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MUSC 230

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Updated 2007-09-27 14:38

Exam 1

 

TitleComposerDateGenreTechnique
Flow, my tearsDowlandc. 1600lute song / airdescending 4th motive appropriate to text
Cuatro diferencias sobre "Guardame las vacas" from Los seys libros del DelphinNarvaezc. 1538variations for vihuelaground bass
Pavana LachrymaeByrdc. 1600Lachrymae pavane / pavane variations???
Canzon septimi toni a 8 from Sacrae symphoniaeGabrielic. 1597ensemble canzonacori spezzati
Prologue: Io, che d'alti sospir from Le musiche sopra l'EuridicePeri1600strophic ariaritornello
Aria: Nel pur ardor from Le musiche sopra l'EuridicePeri1600checkcheck
Dialogue in recitative: Per quel vago boschetto from Le musiche sopra l'EuridicePeri1600recitativecheck
Possente spirto from L'OrfeoMonteverdi1607ariastrophic variation
O tu ch'innanzi morte, from L'OrfeoMonteverdi1607checkbasso profundo - sasociative scoring
Aria/canzonetta: Vi ricorda o boschi ombrosi from L'OrfeoMonteverdi1607strophic ariahemiolas - ritornello in 5 part counterpoint
Song: Mira, deh miro Orfeo from L'OrfeoMonteverdi1607checkcheck
Dialogue in recitative: Ahi, caso acerbo from L'OrfeoMonteverdi1607recitativespecific instrumentation for color and mood change
Recitative: Tu se'morta from L'OrfeoMonteverdi1607checkchromaticism - specific instrumentation - melodic arches
Choral madrigal: Ahi, caso acerbo from L'OrfeoMonteverdi1607checkcheck
L'incoronazione di Poppea, Act I, Scene 3Monteverdi1642checkcheck
Scene 16: E che si fa?, from OronteaCesti1656recitativecheck
Scene 17: Intorno all'idol mio, from OronteaCesti1656ariacheck
Lagrime mieStrozzi1650scantatacontains sections in recitative, arioso, and aria styles
O quam tu pulchra esGrandic. 1625small sacred concertostile moderno
Chorus: Plorate filii Israel from Historia di JephteCarissimic. 1648oratoriodescending tetrachord
Saul, was verfolgst du mich, from Symphoniae sacrae IIISchutzc. 1650sacred concerto"echo" effect for when chorus enters with soloists
Toccata no. 3Frescobaldic. 1615, revised 1637toccataidiomatic for instrument, sectional, improvised or written to sound improvised
Ricercar dopo il credo from Mass for the Madonna, from Fiori musicaliFrescobaldi1635ricercaresubject and countersubject - augmentation
Sonata IV per il violino per sonar con due cordeMarinic. 1626sonataidiomatic to violin - instrumental monody
Overture to ArmideLully1686French overturetirades - notes inegales - overdotting - first part majestic - second part fugal
Enfin il est en ma puissance (Act II, Scene 5 of Armide)Lully1686checkrecitatif simple - recitatif mesure - air - agrements
Prelude from Suite no. 3 in A Minor from Pieces de clavecinDe la Guerrec. 1687suite - preludeimprovisational style
Allemande from Suite no. 3 in A Minor from Pieces de clavecinDe la Guerrec. 1687suite - allemandestyle brise - moderate 4/4 time - continuous 8th or 16th note motion
Courante I and II from Suite no. 3 in A Minor from Pieces de clavecinDe la Guerrec. 1687suite - courantecompound or triple meter - always has upbeat - meter switches between 3/2 and 6/4
Sarabande from Suite no. 3 in A Minor from Pieces de clavecinDe la Guerrec. 1687suite - sarabandestress on beat 2 - slow - triple meter
Gigue from Suite no. 3 in A Minor from Pieces de clavecinDe la Guerrec. 1687suite - giguewide leaps - fugal imitation - fast - compound meter
Recitative: Thy hand, Belinda, from Dido and AeneasPurcell1689recitativecheck
Lament: When I am laid in earth, from Dido and AeneasPurcell1689lamentground bass
Chorus: With dropping wings, from Dido and AeneasPurcell1689checktext painting
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