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MUSI 2730 Exam 1 > Chapter 19 > Flashcards

Chapter 19 Flashcards

1
Q

Central service of the Roman Catholic Church.

A

Mass

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2
Q

Sections of the Roman Catholic Mass that remain the same from day to day throughout the church year, as distinct from the ____, which changes daily according to the liturgical occasion.

A

Definition of Ordinary

distinct from Proper

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3
Q

Sections of the Roman Catholic Mass that vary from day to day throughout the church year according to the liturgical occasion, as distinct from the _____ in which they remain the same.

A

Definition of Proper

distinct from ordinary

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4
Q

The first musical section of the Ordinary of the Mass. Its construction is threefold, involving three repetitions of (Lord, have mercy), three of (Christ, have mercy), and again three of (Lord, have mercy)

A

Kyrie

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5
Q

The second musical section of the Ordinary of the Mass

A

Gloria

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6
Q

The third musical section of the Ordinary of the Mass.

A

Credo

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7
Q

The fourth musical section of the Ordinary of the Mass.

A

Sanctus

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8
Q

The last musical section of the Ordinary of the Mass

A

Agnus Dei

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9
Q

Simple worship music, often monophonic, in which the church congregation participates; often associated with Lutheranism and Calvinism.

A

congregational singing

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10
Q

Gloria from Pope Marcellus Mass: The texture in the opening phrase of this work is

A

monophonic

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11
Q

Gloria from Pope Marcellus Mass: The overall harmony in this work is best described as

A

consonant

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12
Q

LG 8: Gloria from Pope Marcellus: How is this work sung in this recording?

A

a cappella

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13
Q

Gloria from Pope Marcellus Mass: The text setting in each vocal melody is mostly

A

syllabic

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14
Q

Gloria from Pope Marcellus Mass: Which of the following most significantly helps in creating a solemn tone in the piece?
A slow tempo and weak pulse.
Sudden shifts in dynamics.
The combinations of voice parts change often.
The uses of instruments.

A

A slow tempo and weak pulse

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15
Q

Which of the following best describes the texture of this excerpt?
Gloria from Pope Marcellus Mass (not opening)

A

predominately homorhythmic

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16
Q

Gloria from Pope Marcellus Mass: Which of the following is true in regard to this excerpt? (not opening)

The words are easily heard.
There is a lot of polyphonic imitation.
It is monophonic.
There are instruments.

A

The words are easily heard

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17
Q

What language is heard in Gloria from Pope Marcellus Mass?

A

Latin

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18
Q

Gloria Pope Marcellus Mass: Which statement best describes the dynamics in this excerpt?
mostly allegro
gradual crescendo to forte very soft throughout (pianissimo)
gradual decrescendo from forte to piano

A

gradual crescendo to forte

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19
Q

Gloria Pope Marcellus Mass: Which of the following is NOT heard in this excerpt?
softer dynamic
a cappella performance
four voices with some polyphonic imitation
lower male voices singing alone throughout

A

lower male voices singing alone throughout

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20
Q

Many consider ______ song essential for building collective purpose, whether in worship or in other group activity

A

unison

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21
Q

Others rely on the grandeur of ______ to convey magnificence and glory, whether in church or in other places of celebration

A

polyphony

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22
Q

Christian reform in the 1500s: while ______ argued for the simple unity of congregational singing, _____ affirmed the power of professional choirs and complex textures, especially in polyphonic settings of the _____

A

Protestants; Catholics, Mass

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23
Q

A reenactment of Christ’s Last Supper with his disciples, the _____, is the most solemn ritual of the Catholic Church. The collection of prayers that make up the ______ remain the same in every Mass; the _____ texts vary from day to day throughout the church year, depending the feast being celebrated

A

Mass; Ordinary; Proper

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24
Q

Aside from the Kyrie which is a _____ text, the rest of the Mass was in _____, the language of ancient Romans and the language of _____ throughout the Middle Ages and Renaissance

A

Greek; Latin; learning

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25
Q

The Catholic Church continued to celebrate the Mass in Latin unit the middle of the _____ century

A

twentieth

26
Q 
The Ordinary portion of the Mass included
2. \_\_\_\_
3 \_\_\_\_
6. \_\_\_\_
8. \_\_\_\_
9. \_\_\_\_
A 
Kyrie 
Gloria
Credo 
Sanctus 
Agnus Dei
27
Q

The Proper portion of the Mass included

  1. ____
  2. ____
  3. ____ (or ___)
  4. ____
  5. ____
A 
Introit
Gradual
Alleluia (Tract)
Offertory 
Communion
28
Q

With the rise of Renaissance polyphony, composers concentrated their musical settings on the ______, fixed portion sung daily. Its five prayers are the ____, _____, _____, _____, and _____ ___
Today, these are sung in the _____, language of the country, rather than in Latin although it has come to back to Latin in recent years)

A

Ordinary; Kyrie, Gloria, Credo, Sanctus, and Angus Dei

Vernacular

29
Q

The _____ is a prayer for mercy that dates from the early centuries of Christianity, as its Greek text attests.

A

Kyrie

30
Q

Ordinary: The prayer is followed by the ____ (“glory be to God on high”), a joyful hymn of praise.

A

Gloria

31
Q

The third section of ordinary, the _____ (“I believe in one God, the Father Almighty), is the confession of faith and the longest of Mass texts

A

Credo

32
Q

Ordinary: Fourth is the _____ (“Holy, holy, holy”), a song of praise, which concludes with “Hosanna in the highest”

A

Sanctus

33
Q

The fifth and last part of the Ordinary, the _____ ___ (“Lamb of God, Who takes away the sins of the world”), is sung three times with different words for its conclusion

A

Agnus Dei

34
Q

Around the time of _____’s death (1521), major religious reforms were spreading across Northern Europe

A

Josquin

35
Q

In 1517, the Augustinian monk named _____ _____ (1483-1546) launched the Protestant movement known as the _______ with his Ninety-Five Theses, a list of reforms he proposed for the Catholic Church. Rather than adopt these ideas, the church ______ him

A

Martin Luther; Reformation; excommunicated

36
Q

Martin Luther and another reformer, _____ ____ (1509-1564) believed that simple, monophonic _______ ______ in the _____ should be the basis of Christian worship

A

John Calvin; congregational singing; vernacular

37
Q

John Calvin rejected _____ as distracting from the essential focus on scriptural text: his followers (including early _____/_____ who came to North America) embraced the idea that worship song should be _____ and shared by all _____

A

polyphony; Pilgrims/Puritans; monophonic; congregants

38
Q

Martin Luther encouraged his followers to add _____ worship music to enhance the congregational ____ singing

A

polyphony; unison

39
Q

The Catholic Church underwent its own reform movement, focused on a return to Christian _____, known as the Catholic ______ or ______-_____

A

piety; Reformation, Counter-Reformation

40
Q

The Counter-Reformation, which extended from the 1530s to early decades of 17th century, witnessed changes in the church as religious orders increased their efforts to help the ____ and combat _____. The church organized what some view as the longest committee meeting in history: the _____ of ____ which met, with some interruptions, from 1545-1563

A

poor; heresy; Council of Trent

41
Q

The Council of Trent took up the matter of Church ____

A

music

42
Q

Council of Trent: noted the corruption of traditional chants by the singers, who added _____ to the _____ melodies

A

embellishments; Gregorian

43
Q

Council of Trent: objected to the use of certain ______ in religious services, the practice of incorporating popular _____ in Masses, the _____ spirit that had invaded sacred music, the generally irreverent attitude of church ____

A

instruments, songs, secular, musicians

44
Q

The cardinals claimed that in _____ settings of the Mass, the ____ text was made unintelligible by the texture

A

polyphonic, sacred

45
Q

The committee assigned to deal with the music problem issued general recommendations in favor of a pure ____ style that would respect the integrity of ____ texts, avoid ____, and encourage ____. These traits are heard in the polyphony by the Italian master ______ ____ _ ____

A

vocal, sacred, virtuosity, piety; Giovanni Pierluigi de Palestrina

46
Q

Palestrina (named for town where he was born) worked as an organist and choirmaster at various Italian churches, included __ _____’s in Rome, where he spent his last 23 years. He wrote largely ____ music - output of ____ exceeds that of any other composers- and his music represents the pure _____ style of vocal ____ typical of the late Renaissance. He strove the make the ____ understood by properly accentuating them, meeting the guidelines of Catholic reform

A

St. Peter’s; sacred; Masses; a cappella; polyphony; words

47
Q

Palestrina’s ____ ____ Mass was thought to have been written to satisfy the Council of Trent’s recommendations, but this probably isn’t true.

A

Pope Marcellus

48
Q

Palestrina’s Pope Marcellus Mass: Since the papal choir sang without _____ accompaniment, this Mass was most likely performed _____

A

instrumental; a cappella

49
Q

Palestrina’s Pope Marcellus Mass: written for ___ voice parts- _____, ____, two ____, and two ___, typical setting for all-____ church choirs of the era

A

six; soprano, alto, tenors, basses; male

50
Q

Palestrina’s Pope Marcellus Mass: highest voice sung by boy ____ or male _____ (singing in falsetto, or head voice), the alto part by male altos or _____ (tenors with very high voice)

A

sopranos, falsettists; countertenors

51
Q

The ____ from the Pope Marcellus Mass exhibits _____’s hallmark style- restrained, serene, and celestial

A

Gloria; Palestrina

52
Q

Palestrina’s Pope Marcellus Mass: The opening line, “Gloria in excelsis Deo”m(“_____”) is chanted by the officiating ____

A

“Glory be to God on high”

priest

53
Q

Palestrina’s Pope Marcellus Mass: For the remaining text (not opening line) , Palestrina constructed a ____ setting, balancing the harmonic and polyphonic elements so that the ____ are clearly audible.

A

polyphonic, words

54
Q

Palestrina’s music is representative of the pure _____ style of vocal ___ of the later Renaissance. It reflected the Catholic Church’s beliefs that heavenly sounds produced by trained ____ would be more spiritually powerful than the rough song of an untrained ____ - opposite of ____’s concept of a “musical priesthood of all the faithful”

A

a cappella; professionals; congregation; Calvin

55
Q

Palestrina’s Pope Marcellus Mass” melody shifts between ____ and ___ range voices

A

high and low

56
Q

Palestrina’s Pope Marcellus Mass: the rhythm/meter includes a ____ ____ meter and a ___ pulse

A

slow duple

weak

57
Q

Palestrina’s Pope Marcellus Mass: the harmony is…

A

full and consonant

58
Q

Palestrina’s Pope Marcellus Mass: The texture. A ____ opening; then _____, with some _____; frequent changes in the ____ of voices

A

monophonic; homorhythmic, polyphony; density

59
Q

Palestrina’s Pope Marcellus Mass: it is ____-____ (no major section repeated), with some ___ ideas exchanged between ____

A

through-composed; short, voices

60
Q

Palestrina’s Pope Marcellus Mass: performing force is a ___-part ___, ____

A

six-part choir, a cappella

61
Q

Palestrina’s Pope Marcellus Mass: The text is a hymn of ____; second movement of the ____ of the ____

A

praise; Ordinary, Mass

MUSI 2730 Exam 1 (8 decks)

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