Assignment: Grout and Palisca, Chapter 10
            Read: 323—336
            Skim: 336—346 (bottom)
            Read: 347—354
            Skim: 355

Study Questions:

1. What are the characteristics of the late 17th-century Venetian opera aria?--p.
      323-325

2. What are the musical features of the new Neapolitan style of opera?--p. 327

3. What are recitativo semplice (secco), recitativo obbligato (accompagnato), and
      arioso? When are the two types of recitative used?--p. 327 What is the da capo
      aria?--p. 328

4. What two powerful national traditions influenced the features of French opera?
      What is tragédie lyrique?--p. 329

5. What are the features of Quinault’s librettos? What are the most attractive ele-
      ments of Lully’s music? How does he treat recitative and aria styles?--p.
      330-332 (and NAWM 70b)

6. What is the style and form of the ouverture or "French overture"?--p. 332—333
      (and NAWM 70a)

7. What is a masque? What types of pieces does it contain?--p. 333

8. What various national elements (Italian, French, and English) are found in John
      Blow’s Venus and Adonis?--p. 334-335

9. What types of works did Henry Purcell write? How are French and English ele-
      ments blended in Dido and Aeneas?--p. 335

10. What were two conflicting viewpoints within the Lutheran Church in the late
      17th and early 18th centuries? What effects did these views have on music?--p.
      347

11. What are three musical-textual components that were involved in late 17th
      century Orthodox Lutheran music? What three basic types of sacred concerto
      emerged from these elements?--p. 348*

12. What types of vocal works did Buxtehude write? How was variation technique
      applied to the chorale?--p. 351-352

13. What are the features, both textual and musical, of the Lutheran church can-
      tata??What is significant, both in subject matter and music, about this new
      cantata type?--p. 353-354