I. Group Presentation 5
Baroque Instrumental Music
Here are the five pieces from NAWM (Norton Anthology of Western Music) for the Encounter 5 group presentations. Except for the Gabrieli canzona, these are mid-Baroque and late Baroque works from the Encounter 6 Listening List. In addition to the readings above, you can find more readings and resources in Encounter 6 Readings and the Encounter 6 Listening List.
- Group I—NAWM 70, Gabrieli, Canzon septimi toni—Friday, November 13
- Group II—NAWM 89b, c, d, & e, de la Guerre, Suite in A Minor - Allemande, Courante, Sarabande, & Gigue—Wednesday, November 18
- Close Analysis—NAWM 89d & 89e, de la Guerre, Suite in A Minor - Sarabande & Gigue
- Group III—NAWM 96a, b, c, & d, Corelli, Trio Sonata, Op. 3, No. 2 - I. Grave, II. Allegro, III. Adagio, & IV. Allegro—Friday, November 20
- Close Analysis—NAWM 96a & 96b, Corelli, Trio Sonata, Op. 3, No. 2 - I. Grave & II. Allegro
- Group IV—NAWM 98a, b, & c, Vivaldi, Concerto in A Minor, Op. 3, No. 2 - I. Allegro, II. Adagio, & III. Presto—Monday, November 23
- Close Analysis—NAWM 98a, Vivaldi, Concerto in A Minor, Op. 3, No. 2 - I. Allegro
- Group V—NAWM 102a & b, Bach, Prelude and Fugue in A Minor, BWV 543—Wednesday, December 2
- Close Analysis—NAWM 102b, Bach, Fugue in A Minor, BWV 543
Each group will give a 10-minute Powerpoint presentation on their assigned piece. Ideally, you will start an overview of the entire work and then present the movements in order (in multi-movement works). For most movements you will offer a brief description and play excerpts. For the movement(s) labeled “Close Analysis” you will provide detailed analysis and play the entire movement(s). Each presentation will cover whatever seems most important, but be sure to include the following items.
Questions for every group:
- Who is the composer?
- Where would this music be performed?
- Who would perform it? Who would be there to listen? Who would not be there?
- Who would benefit or profit from the performance?
- What function would this work serve in the performance context?
- What is the genre?
- How does this work compare with other works in the same genre?
- What features of this work are unique or unusual?
- What style is used?
- How does this work use the elements of music?
- Describe how this work uses melody, harmony, rhythm, dynamics, texture, color (timbre), form, text setting, and so on.
- What is the key of your work? (What mode for Gabrieli?)
- Which elements are typical of the style? Which are not?
- Describe the form (sections, phrase relationships, and so on).
- For your close analysis of more complex works (i.e., Gabrieli, Vivaldi, or Bach), include a chart in your Powerpoint that shows each major section with the key and measure numbers for each. Browse through NAWM for examples of charts you can use as models.
- What performances practices would be used in playing this piece?
Questions on specific pieces:
- Group I—For the Gabrieli canzona, how is this work similar to a Renaissance motet or chanson? How is it different? What features are typical of music from the Church of St. Mark in Venice?
- For your close analysis, please include a chart in your Powerpoint that shows each major section with measure numbers and keys for each.
- Group II—For the de la Guerre dance suite, compare these scores with the chart of Standard Baroque Dances in the Baroque Sonata Listening Guide. Which features of each dance are typical? Which are not, if any? What features are typical of French Baroque performance practice?
- Group III—For the Corelli trio sonata, compare these scores with the Baroque Sonata Listening Guide. Which features of each movement are typical? Which are not, if any? What features are typical of Italian Baroque performance practice?
- Group IV—For the Vivaldi concerto, which features of each movement are typical for a Baroque solo concerto? Which are not, if any? What features are typical of Italian Baroque performance practice?
- For your close analysis of the ritornello-form 1st movement, please include a chart in your Powerpoint that shows each statement of the ritornello theme and each solo episode (with measure numbers and keys for each), similar to the chart for this work in NAWM.
- Group V—For the Bach fugue, which features are typical for a North German Baroque organ work? Which are not, if any? What effect is created by pairing an improvisatory work (prelude) and a fugue?
- For your close analysis of the fugue, please include a chart in your Powerpoint that shows each statement of the fugue subject and each episode (with measure numbers and keys for each), similar to the chart for this work in NAWM.
Group members will take turns speaking, so each group will need to decide who is responsible for which of the questions above. Each group member will turn in a one-page outline of their presentation notes and their own bibliography in MLA format (individual bibliographies only, no group bibliographies!). Obvious sources include the textbook and NAWM. Find at least six sources total for your research. Highly recommended sources include:
- an article from the New Grove Dictionary of Music and Musicians (Oxford/Grove Music Online)
- relevant materials from the Readings list above
- a period history (a comprehensive book covering the history of music in a particular era)
- a book or article on Baroque performance practice
- the Le Huray article on the reading list above is especially valuable for presentations on Corelli and Vivaldi
- a scholarly journal article on your topic
- books/ebooks that deal with your topic
You can include as many Grove Online articles as you like, but only one can count toward the six required sources.
One designated group member will email me the Powerpoint document on the day of the presentation.
Thinking about Elements of Music
- Melody—high or low? moves by step or leap? wide or narrow range? regular or uneven phrase lengths? melodic shape and contour?
- Texture—how many things going on simultaneously? monophonic? polyphonic (with imitation?)? homophonic (homorhythmic or melody & accompaniment?)?
- Rhythm—clear beat or not? meter? tempo? rhythmic patterns? syncopation? how does time pass?
- Color—specific instrumental colors? high, medium, or low register? interesting color combinations? overall color? articulation (legato, staccato, etc.)? attack, sustain, and decay characteristics?
- Harmony—diatonic or chromatic? scale type? stable or unstable? simple (triads) or complex chords? consonant or dissonant?
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Dynamics—loud or soft? accents? sudden or gradual changes?
- Form—repetition? contrast? return? variation? overall shape? specific forms?
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II. Video Report
On Wednesday, November 4th, we will watch video excerpts from a Monteverdi opera DVD. All you have to do for Part II is take notes while you watch the video (one page will do). Describe the different types of vocal music (recitative, aria, chorus) and the ways Monteverdi uses the music to express the words. Turn in your notes with this Encounter on Nov. 11. As added incentive, those notes will earn you one hour of extra credit listening!
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III. Final Paper Preparation
Hand in a one-page outline of your final paper. This can be a traditional outline, a prose abstract, a flowchart, or an idea map. Whichever format you choose, identify the work you are studying (composer and title) and summarize the main points you intend to make in each part of the paper. For Part I, where you must imagine yourself to be a participant or listener at a performance of your chosen work, your outline must describe who you will be, where and when the performance will occur, who will be there, and so on. Part II will be your own analysis of one movement from your chosen work. Visit the Final Paper web page for more information on Part I and Part II.
Thinking ahead to the next step—Begin work on the first draft
of your paper!
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Listening Assignment 5
Monteverdi & the Early Baroque
Notes on the Early Baroque Quiz
The Listening/Score Excerpts section of the Early Baroque Quiz focuses on early Baroque vocal music. For each score example you will identify the work (composer & title), identify the genre, and answer questions adapted from the Study Questions above. The score pages will be taken from works on the Quiz List in the study guide for this quiz (see Blackboard Assignment Resources module). This section will require a bit more information than in past tests: in addition to composer, title, and genre you must also identify vocal type (if the genre is opera!) and two significant style features.
Possible genres include continuo madrigal, grand concerto, opera, polyphonic madrigal, and sacred concerto. See the Baroque Vocal Genres Listening Guide for
further information on these genres.
Possible vocal types for the opera excerpts include aria, recitative, and arioso. (Chorus is a vocal type that frequently appears in opera; you can find an example in the listening below, but there are no opera choruses on the Quiz List). These four features can help you decide if the vocal type of a work is aria, arioso, or recitative (or a mixture of these). Listen especially for:
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Rhythm (clear beat & meter or freer, speech-like rhythms?)
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Performing forces (solo voice or chorus? accompanied by orchestra or just continuo?)
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Melody (tuneful or speechlike melody? with or without ornamentation?)
- Text setting (with or without melismas? repetition of words and phrases?)
See the Baroque Opera Listening Guide for further information on these vocal types.
Study Questions
The best way to do well on quizzes, exams, and other assignments in this course is to know the assigned listening well. Listen to each work below as often as you can, study the scores, and learn what the NAWM notes say about each one. For each work you want to be able to answer the following Study Questions:
- What is the genre?
- What is its form?
- What is the name of the style in which it is written?
- How does this work use the elements of music? What features of the work are typical of the style? What features are not?
- To answer this, look at the ways these works use melody, harmony, rhythm, dynamics, texture, color (timbre), form, text setting, and so on
- How does the work compare with other works in the listening assignment (especially those in the same genre)?
- What features of the work are unique or unusual?
- For this encounter:
- The most important new venue for music of the Baroque era was the theatre. What are the significant musical features of new dramatic genres, especially opera? Consider melody, harmony, rhythm, texture, performing forces, color, form, story, and text expression. (See the Baroque Vocal Genres Listening Guide for further information on these genres.)
- What are the similarities and differences between music for theatre, for the church, and for chamber?
- What are the important differences between the solo and choral vocal types associated with theatrical productions: aria, arioso, recitative, and chorus. How can you tell the difference between them in the early Baroque? How are these vocal types used in new genres such as opera, the solo madrigal, and sacred concertos? (See the Baroque Opera Listening Guide for further information on these vocal types.)
- Which seems more important in this music, text depiction (text painting) or text expression (expressing emotions)? Why? What is the difference between the two?
- What is basso continuo? Which instruments typically play continuo? How is the continuo ensemble used in Baroque vocal and instrumental music?
In some cases, additional Study Questions below will draw attention to particularly interesting, unique features of particular works. These Study Questions, NAWM scores, and recordings together will help you prepare for the Early Renaissance Quiz. They require no written report.
Listening List
Before you listen, do the Burkholder readings above as well as the Part I readings on Prima and Seconda Prattica to familiarize yourself with early Baroque genres and significant style features. Challenge yourself to identify musical features described there when you listen. The listening materials below will give you practice recognizing these works, genres, and their style features. As always with any NAWM work, you really want to read the NAWM notes, listen to the recording, and follow the score.
The Invention of Opera
A1) L’Orfeo DVD—RESERVE VIDEO
782.1 L869
- Claudio Monteverdi, L’Orfeo (Early Baroque Italian Opera)
- Act II excerpts—DVD chapters 8-9 (28:50-43:30)
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Alternate Recording: NAWM 74 —Monteverdi, L’Orfeo
- a) “Vi ricorda o boschi ombrosi” (Strophic aria/canzonetta)
- b) “Mira, deh mira Orfeo” (Recitative)
- c) “Ahi caso acerbo” (Dialogue in recitative)
- d) “Tu se’ morta” (Expressive recitative)
- e) “Ahi caso acerbo” (Chorus/choral madrigal)
A2) L’incoronazione
di Poppea DVD—RESERVE VIDEO 782.1 L741
- Claudio Monteverdi, L’incoronazione di Poppea (Mid-Baroque Italian
Opera)
- Act I, scene 3 (Recitative with arioso passages)—DVD track 5
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Alternate Recording: NAWM 75, a-d—Monteverdi, L’incoronazione
di Poppea
- a) “Signor, deh non partire” (Dialogue: Recitative with arioso passages)
- b) “In un sospir” (Aria)
- c) “Signor, sempre mi vedi” (Aria)
- d) “Adorati miei rai” (Dialogue: Recitative with arioso passages)
A3) NAWM 76—Francesco Cavalli, Artemisia (Mid-Baroque Italian Opera)
- a) Dubbia m’appar la luce (Aria)
- b) Vuo’ legger l’epitafio (Dialogue in recitative)
- c) Pietà di mie pene (Aria)
Study Questions on group A:
- What was it about the Orpheus myth that provided such a powerful analogy for this new Baroque style? Which features of this story do you think held a special fascination for composers such as Peri and Monteverdi? Why?
- How do the textbook segments on the The Impresario and the Diva (pp. 312-313) and Farinelli (p. 406) help you better understand early Baroque opera? What impact did this have on the music itself, do you think?
The Early Baroque Continuo Madrigal
Caccini’s Le nuove musiche (1602)
B1) NAWM 72—Giulio Caccini, Vedrò ’l mio sol (Continuo or solo madrigal)
Monteverdi’s Book V Madrigals (1605)
B2) NAWM 71—Claudio Monteverdi, Cruda Amarilli (Polyphonic madrigal)
Monteverdi’s Scherzi musicali (1632)
B3) Claudio Monteverdi, Madrigali Concertati CD (Tragicomedia) —RESERVE CD
- Zefiro torna (Continuo madrigal)—track 9
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Also available on Blackboard in the Assignment Resources module/Encounter Listening/Encounter 5/Zefiro torna
Monteverdi’s Book VIII: Madrigali Guerrieri et Amorosi (1638)
Canti Amorosi (Songs of Love)
B4) Claudio Monteverdi, Madrigali Concertati CD (Tragicomedia) —RESERVE CD
- Lamento della ninfa (Continuo madrigal)—tracks 10-12
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Non havea Febo ancora (track 10)
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Amor, dicea (track 11)
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Sì tra sdegnosi pianti (track 12)
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Also available on Blackboard in the Assignment Resources module/Encounter Listening/Encounter 5/Lamento della Ninfa
Study Questions on group B:
- In the transition from late Renaissance to early Baroque madrigals, what were the most important changes? How did the addition of continuo change the nature and expressiveness of the madrigal?
- In these madrigals, where do you find specific examples of text depiction, text expression, chromaticism, ostinato bass, recitative style, or virtuoso vocal techniques?
- Which features of Monteverdi’s music would have seemed most modern in the early 1600s? Which features were more old-fashioned?
The Sacred Concerto
C1) NAWM 78—Giovanni Gabrieli, In ecclesiis (Sacred concerto or motet)
C2) Vespro della beata Vergine DVD—RESERVE VIDEO 782.522 V579
- Claudio Monteverdi, Vespro della beata Vergine (1610 Venetian Vespers)
- Pulchra es (Solo motet or sacred concerto)—DVD chapter 5
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Alternate Recording: Monteverdi, Vespro della
beata Vergine CD set
(Concerto Vocale)—Blackboard RESERVE
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See Assignment Resources module/Encounter Listening/Encounter 5/Pulchra
es
C3) NAWM 79—Alessandro Grandi, O quam tu pulchra es (Solo motet or sacred concerto)
- Alternate Recording: Monteverdi, Venetian Vespers CD set (Gabrieli Consort)—Blackboard RESERVE
C4) NAWM 81—Heinrich Schütz, Saul, was verfolgst du mich, SWV 415, from Symphoniae sacrae III (Sacred or grand concerto)
Study Questions on group C:
- The polyphonic motet was transformed into the sacred concerto in much the same way the polyphonic madrigal was transformed into the continuo madrigal. What features of the motets by Josquin, Victoria, or Lassus are still evident in the sacred concerto? What features are new?
- What are the primary stylistic differences between the sacred concerto and the grand concerto? Which is most dramatic? most intimate? Why?
- Which features of the “hybrid” style (regarded by Marco Scacchi as appropriate for sacred concertos) can be found in these works?
The Rise of Instrumental Music in the Late Renaissance
Read the textbook’s discussion of Renaissance instrumental music in Chapter 12 before you listen to these works. Pay special attention to the five broad categories listed on p. 259-260 and described on pp. 260-274: dance music, arrangements of vocal music, settings of existing melodies, variations, and abstract instrumental works.
D1) NAWM 66—Tielman Susato, From Danserye
- a) Pavane La dona
- b) Galliard La dona
- c) Moresca La morisque
D2) NAWM 67—Anthony Holborne,
The Night Watch and The Fairie-round (Consort dances)
- a) The Night Watch (Almain)
- b) The Fairie-round (Galliard)
D3) NAWM 68—Luis de Narváez, From Los seys libros del Delphin
- a) Cancion Mille regres (Intabulation of Josquin’s chanson, Mille regretz)
D4) NAWM 69—William Byrd, John come kiss me now (Variations)
D5) NAWM 70—Giovanni Gabrieli, Canzon septimi toni a 8, from Sacrae symphoniae (Ensemble canzona)
Study Questions on group D:
- Which of these works are based on Renaissance vocal works or genres? What specific techniques are use to adapt these works to the instrumental medium?
- What is the importance of pairing dances like the pavane and galliard or the allemande (almain) and galliard?
- Which style features of the Gabrieli ensemble canzona are typical of Renaissance abstract instrumental works? Which style features demonstrate the novel performance practices associated with the Church of St. Mark in Venice?
Early Seventeenth Century Instrumental Music
E1) NAWM 82—Girolamo Frescobaldi, Toccata No. 3 (Early Baroque toccata)
E2) NAWM 83—Girolamo Frescobaldi, Ricercare after the Credo, from Mass for the Madonna, in Fiori musicali (Early Baroque ricercare)
E3) NAWM 84—Biagio Marini, Sonata IV per il violino per sonar con due corde (Sonata for violin and continuo)
Study Questions on group E:
- What important differences do you hear between the early Baroque toccata, ricercare, & sonata? Which categories on textbook pp. 330-338 do these works belong to? What are the most significant features of each genre?
- Where would these works have likely been performed: church, chamber, or theatre? How is each work appropriate to its venue?
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Extra Credit Listening—
Buehler Library RESERVE
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MCD G118m—G. Gabrieli, Music for San Rocco (Gabrieli Consort)
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RESERVE CD—Monteverdi, Madrigali Concertati (Tragicomedia)
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MCD M781/A1R—Monteverdi, L’Orfeo (Chiaroscuro & London Baroque)
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MCD G118v—Venetian Vespers (Gabrieli Consort)
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VIDEO 782.1 L741—Monteverdi, L’incoronazione di Poppea DVD (Jacobs)
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VIDEO 782.1 L869—Monteverdi, L’Orfeo DVD (Savall)
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VIDEO 782.522 V579—Monteverdi, Vespers of the Blessed Virgin DVD
(Gardiner)
- MCD D489 1998—Development of Western Music recordings (DWMA),
3rd edition, Volume I, CD4-CD5
- DWMA 90—Giulio Caccini, Amarilli mia bella (Continuo Madrigal)—CD4, track 9
- DWMA 98—Heinrich Schütz, O quam tu pulchra es (Sacred Concerto)—CD5, track 1
- DWMA 99—Heinrich Schütz, Die sieben Worte...Jesu Christi am Kreuz: Introit (Motet)—CD5, track 2
- DWMA 100—Jan Pieterzoon Sweelinck, Fantasia chromatica (Early Baroque Imitative Fantasia–on a meantone-tuned keyboard!)—CD5, track 3
- DWMA 101—Anonymous, Canzona per l’epistola (Canzona)—CD5, track 4
- DWMA 103—Girolamo Frescobaldi, Il secondo libro di toccate: Toccata nona (Toccata)—CD5, track 6
- DWMA 105—Girolamo Frescobaldi, Messa della Madonna, Ricercar dopo il Credo (Ricercare)—CD5, track 10
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Created 9/11/20 by Mark Harbold—last updated 9/28/20
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