Baroque Term List

Early Baroque

Florentine Camerata

Girolamo Mei

Giulo Caccini

Monody

Figured Bass, Throughbass, Basso Continuo

Jacopo Peri

Recitativo

Euridice

Claudio Monteverdi

Orfeo

Coronazione di Poppea

Plasticity

Aria

Arioso

Continuo madrigal

Cantata

Barbara Strozzi

Oratorio

Carissimi

State of opera by mid-century in Rome and Venice

Aria types

Grand Concerto

Giovanni Gabrieli

Concertato

Heinrich Schutz

Grand and Sacred Concerto

Prelude and Fugue

Imitative Forms and Prelude Types

Renaissance models for the fugue (fantasia, ricercar)

Evolution of fantasia from prelude to monothematic form in the Baroque

Toccata

Girolamo Frescobaldi

Jan Pietersoon Sweelinck

Johann Jakob Froberger

Dietrich Buxtehude

J.S. Bach

Non-imitative preludes

Lutenists of Renaissance and Early Baroque

Claudio Merulo

Louis Couperin

Jean-Baptiste Lully

You should be able to trace the lineage of both prelude types, the interaction of different composers in different geographic areas, and have formulated clear picture and set of expectations regarding the evolution of the prelude-fugue (or toccata or non-imitative prelude-fugue) pair in the late Baroque.

Opera-ballet and Suite

Composers of the French Clavecin School

Jacques Campion de Chambonnières

Louis Couperin

Jean-Baptiste Lully

Jean-Henri D’Anglebert

Johann Jacob Froberger

Jean Philippe Rameau

Francois Couperin

Dance Music of the French Clavecin School

Baroque binary dance

Meaning of “suite”

Nuclear Suite (required minimum mov’ts to make a suite, their musical characteristics, and their origins)

Role of Froberger and the famous clerical publisher error

Common Optional Dances (ditto above where possible)

Prelude non mesuré (its context and influence)

Order of dances in the French suite and in the later German suite

Variation forms: Chaconne and passacaille (and the evolution of the descending bass tetrachord as a musical superstructure including its appearances in oratorio and cantata and implied origins in bass framework and the chaconne and passacaille chord progressions)

Meaning of “en rondeau”

Role of guitarists

Order of mov’ts

French Opera

French Ouverture (its ancestry, relationship to dance movts, and role as possible model for other genres, and genres affected by ouverture)

Opera-ballet (and the relationship between opera and dance including the music of the French Clavecin School, the French lutenists, and French guitarists. i.e. Did dance impact vocal mov’ts?)

High and Late Baroque, Italy:

Trio sonata (how many players, how many mov’ts and their characteristics)

Concerto

Arcangello Corelli

Ritornello

Ritornello concerto (how many mov’ts and their characteristics)

Corelli type vs. ritornello type

Solo concerto vs. concerto grosso

Antonio Vivaldi

J.S. Bach

Late Baroque, England and Germany:

J.S. Bach

Fugue

Cantata

G.F. Handel

Oratorio

Henry Purcell