Tuesday, April 28, 2015

Baroque Listening Practicum

Listening Practicum for MUS130-Q (KCMcGuire)
NAME:______________________________________________ DATE:____________

I: Baroque Concerto Identification

Example 1: Violin Concerto in A Minor RV356, 1st movement

Listen to the first 30 seconds of this work, then provide the timing (minute:sec) where each of the following sections begin:
1) Ritornello Theme
            a: _0:00        / b: ____:05____ / c: ____:13 or :21 (for cadence)_____

2) 1st Solo Episode: ______:21_______ 
3) What is the meter? (duple / triple / quadruple)

Example 2: Antonio Vivaldi - Concerto in D minor (RV 454)

Listen to the first 45 seconds of this work. Provide the timing (minute:sec) where each of the following sections begin:
1) Ritornello Theme
            a: _0:00        / b: ___:15_____ / c: ___:25______

2) 1st Solo Episode: _____:34________ 

3) Aside from the violins, violas, celli, and bass name 2 other instruments in this work. Which one is the solo instrument? _______oboe______________, ___harpsichord_____

Example 3: Vivaldi - Concerto for Mandolin in C Major RV425
Listen to the first 3 minutes of this work. Provide the timing (minute:sec) where each of the following sections begin:
1) Ritornello Theme
            a: _0:00        / b: ___:10_____ / c: ___:20____

2) 1st Solo Episode: ______:24_______ 
3) FINAL Ritornello (aka Recap or “A”) of the first movement: ______2:08_________
4) Where does the second movement of this concerto begin? _______2:39_________. Is it faster or slower than the first movement.

II. FUGAL EXPOSITIONS
Example 1: Bach, Contrapunctus 9, Art of Fugue (Kunst der Fuge)
Provide the timing (minute:sec) for the entrances of the thematic subject begin:
Subject (in Alto voice): __0:12__ / Subject(answer) (in Soprano): __:21______ / Subject (in Bass): __:29_____ / Subject (answer) (in Tenor): ____:38____

EXAMPLE 2: J.S. Bach Fuga in C-minor, BWV 537
Listen to the first 35 seconds of this exposition then provide the timing (minute:sec) for the entrances of the thematic subject begin:
Subject (in Tenor): __0:00__ / Subject(answer in Alto): ____:06____ / Subject (in Bass): ___:15___ / Subject (answer in Soprano): ___:21_____

EXAMPLE 3: BACH, FUGUE in G minor
Listen to the first 35 seconds of this exposition then provide the timing (minute:sec) for the entrances of the thematic subject begin:
Provide the timing (minute:sec) for the entrances of the thematic subject begin:
Subject (in soprano): __0:06__ / Subject(answer) (in alto): ____:11____ / Subject (in tenor): ___:16____ / Subject (answer) (in bass): ___:21_____

III: FRENCH OVERTURE
EXAMPLE 1: J. S. Bach Cantata BWV 61 Nun komm, der Heiden Heiland Eng: Now come, the gentiles' Savior.
This is an example on how the “gapped chorale” technique (where the chorale melody, “Nun Komm der Heiden Heiland” is broken up) is applied to the form of the French Overture [form ABA’] and used for the first movement of this six movement cantata. Listen this entire movement and answer the follow questions.
1) Provide the timing (minute:sec) where each of the following sections begin:
            A:__0:09___   B:___2:08_________  A’:____3:15_________
2) What is the tempo of the A sections? (slow / moderate / fast)
3) What is the tempo of the B section? (slow / moderate / fast)
4) What is the meter of the A sections? (duple / triple / quadruple)
5) What is the meter of the B sections? (duple / triple / quadruple)

IV. GROUND BASS
EXAMPLE 1: “Crucifixus” from B-minor Mass by JS Bach.
In this movement from his B-minor Mass, Bach supports the orchestration / choir and variations over and descending ostinato bass (i.e. ground bass technique).  Listen to the bass line for the first 1:30, and
1) Count how many times it is repeated within that span.(*note it is given with only flute/recorder accompaniment from 0:00-:0:12)  _____7___________


2) How would you describe (or diagram) the evolution of the vocal texture within that span? 

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