Tema4Apuntes Djvu

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<h1>
Full text of "<a href="/details/ApuntesTemaBarroco">Apuntes Tema Barroco
</a>"
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<pre>TEMA 4: BARROCO
(APUNTES DE AMPLIACION)
1-ELEMENTOS DE LA MUSICA BARROCA

1_ Nacimiento del sistema tonal: La musica de la Edad Media y el
Renacimiento se basaba en los modos antiguos; era musica MODAL.
A finales del Barroco se implanta la tonalidad y asi se reducen los modos a dos
(mayor y menor). La tonalidad supone dar diferente importancia a los grados de l
a
escala: El mas importante es el I o tonica, y despues el V y el IV. Las obras se
basan
en una tonalidad central (definida por la armadura de la clave) y unas tonalidad
es
cercanas con armaduras parecidas.
EJ: SOLM DOM REM
(Dibujo de las armaduras de las tres tonalidades)
2_EI Sistema Temperado: Afinacion que divide el intervalo de octava en doce

semitonos iguales
(Ej: dibujo de un teclado con indicacidn de nombres de sonidos naturales y
alterados en teclas blancas y negras)
J.S.Bach demostro que este sistema era posible con "El clave bien temperado" que
contiene preludios y fugas escritos en todas las tonalidades.
3EI Bajo continuo y la Melodfa acompanada: La Melodia acompanada es
una nueva textura en que la melodia es la voz principal a la que acompanan otras
voces (relleno armonico + bajo continuo).
El Bajo Continuo es la voz mas grave. En la partitura solo se escribia la melodi
a con
el bajo continuo mas cifrado. El musico debia improvisar el relleno armonico
(musicograma o esquema comparativo de la textura imperante en el
Renacimiento - Polifonfa y la Melodfa Acompanada del Barroco, con los elementos
anteriores)
El Bajo Continuo se realizaba con instrumentos polifonicos (clave, guitarra, org
ano,
arpa...) La linea del bajo se reforzaba con instrumentos graves (fagot, violon..
.)
4_Contraste: Se enfrentan: grupos de instrumentos (de mayor numero
contra de menor numero); instrumentos de timbre diferente; partes vocales e
instrumentales; movimientos lentos y rapidos; cambios de dinamica (Forte y
piano)... jEs el Estilo Concertato!
5_Movimiento: La musica tiene una pulsacion muy marcada. Aparece el

compas como sucesion de tiempos fuertes y debiles. Tambien existiran formulas
ritmicas muy veloces en la musica instrumental sobretodo.
Ej: Concierto de Brandenburgo N 3 de J.S Bach como ejemplo de lo todo

anterior. Se puede hacer hincapie en el papel del clave.
2-MUSICA INSTRUMENTAL
2.1 MUSICA PARA TECLA: Para organo, clave y clavicordio; instrumentos

usados ademas en la realizacion del Bajo Continue
Cada pais va a anadir un sello propio con sus propias formas musicales:
-Italia: Scarlatti desarrolla la Sonata virtuosfstica.
-Francia: Couperin trabaja la Suite
-Inglaterra: los virginalistas desarrollan la Variacion
MUSICA PARA ORGANO: Bach, Pachelbel, Froberger, Frescobaldi,

compondran entre otras: Canzonas, Tocatas, Preludios y Fugas.
MUSICA PARA CLAVE (se trata del clavicembalo) y CLAVICORDIO:
J.S.Bach preferia usar el clavicordio por su sonoridad mas matizada (Mas parecid
o al
piano por su sistema de martillos que golpean las cuerdas)
2.2 FORMAS BARROCAS:

Son obras basadas en la improvisacion, la variacion, el contrapunto imitativo de
las
voces y las piezas de danza:
-CONCIERTO:
Deriva de "concertare": ordenar y juntar cosas distintas (es similar al principi
o
concertado) Esta forma es el mejor ejemplo de contraste.
-Compositores de Concerto Grosso: A. Corelli, Haendel, Bach
-Concerto a Solo: Vivaldi
-SUITE:
-Resultado de la evolucion de la musica de danza del Renacimiento.
-Todas las danzas que la componen estan en la misma tonalidad y responden a
estructuras Binarias.
-Compuesta para instrumento solista y orquesta.
-Con el paso del tiempo pierde su caracter bailable y es solo para escuchar.
-SONATA:
Siempre Neva el acompanamiento de un clave en el Bajo Continuo.
Formada por cuatro movimientos o secciones lentos o rapidos y con diferentes
texturas o ritmos. J. S. Bach tambien cultivo la Fuga.
EVOLUCION DE LA SONATA :
A) Sonata Primitiva: Musica para ser sonada. Surgio a finales del s. XVI en
Venecia. Como rasgos propios: Policoralidad (efecto estereo), y articulacion en
fragmentos (antecedente de los distintos movimientos) Autor: Gabrielli
B) Tipos de Sonata barroca: En el s. XVII Corelli perfecciona los tipos

existentes:
-SONATA DA CAMERA: (Sonata de carmara) A partir de la version
italiana de la suite. Consta de un Preludio mas de 2 a 4 movimientos de danza.
-SONATA DA CHIESA: (Sonata de Iglesia) Cuatro movimientos lentos y
rapidos. Usan la imitacion, la homofonia y el estilo fugado.
C) Sonatas de Domenico Scarlatti: Un movimiento bipartite
-FUGA
Origen en el Ricercare. Han existido fugas de mas de un tema.
Adquiere su estructura estable en tiempos de Bach (a varias voces)
A) UN SOLO TEMA: Primero suena muy claro y es el Sujeto o Dux. Esta en el
tono principal de la obra (tono de la tonica)
Segundo suena menos largo como Respuesta o Comes. Esta
en el tono de la Dominante.
Tambien existe un contrapunto que se llama Contrasujeto.
B) PARTES DE LA FUGA:
1_ Exposicion: Termina cuando todas las voces han expuesto el tema
completo.
2 Episodios: Sirven para cambiar de tonalidad o desarrollar el tema.
No contienen el tema entero.
3 Desarrollo: Se usa el material del tema.
4_Coda: Cola o final. Suele aparecer una nota pedal (sonido persistente
en el bajo que da pistas de hacia donde va la pieza desde el punto de

vista tonal: p. Ej: Hacia la tonica = final con sensacion conclusiva de la
fuga)
5 Estrechos: Entrada del tema en nueva voz antes de haber concluido
en otra. Crea sensacion de agobio y apresuramiento.
</pre>
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ails/occupywallstreet" title="Occupy Wall Street">Occupy Wall Street</a>

="https://archive.org/details/audio_music" title="Music, Arts & Culture">Mus

rg/details/softwarelibrary_zx_spectrum" title="ZX Spectrum">ZX Spectrum</a>

<div class="navbar navbar-inverse navbar-static-top" role="navigatio

<li class="dropdown dropdown-ia pull-left righ

<li id="nav-search" class="dropdown dropdown-i

1-ELEMENTOS DE LA MUSICA BARROCA

2_EI Sistema Temperado: Afinacion que divide el intervalo de octava en doce

5_Movimiento: La musica tiene una pulsacion muy marcada. Aparece el

Ej: Concierto de Brandenburgo N 3 de J.S Bach como ejemplo de lo todo

2.1 MUSICA PARA TECLA: Para organo, clave y clavicordio; instrumentos

MUSICA PARA ORGANO: Bach, Pachelbel, Froberger, Frescobaldi,

2.2 FORMAS BARROCAS:

B) Tipos de Sonata barroca: En el s. XVII Corelli perfecciona los tipos

en el bajo que da pistas de hacia donde va la pieza desde el punto de

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Tema4Apuntes Djvu

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ails/occupywallstreet" title="Occupy Wall Street">Occupy Wall Street</a>

="https://archive.org/details/audio_music" title="Music, Arts &amp; Culture">Mus

rg/details/softwarelibrary_zx_spectrum" title="ZX Spectrum">ZX Spectrum</a>

<div class="navbar navbar-inverse navbar-static-top" role="navigatio

<li class="dropdown dropdown-ia pull-left righ

<li id="nav-search" class="dropdown dropdown-i

1-ELEMENTOS DE LA MUSICA BARROCA

2_EI Sistema Temperado: Afinacion que divide el intervalo de octava en doce

5_Movimiento: La musica tiene una pulsacion muy marcada. Aparece el

Ej: Concierto de Brandenburgo N 3 de J.S Bach como ejemplo de lo todo

2.1 MUSICA PARA TECLA: Para organo, clave y clavicordio; instrumentos

MUSICA PARA ORGANO: Bach, Pachelbel, Froberger, Frescobaldi,

2.2 FORMAS BARROCAS:

B) Tipos de Sonata barroca: En el s. XVII Corelli perfecciona los tipos

en el bajo que da pistas de hacia donde va la pieza desde el punto de

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="https://archive.org/details/audio_music" title="Music, Arts & Culture">Mus