and
three instrumental forms. We will encounter a few more
in Part II of the text, and will define them within their
historical contexts.
Mass
The mass is a sacred choral composition consisting of five
'sections: Kyrie, Gloria, Credo, Sanctus; �Ad Ag;UJi Dei.
tKEE-ree-ay; KRAY-doh; SAHNK-toos; AHN-yoos-day
ee). These also form the parts of the mass ordinary-the
Roman Catholic church texts that remain the same from
day to ...
This PDF file contains definitions and background information about the most important terminology pertaining to music of the Baroque period of Western Musical History.
baroque comes from Portuguese barroco, which means “oddly shaped pearl,” it showcases the different chamber that has been used during the baroque period
Art Appreciation specifically in Music. This is will cover the history of music from pre-historic until the modern music. Also, the elements and types of music.
Page 94 Understanding MUsic MUsic of the BaroqUe Period.docxhoney690131
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.docxaman341480
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.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
2. Baroque Historical Highlights
Age of Absolutism; Kings and Queens are allpowerful
Known for extreme decadence and
extravagance of aristocracy (e.g. Louis XIV and
his palace of Versailles)
Church Splits in Two; Europe split into Catholic
countries (Italy, France, Spain) and Protestant
countries (England, Germany, Netherlands,
Sweden)
8. Baroque Musical Highlights
Birth of OPERA - theatrical presentations with
music and elaborate stage spectacle
New focus on instrumental music and
instrumental accompaniment to voices
New emphasis on chords and use of BASSO
CONTINUO
Examples:
– Henry Purcell ”Dido’s Lament " from Dido and
Aeneas
– Claudio Monteverdi “Tu se’ morta” from Orfeo
9. Basso Continuo
Baroque accompaniment made up of a
bass part usually played by two
instruments
– A keyboard (or other chord-generating
instrument such as the lute, organ, or
harpsichord)
– Plus a low melodic instrument (such as the
cello or bassoon)
10. Baroque Music Genres
Vocal Music Genres
– Opera
– Oratorio
– Cantata
Instrumental Music
Genres
– Chamber Music
– Concerto Grosso
11. Opera
Sung theatrical work with orchestral
accompaniment
– Vocal soloists and chorus
Staged with costumes and sets
Example: HENRY PURCELL "Dido's Lament"
from Dido and Aeneas CD#1/69-70
12. Recitative
Vocal line in a opera, oratorio, or
cantata that imitates the rhythms and
pitch fluctuations of speech, often
serving to lead into an aria
Recitative often gets across mostly plot
information in the opera, while the Aria
communicates the character’s emotions
13. Aria
Song for solo voice with orchestral
accompaniment, usually expressing an
emotional state through its outpouring of
melody; found in operas, oratorios, and
cantatas
14. HENRY PURCELL "Dido's Lament"
from Dido and Aeneas
Aria vs. Recitative
Listen for Basso
continuo in Recitative
Aria built on Ground
bass - a repeating
bass line (darksounding harmony,
descending in pitch)
– Listen also for affect of
ground bass
15. Affect
The one basic mood that usually lasts
throughout a single movement or piece
of a Baroque composition
Emotional states expressed in music
were called “affections”
Exceptions can be found in some vocal
music where the affect may change if
the character’s emotional changes
within an aria or recitative
16. Recitative
Thy hand, Belinda, darkness shades me,
Dido tells
On thy bosom let me rest;
Belinda to
More I would bet Death invades me; leave her that
alone, so
she can
Death is now a welcome guest.
commit
suicide
Aria
Dido tells
us how she
feels about
committing
suicide
When I am laid, am laid in earth,
may my wrongs create
No trouble, no trouble in thy breast.
Remember me! But ah! Forget my fate.
17. Oratorio
Like opera - [Sung theatrical work with orchestral accompaniment for
vocal soloists and chorus] , but unstaged [without acting, scenery, or
costumes]
Uses a religious story
Example: GEORGE FRIDERIC HANDEL’s Messiah
– "Hallelujah" CD#2/11-16
– "Ev'ry Valley Shall Be Exalted" CD#2/10
19. GEORGE FRIDERIC HANDEL’s
Messiah
"Ev'ry Valley Shall Be
Exalted"
– Listen for
• Terraced dynamics
• Emphasis of beat
• Ornamented melody
• Continuous affect
• Word painting
21. Ev’ry valley
Extremely
ornamented
melody
Ev’ry valley shall be exalted,
And ev’ry mountain and hill made low,
The crooked straight,
And the rough places plain.
Word Painting
Ev’ry valley shall be exalted,
And ev’ry mountain and hill made low,
The crooked straight,
And the rough places plain.
The crooked straight,
And the rough places plain.
22. Cantata
Like opera, but unstaged,
Usually with religious text & mostly performed in
churches
The church cantata for the Lutheran service in Germany
during the baroque period often includes chorales
– Chorales are hymn tunes set to a German religious text
Example: J.S. BACH Cantata No. 140: Wachet auf, ruft
uns die Stimme (Sleepers Awake) Mvt. 4 [Tenor Chorale]
CD#1/71-73 & Mvt. 7 [Chorale] CD#1/74-75
23. J.S. BACH Cantata No. 140:
Wachet auf, ruft uns die Stimme
(Sleepers Awake)
Mvt. 4 [Tenor Chorale]
– Listen for
• Extremely ornamented
melody
• Continuous affect
Mvt. 7 [Chorale]
– Listen for
• Hymn-like homophony
• Complete and incomplete
cadences
24. Chamber Music
Uses a small group of musicians, with one player
to a part
Meant for smaller, more intimate performance
venues
Includes music for solo instruments
– J.S. Bach’s Organ Fugue in G Minor “The Little”
25. J.S. BACH Organ Fugue in G Minor
(The "Little")
Fugue - polyphonic composition based
on one main theme called a subject
– Subject (Main Theme) stated in different
“voices” during Exposition (imitative)
– Exposition followed by alternating
Episodes (non-imitative) and Subject
Entries (imitative)
– Countersubject - countermelody that
accompanies Subject in Exposition &
Subject Entries
Picardy Third - major chord ending
pieces in minor
26. Concerto Grosso
Composition for several instrumental soloists
and small orchestra; common in late baroque
music
Tutti vs. Soli groups
– Tutti = “all,” the entire ensemble
– Soli = a small group of featured soloists (2 or 3)
Ritornello form - Ritornello (a homophonic or
polyphonic block of music) alternating with
Episodes (contrasting melodic, softer dynamics,
virtuosic scales and arpeggios)
27. Examples of Baroque Concerto
Grosso
J.S. Bach
– Brandenburg Concerto No. 5 in
D Major
– Movement 1
Antonio Vivaldi
– Concerto for Violin and String
Orchestra, Op. 8, No. 1, La
Primavera [Spring]
– from The Four Seasons
– Movement 1
28. Baroque Music Style Characteristics
Timbre
new emphasis on instrumental music & instrumental accompaniment to
voices
Rhythm
beat is emphasized; lots of forward motion
Melody
elaborate, ornamented, continuously expanding, long and winding
Form
one main theme repeated over and over
Dynamics
sudden changes from loud to soft and soft to loud called terraced dynamics
Texture
more rapid changes in texture (homophony, imitative polyphony) throughout
a single movement or piece of music
Harmony
new emphasis on chords; orchestra mainly consists of strings and basso
continuo (bass melody instrument like cello or bassoon + chord generating
instrument harpsichord, organ, or lute)
Mood
the same mood throughout movement; this heightened emotional state
called affect (vocal music is exception; vocal music has many changes of
mood, but closely follows text)