Baroque Vocal Music
description
Transcript of Baroque Vocal Music
Written by I. Horning King's Park Secondary School
Baroque Vocal Music
Higher
Written by I. Horning King's Park Secondary School
Baroque1600-1750
• The fashion was for ornamentation everywhere.
• Musicians adapted the word to describe the musical styles of this time.
• Sacred music was particularly popular at the time
Written by I. Horning King's Park Secondary School
A useful table
• Write the subtitle “ways to perform using the voice”
• Glue this very useful table into your jotter
Concept Definition
Accompanied One or more instruments support the melody
Unaccompanied No instruments support themelody
Unison Two or more people sing the same line. (also applies to instruments).
Single Line One musical part
Harmony Two or more parts performing different notes
A capella A cappella is Italian for "in the style of the chapel".
Vocal music with no accompaniment.
Vibrato The singer makes the note they are singing waver in pitch very slightly bringing warmth to the tone of their voice.
Register How high or low a voice is
Syllabic (word setting)
Where each syllable has a new note
Melismatic (word setting)
Where each syllable has many notes
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Accompanied or Unaccompanied
• One or more instruments support the melody
• No instruments support the melody
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Unison or Harmony
• Two or more people sing the same line
• Two or more parts performing different notes
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Syllabic or Melismatic
• Where each syllable has a new note
• Where each syllable has many notes
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Vibrato
• The singer makes the note they are singing waver in pitch very slightly bringing warmth to the tone of their voice.
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A cappella
• A cappella is Italian for "in the style of the chapel".
• Vocal music with no accompaniment.
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Oratorio• Story from the Bible
set to music• No costumes or
scenery• In English• Accompanied by an
orchestra• Can include
– Recitative– Aria– Duet– Chorus
‘He Shall Feed His Flock’ from Handel’s ‘Messiah’
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Cantata
• A small scale Oratorio• Story from the Bible set to
music• No costumes or scenery• In German• Accompanied by an
orchestra• Can include
– Recitative– Aria– Duet– Chorus
Bach: ‘Gloria sei dir gesungen’
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Passion• A type of Oratorio which is based on the
Crucifixion of Christ• Story from the Bible set to music• No costumes or scenery• In German• Accompanied by an orchestra• Can include
– Recitative– Aria– Duet– Chorus
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Chorale
• Music which is sung by the congregation at a church service
• In German
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Opera• A secular drama set to music which is performed
on a stage in a theatre • No spoken dialogue• Singers have trained voices. • Costumes and Scenery• Music includes
– Recitative– Aria– Duet– Chorus
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OperaSynopsis
Act 1• A chorus of nymphs and shepherds join Orfeo around the
tomb of his wife Euridice in a solemn chorus of mourning; Orfeo is only able to utter Euridice's name. Amore appears, telling Orfeo that he may go to the Underworld and return with his wife on the condition that he not look at her until they are back on earth As encouragement, Amore informs Orfeo that his present suffering shall be short-lived. Orfeo resolves to take on the quest.
Act 2• In a rocky landscape, the Furies refuse to admit Orfeo to the
Underworld, and When Orfeobegs for pity he is at first interrupted by cries of "No!" from the Furies, but they are eventually let him in.
• The second scene opens in Elysium. Orfeo arrives and marvels at the purity of the air . But he finds no solace in the beauty of the surroundings, for Euridice is not yet with him. He implores the spirits to bring her to him, which they do.
Act 3• On the way out of Hades, Euridice is delighted to be returning
to earth, but Orfeo, remembering the condition related by Amore in Act I, lets go of her hand and refuses to look at her, does not explain anything to her. She does not understand his action and reproaches him, but he must suffer in silence Euridice takes this to be a sign that he no longer loves her, and refuses to continue, concluding that death would be preferable. Unable to take any more, Orfeo turns and looks at Euridice; again, she dies.
• Orfeo decides he will kill himself to join Euridice in Hades, but Amore returns to stop him. In reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited.
‘Orpheus and Eurydice’ by Gluck
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Aria
• A song for solo voice
• Accompanied by orchestra
• Basso Continuo• Beautiful melody
‘Ave Maria’ arranged by Gounod
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Da Capo Aria
• An aria in ternary form (ABA).• Sometimes A is repeated with
ornaments.• Handel: ‘Lascia ch’io pianga’
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Recitative
• Sung speech• Often before an aria• Chordal accompaniment• Basso Continuo• Used to move the story along
‘There Were Shepherds’ from Handel’s ‘Messiah’
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Chorus
• A group of singers• Each part has several singers• SATB Choir• Often accompanied by orchestra• Basso Continuo
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Mass
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Mass• Originally used in church worship• Based on the text of the Roman
Catholic Eucharist• In Latin• Large-scale work for chorus and
soloists, accompanied by the orchestra• In the Baroque era, a basso continuo
would be present
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Liturgy
You need to learn the names of these sections so that you can recognise
them when you hear the Latin words.
Kyrie Gloria Credo Sanctus
Benedictus Agnus Dei
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The 6 sections
Kyrie
Lord have mercy,Christ have mercy.
Gloria
Celebratory section praising God and
Christ.
Credo• This is the longest
text of the MassSetting of the Nicene
Creed
SanctusHoly, Holy, Holy, Lord God of Hosts; Heaven and earth
are full of Your glory.
Benedictus• This is a continuation
of the SanctusBlessed is he who comes in the name
of the Lord.
Agnus Dei• This is a setting of the
‘Lamb of God’ – symbolic of Jesus.Lamb of God, you who
take away the sins of the world.
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Next Listening Lesson
• Come up with a pneumonic to help you remember the 6 sections in a mass:
• Kyrie, Credo, Sanctus, Benedictus, Gloria, Agnus Dei
• CONCEPT TEST: on all of Baroque Vocal Music
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•Badgers •Sometimes•Kiss•And•Cuddle •Giraffes