For this written assignment, you'll categorize the required study pieces from NAWM as to form and comment on how each represents its form. The objective of this assignment is to confirm your understanding of the characteristics of each of the vocal forms and instrumental categories used during the sixteenth century.
a. Identify the form of selections 55–61, 63, and 64 from NAWM. For each selection, indicate how it conforms to or deviates from the form you have identified.
- Identify the category for instrumental selections 66 (a, b, and c) and 70 from NAWM (see pp. 141-142 of CHWM). For each instrumental selection, specify how it fits its category, and cite any characteristics the composer includes to make it unique.
1. 4.Study and listen to NAWM 74(a–e), excerpts from act 2 of Claudio Monteverdi’s opera L’Orfeo (1607). How does Monteverdi use dissonance, rhythm, melodic contour, and other elements to convey the meaning of the text and the feelings it reflects in Orfeo’s recitative Tu se’ morta (NAWM 74d)?
2. In Orfeo, Monteverdi uses particular musical forms and styles to convey the changing dramatic situation and the feelings of the characters. What characteristics make each of the following forms and styles appropriate in building and expressing the drama of this scene?
· Orfeo, canzonetta (NAWM 74a)
· Messenger, Shepherd, and Orfeo, recitative (NAWM 74c)
· Orfeo, recitative (NAWM 74d)
· Chorus, choral madrigal (NAWM 74e)
1. 5.In her cantata Lagrime mie (NAWM 77), Strozzi uses a variety of singing styles ranging from recitative to aria to something between (arioso). Indicate the measure numbers at which those changes in style occur and briefly describe the character of each section. Why do you think Strozzi chose to use the singing styles in this order? What about the structure of the text and its meaning may have influenced her compositional choices?
2. How does Schütz use changes of texture and style to depict the events and text of Saul, was verfolgst du mich (NAWM 81)? What types of style and texture does he use?
3. Complete a list of the new forms of vocal music described in Chapter 11. Briefly describe the characteristics of each form and provide an example of each from NAWM.
6. In what ways do Bach’s melodies in both the fugue and the prelude (NAWM 100) show the influence of Italian violin style? Use the solo violin portions of Vivaldi’s op. 3, no. 6, first movement (NAWM 96), for comparison.
1. 7. The aria “Sì, sì ben mio” from Scarlatti’s cantata Clori vezzosa, e bella (NAWM 92b) follows da capo aria form. Give the primary harmonic areas for each of the following sections:
a. A section, opening ritornello (mm. 51–54)
b. A section, first vocal statement (mm. 54–59)
c. A section, middle ritornello (mm. 59–60)
d. A section, second vocal statement (mm. 60–73)
e. B section (mm. 74–87)
How does da capo aria form reflect the form of the text?
2. What characteristics of the overture to Lully’s Armide (NAWM 85a) mark it as a French overture?
3. How does the musical setting of Armide’s recitative “Enfin il est en ma puissance” (NAWM 85b) reflect the dramatic situation and the emotional conflict Armide is feeling?
4. How was England’s musical culture different from France’s in the Baroque period? What accounts for that difference?
5. Describe the differences in the function and character of music in Orthodox Lutheran services and Pietist Lutheran services.
1. What was a sonata in the sixteenth century? How was the term used in the seventeenth century?
2. What role did toccatas, preludes, and chorale preludes play in the Protestant church?
3. Where and in what position was Dietrich Buxtehude employed for most of his career? What types of music did he compose for use in that position?
4. How does Buxtehude’s Praeludium in E Major (NAWM 95) fit the definition of a late seventeenth-century toccata or prelude given in CHWM, page 215? What type of texture and figuration does it use? How does it fall into sections?