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MUSI 2730 Exam 1 > Chapter 17 > Flashcards

Chapter 17 Flashcards

1
Q

Musical pictorialization of words as an expressive device; a prominent feature of the Renaissance madrigal

A

word-painting

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2
Q

A striking effect designed to depict the meaning of the text in vocal music; found in many madrigals and other genres of the sixteenth through eighteenth centuries. See also word-painting.

A

madrigalism

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3
Q

Renaissance secular work (originating in Italy) for voices, with or without instruments, set to a short, lyric love poem; also popular in England.

A

madrigal

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4
Q

A bound music book—either print or manuscript—with music for a single vocalist or instrumentalist.

A

part book

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5
Q

An unexpected harsh dissonance coinciding with the word “death” is an example of which of the following?

word-painting.
organum.
polyphony.
a cappella singing.

A

word-painting

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6
Q

At which point in the text of Fair Phyllis does the work change to an imitative texture?

A

“Up and down he wandered”

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7
Q

T/F: Both Italian and English madrigals often feature word-painting.

A

True

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8
Q

Farmer “paints” the first line of the text, “Fair Phyllis I saw sitting all alone,” through the use of

A

monophony.

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9
Q

Farmer’s Fair Phyllis is written for _____ voices.

A

four

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10
Q

In addition to the Italian madrigal, what other genre arose from the union of poetry and music during the Renaissance?

A

French chanson

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11
Q

In madrigal poetry, references to death were….

A

erotic

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12
Q

In which country did Monteverdi live and work?

A

Italy

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13
Q

Which musical trait does NOT apply to Monteverdi’s madrigals?

vivid depiction of emotional words
rich chromatic harmony
simple vocal style
All possible answers.

A

simple vocal style

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14
Q

T/F: Monteverdi emphasizes the last line of the poem in the madrigal Si ch’io vorrei morire by not repeating it.

A

False

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15
Q

T/F: Monteverdi uses word-painting to portray the images found in the poetry for his madrigal Si ch’io vorrei morire.

A

True

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16
Q

Monteverdi’s Si ch’io vorrei morire is sung in

A

Italian

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17
Q

Which describes the performing forces of Monteverdi’s Si ch’io vorrei morire?

A

5-voice a cappella group

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18
Q 
Which of the following instruments was likely found in prosperous homes during the Renaissance? 
trumpet
lute
organ
French horn
A

lute

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19
Q

T/F: Sometimes humorous madrigals would have a refrain of syllables such as “fa la la.”

A

True

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20
Q 
In regards to typical English madrigals, which statement is true?
They often have lively rhythms.
They often have pastoral texts.
The texts are often humorous.
All statements are true.
A

All statements are true

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21
Q 
In which of the following ways did Renaissance composers enhance the emotional content of madrigals?
through the use of madrigalisms
through the use of loud instruments
through the use of masks and costumes
through the use of a narrator
A

through the use of madrigalisms

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22
Q

T/F: The English madrigal preceded the development of the Italian madrigal by some one hundred years.

A

False

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23
Q

T/F: The chief concern of the early madrigalists was to give pleasure to the amateur performer.

A

True

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24
Q

The mood of Farmer’s madrigal Fair Phyllis is

A

light and pastoral.

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25
Q

T/F: The text of John Farmer’s Fair Phyllis refers to real historical figures.

A

False

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26
Q

Where did the madrigal first emerge as an important genre?

A

Italian courts at the beginning of the 1500s

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27
Q

Which of the following relate(s) to the genre of madrigal?

direct expression of a composer’s musical personality
most important secular genre of the Renaissance
aristocratic form of poetry and music
All possible answers.

A

All possible answers

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28
Q 
Who of the following composers was influential in the later Italian madrigal tradition?
John Farmer
Claudio Monteverdi
Guillaume de Machaut
Hildegard of Bingen
A

Claudio Monteverdi

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29
Q

_______ claimed “the text should be the master of the music, not the servant.”

A

Claudio Monteverdi

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30
Q

Spontaneous social song is often ____ throughout world cultures: everyone sings the same melody (“_____ _____”) Western culture has also developed a complex and widespread tradition of social partying, in which separate musical lines are combined into a harmonious whole - a fitting sonic image for ____

A

monophonic; Happy Birthday; friendship

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31
Q

In the Renaissance, while professionals musicians entertained noble guests at court and civic festivities, more and more _____ began making music in their ____
The music could be ____ - both unaccompanied and supported by _____ - or purely ______

A

amateurs; homes; vocal instruments; instrumental

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32
Q

In most prosperous homes you would find a ____ or a _____ instrument

A

lute, keyboard

33
Q

The study of music was considered part of proper upbringing for a young ___, or to a lesser degree, a ____.

A

girl; boy

34
Q

____ began to play prominent roles in the performance of music both in home and at court. During the later sixteenth century in Italy, a number of of them became professional ____

A

Women; singers

35
Q

Two important secular genres arose from the union of _____ and music : the French ____ (outgrowth of the medieval version we heard by Machaut) and the Italian ____. The intricate verse strucutres of French and Italian ____ helped shaped these musical forms

A

poetry; chanson; madrigal; poetry

36
Q

The madrigal is known for for the expressive device of ____-____: that is, making the music directly reflect the meaning of the words

A

word-paining

37
Q

Word-painting: an unexpected harsh ____ sigh coincide with the word “death” or an ____ lie might lead up to the word “heaven” or “stars”. These are also called ____

A

madrigalisms

38
Q

The sixteenth century madrigal, the most important ____ genre of the era, was an _____ from of poetry and music the flourished at _____ courts as a favorite diversion of cultivated ____

A

secular; aristocratic; Italian amateurs

39
Q

Madrigals: the text consisted of a ____ poem of ____ or ____ character, often including _____ words for weeping, sighing, trembling, and dying, which the ___ madrigalists set suggestively

A

short; lyric, reflective; Italian

40
Q

Madrigals: ____ and unsatisfied ____ were popular topics but so were ___ and ____, ____, and scenes of ___ and ___ life. The madrigal therefore presents a vivid panorama of Renaissance thought and feeling

A

love, desire, humor, satire, politics, city, country

41
Q

From the beginning, the Italian madrigal was an art form in which ____ and ____ were clearly linked. During its early period, the composer’s chief concern was to give ____ to ____ performers

A

words, music; pleasure, amateur

42
Q

As madrigals grew in complexity and expanded to ___ or ___ voices, _____ were often hired to join the amateurs or even sing on their own

A

five, six; professionals

43
Q

The final phase of the madrigal (1580-1620), extended beyond the late Renaissance into the word of the ____. The form became the direct expression of the _____’s musical personality and feelings

A

Baroque; composer’s

44
Q

One of the most artful and influential composers of this later Italian madrigal tradition was _____ ____, who famously declared that his music was designed to serve the expressive of his texts.

A

Claudio Monteverdi;

45
Q

Madrigals, (Claudio Monteverdi) certain traits were carried to a extreme: rich ____ harmony, dramatic _____, vocal _____, and vivid depiction of _____ words in music all lead us to the new Baroque style

A

chromatic, declamation, virtuosity, emotional

46
Q

Monteverdi: Born in Cremona, ____. In 1590, he took a position as court composer to the duke of ____, for whom he wrote his first great operatic masterwork, ____, based in the famous Greek myth about the power of music. Eventually he won the position of choirmaster at St. ____’s in ____, where he remained till death 30 years later

A

Italy; Mantua; Orfeo; Mark’s; Venice

47
Q

Monteverdi wrote _____ through his lifetime, publishing ____ books that transformed the genre from _____ ____ music to an emotionally charged _____ style that highlighted the text through unprepared _____ and _____ melodies

A

madrigals; nine; polyphonic part; soloistic; dissonances; speechlike

48
Q

Monteverdi claimed that “the text should be the ____ of the music, not the ____” He injected into his ____ works, ____, and especially his late ____ an emotional intensity that was new to music. Characters in his music dramas are not stereotypes but men and women who unleash their joy and sorrow through ____

A

master, servant; sacred; ballets; operas; song

49
Q

Monteverdi works: nine books of _____; ___ music including Vespers (1610); ____, Magnificants, and ____; ____, including Orfeo (1607) and L’incoronazione di Poppea (The Coronation of Pope, 1643); other dramatic music

A

madrigals; sacred; Masses, Motets; operas

50
Q

Monteverdi’s sensuous Si ch’io vorrei morire from his ___ book of madrigals ; represents the peak of the Italian madrigal tradition

A

fourth; madrigals

51
Q

Monteverdi’s Si ch’io vorrei morire: the composer felt that the music should follow the ____ rather than strict rules of harmony and counterpoint; the changing ____, _____, and ____ in this work exemplify his ideas on how to convey words both clearly and passionately

A

words; texture, repetition, dissonance

52
Q

Monteverdi’s Si ch’io vorrei morire: references to death in madrigal poetry were usually understood as ____, death being a conceit for _____ ____, so the underlying meaning of this madrigal is clear; given to the references to ____ and ____ interaction, as the level of ____ escalates

A

erotic; sexual climax; kissing; bodily; desire

53
Q

Madrigals were sung as _____ music, with ___ singer on a line, reading from a ____ ____.

A

chamber; one; part book

54
Q

Monteverdi’s Si ch’io vorrei morire: Melody: mostly _____, ideas passed from ____ to ____

A

stepwise; voice to voice

55
Q

Monteverdi’s Si ch’io vorrei morire: rhythm/meter: ____, following the structure of the _____

A

flexible; poem

56
Q

Monteverdi’s Si ch’io vorrei morire: harmony: ___, with affective ______

A

modal, dissonances

57
Q

Monteverdi’s Si ch’io vorrei morire: Texture: alternates _____ and _____

A

homophony; polyphony

58
Q

Monteverdi’s Si ch’io vorrei morire: Form: ____-_____, with a return of the ____ ____

A

through-composed, opening phrase

59
Q

Monteverdi’s Si ch’io vorrei morire: expression: each phrase and some individual words are illustrated through _____ detail; some words are ____ for rhetorical effect

A

musical; illustrated

60
Q

Monteverdi’s Si ch’io vorrei morire: performing forces: ___ voice parts (____)

A

five; SAATB

61
Q

Monteverdi’s Si ch’io vorrei morire: Text: ____ by 16th-century, Maurizio Moro

A

Poem

62
Q

Just as Shakespeare adapted the Italian sonnet, so ____ composers developed the Italian madrigal into a native art form during the late sixteenth century and reign of Elizabeth 1 (1558-1603)

A

English

63
Q

In their own madrigals, some English composers followed the late Italian model, setting dramatic ____ poetry in serious, weighty works, while others favored ____ tests in more accessible settings.

A

love; simpler

64
Q

English madrigals: new ____ madrigal types were cultivated, some with _____ syllables such as “__ __ __”

A

humorous; refrain; fa la la

65
Q

One of the most important English madrigal composers was ____ ____

A

John Farmer

66
Q

The pastoral text, lively rhythms, and good humor make Farmer’s _____ ____ a perfect example of the English madrigal

A

Fair Phyllis

67
Q

Farmer’s Fair Phyllis: the poem tells of a sherpherdess (_____) being pursued by her lover, _____ (their names are stock ones for such rustic characters) The narrative brings their story to a ___ conclusion with their amorous love play

A

Phyllis, Amyntas, happy

68
Q

English composers adopted the Italian practice of ____ ____, like in Fair Phyllis allowing us to “hear” this charming story

A

word painting

69
Q

Farmer’s Fair Phyllis: this music was designed for _____ to sing to each other

A

friends

70
Q

John Farmer was an _____ composer active in Dublin, _____ as an organist and master of the choirboys at _____ ____. 1599, he moved to _____ and published his only collection of ___-voice ______. Farmer used clever _____-____ in these lighthearted works and helped shape the madrigal into a truly native form

A

English; Ireland; Christ Church; London, four; madrigal; word-painting

71
Q

Farmer’s major works include English ____ and _____ (for ___ and ___ voices)

A

songs, madrigals, four, six

72
Q

Farmer’s Fair Phyllis: Melody: _____, ____ melody

A

dancelike, diatonic

73
Q

Farmer’s Fair Phyllis: rhythm/meter: ____ rhythms; begins in ____ meter, shifts to ____ and back

A

lively; duple; tripe

74
Q

Farmer’s Fair Phyllis: texture: ____; first _____, then some ____; _____ for the last line

A

varied; monophonic; imitation; homorhythmic

75
Q

Farmer’s Fair Phyllis: form: ____, ____ sections

A

short, repeated

76
Q

Farmer’s Fair Phyllis: ____-_____ on opening line (“all alone”) and on “up and down”

A

word-painting

77
Q

Farmer’s Fair Phyllis: ____ voices (____), ____

A

Four, SATB, a cappella

78
Q

Farmer’s Fair Phyllis: Text: _____ _____ _____ poem

A

Lighthearted pastoral English

MUSI 2730 Exam 1 (8 decks)

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