BAROQUE STYLE
Polyphonic
1. “Stilo Moderno” – monody.
2. “Stilo Concertato” – instrumental and vocal polyphony.
3. Text dominated.
4. Contrapuntal technique.
5. Many works composed with suggested improvisation.
6. Tonality instead of modality.
CLASSICAL STYLE
Homophonic
1. One melody and subordinate; ABA.
2. Sections are clear and precise.
3. Balance of musical periods and units of phrases; symmetry of form.
4. Gradual introduction of folk music into serious music (Haydn).
1. Melody assumed vocal and instrumental idiomatic style.
2. Recitativo represented a melodic idea whose structure was determined by verbal consideration.
3. “Bel Canto” – florid technique used in singing.
4. Polarity between melody and bass line, which was in itself a melodically conceived part.
1. Emphasis on lyricism with smooth melodic contours.
2. Ornaments were often written out, becoming a part of the melody.
3. Melodic figurations were, many times, based on chordal structure.
4. Melodies extended to double phrases and more.
1. Simple rhythm and constant tempo.
2. Moving basso continuo; unflagging rhythmic drive.
1. Simple; constant; rhythmic cadences.
2. Most parts have some rhythmic patterns.
3. Alberti bass.
4. Strong cadences sometimes followed by silence to heighten effect.
5. Tempo of a movement is usually constant from beginning to end.
1. Break between modal to major-minor system.
2. Chordal nature was governed by musical shorthand called ‘figured bass’.
3. Melodic character suggested rapid change in harmony in late Baroque.
4. Chromaticism was freely employed for expressive purposes.
1. Tonal harmony; slower harmonic rhythm.
2. Basso continuo disappears because the bass no longer served a melodic funcition.
3. Simple harmony – primary chords and sevenths.
4. A formal key relationship between themes and movements .
5. Key relationship forms a contrast without introducing new material.
6. Cadence – IV V I; “Feminine Cadence” – tonic chord on weak beat.
1. Emphasis of contrasting elements i.e. “Terraced Dynamics”.
2. Tendency of homophonic forms to include contrapuntal techniques; this provided a thicker texture.
1. Homophonic, with lyric melody predominating.
2. In the presence of polyphony, there is clarity and transparency of line.
1. Most instruments used.
2. Idiomatic writing was perfected for specific instruments.
3. Orchestral personnel was not a fixed one.
4. Harpsichord, clavichord, organ.
5. Voice catagories became fixed i.e. S A T B.
1. Most popular means of musical expression was instrumental. (orchestra, chamber music, solo instruments).
2. Instrumental groups in the orchestra became complete choirs in themselves.
3. Piano supersedes the harpsichord.
4. Instrumental chamber music became very popular.
5. Opera.
1. “Equal Temperament” established.
2. Improvisation – vocal and instrumental:
a) Figured bass.
b) Expressive points in vocal music – ‘gorgia’.
3. Dynamic markings used sparingly.
4. Tempo indications had a wide range of meaning.
1. Dynamics became commonplace.
2. Explicit directions in dynamics, tempi, phrasing and other interpretative matters.
1. Toccata, prelude, ricercar, fantasia, fugue, concerto grosso.
2. Orchestral overture:
a) French
b) Italian
3. Passacaglia and Chaconne.
4. Theme and Variations.
5. Choral Prelude.
6. Suite – orchestral and keyboard.
7. Chamber Sonata (Sonata da Camera).
8. Keyboard sonatas.
1. Sonata.
2. Concerto.
3. Rondo.
4. Variation.
5. Minuet and Trio.
6. Three-part Song form.
7. Overture.
8. Symphony.
1. Opera:
a) Recitativo.
b) Aria.
c) Arioso.
d) Chorus.
2. Oratorio.
3. Cantata.
4. Motet.
5. Passion music.
6. Choral.
7. Mass.
CLASSICAL VOCAL FORMS
1. Opera.
2. Oratorio.
3. Mass.
4. Lied.
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