Assignment: Grout and Palisca, Chapter 11
            Read: 359 (top)
            Skim: 359 (bottom)-363
            Read: 363-365
            Skim: 365-371
            Read: 372-378
            Skim: 378-381
            Read: 381-385

Study Questions:

1. What are the principal types of compositions for keyboard and for instrumental
      ensemble?--p. 359

2. What are the characteristics of a chorale variation (partita), a chorale fantasia,
      and a chorale prelude?--p. 363-365

3. How did the terms sonata and sinfonia change after 1630? What is the general
      scheme of an independent instrumental sonata?--p. 373

4. What are a sonata da chiesa and a sonata da camera? How are the two types
      mixed in practice?--p. 373

5. How many written parts and how many performers are required for a trio sonata
      and for a solo sonata?* Which type is the more common prior to 1700?--p.
      373

6. What types of works did Corelli write? In terms of historical importance, how do
      his trio sonatas differ from his solo sonatas and concertos?--p. 374

7. How does Corelli treat the two violin parts in his trio sonatas?--p. 374

8. What fundamental technical device is first used systematically by Corelli? To
      what other system, also first fully realized by Corelli, is this technique re-
      lated?--p. 374-375

9. What is the normal order of movements in a Corelli trio church sonata? How do
      the key relationships between the movements change in his later works?--p. 375

10. How are themes used by Corelli?--p. 375-376 What rhythmic device typically
      occurs in movements in triple meter?--p. 376

11. What are two ways of ornamenting a given melody?--p. 377**

12. What is the distinction between chamber and orchestral music? When is this
      distinction first clearly made?--p. 381

13. What is an orchestral overture? Why is it so called?--p. 382

14. The concerto is based on what four recent developments?--p. 383

15. What are an orchestral concerto, a concerto grosso, a solo concerto?--p. 383
      To which type do all of Corelli’s concertos belong?--p. 383-384 (and 374)
      What types did Torelli write?--p. 385

16. How does Torelli’s treatment of tutti and solo passages differ from that of
      Corelli?--p. 385

**These are sometimes referred to, respectively, as "ornamenting the note" and "ornamenting the phrase or
      melodic line." The first method is new to the 17th century; the second is a continuation of Renaissance
      practice.