Chapter 7 Flashcards

1
Q

Who wrote “Ancient Music Adapted to Modern Practice

A

Nicola Vicentino

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

What does the word Affect mean

A

the singular predominant emotion of a piece

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

What did Vicentino say in “Ancient Music Adapted to Modern Practice” was the composers sole obligation

A

to animate the words and harmony to represent their passions

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

What does “Le istitutioni armoniche” mean

A

The Foundations of Music

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Who wrote “Le istitutioni armoniche”

A

Gioseffo Zarlino

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

What did Zarlino acknowledge in his work

A

Contrapuntal intricacies often made words of vocal music hard to understand

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

What technique did composers advocate to allow for clear projection of the text

A

transparent polyphonic style

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Who wrote “Le nuove musiche”

A

Giulio Caccini

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

What new practice did Caccini’s “Le nuove musiche” illustrate

A

Monody

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

What is Monody

A

Singers performing text in a style that measured and free, lyrical yet rhythmically fluid (lies partly between song and speech)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

What was the “Florentine Camerata”

A

a group (club or society) that discussed issues related to the arts

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

what specifically did the Florentine Camerata discuss

A

they debated ways to recreate the style of singing used by the ancient Greeks in their dramas

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

What is Intermedi (an intermedio)

A

Entr’actes or intermezzos

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

What distinguishes the “Second Practice” from the “First Practice”

A

in the Second Practice the rhythms of the music were modeled after rhythms of speech and emphasized the projection of the text.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

What is a “Basso Continuo”

A

a continuous bass line that provides the harmonic framework for the solo above it

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

What does Homophonic mean

A

a piece consisting of a principal melodic line with subordinate accompanying voices

17
Q

Which Composer moved towards a homophonic texture and sang in his own works

A

Giacopo Peri

18
Q

Often used synonymously with basso continuo. indicates root position harmonies through a series of numbers

A

figured bass

19
Q

What new type of musical genre did solo singing allow for

A

Opera (sung drama)

20
Q

What Opera did Giacopo Peri write

21
Q

What year was Euridice written

22
Q

What did Peri model Euridice after

A

Greek plays which many people believed featured singing throughout (not necessarily solo singing by the characters)

23
Q

When did Program Music emerge and what was it

A

around 1700, it is purely instrumental music that is in some way connected to a story or idea

24
Q

What did the Basso Continuo polarize

A

the Soprano or Melody

25
Q

What does Tactus mean

A

each beat gets pretty much the same emphasis

26
Q

What did the Traditional Modes (Dorian, Lydian etc..) give way to after the Renaissance

A

a single type of diatonic scale with half steps between 3-4 and 7-8 in a major scale

27
Q

What did Intervalic harmonies give way to after the Renaissance

A

Chordal Harmonies and Progressions

28
Q

What is Bardi associated with

A

Caccini, Florence, Monody

29
Q

Who was Athanasius Kircher

A

he was a German Jesuit Scholar

30
Q

How did Mattheson respond when Buttstett defended the old form of modal harmony

A

Mattheson wrote a treatise claiming that Mattheson was defending a theory of dead music which was no longer relevant