UNIT 3.Baroque Music
1. BAROQUE MUSIC
1.1. INTRODUCTION
The word 'baroque' is used to describe a particular musical style, a term originally borrowedtomar prestado from the style of architecture popular between 1600 and 1750. During this period, composers and performers used more elaborate musical ornamentation, made changes in musical notation, and developed new instrumental playing techniques. It also establishedto establish: establecerse opera as a musical genre. Many musical terms and concepts from this era are still in use today.
Ejemplos musicales:
1) Afectos
[Lamento della ninfa], de Claudio Monteverdi, el principal compositor del primer barroco. Antes de empezar, unas notas para entender la audición. En música un lamento es básicamente un recurso que usaban los compositores barrocos del XVII. Componían una pieza vocal donde se declamaba y cantaba al sufrimiento, la tristeza, la pérdida... Como característica musical, incluía como norma general un bajo de chacona (una línea melódica en el bajo e instrumentos más graves que se va repitiendo constantemente durante toda la pieza).
El Lamento que vamos a escuchar comienza con un trío de voces masculinas describiendo la escena: una joven ninfa abandona su casa al alba y vaga desconsoladamente por los bosques, clamando que su amante la ha abandonado por otra.
Observa como la música no sólo trata de declamar el texto sino de “expresarlo afectivamente”. Observa palabras clave como dolor, donde el compositor empleará disonancias que resulten desagradables para expresarlo, o gran sospir, donde hará un crescendo profundo para describirlo. En la parte en la que cuenta como iba pisando flores de un lado a otro observa como la música parece hacer precisamente eso: saltar de un lado para otro. Por último, observa como representa el llanto al final de la primera parte.
2) Contraste y movimiento. Bajo contínuo.
1.2. VOCAL MUSIC
Opera was invented in the late Renaissance for the Florentine Camerata, the musicians who worked for the Count Bardi in Florence. Their ideals were based on their perception of ancient Greek musical drama, in which the declamation of the text was of utmost importancesuma importancia. The first important opera was The Orfeo of Monteverdi (1607) [L´Orfeo de Monteverdi]
An oratorio is a large musical composition including an orchestra, a choir, and soloists. The oratorio and the opera were formally very similar (including the use of a choir, soloists, an ensemble, various distinguishable characterspapeles distintos, and arias). However, opera is a musical theatre composition, while oratorio is strictly a concert piece. A particularly important difference is in the typical subject mattertema of the text. Opera tends to dealtiende a tratar with history and mythology whereas the plotargumento of an oratorio often deals with sacred topics, making it appropriate for performance in the church. George Friedrich Handel was the most important oratorio composer of the baroque period. [Mesías de Haendel]
To comprehendComprender this music we have to talk about their three main influences:
TEORÍA MUSICAL: ALTERACIONES (I) - ALTERACIONES (II)
UNIT SONG: ALONE (HEART)
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1. BAROQUE MUSIC
1.1. INTRODUCTION
The word 'baroque' is used to describe a particular musical style, a term originally borrowedtomar prestado from the style of architecture popular between 1600 and 1750. During this period, composers and performers used more elaborate musical ornamentation, made changes in musical notation, and developed new instrumental playing techniques. It also establishedto establish: establecerse opera as a musical genre. Many musical terms and concepts from this era are still in use today.
Some of the main baroque characteristics are:
Basso continuo parts provided the harmonic structure of the music. The continuo group must include at leastal menos one instrument capable of playing chords –harmonic instruments- (harpsichord, organ, lute…) and any number of instruments which play their melodies in the bass register such as cello, double bass or viola da gamba.
The figured bass consists of a bass-line with notes on a musical staff plus added numbers and accidentals under the staff to indicate at what chords must be played.
-Contrast and movement
Contrast (between instrumental and vocal groups, different timbres, tempos, etc.) is one of the most important characteristics of baroque music. The concertato style involves contrast between opposing groups of voices and groups of instruments. In the concerto grosso there is contrast between large and small groups of similar composition.
-Affections
Composers tried to express the affections. Affections were not their own emotions but were the states of the soulestados del alma, such as rage, heroism, sorrow, or joy. Meter and rhythm were united to the feeling the composer wished to evoke.el sentimiento que el compositor deseaba evocar.
Ejemplos musicales:
1) Afectos
[Lamento della ninfa], de Claudio Monteverdi, el principal compositor del primer barroco. Antes de empezar, unas notas para entender la audición. En música un lamento es básicamente un recurso que usaban los compositores barrocos del XVII. Componían una pieza vocal donde se declamaba y cantaba al sufrimiento, la tristeza, la pérdida... Como característica musical, incluía como norma general un bajo de chacona (una línea melódica en el bajo e instrumentos más graves que se va repitiendo constantemente durante toda la pieza).
El Lamento que vamos a escuchar comienza con un trío de voces masculinas describiendo la escena: una joven ninfa abandona su casa al alba y vaga desconsoladamente por los bosques, clamando que su amante la ha abandonado por otra.
Non havea Febo ancora Recato al mondo il dí
Ch´una doncella fuora Del propio albergo uncí
Sul pallidetto volto Scogeasi il suo dolor
Spesso gli venia scilto Un gran sospir dal cor.
Si calpestando fiori Errava hor qua,
hor là I suoi perduto amori Così piangendo va
Ch´una doncella fuora Del propio albergo uncí
Sul pallidetto volto Scogeasi il suo dolor
Spesso gli venia scilto Un gran sospir dal cor.
Si calpestando fiori Errava hor qua,
hor là I suoi perduto amori Così piangendo va
Febo no había todavía alumbrado el mundo,
cuando una doncella salía de su propia casa.
En su pálido rostro, se reflejaba su dolor,
y a menudo se escapaba de su corazón un gran suspiro.
Pisando las flores, erraba por aquí, por allá,
pensando en sus amores perdidos, iba llorando de esta manera:
cuando una doncella salía de su propia casa.
En su pálido rostro, se reflejaba su dolor,
y a menudo se escapaba de su corazón un gran suspiro.
Pisando las flores, erraba por aquí, por allá,
pensando en sus amores perdidos, iba llorando de esta manera:
Amor, Dove, dov'é la fe' che' l traditor giuró?
«Amor ¿dónde está la fidelidad que el traidor me juró?
«Amor ¿dónde está la fidelidad que el traidor me juró?
Miserella, ah più no, no, tanto gel soffrir non può.
Pobrecilla, no puede más,ya no puede soportar tanto sufrimiento.
Observa como la música no sólo trata de declamar el texto sino de “expresarlo afectivamente”. Observa palabras clave como dolor, donde el compositor empleará disonancias que resulten desagradables para expresarlo, o gran sospir, donde hará un crescendo profundo para describirlo. En la parte en la que cuenta como iba pisando flores de un lado a otro observa como la música parece hacer precisamente eso: saltar de un lado para otro. Por último, observa como representa el llanto al final de la primera parte.
2) Contraste y movimiento. Bajo contínuo.
1.2. VOCAL MUSIC
1.2.1. SECULAR VOCAL MUSIC
Opera was invented in the late Renaissance for the Florentine Camerata, the musicians who worked for the Count Bardi in Florence. Their ideals were based on their perception of ancient Greek musical drama, in which the declamation of the text was of utmost importancesuma importancia. The first important opera was The Orfeo of Monteverdi (1607) [L´Orfeo de Monteverdi]
Opera is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score. Opera incorporates many of the elements of spoken theatre, such as acting, scenery and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
1.2.2. RELIGIOUS VOCAL MUSIC
An oratorio is a large musical composition including an orchestra, a choir, and soloists. The oratorio and the opera were formally very similar (including the use of a choir, soloists, an ensemble, various distinguishable characterspapeles distintos, and arias). However, opera is a musical theatre composition, while oratorio is strictly a concert piece. A particularly important difference is in the typical subject mattertema of the text. Opera tends to dealtiende a tratar with history and mythology whereas the plotargumento of an oratorio often deals with sacred topics, making it appropriate for performance in the church. George Friedrich Handel was the most important oratorio composer of the baroque period. [Mesías de Haendel]
A passion is an oratorio about the suffering of Jesus leading upyendo, subiendo hacia to the Crucifixion.
[Pasión según S. Mateo, J.S. Bach]
[Pasión según S. Mateo, J.S. Bach]
A cantata (literally 'sung', derived from the Italian word 'cantare') is a vocal composition with an instrumental accompaniment and often containing more than one movement. It doesn't tell a story and can be religious as well as secular. The most important cantata and passion composer was J.S. Bach.
1.3. INSTRUMENTAL MUSIC
Instrumental music achievedto achive: alcanzar a definitive independence from vocal music during this period. Musicians composed music specifically for instruments and the early instrumental genres began to appear.
1.3.1. Concerto
The concerto grosso is a form of baroque music in which the musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno). The first major composer to use the term concerto grosso was Arcangelo Corelli. [Concerto nº 3, Corelli]
In a concerto a solo there’s just one soloist. Normally, the concerto alternated between fast and slow movements (FAST – SLOW – FAST).
1.3.2. Suite
In the Baroque era the suite was defined by its pieces and consisted of dances usually preceded by a prelude or overture. The suite was also known as suite de danses. The main dances were:
-Allemande: Literally translates from French as the word 'German'. It is a stately German dance with a meter of 4/4.
-Courante or Corrente: A Courante is a livelyviva. Tempo vivo: acelerado pero no muy rápido French dance in 3/4 time, while the Corrente is an Italian dance in quick 3/4.
-Sarabande: A Sarabande is a slow, statelymajestuosa Spanish dance in 3/4 time.
-Gigue or giga: The Gigue or 'Jig' originated in England, and is a fast dance, normally with a meter of 6/8. The Italian giga is rarer thanmás rara the gigue, and is faster, with running passages over a harmonic basispasajes rápidos sobre bases armónicas (acordes).
2. WORLD MUSIC: LATIN AMERICA
When we talk about music from Latin America, we refer to Central and South American music, more specifically indigenous folk music.
However, the Latin American countries are characterized by an enormous mixture of crossbreed musicmúsica mestiza. The main musical styles are Cuban son, Argentine tango, Brazilian samba, and the Trinidad and Tobago calypso.
Pre-Columbian music (before the European colonization): the indigenous folk music is characterized by the use of woodwind instruments like pan pipes, reed flutesflautas de pan, quenas or ocarinas and percussion instruments like drums and rattlessonajas. They compose 95% using the pentatonic scale.
The music of European colonizers and missionaries: they introduced the guitar, the violin, etc. and the Occidental tonal system.
The music of African slaves introduced the marimba (very important in Central America) and their own unique complex rhythms.
3. PRACTICE
TEORÍA MUSICAL: ALTERACIONES (I) - ALTERACIONES (II)
UNIT SONG: ALONE (HEART)
I hear the ticking of the clock
I'm lying here the room's pitch dark
I wonder where you are tonight
No answer on the telephone
And the night goes by so very slow
Oh I hope that it won't end though
Alone
Till now I always got by on my own
I never really cared until I met you
And now it chills me to the bone
How do I get you alone
How do I get you alone
You don't know how long I have wanted
to touch your lips and hold you tight, oh
You don't know how long I have waited
and I was going to tell you tonight
But the secret is still my own
and my love for you is still unknown
Alone
Till now I always got by on my own
I never really cared until I met you
And now it chills me to the bone
How do I get you alone
How do I get you alone
How do I get you alone
How do I get you alone
Alone, alone
I'm lying here the room's pitch dark
I wonder where you are tonight
No answer on the telephone
And the night goes by so very slow
Oh I hope that it won't end though
Alone
Till now I always got by on my own
I never really cared until I met you
And now it chills me to the bone
How do I get you alone
How do I get you alone
You don't know how long I have wanted
to touch your lips and hold you tight, oh
You don't know how long I have waited
and I was going to tell you tonight
But the secret is still my own
and my love for you is still unknown
Alone
Till now I always got by on my own
I never really cared until I met you
And now it chills me to the bone
How do I get you alone
How do I get you alone
How do I get you alone
How do I get you alone
Alone, alone
