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Baroque Vocal Music

Baroque Vocal Music. Higher. The fashion was for ornamentation everywhere. Musicians adapted the word to describe the musical styles of this time. Sacred music was particularly popular at the time. Baroque 1600-1750. A useful table. Write the subtitle “ways to perform using the voice”

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Baroque Vocal Music

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  1. Baroque Vocal Music Higher Written by I. Horning King's Park Secondary School

  2. The fashion was for ornamentation everywhere. Musicians adapted the word to describe the musical styles of this time. Sacred music was particularly popular at the time Baroque1600-1750 Written by I. Horning King's Park Secondary School

  3. A useful table • Write the subtitle “ways to perform using the voice” • Glue this very useful table into your jotter Written by I. Horning King's Park Secondary School

  4. One or more instruments support the melody No instruments support the melody Accompanied or Unaccompanied Written by I. Horning King's Park Secondary School

  5. Two or more people sing the same line Two or more parts performing different notes Unison or Harmony Written by I. Horning King's Park Secondary School

  6. Where each syllable has a new note Where each syllable has many notes Syllabic or Melismatic Written by I. Horning King's Park Secondary School

  7. Vibrato • The singer makes the note they are singing waver in pitch very slightly bringing warmth to the tone of their voice. Written by I. Horning King's Park Secondary School

  8. A cappella • A cappella is Italian for "in the style of the chapel". • Vocal music with no accompaniment. Written by I. Horning King's Park Secondary School

  9. Oratorio • Story from the Bible set to music • No costumes or scenery • In English • Accompanied by an orchestra • Can include • Recitative • Aria • Duet • Chorus ‘He Shall Feed His Flock’ from Handel’s ‘Messiah’ Written by I. Horning King's Park Secondary School

  10. Cantata • A small scale Oratorio • Story from the Bible set to music • No costumes or scenery • In German • Accompanied by an orchestra • Can include • Recitative • Aria • Duet • Chorus Bach: ‘Gloria sei dir gesungen’ Written by I. Horning King's Park Secondary School

  11. Passion • A type of Oratorio which is based on the Crucifixion of Christ • Story from the Bible set to music • No costumes or scenery • In German • Accompanied by an orchestra • Can include • Recitative • Aria • Duet • Chorus Written by I. Horning King's Park Secondary School

  12. Chorale • Music which is sung by the congregation at a church service • In German Written by I. Horning King's Park Secondary School

  13. Opera • A secular drama set to music which is performed on a stage in a theatre • No spoken dialogue • Singers have trained voices. • Costumes and Scenery • Music includes • Recitative • Aria • Duet • Chorus Written by I. Horning King's Park Secondary School

  14. Opera Synopsis Act 1 • A chorus of nymphs and shepherds join Orfeo around the tomb of his wife Euridice in a solemn chorus of mourning; Orfeo is only able to utter Euridice's name. Amore appears, telling Orfeo that he may go to the Underworld and return with his wife on the condition that he not look at her until they are back on earth As encouragement, Amore informs Orfeo that his present suffering shall be short-lived. Orfeo resolves to take on the quest. Act 2 • In a rocky landscape, the Furies refuse to admit Orfeo to the Underworld, and When Orfeobegs for pity he is at first interrupted by cries of "No!" from the Furies, but they are eventually let him in. • The second scene opens in Elysium. Orfeo arrives and marvels at the purity of the air . But he finds no solace in the beauty of the surroundings, for Euridice is not yet with him. He implores the spirits to bring her to him, which they do. Act 3 • On the way out of Hades, Euridice is delighted to be returning to earth, but Orfeo, remembering the condition related by Amore in Act I, lets go of her hand and refuses to look at her, does not explain anything to her. She does not understand his action and reproaches him, but he must suffer in silence Euridice takes this to be a sign that he no longer loves her, and refuses to continue, concluding that death would be preferable. Unable to take any more, Orfeo turns and looks at Euridice; again, she dies. • Orfeo decides he will kill himself to join Euridice in Hades, but Amore returns to stop him. In reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited. ‘Orpheus and Eurydice’ by Gluck Written by I. Horning King's Park Secondary School

  15. Aria • A song for solo voice • Accompanied by orchestra • Basso Continuo • Beautiful melody ‘Ave Maria’ arranged by Gounod Written by I. Horning King's Park Secondary School

  16. Da Capo Aria • An aria in ternary form (ABA). • Sometimes A is repeated with ornaments. • Handel: ‘Lascia ch’io pianga’ Written by I. Horning King's Park Secondary School

  17. Recitative • Sung speech • Often before an aria • Chordal accompaniment • Basso Continuo • Used to move the story along ‘There Were Shepherds’ from Handel’s ‘Messiah’ Written by I. Horning King's Park Secondary School

  18. Chorus • A group of singers • Each part has several singers • SATB Choir • Often accompanied by orchestra • Basso Continuo Written by I. Horning King's Park Secondary School

  19. Mass Written by I. Horning King's Park Secondary School

  20. Mass • Originally used in church worship • Based on the text of the Roman Catholic Eucharist • In Latin • Large-scale work for chorus and soloists, accompanied by the orchestra • In the Baroque era, a basso continuo would be present Written by I. Horning King's Park Secondary School

  21. Liturgy You need to learn the names of these sections so that you can recognise them when you hear the Latin words. Kyrie Credo Gloria Sanctus Benedictus Agnus Dei Written by I. Horning King's Park Secondary School

  22. Kyrie Lord have mercy, Christ have mercy. The 6 sections Credo • This is the longest text of the Mass Setting of the Nicene Creed Gloria Celebratory section praising God and Christ. Sanctus Holy, Holy, Holy, Lord God of Hosts; Heaven and earth are full of Your glory. Benedictus • This is a continuation of the Sanctus Blessed is he who comes in the name of the Lord. Agnus Dei • This is a setting of the ‘Lamb of God’ – symbolic of Jesus. Lamb of God, you who take away the sins of the world. Written by I. Horning King's Park Secondary School

  23. Next Listening Lesson • Come up with a pneumonic to help you remember the 6 sections in a mass: • Kyrie, Credo, Sanctus, Benedictus, Gloria, Agnus Dei • CONCEPT TEST: on all of Baroque Vocal Music Written by I. Horning King's Park Secondary School

  24. Badgers • Sometimes • Kiss • And • Cuddle • Giraffes Written by I. Horning King's Park Secondary School

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