The following terms and concepts in boldface (as well as other basic ideas indicated in these review questions) will cover the concept of Late Baroque Music (Bach and Handel). You should know all of these terms, including their (1) spelling, (2) pronunciation, and (3) definition, and be able to use them correctly in speaking and writing about music.

Dictionary definitions may be found in the GLOSSARY of your textbook (p. 455-466) various online resources, including Cengage's MindTap (if you have access to that non-required resource), and you may also use reference works such as The Norton/Grove Concise Encyclopedia of Music (UCF Library REF ML 100 .N8 1988), The New Harvard Dictionary of Music (REF ML 100 .N485 1986), the Harvard Concise Dictionary of Music (REF ML 100 .H36 1999), or other similar brief dictionaries of music found in that area of the library. For an extended explanation of any term or other general topic in music, look at The New Grove Dictionary of Music and Musicians II (REF ML 100 .N48 2001), which is also available as an online database (look for "Oxford Music Online" on the UCF Library list of "Databases Titles" to find an online version of the Grove Dictionary of Music & Musicians).

Do not forget to look at the PowerPoint slides associated with the lectures on these materials.

Chapter Eight : The Late Baroque: Bach

1. What does the term "high" or "late" suggest when dealing with the Baroque (or any historical era)? How do Johann Sebastian Bach and George Frideric Handel exemplify the "High Baroque"?

Johann Sebastian Bach (1685-1750)

2. Who is Johann Sebastian Bach, and why did he become a musician? What was his reputation in his day and subsequently? What instrument is most associated with him?
3. What (in general terms) is a Fugue? How is one composed?
4. In a fugue, what are the subject, answer, and countersubject? What is an episode?
5. Know the Listening Guide (p. 114). What is the texture of this work, and how does Bach make it possible to follow the multiple lines?
6. Why did Bach turn to the composition of orchestral music in Cöthen?
7. What are the Brandenburg Concertos, and why did Bach compose them?
8. Know the Listening Guide (p. 116)? What is the primary organizing principle of this work, and how does it compare to Vivaldi's "Spring" Concerto?

The Church Cantata

9. What was Bach's final professional position in Leipzig? What were his responsibilities, and what sort of work did he do?
10. What is a Cantata and how might it relate to other vocal music genres?
11. What are the central organizing priniciples for a church cantata? How might a musician like Bach have connected his music to the message of the service?
12. What is a chorale, and how might Bach have used one?
13. What sorts of movements make up the church cantata "Wachet auf, ruft uns die Stimme"? How do these movement types relate to other vocal music genres?
14. Know the Listening Guides (p. 121, 122-3, 124)? What do these three movements have in common? How do these reflect other vocal genres?

Chapter Nine : The Late Baroque: Handel

1. How does the life and career of G.F. Handel compare to that of J.S. Bach?

George Frideric Handel (1685-1759)

2. Who was George Frideric Handel? What sort of training did he have, where did he study music, and what sorts of music positions did he hold in his lifetime?
3. Why did Handel spend most of his career in London?

Handel and the Orchestral Dance Suite

4. What is a Suite, and what sorts of music might it contain?
5. What is the relationship between dance and the music of Handel's Water Music?
6. Know the Listening Guide (p. 129)? What is the purpose of this music, i.e., for what event was it used? What is the basic organizing principle of this piece?

Handel and Opera

7. Why did Handel compose operas in London, and what sorts of opera were most important?
8. What sort of singer starred in Handel's operas?

Handel and Oratorio

9. Why did Handel leve the opera business, and what sort of vocal composition did he favor in the later years of his life?
10. What is an oratorio, and how does it differ from it close relative, opera?
11. What--in very general outline--is the story of The Messiah? Why might this story have been chosen for an oratorio?
12. Know the Listening Guide (p. 133)? How does this recitative and aria pair compare to operatic examples? What is added to the end of this work that is asociated with oratorios ?
13. Know the Listening Guide (p. 134)? How does this example reflect the impotance of the chorus in oratorios? What are some of the different textures used in this of this movement?