Assignment: Grout and Palisca, Chapter 12
            Skim: 389-391
            Read: 391-392
            Skim: 392-393
            Read: 393-404
            Skim: 404-414
            Read: 414-419 (top)
            Skim: 419 (top)-421 (bottom)
            Read: 421 (bottom)-426
            Skim: 426-428
            Read: 428-435

Study Questions:

1. Why is Vivaldi particularly noted for his instrumental music?--p. 393-394

2. What is the usual sequence of movements in Vivaldi’s concertos? What is the
      formal scheme of the individual movements?--p. 394

3. Study the analysis of the Allegro movement from Vivaldi’s Opus 3, no. 2--p.
      394-395 (and NAWM 78)

4. What is significant about Vivaldi’s slow movements?--p. 395

5. Be able to describe the influence of Vivaldi--p. 396

6. What two controversies did Rameau become involved in with his early and late
      operas, respectively? What were the main issues?--p. 398-400

7. What were the basic concepts of Rameau’s theory? What is the basse fondamen-
      tale?--p. 400*

8. How did French opera change between the time of Lully and that of Rameau?--p.
      400-401

9. Be able to describe the operatic style of Rameau with regard to harmony, form,
      descriptive music, and orchestration--p. 401-402

10. What types of works did Bach write? How may the different types of works be
      grouped, according to his place of employment?--p. 403-404**

11. How do Bach’s early cantatas differ from those written at Leipzig?--p.
      416-417

12. Study the analysis of Bach’s Cantata BWV 140--p. 417-419 (and NAWM
      83)***

13. What aspects of Bach’s style assure him a central position in the history of mu-
      sic?--p. 421-423

14. In what ways was Handel an international composer?--p. 423-426****

15. What are the subjects of Handel’s operas?--p. 429 How does he employ the
      aria?--p. 429

16. How does Handel’s style change in his late operas?--p. 429-430

17. What is the subject matter of Handel’s oratorios? Why were they so appealing
      to his English audience? Why are they not church music?--p. 431

18. What is the most important innovation in Handel’s oratorios? What is the main
      source for his choral style? Why is his choral style particularly appropriate for
      oratorios?--p. 431-432

19. In what ways is Handel a progressive composer?--p. 435*****

**In the following section on Bach’s instrumental works (p. 404-414), do note: 1) the blending of French
      and Italian elements with Bach’s native German style, 2) the amount of borrowing and arrangement of
      his own works and those of others, and 3) the didactic (pedagogical) nature of many of his works.

***Note in particular the influence of secular (operatic) styles.

****Note that, despite his origins, by the latter half of his career Handel had become a thoroughly English
      composer. (German musicologists may not admit this fact, but now you know better!)

*****Note that Bach was not a progressive composer, for the most part, but rather the synthesis of every-
      thing Baroque.