Study Guide for Baroque Quiz (pp.

168–299)
MUH 3211
David Dolata

Definitions:
- Doctrine of Affections
o Rene Descartes published a treatise on the affections in which he wrote about the
systematic theory of them.
o Movement from sprezzatura in the Renaissance to Baroque’s immense passion
(doctrine of affections)
o Emphasizes the importance of knowledge and beauty revealed through senses
rather than exclusively through faith or intellect.
 *Humanism in overdrive
o Expressivity is the most important goal
o Goal was to “move the affect”
 Music should move the audience in the way the composer or performer
intended
o Action and reaction, motion and emotion; the subject matter was chosen for
dramatic effect.
o Clarity vs contrast

- Da Capo Aria
o Becomes the most important type of aria
o Form: A B A’ (prime)
 A – main key
 B – different key, texture, mood, or tempo
 A’ – repeated section with soloist adding vocal ornamentation

- Trio sonata (in general)

o 3 staves, 4 instruments
 2 treble, 2 continuo
 (ex. 2 violins, harpsichord and cello)
o Idiomatic and lyrical instead of flashy and virtuosic
o 2 main categories:
 Sonata de chiesa (sacred)
 4 movements: Slow> Fast> Slow> Fast
 Fugal 2nd movement (fast)
 Bass line is a participant in the older counterpoint style
 For church or chamber
 Sonata de camera (secular)
 Italian version of French dance suite (PACSXG)
 Bass in accompaniment
 Continuo in harpsichord

- Handel’s Oratorio
o Handel’s style was international – Italian, French, German, British
o Helped put London on the map
o Flexible like Monteverdi
o Wanted to make a smoother transition from Recit to Aria so he created
accompanied recit (like arioso but more focused on text?)
o Wrote oratorios. Oratorios were:
 Less expensive than opera
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 An opportunity to hear opera singers during lent

 50+ compositions lasting hours in 2-3 large parts
 Used opera techniques: recit, aria, ensembles, orchestral music, and
chorus
 Usually a bible story in a narrative form
 Testo – the narrator
 Used extensive word painting
 Had prominent choruses which utilized dramatic urgency and
commented on the action
o Messiah, an oratorio, is Handel’s most famous piece
 He wrote it in 24 days and the King leapt to his feet when he heard the
Hallelujah chorus

- Relationship between Clarity & Contrast

o Refers to the doctrine of affections.
o Emotion needed to conveyed clearly.
o Whatever the composer intended is how it should be clearly performed.
o Moods needed to be specific; the more contrast there is the clearer the characters
are.

- Ritornello Form
o ABACA
 Ritornello is A
 B & C are solo sections
o The theme returns but usually a variation
o Many baroque concertos used ritornello form
 Ex. Vivaldi’s Spring
o Starts in one key and might modulate but returns to the original key
o 1st and 3rd are fast, 2nd is slow

- Bach’s Cantata
o Cantatas were part of the Lutheran church service
 *Bach never referred to them as cantatas- he called them motets.
o The theme of the cantata was related to the sermon
o Usually 5-8 movements (CDRDAC)
 1st is a chorale motet (Ritornelli alternating with points of imitation)
 For chorus
 2nd is a da capo aria with orchestra
 Orchestra with a tenor vocal solo
 3rd is a recit with continuo
 Continuo and bass soloist
 4 is a da capo aria
th

 Bass soloist; continuo with orchestra

 5th is an accompanied recit
 Soprano and alto soloist
 6th simple 4-part chorale harmonization
 Chorus; supposed to be simple so everyone can join

- Rameau’s Theories on Chord Construction, Fundamental Bass, & Functional Harmony

o Rameau was controversial because he used Italian traits in his operas
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 2 group views on him:

 Traditionalists – wanted to stick to tragédie lyrique
 Avant-garde – thought the Italian style was more natural
o Rameau described what was happening for the last 50 years in coherent language
o *His theories turned composers’ approach from horizontal to vertical since
before, chords were a result of counterpoint not a goal.
o He established the overtone series emphasizing the primacy of the fundamental
pitch.
o Established that the chord is the basic building block in music, based on stacked
3rds.
o He determined that the root of the chord determined its identity and that the
progression of roots is what controlled the harmonic progression rather than the
bass note progression.
 *Stated that each successive inversion further weakens the chord
o Functional harmony is based on the primacy of the tonic, dominant, and sub-
dominant in that order.
o Expanded Guido’s notation of using pivot notes to change from one hexachord to
another to using chords like in a modulation, opposed to the previous way which
was through chromatic alteration and sequential motion until tonality replaced
modality.

Listening: The NAWM examples for the Baroque era Quiz are 74(a, d), 75(a, b), 77–8, 80–2, 84–
5, 89, 94– 96(a, b), 98(a), 99(a), 100, 102, 105, 107(c).

NAWM 74a: Claudio Monteverdi, L’Orfeo ("Vi ricorda")

● Composer: Claudio Monteverdi (1567–1643)
● City and Country: Mantua, Italy
● Style: Early Baroque, seconda pratica
● Genre: Opera, dance aria, canzonetta
● Instrumentation: Tenor voice with basso continuo (likely theorbo or harpsichord), interspersed
with instrumental ritornellos featuring strings and brass.
● Language: Italian
● Key Characteristics:
○ A lively dance song (canzonetta) in triple meter, alternating between 3/4 and 6/8.
○ The text, “Vi ricorda o boschi ombrosi,” reflects Orfeo’s happiness and pastoral
themes, celebrating love and the beauty of nature.
○ Instrumental ritornellos punctuate the vocal lines, creating a sense of cyclical
unity while reinforcing the dance rhythm.
○ Demonstrates Monteverdi’s skill in combining the emotional impact of opera with
the structural clarity of a dance form.
○ Highlights the Baroque emphasis on contrast, with lighter, joyful moments
juxtaposed against the tragic events later in the opera.
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NAWM 74d: Claudio Monteverdi, L’Orfeo ("Tu sei morta")

● Composer: Claudio Monteverdi (1567–1643)
● City and Country: Mantua, Italy
● Style: Early Baroque, seconda pratica
● Genre: Opera, lament
● Instrumentation: Tenor voice with sparse basso continuo (organ and theorbo), creating an
intimate and emotional texture.
● Language: Italian
● Key Characteristics:
○ Orfeo expresses profound grief over Eurydice’s death, marking a turning point in the
opera’s emotional trajectory.
○ Features extreme chromaticism, dissonance, and descending melodic lines to symbolize
sorrow and loss.
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○ The melody closely follows the natural rhythm of the text, enhancing its expressive power.
○ Minimal instrumental accompaniment allows the voice to take center stage, embodying the
seconda pratica’s principle of text-driven music.
○ The lament anticipates later developments in Baroque opera, where expressive arias
became central to the genre
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NAWM 75a: Claudio Monteverdi, L’incoronazione di Poppea (Dialogue in Recitative)

● Composer: Claudio Monteverdi (1567–1643)
● City and Country: Venice, Italy
● Style: Late Baroque opera
● Genre: Opera, recitative
● Instrumentation: Solo voices (Poppea and Nerone) with basso continuo, typically theorbo or
harpsichord.
● Language: Italian
● Key Characteristics:
○ Poppea and Nerone engage in a dialogue that reveals their ambitions and emotions, set in a
speech-like recitative style.
○ The rhythm mimics natural speech patterns, emphasizing clarity of the text.
○ Continuo accompaniment provides harmonic support without overshadowing the
singers, allowing the drama to unfold naturally.
○ Reflects Monteverdi’s maturity in combining text and music to create a realistic and
engaging theatrical experience.
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NAWM 75b: Claudio Monteverdi, L’incoronazione di Poppea (Aria)

● Composer: Claudio Monteverdi (1567–1643)
● City and Country: Venice, Italy
● Style: Late Baroque opera
● Genre: Opera, aria
● Instrumentation: Solo voice with basso continuo, occasionally joined by instrumental
interjections from strings or winds.
● Language: Italian
● Key Characteristics:
○ A lyrical and emotive aria that contrasts with the preceding recitative, allowing for deeper
character development.
○ Monteverdi’s use of arioso creates a seamless blend between the narrative-driven recitative
and the more melodic, reflective nature of the aria.
○ Explores themes of love and ambition, reflecting the opera’s historical and psychological
depth.
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NAWM 77: Barbara Strozzi, Lagrime mie

● Composer: Barbara Strozzi (1619–1677)
● City and Country: Venice, Italy
● Style: Baroque secular cantata
● Genre: Chamber cantata
● Instrumentation: Solo soprano with basso continuo, typically performed with theorbo or
harpsichord.
● Language: Italian
● Key Characteristics:
○ A multi-sectional work combining recitative, arioso, and aria, with text depicting
unrequited love and sorrow.
○ Chromaticism and ornamentation enhance the expression of the text, conveying the
protagonist’s deep emotional turmoil.
○ Reflects Strozzi’s mastery of the cantata form and her ability to write intensely personal,
dramatic works.
○ Demonstrates the growing importance of chamber music as an accessible alternative to
opera.
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NAWM 78: Giovanni Gabrieli, In ecclesiis

● Composer: Giovanni Gabrieli (1557–1612)
● City and Country: Venice, Italy
● Style: Late Renaissance to Early Baroque, Venetian polychoral
● Genre: Sacred concerto (concertato style)
● Instrumentation:
○ Solo voices, choir, instrumental ensemble, and organ continuo.
● Language: Latin
● Key Characteristics:
○ Written for performance at San Marco Basilica in Venice, where Gabrieli worked
as a composer and organist.
○ Incorporates cori spezzati (split choir) techniques, with different vocal and
instrumental groups placed in distinct spatial locations.
○ Combines solo passages with homophonic and polyphonic choral sections,
creating dramatic contrasts in texture and dynamics.
○ Features alternating instrumental ritornellos and vocal statements, emphasizing
the concertato style.
○ Dynamic contrasts and rich harmonic textures exploit the acoustics of San
Marco, highlighting Venetian innovation in sacred music.
○ Reflects the festive and ceremonial nature of Venetian sacred music, suitable for
grand liturgical occasions.
○ Marked a transition from Renaissance polyphony to the more expressive and
text-driven Baroque style.
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NAWM 80: Giacomo Carissimi, Jephte (Choral Section)

● Composer: Giacomo Carissimi (1605–1674)
● City and Country: Rome, Italy
● Style: Baroque oratorio
● Genre: Oratorio
● Instrumentation: Solo voices, choir, basso continuo (organ and strings).
● Language: Latin
● Key Characteristics:
○ A sacred dramatic work with operatic elements, including expressive recitatives and arias.
○ The concluding chorus (Plorate filii Israel) is a lament marked by suspensions and
dissonances, symbolizing collective grief.
○ Reflects the oratorio’s role as a non-staged, sacred alternative to opera, suitable for Lenten
performances.
○ Carissimi’s skillful use of text painting enhances the emotional impact of the biblical
narrative.
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NAWM 81: Heinrich Schütz, Saul, Saul, was verfolgst du mich

● Composer: Heinrich Schütz (1585–1672)
● City and Country: Dresden, Germany
● Style: Sacred concerto with Venetian polychoral influence
● Genre: Sacred concerto
● Instrumentation: Soloists, choir, instrumental ensemble, basso continuo.
● Language: German
● Key Characteristics:
○ Combines Venetian cori spezzati (split choir) techniques with dramatic text setting inspired
by Monteverdi.
○ Dynamic contrasts and echo effects enhance the rhetorical power of the text, depicting
Saul’s divine confrontation.

○ Alternates between homophony and polyphony, building to intense climaxes that convey
the gravity of the biblical story.
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NAWM 82: Girolamo Frescobaldi, Toccata No. 3

● Composer: Girolamo Frescobaldi (1583–1643)
● City and Country: Rome, Italy
● Style: Improvisatory keyboard music
● Genre: Toccata
● Instrumentation: Keyboard (harpsichord or organ)
● Key Characteristics:
○ Improvisatory Style:
■ Designed to sound spontaneous, allowing the performer interpretive
freedom, particularly in rhythmic flexibility.
■ Encourages performers to embellish and vary the faster note passages
for expressive effect.
○ Sectional Structure:
■ Alternates between free, improvisatory passages and contrapuntal sections.
■ Includes sudden changes in tempo and texture, creating a dramatic, unpredictable
character.
○ Virtuosity:
■ Requires advanced technical skill, showcasing the player’s ability to
transition seamlessly between contrasting sections.
■ Explores the full range of the instrument, highlighting its expressive and
dynamic potential.
○ Historical Context:
■ Frescobaldi was the organist at St. Peter’s Basilica in Rome, where his
compositions influenced the development of keyboard music.
■ His innovations in toccatas laid the groundwork for later composers like Johann
Sebastian Bach, particularly in their use of preludes and fugues.

NAWM 84: Biagio Marini, Sonata IV per il violino per sonar con due corde
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● Composer: Biagio Marini (1594–1663)

● City and Country: Venice, Italy
● Style: Early Baroque instrumental sonata
● Genre: Solo sonata
● Instrumentation: Solo violin and basso continuo.
● Key Characteristics:
○ Contrasting sections highlight violin techniques like double stops, rapid scales, and
ornamentation.
○ Explores a wide range of textures and expressive possibilities, showcasing the violin’s
capabilities as a solo instrument.
○ Represents the early development of the sonata as an idiomatic instrumental genre.

NAWM 85a: Armide: Excerpts (a) Overture

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● Composer: Jean-Baptiste Lully

● City and Country: Paris, France
● Style: French Baroque
● Genre: Opera Tragédie en musique? Or Lyrique?**
● Instrumentation: Full orchestra (strings, woodwinds, continuo, etc)
● Key Characteristics:
○ Features the French overture form: a stately, dotted rhythm introduction (grave) followed
by a faster, fugal section (allegro).
○ Symbolizes grandeur and elegance, typical of French royal court music
○ Rich harmonies and rhythmic precision reflect Lilly’s influence on orchestral writing.

NAWM 85c: Armide: Excerpts (c) Act II, Scene 5: Enfin il est en ma puissance
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● Composer: Jean-Baptiste Lully

● City and Country: Paris, France
● Style: French Baroque
● Genre: Opera (tragédie en musique)
● Instrumentation: Voice with orchestral accompaniment
● Key Characteristics:
○ Showcases Lilly’s recitation simple, blending speech-like rhythms with melodic expression
○ Combines dramatic vocal lines with instrumental interjections for emotional intensity.
○ Reflects the French tradition of text-driven drama, prioritizing clarity of the text over
virtuosic display.
○*NAWM 85 was highly influential in the development of the Baroque trio sonata genre.

NAWM 89a-h: Suite in A Minor

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Starts with low note and trill.

● Composer: Elisabeth-Claude Jacquet de la Guerre (1665–1729)
● City and Country: Paris, France
● Style: French Baroque keyboard suite
● Genre: Dance suite
● Instrumentation: Harpsichord
● Key Characteristics:
○ Movements include allemande, courante, sarabande, and gigue, each with distinct rhythmic
and stylistic traits.
○ Features style brisé (broken style), where chords are arpeggiated to create flowing lines.
○ Ornamentation (agréments) adds elegance and expressive depth, reflecting French taste.

NAWM 94: Clori vezzosa, e bella: Conclusion

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● Composer: Alessandro Scarlatti

● City and Country: Naples, Italy
● Style: Late Baroque
● Genre: Cantata
● Instrumentation: Voice and continuo (likely harpsichord or theorbo)
● Key Characteristics:
○ Expressive arias with contrasting recits
○ Use of da capo aria form (ABA’)
○ Rich harmonic language with lyrical melodic lines

NAWM 95: La Griselda: Excerpt from Act I, Scene 2

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● Composer: Alessandro Scarlatti

● City and Country: Naples, Italy
● Style: Baroque opera seria
● Genre: Opera
● Instrumentation: Orchestra and voice
● Key Characteristics:
○ Illustrates opera seria’s emphasis on dramatic expression and virtuosity
○ Orchestration supports emotional depth and character development
○ Features contrasting recitative and aria sections
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NAWM 96a-b: Trio Sonata in D Major, Op. 3, No. 2

Ab major starts very slow easily recognizable 3 string voices. Bass is more equal (chiesa)
● Composer: Arcangelo Corelli (1653–1713)
● City and Country: Rome, Italy
● Style: Late Baroque, sonata da chiesa
● Genre: Trio sonata
● Instrumentation: Two violins and basso continuo (organ and bass instrument).
● Key Characteristics:
○ Structured in four movements: slow-fast-slow-fast.
○ 96a ("Grave"): Lyrical, solemn opening movement with expressive harmonic
progression.

○ 96b ("Allegro"): A fugal second movement, showcasing Corelli’s contrapuntal

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skill.
○ Corelli’s works set standards for the trio sonata, emphasizing clarity, balance,
and expressive depth.
○*NAWM 96 was highly influential in the development of the Baroque trio sonata genre.
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NAWM 98: Concerto for Violin and Orchestra in A Minor, Op.3, No. 6 from L’estro
armonico
● Composer: Antonio Vivaldi
● City and Country: Venice, Italy
● Style: Baroque
● Genre: Violin Concerto
● Instrumentation: Solo violin, string orchestra, and basso continuo
● Key Characteristics:
○ Follows retórnelo form in fast movements
○ Virtuosic violin passages with energetic rhythms
○ Emphasis on contrast between solo and tutti sections
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NAWM 99: Vingt-cinquième ordre: Excerpts

● Composer: François Couperin
● City and Country: Paris, France
● Style: French Baroque
● Genre: Harpsichord suite
● Instrumentation: Harpsichord
● Key Characteristics:
○ Character pieces with evocative titles
○ Ornamentation and detailed performance instructions
○ Combines French elegance with Italian virtuosity
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NAWM 100: Hippolyte et Aricie: Act IV, Conclusion

● Composer: Jean-Philippe Rameau
● City and Country: Paris, France
● Style: Baroque
● Genre: Opera
● Instrumentation: Orchestra and voice
● Key Characteristics:
○ Rich orchestration with dramatic harmonies
○ Sophisticated use of recit and aria to convey emotional depth
○ Incorporates dance rhythms and French style
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NAWM 102: Prelude and Fugue in A Minor, BWV 543

● Composer: Johann Sebastian Bach
● City and Country: Weimar, Germany
● Style: High Baroque
● Genre: Keyboard prelude and fugue
● Instrumentation: Organ
● Key Characteristics:
○ Prelude: Virtuosic with rapid arpeggios and dynamic contrasts
○ Fugue: Intricate counterpoint with subject development and sequencing
○ Demonstrates Bach’s mastery of structure and harmony
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NAWM 105a: Nun komm, der Heiden Heiland, BWV 62 (a) No. 1, Chorus: Nun komm, der
Heiden Heiland
● Composer: Johann Sebastian Bach
● City and Country: Leipzig, Germany
● Style: High Baroque
● Genre: Cantata
● Instrumentation: Organ
● Key Characteristics:
○ Chorale-based with elaborate counterpoint
○ Explores text-painting and theological themes
○ Balances vocal and instrumental forces
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NAWM 107c: Giulio Cesare: Act II, Scenes 1-2 (c) Aria: V’adoro, pupille
● Composer: George Frederic Handel
● City and Country: London, England
● Style: Late Baroque
● Genre: Opera seria
● Instrumentation: Orchestra and voice
● Key Characteristics:
○ Features da capo arias with virtuosic vocal lines
○ Rich orchestration enhances dramatic storytelling
○ Combines Italian melodic style with dramatic intensity
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Score I.D.: You will be presented with two scores accompanied by several questions about them.
They may come from the book or anthology or something very similar to what is found there.
- French had trills, ornaments (vertical)

- Italians had measures but the music wasn’t metered? CHECK RECORDING

- 3/4 - strong first beat; grouped by beam, or all 6 eighth notes beamed.

- 6/8 - feels bouncy, in 2; 2 groups of 3 beamed eighth notes

Study questions and advice that will prepare you for this quiz

1. Listen to the NAWM recordings while reading the score. Identify what you are hearing.
Skim or read the essays that follow the NAWM examples. Make notes in your score.
Active engagement leads to internalization.

2. Be able to articulate the aesthetic and philosophical underpinnings of Baroque thought

and how they are manifested in the music.

3. Since the standardized instrumental and vocal genres (now often referred to as forms)
were established in the Baroque era, you should be able to identify their constructive and
formal principles aurally and in a score.

4. As the two dominant national styles in the Baroque era were the Italian and French, be
able to distinguish between their approaches regarding the use of the voice,
ornamentation, and instruments.

5. Because today’s professional musicians and listening public are familiar with the
particulars, styles, and music of the Baroque composers, composer/performers, and
theorists we’ve studied, you want to be at least as knowledgeable as they are.