Music 3601 - Review Sheet Week 15 (2014)

grand motet
Theatrical Music in England
court masque (especially during reigns of King James I [r. 16031625] and King Charles I [r. 16251649])
Oliver Cromwell (15991658)
King Charles II (r. 1660-1685) and the Restoration
John Blow (1648-1708), Venus and Adonis (ca. 1682)
Henry Purcell (1659-95), Dido and Aeneas (ca. 1689)
Nahum Tate (16521715)
ground bass aria
semi-opera (dramatick opera), e.g., Purcell, The Fairy Queen (1692)
What role did music serve in late sixteenth- and early seventeenth-century English theater (e.g., in Shakespeares
Globe Theatre)? What were the musical and dramatic characteristics of the court masque under James I and
Charles I? What political purpose did masques serve? How did the Puritans feel about music and theater? What
musical contexts were especially important during the period of the Commonwealth? What new musical
emphases did the reign of King Charles II (1660-1685) bring? What ways was Purcells opera influenced by
French, Italian, and English musical/theatrical styles? You should be able to summarize the plot of Dido and
Aeneas.
Music in Late Seventeenth-Century Spain and Latin America
Pedro Caldern de la Barca (16001681), La prpura de la rosa (set to music by Juan Hidalgo for 1660
performance in Madrid and by Toms de Torrejn y Velasco for 1701 performance in Lima,
Peru)
zarzuela
copla
What politically important events did the Madrid and Lima performances of La prpura de la rosa commemorate?
Vocal and Instrumental Music in Late Seventeenth-Century Italy
cantata and opera: Alessandro Scarlatti (1660-1725), Clori vezzosa, e bella (ca. 1690-1710)
da capo aria
accompanied recitative
secco recitative
trio sonata: Arcangelo Corelli (1653-1713), Trio sonata op. 3, no. 2 (publ. 1689)
sonata da chiesa
sonata da camera
How did late seventeenth-century Italian opera differ from its early and mid-century counterparts? How did the
overall form of the late seventeenth-century cantata differ from mid-century cantatas (e.g., between the Scarlatti
example and Barbara Strozzis Lagrime mie)? In what types of contexts might cantatas have been performed?
Know and be able to diagram the form of the da capo aria ca. 1700, and be able to compare and contrast the
styles of opera from Italy, France, Spain, and England.
How did late seventeenth-century sonatas differ from their counterparts from earlier in the century? What is the
typical arrangement of movements in the late seventeenth-century sonata with respect to tempo? In what types of
contexts might sonatas have been performed? What combination of instruments was the most common in trio
sonatas?