Chapter 17 Flashcards
1
Q
Musical pictorialization of words as an expressive device; a prominent feature of the Renaissance madrigal
A
word-painting
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
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
4
Q
A bound music book—either print or manuscript—with music for a single vocalist or instrumentalist.
A
part book
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
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”
7
Q
T/F: Both Italian and English madrigals often feature word-painting.
A
True
8
Q
Farmer “paints” the first line of the text, “Fair Phyllis I saw sitting all alone,” through the use of
A
monophony.
9
Q
Farmer’s Fair Phyllis is written for _____ voices.
A
four
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
11
Q
In madrigal poetry, references to death were….
A
erotic
12
Q
In which country did Monteverdi live and work?
A
Italy
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
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
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
16
Q
Monteverdi’s Si ch’io vorrei morire is sung in
A
Italian
17
Q
Which describes the performing forces of Monteverdi’s Si ch’io vorrei morire?
A
5-voice a cappella group
18
Q
Which of the following instruments was likely found in prosperous homes during the Renaissance? trumpet lute organ French horn
A
lute
19
Q
T/F: Sometimes humorous madrigals would have a refrain of syllables such as “fa la la.”
A
True
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
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
22
Q
T/F: The English madrigal preceded the development of the Italian madrigal by some one hundred years.
A
False
23
Q
T/F: The chief concern of the early madrigalists was to give pleasure to the amateur performer.
A
True
24
Q
The mood of Farmer’s madrigal Fair Phyllis is
A
light and pastoral.
25
T/F: The text of John Farmer’s Fair Phyllis refers to real historical figures.
False
26
Where did the madrigal first emerge as an important genre?
Italian courts at the beginning of the 1500s
27
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.
All possible answers
28
```
Who of the following composers was influential in the later Italian madrigal tradition?
John Farmer
Claudio Monteverdi
Guillaume de Machaut
Hildegard of Bingen
```
Claudio Monteverdi
29
_______ claimed "the text should be the master of the music, not the servant."
Claudio Monteverdi
30
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 ____
monophonic; Happy Birthday; friendship
31
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 ______
amateurs; homes; vocal instruments; instrumental
32
In most prosperous homes you would find a ____ or a _____ instrument
lute, keyboard
33
The study of music was considered part of proper upbringing for a young ___, or to a lesser degree, a ____.
girl; boy
34
____ 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 ____
Women; singers
35
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
poetry; chanson; madrigal; poetry
36
The madrigal is known for for the expressive device of ____-____: that is, making the music directly reflect the meaning of the words
word-paining
37
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 ____
madrigalisms
38
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 ____
secular; aristocratic; Italian amateurs
39
Madrigals: the text consisted of a ____ poem of ____ or ____ character, often including _____ words for weeping, sighing, trembling, and dying, which the ___ madrigalists set suggestively
short; lyric, reflective; Italian
40
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
love, desire, humor, satire, politics, city, country
41
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
words, music; pleasure, amateur
42
As madrigals grew in complexity and expanded to ___ or ___ voices, _____ were often hired to join the amateurs or even sing on their own
five, six; professionals
43
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
Baroque; composer's
44
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.
Claudio Monteverdi;
45
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
chromatic, declamation, virtuosity, emotional
46
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
Italy; Mantua; Orfeo; Mark's; Venice
47
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
madrigals; nine; polyphonic part; soloistic; dissonances; speechlike
48
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 ____
master, servant; sacred; ballets; operas; song
49
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
madrigals; sacred; Masses, Motets; operas
50
Monteverdi's sensuous Si ch'io vorrei morire from his ___ book of madrigals ; represents the peak of the Italian madrigal tradition
fourth; madrigals
51
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
words; texture, repetition, dissonance
52
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
erotic; sexual climax; kissing; bodily; desire
53
Madrigals were sung as _____ music, with ___ singer on a line, reading from a ____ ____.
chamber; one; part book
54
Monteverdi's Si ch'io vorrei morire: Melody: mostly _____, ideas passed from ____ to ____
stepwise; voice to voice
55
Monteverdi's Si ch'io vorrei morire: rhythm/meter: ____, following the structure of the _____
flexible; poem
56
Monteverdi's Si ch'io vorrei morire: harmony: ___, with affective ______
modal, dissonances
57
Monteverdi's Si ch'io vorrei morire: Texture: alternates _____ and _____
homophony; polyphony
58
Monteverdi's Si ch'io vorrei morire: Form: ____-_____, with a return of the ____ ____
through-composed, opening phrase
59
Monteverdi's Si ch'io vorrei morire: expression: each phrase and some individual words are illustrated through _____ detail; some words are ____ for rhetorical effect
musical; illustrated
60
Monteverdi's Si ch'io vorrei morire: performing forces: ___ voice parts (____)
five; SAATB
61
Monteverdi's Si ch'io vorrei morire: Text: ____ by 16th-century, Maurizio Moro
Poem
62
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)
English
63
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.
love; simpler
64
English madrigals: new ____ madrigal types were cultivated, some with _____ syllables such as "__ __ __"
humorous; refrain; fa la la
65
One of the most important English madrigal composers was ____ ____
John Farmer
66
The pastoral text, lively rhythms, and good humor make Farmer's _____ ____ a perfect example of the English madrigal
Fair Phyllis
67
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
Phyllis, Amyntas, happy
68
English composers adopted the Italian practice of ____ ____, like in Fair Phyllis allowing us to "hear" this charming story
word painting
69
Farmer's Fair Phyllis: this music was designed for _____ to sing to each other
friends
70
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
English; Ireland; Christ Church; London, four; madrigal; word-painting
71
Farmer's major works include English ____ and _____ (for ___ and ___ voices)
songs, madrigals, four, six
72
Farmer's Fair Phyllis: Melody: _____, ____ melody
dancelike, diatonic
73
Farmer's Fair Phyllis: rhythm/meter: ____ rhythms; begins in ____ meter, shifts to ____ and back
lively; duple; tripe
74
Farmer's Fair Phyllis: texture: ____; first _____, then some ____; _____ for the last line
varied; monophonic; imitation; homorhythmic
75
Farmer's Fair Phyllis: form: ____, ____ sections
short, repeated
76
Farmer's Fair Phyllis: ____-_____ on opening line ("all alone") and on "up and down"
word-painting
77
Farmer's Fair Phyllis: ____ voices (____), ____
Four, SATB, a cappella
78
Farmer's Fair Phyllis: Text: _____ _____ _____ poem
Lighthearted pastoral English
