The Gothic era produced 4/4 timing and other methods for measuring rhythm. The texture of music was vastly polyphonic, which 3 or 4 parts of one instrument used to create some excellent tones. Harmonies were also a result of polyphonic texture. Polyphonic texture is where two or more voices or instruments are mixed together and play separate melodies, but in the same key. The Gothic era used techniques which are called ‘dual or triple harmonies’.
The fourth and final motif “for the mouth of the Lord has spoken it” is sung by the tenors and basses and the majority of notes have the same pitch- A. The texture alternates between homophonic and contrapuntal textures, but there are a few short monophonic sections. Handel often combines different motifs to create polyphonic textures. Instruments often double vocal line although usually at different octaves. The composition is in ¾ and maintains a fast tempo (allegro) until the end when it pauses to create a stretched ending.
On the repeat, the soloist joins the orchestra.) VOCAL MUSIC OF THE CLASSICAL PERIOD OPERA 1) 2) 3) 4) DRAMA THAT IS SUNG IT COMBINES VOCAL AND INSTRUMENTAL MUSIC WITH PEOTRY AND DRAMA, ACTING AND PANTOMIME, SCENERY AND COSTUMES IT USES A) SOLOISTS B) ENSEMBLES C) CHORUS D) ORCHESTRA E) SOMETIMES DANCING ELEMENTS OF OPERA A) RECITATIVE (EXPLANATIONS NECESSARY TO THE PLOT) B) ARIA (RELEASES THE EMOTIONAL TENSION. THIS IS WHERE THE SINGER SHOWS OFF THEIR VIRTUOSITY C) OVERTURE (USUALLY BEGINS OPERA AND NEW ACTS D) INTERLUDES (KNOWN AS SINFONIAS DURING PERIODBOCCUR BETWEEN SCENES) E) LIBRETTOBTHE WORDS SUNG DURING THE OPERA WERE WRITTEN BY ANOTHER PERSON CALLED A LIBRETTIST) ORATORIO 1) 2) 3) 4) 5) DESCENDED FROM THE RELIGIOUS PLAY-WITH-MUSIC FIRST ONES WERE SACRED OPERAS LATER ONES LEFT THE STAGE LARGE SCALE MUSICAL WORKS (GENERALLY BASED ON A BIBLICAL STORY) PERFORMED IN A CHURCH OR HALL WITHOUT SCENERY, ACTING, OR COSTUMES
Dido’s Lament The Baroque period was a significant turning point for music; it began to be a separate form of art and not purely based in religion. The use of Recitative and Aria became a critical key factor to the development of opera, and is clearly used in “Dido and Aeneas” by Purcell. To enhance the characteristics of the Baroque opera, many techniques for manipulating Pitch, Duration and Dynamics were used. With these techniques it created more emphasis of the text with the use of word painting and string instruments. Throughout this piece the Recitative of the song is mainly sung in speech form, creating emphasis on specific parts of the text.
It is a tool for composer to vary its main theme. Based on the analysis above, we can see that the Piano Sonata composed by Mozart is masterpiece due to its form, harmony, tonality change and other techniques used. Mozart is really the contributor to the classical music, and even to the music that we hear
Due to the fact that a lot of instruments in the Baroque had this problem of not being able to sustain sound as well as others, the majority of the ornamentation in music for them, was written. If they are unable to sustain a specific sound that the composer is looking for, it makes much more sense to have something written there for them to follow to make sure he or she is still getting what they want from the piece. Earlier on, before the Baroque, instruments were used only to accompany readings of poems or scared chanting through improvisation. As the time went on, the instruments started accompanying polyphonic music, improvising underneath the vocal lines. 27 Instruments, mainly stringed instruments and keyboards could not sustain notes as long as
3). Normally singing consists of a group of singers who each sing different notes. However, the throat singing technique allows one person to be able to sing many different notes. Through vocalization techniques a singer can produce unique harmonies by using the throat’s resonance characteristics. A singer must use precise movement of the lips, tongue, jaw, velum, and larynx (Smithsonian, par.
It is one of the most distinct features of the Baroque Era as a whole. Basso continuo denotes musicians who thickened the textures in music of the Baroque era by augmenting the bass line with a combination of chord-producing and bass instruments. They appear in vocal and instrumental ensembles varying from trios to large ensembles. Continuo musicians also assumed an additional function in larger works by helping to keep the performers together. An important element of baroque instrumentation, the combination of a bass instrument (usually from the string family), such as the cello or double bass, paired with a keyboard instrument such as the harpsichord or the organ.
The music became sort of a chamber style, since the Prince himself played in a chamber group. Writers are not completely sure when the Suite No. 3 was written. Estimates range from 1722 to 1731, but many believe they were written closer to 1722. This suite, part of a series of four “overtures” (as Bach called them) represent experimenting by Bach, since they resemble a French style music used by Italian-born composer Jean-Baptiste Lully.
The music of the Indian subcontinent is usually divided into two major traditions of classical music: Hindustani music of Northern India and Karnatak music of Southern India, although many regions of India also have their own musical traditions that are independent of these. Both Hindustani and Karnatak music use the system of ragas—sets of pitches and small motives for melody construction—and tala for rhythm. Ragas form a set of rules and patterns around which a musician can create his or her unique performance. Likewise, tala is a system of rhythmic structures based on the combination of stressed and unstressed beats. Within these rhythmic structures, musicians (1996.100.1) can create their own rhythmic patterns building off the compositional styles of others.