Assignment: Grout and Palisca, Chapter 9
            Skim: 268-271 (top)
            Read: 271 (top)-301
            Skim: 302-303
            Read: 303-308 (bottom)
            Skim: 309-318

Study Questions:

1. What are the two "practices"? How are they distinguished?--p. 271

2. What is idiomatic writing? What happened to instrumental and vocal styles dur-
      ing the Baroque?--p. 272

3. What are the "affections"? How are they realized in Baroque music?--p. 272

4. What are the two types of Baroque rhythm? How were they used to obtain con-
      trast?--p. 273

5. How does the typical texture of the Baroque contrast with that of the Renais-
      sance? What is new, as a result, in Baroque texture?--p. 273

6. What is a basso continuo? What instruments play it, and how is it notated? How
      is it realized in performance?--p. 273-274

7. What is the "new counterpoint" of the Baroque?--p. 274-275 How did the em-
      ployment of dissonance and chromaticism change during the Baroque?--p. 275

8. When did the major-minor system of tonality fully replace the medieval system of
      modality?--p. 275-276*

9. What are some of the associations of music with drama in ancient times and in
      the Middle Ages?--p. 276

10. What is an intermedio (intermezzo)?--p. 276-277 How did drama enter the
      world of the madrigal?--p. 277-278 What is a madrigal cycle?--p. 278

11. What principles of text setting were proposed by Mei and Galilei?--p. 279-280
      How did Peri and Caccini apply these principles in the earliest operas?--p. 280-281

12. What are the features of the new solo singing (recitative) style?--p. 280-282

13. What are the earliest surviving complete operas?--p. 282**

14. How does Monteverdi’s Orfeo differ from the earlier Euridice operas?--p.
      284-287***

15. What various types of subject matter are found in Roman opera?--p. 289-290
      What changes in solo singing style occurred at Rome?--p. 290 How does the
      opera libretto change?--p. 290

16. What important event took place in Venice in 1637?--p. 290 How did opera fit
      into the life of Venetian society?--p. 291

17. What is the vocal style of Monteverdi’s Poppea?--p. 291 How do Cavalli’s
      recitative and aria styles differ from Monteverdi’s?--p. 292 What is the aria
      style of Cesti?--p. 292-293 (and NAWM 58)

18. What are the principle features of opera by the middle of the 17th century? How
      had the relationship of text to music changed?--p. 293

19. What is strophic variation? What is a ground bass or basso ostinato? What are
      some of the standard bass patterns?--p. 293-294

20. What is the concertato medium?--p. 295 What is stile concitato?--p. 296****

21. In general, what types of works are found in the last four books of Monteverdi’s
      madrigals?--p. 295-296

22. What is a cantata? How did its form change during the 17th century?--p. 298

23. On what occasions was music performed in 16th-century Venice? How does the
      atmosphere of Venice (and, hence, its music) differ from that of Rome? What
      are the general characteristics of Venetian music?--p.299-300

24. What are cori spezzati? How was that technique further developed by Giovanni
      Gabrieli?--p. 300-301

25. What influence did the Venetian school have?--p. 301

26. What is an oratorio? In what ways is it similar to, and how does it differ from,
      an opera?--p. 303-304

27. What types of works did Schütz write? How do his works fuse Italian and
      German elements?--p. 305-308

26. How were the new principles of Baroque style transferred from vocal to in-
      strumental music? What are the different genres of early Baroque instrumental
      music? Into what new form did the canzona develop later in the 17th
      century?--p. 308

**The earliest opera to have been set seems to have been Peri’s Dafne (1597), with libretto also by
      Rinuccini; only a few fragments survive (see p. 280).

***Note that neither Monteverdi nor his librettist, Striggio, were members of the Florentine Camerata;
      their opera was written for the court at Mantua, not Florence.

****Do not confuse the terms concertato and concitato!