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    Dido and Aeneas Analysis Answers

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    tom_myers_9
    The document provides analysis of Dido's lament from Purcell's opera Dido and Aeneas. It discusses the lament tradition in Italian opera of the 17th century, with Monteverdi's Lamento d'Arianna cited as an early famous example. The analysis then examines characteristics of Dido's lament such as its homophonic texture, descending chromatic bass line, vocal and harmonic cadences, and use of tonality, harmony, and form to create a mood of darkness, doom, and stress befitting the subject of mourning.

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    Dido and Aeneas Analysis Answers

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    tom_myers_9
    412 views5 pages
    The document provides analysis of Dido's lament from Purcell's opera Dido and Aeneas. It discusses the lament tradition in Italian opera of the 17th century, with Monteverdi's Lamento d'Arianna cited as an early famous example. The analysis then examines characteristics of Dido's lament such as its homophonic texture, descending chromatic bass line, vocal and harmonic cadences, and use of tonality, harmony, and form to create a mood of darkness, doom, and stress befitting the subject of mourning.

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    Answers to analysis of a Baroque Music Work

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    The document provides analysis of Dido's lament from Purcell's opera Dido and Aeneas. It discusses the lament tradition in Italian opera of the 17th century, with Monteverdi's Lamento d'Arianna cited as an early famous example. The analysis then examines characteristics of Dido's lament such as its homophonic texture, descending chromatic bass line, vocal and harmonic cadences, and use of tonality, harmony, and form to create a mood of darkness, doom, and stress befitting the subject of mourning.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    412 views5 pages

    Dido and Aeneas Analysis Answers

    Uploaded by

    tom_myers_9
    The document provides analysis of Dido's lament from Purcell's opera Dido and Aeneas. It discusses the lament tradition in Italian opera of the 17th century, with Monteverdi's Lamento d'Arianna cited as an early famous example. The analysis then examines characteristics of Dido's lament such as its homophonic texture, descending chromatic bass line, vocal and harmonic cadences, and use of tonality, harmony, and form to create a mood of darkness, doom, and stress befitting the subject of mourning.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    Dido and Aeneas Lament Analysis!!!!!!!

    Lamento [It. lament]. (from The New Harvard Dictionary of Music, Randel, 1986): A song of mourning or great sadness and an important element in Italian opera of the 17th century. . . . the lamento arose to prominence along with monody. Monteverdi's Lamento d'Arianna of 1608 was the rst celebrated example and was published separately in its monodic version and in Monteverdi's arrangement of it as a madrigal. The lamento was prominent in mid-17th century Venetian operas, e.g., those of Cavalli, and was often treated as variations on an ostinato bass of a descending tetrachord. Dido's lament from Purcell's Dido and Aeneas belongs to this tradition.

    Music Analysis Program Sheet


    A. Full title of composition ___Dido and Aeneas____________ Era___Baroque______ Date composed ___1689_____ Movement? or part? _____Aria excerpt from opera____ B. Composer's rst and last name __Henry Purcell____ Composers dates:__ 1659-1695_ D. Composer's nationality _____English_____________________ Genre___Opera_____ E. Important characteristics and distinctive techniques (always ll in medium) 1. dynamics : not notated, constant 2. tempi: slow, constant 3. meter: simple triple 4. rhythm patterned:

    5. texture: homophonic constant; bass doubled in octaves 6. medium: voice and orchestra, transcribed for voice and keyboard accompaniment 7. timbre: not exploratory? 8. thematic structure: theme in bass chromatically descends from tonic to dominant 9. thematic development: none; it is simply constantly repeated literally in the bass 10. melodic/rhythmic cadences: vocal cadences two measures before the harmonic cadences/bass; cadences on whole notes 11. harmony: exclusively tertian trichords and seventh chords (tetrachords); some borrowed chords 12. harmonic cadences: tertian authentics at the end of ve-measure theme, and half cadences after three measures in the vocal part.

    13. harmonic motion: root movements mostly by seconds and fourths, with occasional thirds; fast harmonic rhythm with chords changing on almost every beat 14. tonality: constant: G minor; no modulations 15. pitch range: D1 to G5; 4.5 octave large range 16. form: normal passacaglia minor key, slow, theme repeats in bass, simple triple meter Question: Why is this considered a passacaglia and not a chaconne? 17. Music and Text: a. Minor key traditionally associated with darker moods than major b. Slow tempo traditionally associated with darker moods than fast tempi c. relentlessly repeating bass create a sense of doom or fate d. chromatic notes create greater tension and stress e. Third omitted in nal cadence creates sense of emptiness f. tritones and other large leaps in the vocal line create a sense of drama and stress

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