MUSIC EDUCATION AND ART EDUCATION MODULE

MUSIC EDUCATION 9 – MODULE NO. 6

HISTORY OF THE WESTERN MUSIC II
RENAISSANCE INSTRUMENTAL FORM AND BAROQUE PERIOD MUSIC
I. OBJECTIVES:
After accomplishing this module, you can:
1. Recognize the music of the Renaissance period
2. Classify sacred music from secular music of the Renaissance Period
3. Describe the characteristics and styles of the Music during the Renaissance Period
4. Listen Perceptively to selected vocal and instrumental music of the Renaissance Period

II. MATERIALS
1. The 21st century MAPEH Grade 9 work text (REX Revised Edition)
2. MAPEH 9 (St. Bernadette Publishing)
3. Living with Music, Art, Physical Education, and Health 9 Kto12 Edition (Vibal)
4. Power Point Presentation and Video Clips Presentation

III. CONCEPTS

LET'S READ AND LEARN!

RENAISSANCE PERIOD INSTRUMENTAL FORMS

The main characteristics of Renaissance music are the following:

Music based on modes.

Richer texture in four or more parts.
Blending rather than contrasting strands in the musical texture.
Harmony with a greater concern with the flow and progression of chords.

Common instrumental genres were the toccata, prelude, ricercar, and canzona. Dances played
by instrumental ensembles (or sometimes sung) included the basse danse (It. bassadanza), tourdion,
saltarello, pavane, galliard, allemande, courante, bransle, canarie, piva, and lavol

INTRODUCTION

Many instruments originated during the Renaissance; others were variations of, or improvements upon,
instruments that had existed previously. Some have survived to the present day; others have
disappeared, only to be recreated to perform music of the period on authentic instruments. As in the
modern day, instruments may be classified as brass, strings, percussion, and woodwind.
Medieval instruments in Europe had most commonly been used singly, often self-accompanied with a
drone, or occasionally in parts. From at least as early as the thirteenth century through the
fifteenth century there was a division of instruments into haut (loud, shrill, outdoor instruments)
and bas (quieter, more intimate instruments). Only two groups of instruments could play freely in both
types of ensembles: the cornett and sackbut, and the tabor and tambourine.
At the beginning of the sixteenth century, instruments were less important than voices. They were
used for dances and to accompany vocal music. Instrumental music remained subordinated to vocal
music, and much of its repertory was in varying ways derived from or dependent on vocal models.
 Brass instruments in the Renaissance were
traditionally played by professionals. The
following are some of the more common brass
instruments that were played:

Slide trumpet: like the trombone of today

except that instead of a section of the body
sliding, only a small part of the body near the
mouthpiece and the mouthpiece itself is
stationary. Also, the body was an S-shape, so it
was rather unwieldy, but was suitable for the
slow dance music which it was most used for.

Three cornetts: mute cornett, curved cornett, and tenor cornett

 Cornett: made of wood and played like the recorder (discussed at greater length below) but blown like
a trumpet. It was commonly made in several sizes; the largest was called the serpent. The serpent
became practically the only cornetto used by the early seventeenth century while other ranges were
replaced by the violin. It was said to be the closest instrument to the human voice with the ability to use
dynamics and expression.
 Trumpet: early trumpets had no valves and were limited to the tones present in the overtone series.
They were also made in different sizes. Although commonly depicted being used by angels, their use in
churches was limited, a prominent exception being the music of the Venetian School. They were most
used in the military and for the announcement of royalty. Period trumpets were found to have two rings
soldered to them, one near the mouthpiece and another near the bell.
 Sackbut (sometimes sackbutt or sagbutt): a different name for the trombone, which replaced the slide
trumpet by the middle of the fifteenth century.

STRINGS
As a family, strings were used in many circumstances, both sacred and secular. A few members of this
family include:

 Viol: this instrument, developed in the fifteenth century, commonly has six strings. It was usually
played with a bow. It has structural qualities like the Spanish vihuela; its main separating trait is its
larger size. This changed the posture of the musician to rest it against the floor or between the legs in
a manner like the cello. Its similarities to the vihuela were sharp waist-cuts, similar frets, a flat back,
thin ribs, and identical tuning.
 Lyre: its construction is like a small harp, although instead of being plucked, it is strummed with a
plectrum. Its strings varied in quantity from four, seven, and ten, depending on the era. It was played
with the right hand, while the left hand silenced the notes that were not desired. Newer lyres were
modified to be played with a bow.
 Lute: the lute can refer generally to any string instrument having the strings running in a plane parallel
to the sound table (in the Hornbostel–Sachs system), more specifically to any plucked string
instrument with a neck (either fretted or unfretted) and a deep round back, or more specifically to an
instrument from the family of European lutes.
 Lira da Braccio: the instrument was shaped essentially like a violin, but with a wider fingerboard and
flatter bridge. Generally, it had seven strings, five of them tuned like a violin with a low d added to
the bottom (that is, d–g–d’–a’–e”) with two strings off the fingerboard which served as drones and
were usually tuned in octaves
  Irish harp: also called the Clàrsach in Scottish Gaelic, or the Cláirseach in Irish, during the Middle
Ages it was the most popular instrument of Ireland and Scotland. Due to its significance on Irish
history it is seen even on the Guinness label, and is Ireland’s national symbol even to this day. To be
played it is usually plucked. Its size can vary greatly from a harp that can be played in one’s lap to a
full-size harp that is placed on the floor
Hurdy-gurdy: (also known as the wheel fiddle), in
which the strings are sounded by a wheel which
the strings pass over. Its functionality can be
compared to that of a mechanical violin, in that its
bow (wheel) is turned by a crank. Its distinctive
sound is mainly because of its “drone strings”
which provide a constant pitch similar in their
sound to that of bagpipes.

Hurdy-gurdy
 Gittern and mandore: these instruments were
used throughout Europe. Forerunners of modern
instruments including the mandolin and guitar.

Percussion

Some Renaissance percussion instruments include the triangle, the Jew’s harp, the tambourine, the bells,
the rumble-pot, and various kinds of drums.

 Tambourine: the tambourine was originally a frame drum without the jingles attached to the side.
This instrument soon evolved and took on the name of the timbrel during the medieval crusades, at
which time it acquired the jingles. The tambourine was often found with a single skin, as it made it
easy for a dancer to play. The skin that surrounds the frame is called the vellum, and produces the
beat by striking the surface with the knuckles, fingertips, or hand. It could also be played by shaking
the instrument, allowing the tambourine’s jingles to “clank” and “jingle.”

Jews Harp from the Civil War

 Jew’s harp: an instrument banned because of its construction of silver, and due to the great demand
on silver in nineteenth-century Austria this was another reason for its outlawing.  A steel instrument that
produces sound using shapes of the mouth and attempting to pronounce different vowels with one’s
mouth. The loop at the bent end of the tongue of the instrument is plucked in different scales of
vibration creating different tones.
 Woodwinds (Aerophones)

Woodwind instruments (Aerophones) produce sound by

means of a vibrating column of air within the pipe. Holes
along the pipe allow the player to control the length of the
column of air, and hence the pitch. There are several ways
of making the air column vibrate, and these ways define
the subcategories of woodwind instruments. A player may
blow across a mouth hole, as in a flute; into a mouthpiece
with a single reed, as in a modern-day clarinet or
saxophone; or a double reed, as in an oboe or bassoon. All
three of these methods of tone production can be found in
Renaissance instruments.

Shawm
 Shawm: a typical oriental shawm is keyless and is about a foot long with seven finger holes and a
thumb hole. The pipes were also most made of wood and many of them had carvings and decorations
on them. It was the most popular double reed instrument of the renaissance period; it was commonly
used in the streets with drums and trumpets because of its brilliant, piercing, and often deafening
sound. To play the shawm a person puts the entire reed in their mouth, puffs out their cheeks, and
blows into the pipe whilst breathing through their nose.

 Reed pipe: made from a single short length of cane with a mouthpiece, four or five finger holes,
and reed fashioned from it. The reed is made by cutting out a small tongue, but leaving the base
attached. It is the predecessor of the saxophone and the clarinet.

 Hornpipe: Same as reed pipe but with a bell at the end.

 Bagpipe/Bladder pipe: believed to have been invented by herdsmen who thought to use a bag
made from sheep or goat skin and would provide air pressure so that when its player takes a breath, the
player only needs to squeeze the bag tucked underneath their arm to continue the tone. The mouth
pipe has a simple round piece of leather hinged on to the bag end of the pipe and acts like a non-return
valve. The reed is located inside the long metal mouthpiece, known as a bocal.

 Panpipe: designed to have sixteen wooden tubes with a stopper at one end and open on the other.
Each tube is a different size (thereby producing a different tone), giving it a range of an octave and a
half. The player can then place their lips against the desired tube and blow across it.
 Transverse flute: the transverse flute is like the modern flute with a mouth hole near the stoppered
end and finger holes along the body. The player blows in the side and holds the flute to the right side.

Renaissance recorders
 Recorder: The recorder is a common instrument still used today, often taught to children in
elementary schools. Rather than a reed it uses a whistle mouthpiece, which is a beak shaped
mouthpiece, as its main source of sound production. It is usually made with seven finger holes
and a thumb hole.
 PROMINENT COMPOSERS OF RENAISSANCE PERIOD
Giovanni Pierluigi da Palestrina
(c. 1525 – 2 February 1594) was an Italian Renaissance
composer of sacred music and the best-known 16th-
century representative of the Roman School of musical
composition. He had a long-lasting influence on the
development of church and secular music in Europe,
especially on the development of counterpoint, and his
work is considered the culmination of Renaissance
polyphony.

Palestrina was born in the town of Palestrina, near

Rome, then part of the Papal States to Napoli parents,
Santo, and Palma Pierluigi, in the year 1525, presumed
on February 3. His mother died on 16 January 1536,
when Palestrina was aged 10.

Documents suggest that he first visited Rome in 1537,

when he is listed as a chorister at the Santa Maria
Maggiore Basilica, Cathedral of the Diocese of Rome. He
studied with Robin Mallapert and Firmin Lebel. He spent
most of his career in the city.

Palestrina came of age as a musician under the influence of the northern European style of polyphony,
which owed its dominance in Italy primarily to two influential Netherlandish composers, Guillaume Dufay
and Josquin des Prez, who had spent significant portions of their careers there. Italy itself had yet to
produce anyone of comparable fame or skill in polyphony.

From 1544 to 1551, Palestrina was the organist of the Cathedral of St. Agapito, the principal church of his
native city.

In 1551 Pope Julius III (previously the Bishop of Palestrina) appointed Palestrina maestro di cappella or
musical director of the Cappella Giulia, (Julian Chapel, in the sense of choir), the choir of the chapter of
canons at St. Peter's Basilica. Palestrina dedicated to Julius III his first published compositions (1554), a
book of Masses. It was the first book of Masses by a native composer, since in the Italian states of
Palestrina's day, most composers of sacred music were from the Low Countries, France, or Spain.

In fact, the book was modeled on one by Cristóbal de Morales: the woodcut in the front is almost an exact
copy of the one from the book by the Spanish composer.
 Josquin des Prez
(French: c. 1450/1455 – 27 August 1521), often
referred to simply as Josquin, was a French
composer of the Renaissance. He was the most
famous European composer between Guillaume
Dufay and Giovanni Pierluigi da Palestrina and is
usually considered to be the central figure of the
Franco-Flemish School. Josquin is widely considered
by music scholars to be the first master of the high
Renaissance style of polyphonic vocal music that
was emerging during his lifetime.

During the 16th century, Josquin gradually acquired

the reputation as the greatest composer of the age,
his mastery of technique and expression universally
imitated and admired. Writers as diverse as
Baldassare Castiglione and Martin Luther wrote
about his reputation and fame, with Luther
declaring that "he is the master of the notes.

They must do as he wills; as for the other composers, they have to do as the notes will." Theorists such as
Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection. He was so admired
that many anonymous compositions were attributed to him by copyists, probably to increase their sales.

More than 370 works are attributed to him; it was only after the advent of modern analytical scholarship
that some of these attributions were challenged, and revealed as mistaken, based on stylistic features and
manuscript evidence.

Yet despite Josquin's colossal reputation, which endured until the beginning of the Baroque era and was
revived in the 20th century, his biography is shadowy, and virtually nothing is known about his personality.
The only surviving work which may be in his own hand is a graffito on the wall of the Sistine Chapel, and
only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara. The lives of
dozens of less revered Renaissance composers are better documented than that of Josquin.

Josquin wrote both sacred and secular music, and in all the significant vocal forms of the age, including
masses, motets, chansons and frottole. During the 16th century, he was praised for both his supreme
melodic gift and his use of ingenious technical devices. In modern times, scholars have attempted to
ascertain the basic details of his biography and have tried to define the key characteristics of his style to
correct misattributions, a task that has proved difficult, as Josquin liked to solve compositional problems in
different ways in successive compositions—sometimes he wrote in an austere style devoid of ornamentation,
and at other times he wrote music requiring considerable virtuosity.

William Byrd
birth date variously given as c.1539/40 or 1543 – 4
July 1623) was an English composer of the
Renaissance. He wrote in many of the forms current
in England at the time, including various types of
sacred and secular polyphony, keyboard (the so-
called Virginalist school), and consort music.

Although he produced sacred music for Anglican

services, sometime during the 1570s he became a
Roman Catholic and wrote Catholic sacred music
later in his life.
Thanks largely to the research of John Harley, knowledge of Byrd's biography has expanded in recent years.
Thomas Byrd, the grandson of Richard Byrd of Ingatestone, Essex, probably moved to London in the 15th
century. Thereafter succeeding generations of the family are described as gentlemen. William Byrd was born
in London, the son of another Thomas Byrd about whom nothing further is known, and his wife, Margery.

The specific year of Byrd's birth is uncertain. In his will, dated 15 November 1622, he describes himself as
"in the 80th year of [his] age", suggesting a birthdate of 1542 or 1543.

However, a document dated 2 October 1598 written in his own hand states that he is "58 years or there
abouts", indicating an earlier birthdate of 1539 or 1540. Byrd had two brothers, Simon, and John, who
became London merchants, and four sisters, Alice, Barbara, Mary, and Martha.

Claudio Giovanni Antonio

Monteverdi
Italian, baptized 15 May 1567 – 29 November 1643)
was an Italian composer, string player, choirmaster,
and priest. A composer of both secular and sacred
music, and a pioneer in the development of opera,
he is considered a crucial transitional figure
between the Renaissance and Baroque periods of
music history.
Born in Cremona, where he undertook his first
musical studies and compositions, Monteverdi
developed his career first at the court of Mantua (c. 
1590–1613) and then until his death in the Republic
of Venice where he was maestro di cappella at the
basilica of San Marco. His surviving letters give
insight into the life of a professional musician in
Italy of the period, including problems of income,
patronage, and politics.

Much of Monteverdi's output, including many stages works, has been lost. His surviving music includes nine
books of madrigals, large-scale religious works, such as his Vespro della Beata Vergine (Vespers for the
Blessed Virgin) of 1610, and three complete operas.

His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life, he
wrote works for Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea.

He is now established both as a significant influence in European musical history and as a composer whose
works are regularly performed and recorded.

Thomas Morley 

(1557 or 1558 – early October 1602) was an English

composer, theorist, singer and organist of
the Renaissance. He was one of the foremost
members of the English Madrigal School.

Referring to the strong Italian influence on the

English madrigal, The New Grove Dictionary of
Music and Musicians states that Morley was "chiefly
responsible for grafting the Italian shoot on to the
native stock and initiating the curiously brief but
brilliant flowering of the madrigal that constitutes
one of the most colorful episodes in the history of
English music."

Living in London at the same time as Shakespeare, Morley was the most famous composer of secular music
 in Elizabethan England. He and Robert Johnson are the composers of the only surviving contemporary
settings of verse by Shakespeare.

Morley was active in church music as a singer, composer, and organist at St Paul's Cathedral. He was also
involved in music publishing. From 1598 up to his death he held a printing patent (a type of monopoly). He
used the monopoly in partnership with professional music printers such as Thomas East.

Morley was born in Norwich, the son of a brewer. Most likely he was a singer in the local cathedral from his
boyhood, and he became master of choristers there in 1583. However, it is assumed that Morley moved
from Norwich Cathedral sometime before 1574 to be a chorister at St Paul's Cathedral.

He was working as a singer in London in the 1570s and appears to have studied with William Byrd at that
time who was his mentor, who also taught contemporary Peter Philips.[1] While the dates he studied with
Byrd are not known, they were most likely in the early 1570s. [2] In his 1597 publication A Plain and Easie
Introduction to Practicall Musicke, Morley mentions Byrd as his mentor.
In 1588 he received his bachelor's degree from the University of Oxford, and shortly thereafter was
employed as organist at St. Paul's in London.
His young son died the following year in 1589. He and his wife Susan had three children between 1596 and
1600. He may have been a Roman Catholic, like Byrd. He was able to avoid prosecution as a  recusant, and
there is evidence that he may have been an informer on the activities of Roman Catholics.
In 1588 Nicholas Yonge published his Musica transalpina, the collection of Italian madrigals fitted with
English texts, which touched off the explosive and colorful vogue for madrigal composition in England.
Morley found his compositional direction at this time, and shortly afterwards began publishing his own
collections of madrigals.
Morley lived for a time in the same parish as Shakespeare, and a connection between the two has been long
speculated, but never proven. His famous setting of "It was a lover and his lass" from As You Like It has
never been established as having been used in a performance of Shakespeare's play during the playwright's
lifetime. However, given that the song was published in 1600, there is evidently a possibility that it was used
in stage performances.

The BAROQUE PERIOD MUSIC

BAROQUE is an artistic style that started in Rome, Italy around 1600 and spread throughout Europe in the
17th to 18th centuries. The word baroque is derived from the Portuguese BARROCO, meaning a pearl with
irregular shape. It suggests something that is elaborately gran and highly meticulous.

The following are the characteristics of a Baroque music:

 Exaggerated motion and clear detail used to produce drama.
 Enthusiasm and grandeur in sculpture, painting, architecture, literature, dance and music.
 Iconography was direct, obvious, and dramatic.

PURPOSE OF MUSIC

Literature and music prospered and was expressed with deep affection. Music still played a big role in the
Catholic church. In the latter parts of the Baroque period, music was written for amateur musicians who
performed in their household. Ballet and operas during this period were first performed for the princes and
courtiers as entertainment.

Unlike in the previous era where music tended to consist of a single melodic line or a simultaneous playing of
melody, the Baroque era started to give importance to the concept of melody and harmony. It started to focus
on a single voice with a simplified accompaniment, or monody. Along with this came the practice of BASS
CONTINUO wherein accompaniment is created by playing bass notes and improving harmony above them.
This practice remained until the end of the Baroque period.

Elements of Music Characteristics

RHYTHM  Repetitive meter
  Constant tempos
MELODY  Creation of recitatives and arias
 Precursor of BEL CANTO style (Beautiful Singing)
HARMONY  Figured bass (Chordal harmony)
 Use of chromaticism and dissonance
TEXTURE  Homophonic
INSTRUMENTATION/ TONE COLOR  Violin Family
 Orchestra

VOCAL MUSIC
The vocal music forms of Baroque period are based on the monodic styles. (MONODIC refers to a solo vocal
style distinguished by having a single melodic line and instrumental accompaniment) . The songs were
accompanied by the Basso Continuo. ( Basso continuo, also called  continuo, thoroughbass, or figured bass,
in music, a system of partially improvised accompaniment played on a bass line, usually on a keyboard
instrument.)

New genres also emerged during the Baroque period particularly in vocal music. These new forms came out
directly out of the dramatic impulse specifically the opera, the oratorio, and the cantata.

VOCAL SYTLES AND FORMS USED IN BAROQUE MUSIC

 OPERA – An art form where musicians perform a drama accompanied by instruments o stage.
Elements of arias, choruses, and dance are also incorporated in the performance. This genre during the
17th century is associated with musicians, scholars, and poets in Florence known as the FLORENTINE
CAMERATA. The first opera ever written was called DAFNE. It was composed by Jacopo Peri and is
based on the libretto by OTTAVIO RINUCCINI. It was performed in Florence in 1598. The earliest
opera that is still being performed today is the ORFEO by Claudio Monteverdi.

VOCAL FORMS IN AN OPERA:

 RECITATIVE – is a vocal form written in a declamatory style.
 ARIOSO (ARIA) – a free vocal form for solo voice. It is accompanied by an orchestra with
repeated figures.
 CHORUS – contrapuntal texture generally prevailed in the oratorio and the mass.

 ORATORIO – It is an extended composition with narration based on biblical subjects not intended for
religious services. It is performed without costume, action, and scenery. One famous oratorio is
HANDEL’s Messiah which deals with a New Testament subject but with no Plot.
 CANTATA – It is an Italian word which means sung. Cantata are extended pieces consisting of
succession of recitatives and set pieces such as duets, choruses, or arias. Many cantatas are published
and performed by professional musicians for private social gathering. Awake, a voice is Calling Us is
JS Bach’s best-known cantata.

INSTRUMENTAL MUSIC
Instrumental music had a great demand during the Baroque period because of its main purpose to entertain
noble patrons and their guests.

String instruments such as violin, viola, cello, and double bass were used during this period.

The pianoforte which is the original name of the keyboard instrument was built in 1709 by Bartolomeo
Cristofori. Virtuoso musicians such as Johan Pachelbel and Francois Couperin were among the popular pianists
during this time.

INSTRUMENTAL STYLES AND FORMS USED IN BAROQUE PERIOD

 CONCERTO – a composition for a solo instrument with orchestra as accompaniment
Three movements of a Concerto:
 FIRST MOVEMENT – allegro
 SECOND MOVEMENT – slow movement
 THIRD MOVEMENT – short and fast (original key)

 FUGUE – a contrapuntal composition in which a short melody or phrase is introduced by one part and
tunes are repeated in complex patterns. Its main theme is called SUBJECT. It is imitated with
interweaving parts. It is well adapted for organ and other keyboard instruments.
  SONATA – a composition consisting of three to four movements for one solo instrument with piano as
accompaniment.
 SUITE – a set of instrumental compositions originally in dance style and played in succession. It starts
with a prelude followed by the four dances namely the allemande, courante, sarabande, and gigue.

COMPOSERS OF THE BAROQUE PERIOD

JOHANN SEBASTIAN BACH (1685 – 1750)

Born in Eisenach, Thuringia, Germany, on March 31, 1685 (N.S.) /

March 21, 1685 (O.S.), Johann Sebastian Bach came from a
family of musicians, stretching back several generations. His
father, Johann Ambrosius, worked as the town musician in
Eisenach, and it is believed that he taught young Johann to play
the violin.

Bach’s career continued to thrive until he became the music director

for the Prince of Kothen. He composed a great deal of instrumental
music and created the music his patron desired including the
Brandenburg Concerto No.5 in D major.

His famous vocal works includes: The Passion According to St

Matthew, The Christmas Oratorio, and The Passion According to St.
John. Among this instrumental works are The Musical Offering,
Brandenburg Concerto, and so much more.

ANTONIO VIVALDI (1678 – 1741)

Antonio was born on Mach 4, 1678 in Italy. He was known to be the

most celebrated Italian Baroque composer. Although he was
musically trained, he was ordained as a priest in 1703. This
vocation and his hair color earned him the moniker “THE RED
PRIEST” After a year, Vivaldi stated that he no longer wishes to
celebrate mass because of a health condition that prevents him
from breathing properly.

In 1716, Vivaldi managed to perform his first great oratorio, JUDITH TRIUMPHANTS DEVICTA HOLOFERNIS
BARBARIE in Ospedale della Pieta. The work was a symbolic description of the victory of the Venetians over
the Turks in August 1716.
Vivaldi’s success, however, did not last. As young musicians came, he left Venice for Vienna, Austria hoping t
find a position in the imperial court. He found himself without a prominent patron after Emperor Charles VI
died, thus, left him penniless. He died in Vienna on July 28, 1741. One of Vivaldi’s famous works is THE FOUR
SEASONS, a four -part violin concerto depicting the scenes appropriate for each season.

GEORGE FRIDERIC HANDEL (1685 – 1751)

He is a diverse composer who studied and incorporated Italian
musical style in his compositions. Handel was born February 23,
1865, in Halle, Germany. He showed musicality during his
childhood but was encouraged but his father to study law
instead.
As a young boy, he had the opportunity to play the organ for the
duke’s court in Weissenfels. There he met the composer and
organist Frideric Wilhem Zachow. Impressed by Handel’s talents,
he invited him to become his pupil. Under his study, Handel
mastered composing for the organ. He started composing at the
age of 11 until 17.

Handel became England’s favorite composer. He composed a great deal of operas, oratorios, and well – known
coronation anthems. Most of his compositions are still being performed today.
One of Handel’s famous works, THE MESSIAH was written in 24 days and was first performed in Dublin. His
oratorio SAMSOM was a story of how he combats his blindness. In 1751, Handel died in London.

MAKING MEANING
Get to know the important terms that can help you better understand this lesson.

Luthier One who makes stringed musical instruments (as violins or guitar)
Fiddle To play a violin
Fiddler A person who plays the violin
Counterpoint A combination of two or more melodies that are played together
Basso Continuo A practice of creating an accompaniment from a composed based part by
playing the bass note and improvising harmony with them
Camerata A group of musicians where they meet in one place
Aria A song in an opera sung by one person
Allemande A musical composition or movement (as in Baroque suite) in moderate tempo
and duple or quadruple time; a 17 th and 18th century court dance developed in
France from a German folk dance.
Courante A dance of Italian origin marked by quick running steps
Sarabande A stately court dance of 17th and 18th centuries resembling the minuet
Gigue A lively dance movement (as of suite) having compound triple rhythm and
composed in fugal style

REFERENCES

 The 21st CENTURY MAPEH in ACTION 9 (Work text in Music, Arts, Physical Education and Health) Seam Less Edition By:
Gerardo C. Lacia, Ronald V. Solis. Mark G. Fabella, Ed.D., Lualhati Fernando- Callo, Aileen C. Dela Cruz. Ferdilyn C. Lacia
(Coordinator)
Pages number 2 - 25
 Living with MUSIC, ART, PHYSICAL Education, and Health 9 Vecino, Rosenberger, Boquiren, Grecia, and Angeles
Pages number 2 – 25