Chapter 18 Flashcards

1
Q

Choral music performed without instrumental accompaniment

A

a cappella

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2
Q

Melodic idea presented in one voice or part and then restated in another, each part continuing as others enter.

A

imitation

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3
Q

“Fixed melody,” usually of very long notes, often based on a fragment of Gregorian chant, that served as the structural basis for a polyphonic composition, particularly in the Renaissance.

A

cantus firmus

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4
Q

Polyphonic vocal genre, often secular in the Middle Ages but sacred or devotional thereafter.

A

motet

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5
Q

Texture in which all voices, or lines, move together in the same rhythm.

A

homorhythmic

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6
Q

Religious belief continued as a core aspect of identity in the Renaissance, even as the nature of that belief shifted to a more ____ connection the divine. This shift is most clearly reflected in the different artistic renditions of the ____ ____, on whom worshippers began to focus at this time.

A

personal; Virgin Mary

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7
Q

Medieval painting presented life through _____; the Renaissance preferred _____

A

symbolism; realism

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8
Q

Medieval painters posed their idealized figures _____, facing ____; Renaissance artists developed profile _____ and _____ their subjects

A

impersonally, frontally;; portraiture; humanized

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9
Q

_____ in medieval works was organized in a succession of ____ that the eye perceived as series of episodes, but Renaissance paints made it possible to see the _____ simultaneously

A

Space; planes

whole

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10
Q

Renaissance painters discovered the ____, created the illusion of _____, and focused on the ___ loveliness of the world. Echoing visual arts, musicians helped to reinforce and intensify this newly _____ approach to praise-through-beauty

A

landscape, distance, physical; personal

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11
Q

Leonardo da Vinci was a contemporary of composer ____ __ ___

A

Josquin des Prez

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12
Q

The Renaissance marks the passing of European society from a predominately ______ orientation to a more _____ one, and from an age of unquestioning ____ and mysticism to one of growing reliance on ____ and _____ inquiry

A

religious, secular; faith, reason, scientific

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13
Q

Renaissance: A new way of thinking centered on ____ issues and the ______. People gained confidence in their ability to solve their own problems and to order their world rationally, without relying on _____ or _____. This awakening, called _____, was inspired by the ancient cultures of _____ and _____, its writers and artworks

A

human, individual; tradition, religion; humanism; Greece, Rome

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14
Q

In attempting to reconcile the needs of the ____ with the primacy of the _____, musicians expanded their approaches to sung _____

A

individual; divine; worship

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15
Q

In addition to the monophonic Gregorian chant that defined Catholic prayer, music for church services included _____, ____, and _____ settings of the Mass.
These were normally multi____ and, especially in the early Renaissance era, based on _____ music. They were sung by _____ male singers trained from childhood in cathedral choir schools

A

hymns, motets, polyphonic; voiced, preexisting; professional

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16
Q

The vocal forms of Renaissance music were marked by smoothly gliding _____ conceived specially for the ____

A

melodies; voice

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17
Q

Sixteenth century has come to be regarded as the golden age of the ____ style (voices alone, without instrumental accompaniment

A

a cappella

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18
Q

Polyphony in a cappella works was based on the principle of _____: musical ideas are exchanged between vocal lines, the voices ____ one another so that a similar phrase is heard in different registers

A

imitations; imitating

19
Q

Imitation is different from _____ in that the phrases sung by different voices in imitation are ____ but not ____

A

round; similar; identical

20
Q

Result of imitation os a close-knit musical fabric capable of subtle and varied effects, in which each ____ participates equally in _____ prayer- a way to combine ____ action with ____ worship

A

voice; polyphonic; individual; collaborative

21
Q

In the matter of harmony, Renaissance composers leaned toward fuller ____
They turned away from the open ____ (missing the third of a ____) and octaves preferred in medieval times to be the ‘sweeter” thirds and sixth. The use of ____ in sacred music was carefully controlled

A

chords; fifths, triad; dissonance

22
Q

Polyphonic writing offers the composers many possibility, such as the use of a fixed melody (_____ _____) in one voice as the basis for elaborate ______ in the other voices

A

cantus firmus; ornamentation

23
Q

____ meter had been especially attractive to the medieval mind because it symbolized the perfection of the ______. Renaissance composers, much less preoccupied with religious symbolism, showed a greater interest in ____ meter

A

tripe; Trinity ; duple

24
Q

In the Renaissance, one of the most popular genres was the ____: a sacred work with a ___ text, for use in the Mass and other religious services

A

motet, Latin

25
Q

The ability to combine ____ written texts of praise with prescribed prayer was part of the appeal of the motet for composers, who able to demonstrate their ____ creativity through choice of ____ as well as ____ invention

A

newly; individual; text; musical

26
Q

Motets in praise of the ____ ____ were extremely popular because of the many religious groups all over Europe devoted to this, also because of the potential for the faithful to identify with the intimacy of the ____-____ relationship

A

Virgin Mary; mother-child

27
Q

The preeminent composes of motets from the early Renaissance were from Northern Europe, in particular present-day ____ and northern ____. Among these composers, _____ ___ ____ was one of the great masters of sacred music

A

Belgium, France; Josquin des Prez

28
Q

After spending his youth in Northern Europe, Joaquin was employed for much os his career in ____, at courts in Milan and Ferreara and in the papal choir in Rome. He absorbed the ____ values of balance and moderation, the sense of harmonious ____ and clear from, visible in paintings of the era. Toward the end of his life, he returned to native _____, where he served as a provost at the collegiate church of Conde

A

Italy; classical; proportion; France

29
Q

Josquin appeared when the ____ influences of the Renaissance were being felt throughout Europe. His music is rich in _____, characterized by serenely beautiful ____ and expressive _____

A

humanizing; feeling; melodies; harmony

30
Q

Josquin produced over 100 ___, at least 17 ____, many French _____ and Italian ____ songs

A

motets; Masses; chansons; secular

31
Q

Ave Maria virgo Serena is a prime example of how ____ experimented with varied combinations of ____ and ____ to highlight different ____ aspects of the text

A

Josquin; voices, textures; emotional

32
Q

Ave Maria virgo Serena:: In this ___-voice composition dedicated to the ____ ____, ____ voices engage in a dialogue with ___ voices; _____ textures alternate with _____ settings (in which all voices move together rhythmically)

A

four; Virgin Mary; high, low; imitative, homorhythmic

33
Q

Ave Maria virgo Serena; Josquin opens the piece with a musical reference to a preexisting ____ for the ___ ___, but soon drops this melody in favor of a freely ____ form that is highly sensitive to the ____

A

chant; Virgin Mary; composed; text

34
Q

Ave Maria virgo Serena: the equality and interdependence of the voices is highlighted by the frequent changes in the way the voices are _____, and the smaller groupings of ____ to ____ voices tend to build the full ____ at the ends of phrases

A

grouped, two to three, ensemble

35
Q

Ave Maria virgo Serena: the final two lines of text, a personal ___ to the Virgin (“______”) is set in a simple ______ that emphasizes the ___, proclaiming the _____ spirit of a new age

A

plea; “O Mother of God, remember me”; texture; words; humanistic

36
Q

Ave Maria virgo Serena (Hail Mary…..gentle Virgin) :The melody: ____ vs. ____ voices, singing in ____; opening phrase quotes a ____

A

high vs. low; pairs; chant

37
Q

Ave Maria virgo Serena (Hail Mary…..gentle Virgin) : The rhythm/meter: ____ meter, with shift to ____, then back

A

duple; triple

38
Q

Ave Maria virgo Serena (Hail Mary…..gentle Virgin) : Harmony: _____, hollow-sounding _____

A

consonant, cadences

39
Q

Ave Maria virgo Serena (Hail Mary…..gentle Virgin) : Texture: _____ polyphony, with moments of _____

A

imitative, homorhyhtm

40
Q

Ave Maria virgo Serena (Hail Mary…..gentle Virgin) : Form: ____ according to ____ of the poem (each begins “Ave”)

A

Sectional, strophes

41
Q

Ave Maria virgo Serena (Hail Mary…..gentle Virgin) : Expression: Personal ____ from composer at the end

A

plea

42
Q

Ave Maria virgo Serena (Hail Mary…..gentle Virgin) : Performing forces: ____-voice choir; _____

A

four-voice a cappella

43
Q

Ave Maria virgo Serena (Hail Mary…..gentle Virgin) : Text: _____, _____ prayer to the Virgin Mary

A

rhymed, strophic