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Music History > chapters 10, 11, and 12 > Flashcards

chapters 10, 11, and 12 Flashcards

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1
Q

name two treatises on organology.

A

Sebastian Virdung’s “Musica getuscht” (1511)

Michael Praetorius’s “Syntagma musicum” (1618-1620)

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2
Q

what is an instrumental family?

A

the construction of wind and string instruments in sets. ie. soprano, alto, tenor, bass varieties of an instrument. These were uniform in the timbre of the instrument.

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3
Q

what are the five types of instrumental music?

A

Dance music, arrangements of vocal music, settings of existing melodies for instruments, variations, and abstract instrumental works arising out of improvisatory practice and their transmition in fully notated form.

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4
Q

villancio

A

is the most important form of secular polyphonic song in Renaissance Spain

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5
Q

Villancico Form

A

includes a refrain( estribillo) and one or more stanzas( coplas) and conclude with a return to the music of the refrain (vuelta)

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6
Q

Juan del Encina

A

1468-1529

first spanish playright and was a leading composer of villancicos

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7
Q

Frottola

A

italian counterpoint to the villancico.
it is a four part strophic song set syllabically and homophonically, with the melody in the upper voice, marked rhythmic patterns, and simple diatonic harmonies

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8
Q

Frottola featured what kind of texts

A

simple music and earthly and satirical texts, but were neither folk nor popular songs. they were mock-popular songs written for the amusement of the courtly elite.

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9
Q

give some attributes of dance music.

A

improvisatory yet composed (ornamentation of a given melody), performed from memory, adding one or more contrapuntal parts to given melodies or bass lines, balances between homophony and simple counterpoint.
very distinct sections, usually two to four with repeat of individual sections.
clear phrase structure with focus on predictability
regularity and contrast built into the dance as a means of enhancing oral recognition (ie as a neumonic).

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10
Q

whats the difference between functional dance music and stylized dance music?

A

functional has people dancing to it, whereas stylized is meant for performance only. stylized began as a part of solo repertoire for lute.

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11
Q

Madrigal composers used texts by major poets these being

A

Francesco Petrarca, Ludovico Ariosto, torquato Tasso and Giovanni Battista Guarni

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12
Q

name two printers who printed dance music collections.

A

Ottaviano Petrucci and Pierre Ataignant.

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13
Q

Jacques Arcadelt

A

1507-1568

A franco- flemish composer who worked in Florence and Rome for almost three decades before returning to France in 1551

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14
Q

Rise of the Madrigal was linked to Italian poetry- who led this

A

It was led by Cardinal Pietro Bembo.

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15
Q

What did WIllaert and Zarlino associate major thirds and sixths with

A

they associated them with harshness and bitterness

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16
Q

Willaert and Zarlino associates minor intervals with

A

sweetness as well as with grief.

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17
Q

Cipriano de Rore

A

The leading madrigal composer at midcentury.

worked chiefly in Ferrara and Parma

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18
Q

Nicola Vincentino

A

Composer and theorist who proposed reviving the chromatic and enharmonic genera of Greek music in his treatise

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19
Q

Famous women poets in 16th century

A

Vittoria Colonna, Veronica Franco, and Gaspara Stampa

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20
Q

Maddalena Casulana

A

1544-1590

first woman whos music was published and to regard herself as a professional composer.

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21
Q

Important composers of late 16th century madrigals

A

Orlande de Lassus and Phillippe de Monte, luca marenzio

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22
Q

Luca Marenzio

A

1553-1599
Chief leading italian composer of madrigals.
he depicted contrasting feelings and visual details with the utmost artistry.

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23
Q

Madrigalisms

A

striking musical images, evoking the text in the music

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24
Q

Carlo Gesulado

A

prince of venosa
one of the most colourful figures in music history.
hes unusual among composers because he was an aristocrat and it was rare for nobility to composer or to seek publication for their music

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25
Q

Villanella

A

a lively strophic piece in homophonic style, usually for three voices, first appeared in the 1540s and flourished epspecially in Naples

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26
Q

Canzonetta

A

little song

written in a vivacious, homophonic style with simple harmonies and evenly phrased sections that were often repeated.

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27
Q

Balletto

A

little dance

written in a vivacious, homophonic style, with simple harmonies and evenly phrased sections that were often repeated.

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28
Q

Giaocomo Gastoldi

A

the leading composer of canzonette and balletti.

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29
Q

Pierre Attaingnant

A

the first french music printer, brought out more than fifty collections of such chansons.

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30
Q

two principal composers in Attaingnats early chanson collections

A

Claudin de Sermisy and Clement Janequin

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31
Q

Clement Janequin

A

1485-1560

wrote many kinds of chansons including lyrical love songs, narrative songs, and bawdy songs

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32
Q

meaning of madrigal

A 
settings of Italian Poetry
texts considerign of single stanza with 7-11 syllable lines
free rhyme scheme
no refrains
no repeated line
through composed
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33
Q

Social roles of madrigals

A

for enjoyment
mixed groups of men and women
in venues with a purpose
became in great demand because of reprints of the music

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34
Q

Musique mesuree

A

distinctive style of chanson emerged from the desire amount some French poets and composers to imitate the rhythm of Greek poetry

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35
Q

air de cour

A

a genre of song for voice and accompaniment which became the dominant type of french vocal music

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36
Q

Meistersinger

A

german secular song in the 16th century exhibits a fasinating micture of styles. it is a preserved tradition of unaccompanied solo song derived from the Minnesinger.

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37
Q

Consort song

A

a distinctively English genre for voice accompanied by a consort of viols

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38
Q

Constort

A

string ensemble

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39
Q

William Byrd

A

master of the consort song, he raised the technical level of the medium with skillful imitative counterpoint in his collection Psalmes, Sonets and Songs

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40
Q

Leading English madrigalists

A

Thomas Morley, Thomas Weelkes and John Wilbye

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41
Q

Lute song

A

solo song with accompaniment. it is a more personal genre than the madrigal, with more serious and literary texts and with none of the madrigals aura of social play. appeared in books rather than in partbooks, lute part is in tablature

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42
Q

Leading composers of lute songs are

A

John Dowland and Thomas Campion

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43
Q

tablature

A

a notational system that tells the player which strings to pluck and where to place the fingers on the strings, rather that indicating what pitches will result

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44
Q

what two important illustrations are included in Praetorius’ syntagna musicum (1618-1620)

A

an illustration of musical instruments in woodcuts, and an illustration of musicians at the Court of Mazimilian I.

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45
Q

what is a consort (in the context of England in the early 16th century)?

A

an instrumental ensemble of four to seven instruments.

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46
Q

name two wind instruments used in the early sixteenth century.

A

the crumhorn and the sackbut.

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47
Q

name five string instruments used in the early sixteenth century.

A

the lute, the viheula, the viol, the viola da gampa, and the violin.

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48
Q

name four keyboard instruments used in the early sixteenth century.

A

clavichord, harpsichord, virginal, clavecin.

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49
Q

give some attributes of dance music.

A

improvisatory yet composed (ornamentation of a given melody), performed from memory, adding one or more contrapuntal parts to given melodies or bass lines, balances between homophony and simple counterpoint.

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50
Q

whats the difference between functional dance music and stylized dance music?

A

functional has people dancing to it, whereas stylized is meant for performance only.

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51
Q

what elements of a dance piece vary from dance to dance?

A

the meter, tempo, rhythmic pattern, and the form.

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52
Q

name two printers who printed dance music collections.

A

Ottaviano Petrucci and Pierre Ataignant.

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53
Q

what is the form of the pavanne?

A

AABBCC.

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54
Q

what are dance pairs?

A

dances that are to be played together. ie. the pavanne and galliard.

55
Q

what is the pavanne?

A

a stately dance with three repeated strains.

56
Q

Reformation

A

started as a theological dispute and turned into a rebellion against the authority of the Catholic Church. Started in Germany with Martin Luther. there are three branches 1. lutheran movement, 2. the calvinist movment, and 3. the church of England as organized by Henry the 8th.

57
Q

Lutheran Movement

A

started in germany under Martin Luther by the posting of the 95 these on the church door in Wittenberg on 31 october 1517.

58
Q

Calvinist movement

A

was lead by Jean Calvin and it spread from Switzerland and the low countries to france and britain

59
Q

Church of England

A

is a church made by King Henry VIII for political reasons but ultimately influenced by Reformation ideals

60
Q

Martin Luther

A

is the instigator of the Reformation. he was a professor of biblical theology at the university of wittenberg. his belief that faith brings salvation did not agree with the catholic doctrine. In creating his church Luther sought to give the people a larger role. He made the services easier to understand by increasing the use of the vernacular. However he retained some Latin for educating children.he hoped to enhance a greater understanding of the service from the congregation.

61
Q

Music in Lutheran Church

A

music assumed a central position in the Lutheran Church because of Luther’s own appreciation for it. Luther believed strongly in the educational and ethical power of music. That through singing together worshippers could unite in proclaiming their faith and praising God. retained catholic melodies, while using either german transations of the original latin or newly written german texts.

62
Q

Lutheran Chorale

A
  • is the most important form of music in the Lutheran Church
  • they are known primarily in four part harmonized settings, but they originally consisted of only a metric, rhymed, strophic poem and a melody in simple rhythm sung in unison, without harmonization or accompianment
63
Q

what six kinds of themes were used in the variation treatment of instrumental music?

A

existing tune, newly composed tune, bass line, harmonic plan (such as a chaconne), and a melody with an accompaniment, and dance tunes.

64
Q

Four main Sources of Chorales

A

1) adaptations of Gregorian Chant
2) existing German Devotional songs
3) Secular songs given new words
4) new compositions

65
Q

Contrafactum

A

is a practice when secular songs are given new words.

66
Q

Johann Walter (1496-1570)

A

Is Luthers collaborator

67
Q

Chorale Motets

A

borrowed techniques from the Franco Flemish motet. Some treated the chorale as a cantus firmus in relatively long notes surrounded by free or imitative polyphony

68
Q

define toccata

A

this is Italian for touch, and refers to the touching of the keys of keyboard instruments. improvisatory practices are fully notated, has an emphasis on textures and figurations, uses suspention, prolonged and repeated dissonance, running passages as a means of displaying virtuosity.

69
Q

Jean Calvin

A

(1509-1564)
creator of the calvinist movement
he rejected papal authority and embraced justification through faith alone.
he believed that all laws were found in the bible

70
Q

define canzona

A

it was the leading genre of contrapuntal instrumental music in the late 16th century. it was developed from intabulations of reworked independent canzonas comprising of series of themes. it is sparated by different melodic outlines and rhythmic profiles, and puts emphasis on contrasting sections.

71
Q

what is tablature?

A

a fingering notation rather than a conventional notation of pitch and rhythms. in tablature rhythms are notated above a staff that functions as a visual representation of the strings. the letters or numbers on the tablature represent the intersections between the strings and frets on the lute.

72
Q

what are the earliest forms of using an existing melody for instrumental use?

A

chant settings and organ masses, organ chorales,and in nomines for consort or keyboard. these all uses a borrowed tune as the cantus firmus.

73
Q

what is an organ mass?

A

a mass where the only music is played by the organ. In these the polyphony for keyboard serves as a paraphrase of the gregorian chant.

74
Q

what is an organ chorale?

A

the lutheran version of an organ mass. the only difference is that there is an alternation between congregational singing in unison and the polyphonic organ setting. This is an emulation of the alternatim practice in the reniassance. (the alternation between chant and polyphony).

75
Q

what is the variation treatment of instrumental music?

A

It is the treatment of the theme as a basis for a set of uninterupted variations, with each variation, unmarked, emerging directly out of the preceding one or with carefully labelled variations.

76
Q

how did architecture influence the cori spezzati technique?

A

it created it. there are two organs at st. marks cathedral that are placed at opposite ends of the church.

77
Q

when did the use of cori spezzati reach its peak and how?

A 
in the 1560s with:
Alessandro Striggio (1536-1592), mass for forty voices divided into 8 choirs, used for performance in Florence during the visit of Holy Roman Emperor Maximilian I in 1567.
Thomas Tallis (1505-1585), motet "spem in alium" for eight five voice choirs.
Giovanni Gabrieli (1555-1612).
78
Q

which three English virginalist composers used the variation technique of instrumental music?

A

William Byrd (1540-1623), John Bull (1562-1628), and Orlando Gibbons (1583-1625)

79
Q

Metrical psalms

A

metric, rhymed, strophic translations of psalms in the verancular that were set to newly composed melodies or tunes adapted from chant

80
Q

Psalters

A

a book that metrical psalms were published in. A complete French psalter was published in 1562

81
Q

French composers of psalm settings include

A

Loys Bourgeois, Claude Goudimel and Claude Le Jeune

82
Q

Flemish composers of psalm settings

A

Jacobus Clemens and Jan Pieterszoon Sweelinck

83
Q

John Taverner

A

the leading english composer of sacred music in early sixteenth century.
his masses and motets exemplify the english preference for long melismas, full textures, and cantus firmus structures.

84
Q

Thomas Tallis

A

1505-1585
the most important midcentury English composer.
His works encompass Latin masses and hymns, English service music, and other sacred works that reflect the religious and political upheavals in England during his lifetime

85
Q

two Principal forms of Anglican music:

A

Service&Anthem

86
Q

Anglican Service

A

consists of the music for certain portions of Matin, Holy Communion, and Evensong.

87
Q

Anglican Anthem

A

corresponds to a latin motet. It is a polyphonic work in english, usually sung by the choir near the end of Matins and Evensong, Many anthems set texts from the Bible or Book of Common Prayer.

88
Q

Two main types of Anglican Anthems

A

Full anthem and Verse Anthem

89
Q

Full Anthem

A

is for unaccompanied choir in contrapuntal style

90
Q

Verse Anthem

A

employs one or more solo voices with organ or viol accompaniment, alternating with passages for full choir doubled by instruments

91
Q

William Byrd

A

Leading english composer in the late 16th early 17th century..
he composed in all the forms of Anglican church music
his lating masses and motets are his best-known vocal compositions

92
Q

what piece is an example of the variation technique?

A

William Byrd’s John, come kiss me now. (NAWM 69)

93
Q

name two characterisitcs of Gabrieli’s Canzon septimi toni a 8. (NAWM 70)

A

(1) resemblance of double choir motet for two groups of four instruments, with accompaniment of organ, (2) comprising series of contrasting segments, alternating between imitative segments and homophonic segments, with attention to dialogue.

94
Q

what kind of abstract instrumental works arose out of improvisatory practices?

A

ensemble works comprising settings of chanson melodies, pieces based on imitation with passages in free counterpoint, introductory and improvisatory pieces (ie. prelude, fantasia, ricercare/ ricercar, tocatta, cansona/canzon).

95
Q

define toccata

A

this is Italian for touch, and refers to the touching of the keys of keyboard instruments.

96
Q

define ricercare

A

Italian for seeking out or attempting. it is a succession of imitative sections. early ricercare were for lute. the increae in complexity of the genre coincided with the transfer to the keyboard instruments (by 1540). it was a full fledged genre with recourse to imitation and successive themes. it reembles the textless motet.

97
Q

describe the music of the calvinist movement.

A

they felt that the old psalms with varying verse lengths, were difficult to execute by congregations. so they created a metric, rhymed, strophic translations of psalms from latin into vernacular. these pieces were initially a cappella and monophonic, but then sere set polyphonically for four or five voices for devotional use at home, with the melody in the superius or tenor. they were in a simple chordal style or motet-like setting.

98
Q

which church was the center of double choir polyphony (cori spezzati).

A

St. Marks Cathedral.

99
Q

who are some of the most famous St. Mark’s choirmasters?

A

Adrian Willaert, Cipriano de Rore, Gioseffo Zarlino, Claudio Montiverdi.

100
Q

Who were some of the most famous St Mark’s organists?

A

Claudio Merulo, Andrea Gabrieli (1532-1585) and Giovanni Gabrieli (1555-1612).

101
Q

what is a polychoral motet?

A

a motet written for many choirs.

102
Q

what did Giovanni Gabrieli do?

A

he was an organist at st. marks. he is reponsible for the expansion of polychorality across europe and the expansion of cori spezzati from 2 to 5 choirs.

103
Q

what are the two types of anthems?

A

a) a full anthem, with an a cappela choir in contrapuntal style, and b) verse anthem for one or more solo voices with organ or viol accompaniment, in alternation with passages for full choir doubled by instruments.

104
Q

when did the use of cori spezzati reach its peak and how?

A 
in the 1560s with:
Alessandro Striggio (1536-1592), mass for forty voices divided into 8 choirs, used for performance in Florence during the visit of Holy Roman Emperor Maximilian I in 1567.
Thomas Tallis (1505-1585), motet "spem in alium" for eight five voice choirs.
Giovanni Gabrieli (1555-1612).
105
Q

how were sonatas and canzonas used?

A

as an introduction to or conclusion of the mass, as an introduction to or conclusion of Vespers, as an accompaniment of important rituals.

106
Q

name one musical characteristic of a canzona.

A

it used homophony in alternation with simple counterpoint, especially with recourse to imitation.

107
Q

how was martin luther musically trained?

A

he was trained as a singer and performer on flute and lute, was a composer, an admirer of Franco-Flemish polyphony (with a fondness for Josquin), he had a strong belief in rational ethical power of music, and was the composer of poems and melodies.

108
Q

what are three characteristics of the polyphonic chorale settings?

A
  1. a simple four-part setting, 2. occasionaly more elaborate motets3. used the cantional style.
109
Q

define the cantional style

A

using the chorale melody in the highest voice with simple block chords serving as accompaniment.

110
Q

describe the music of the calvinist movement.

A

they felt that the old psalms with varying verse lengths, were difficult to execute by congregations. so they created a metric, rhymed, strophic translations of psalms from latin into vernacular. these pieces were initially a cappella and monophonic, but then sere set polyphonically for four or five voices for devotional use at home, with the melody in the superius or tenor. they were in a simple chordal style or motet-like setting.

111
Q

name three french composers of Psalm settings.

A

Loys Bourgeois (1510-1561), Claude Goudimel (1520-1572), and CLaude le Jeune (1528-1600)

112
Q

Name two flemish composers of psalm settings.

A

Jacobus Clemens non Papa (1510-1555) and Jan Pieterszoon Sweelinck (1562-1621)

113
Q

who was John Taverner?

A

he lived from 1490-1545. he was the leading early sixteenth century English composer of sacred polyphony. he used long melismas, a full texture, and cantus firmi.

114
Q

who was Thomas Tallis?

A

he lived from 1505-1585). he was the leading mid-sixteenth century English composer of masses, hymns, English Service music, and other music reflecting on the contemporary political and religious upheavals in England.

115
Q

what are the three principal forms of Anglican church music?

A
  1. service, with music for portions of Matins, Holy Comunion, Evensong, and with contrapuntal and melismatic settings of these portions known as the Great Service.
  2. Short Service: same text as Great Service, though set in syllabic, chordal style.
  3. Anthem. always with an English text, sung by a choir at the end of Matins or Evensong. these texts are usually derived from the Bible or Book of Common Prayer.
116
Q

Who was William Byrd?

A

he lived from 1540-1623. he was in the service of the Church of England and was a member of the Royal Chapel. he contributed to all forms of Anglican church music including the Great Service, the Short Service, the psalm, and full and verse anthems.

117
Q

why was William Byrd an important composer?

A

he was the first English composer to resort to imitative techniques of the continent, and he used imitation in regards to the rhythmic profile and melodic profile.

118
Q

what has changed in Catholic music in the early 16th century?

A

not much, despite the reformation. they continued to used chant, polyphonic masses and motets. there were subtle changes in style, but no changes in genre.

119
Q

who were the leading catholic composers between 1520 and 1550?

A

Adrian Willaert ( 1490-1562), Nicholas Bombert (1495-1576), Jacobus Clemens non Papa (1510-1555).

120
Q

who was Adrian Willaert?

A

he lived from 1490-1562. he lived in the Netherlands, but also held positions in Rome, Ferrara, Milan, Venice. he taught Gioseffo Zarlino, Cipriano de Rore, Nicola Vincentino, and Andrea Gabrieli.

121
Q

what are some (10) characteristics of Catholic composers in the 16th century?

A

equal voice, care in treatment of dissonances, expansion of voices from four to five and six voices, attention to melodic profile and structures of cadences, motives subject to considerable variation of melodic profile, overlapping phrases, mass types in vogue (in order of frequency of occurrence:imitation mass, paraphrase mass, cantus firmus mass.), treatment of chant melodies as lparaphrase in all voices, chant melodies functioning as subjects for mass and motet, and less frequent reliance on canon and other intricate devices.

122
Q

what are the four main aspects of the council of trent?

A

suppression of variation in local practices in favour of uniform liturgy, overall elimination of trope and sequence with only four sequences remaining, issues with use of secular cantus firmus in the ordinary mass, and local bishops in charge of regulating the music in the service.

123
Q

who was Giovanni Pierluigi da Palestrina?

A

he lived from 1525/1526-1594. he was the leading composer of Italian church music. he saved church music from condemnation by the council of trent.

124
Q

what are the principal components of Palestrina’s style? (11)

A

purity of polyphony
varied approach to composition in terms of melody, rhythm, texture, and sonority
utter sensitivity to text and text declamation
careful control of counterpoint.
careful control of dissonances, with varied spacings.
use of nota cambiata
highlighting of successive phrases of text by means of selecting a different combination of voices
change of harmony and suspensions of strong beats
displacement of single voice in homophonic passage
different combination of voices for each phrase, with six voice texture reserved for climax
no two successive measures featuring the exact same rhythmic profile.

125
Q

how was palestrina a model to future generations?

A

he was regarded as an ideal of stile antico by 17th century theorists. many composers aimed at recreating Palestrina’s style.

126
Q

name three spanish composers from the 16th century.

A

Cristobal de Morales (1500-1553), Francisco Guerrero (1528-1599), and Tomas Luis de Victoria (1548-1611)

127
Q

Who was Tomas Luis de Victoria?

A

he lived from 1548-1611. he was the first composer to master Palestrina’s style, yet he developed his own compositional idiom rather than imitating Palestrina’s style directly. wrote imitation masses.

128
Q

what are the aspects of Tomas Luis de Victoria’s style?

A

he wrote shorter works than palestrina, less florid melodies, more frequent cadences, increased the chromatic alterations, and used more contrasting passages in triple meter or homophony.

129
Q

what areas of Europe remained catholic after the Reformation?

A

Southern Germany, Austrian, Bohemia, France, and Italy.

130
Q

who was Orlando di Lasso/Orlande de Lassus?

A

he lived from 1532-1594. he was in the service of the Duke of Bavaria for over four decades. he was a composer of sacred and secular works.

131
Q

what are some characteristics of Orlando di Lasso’s motets? (5)

A

emphasis on rhetorical, pictorial, and dramatic interpretations; use of non-imitative counteroint with suspensions; lasso’s capturing of gestures; synthesis of achievement, thus qualifying for the term “Lassus style”; and Lasso as master of many different styles including Flemish, French, German, and Italian.

132
Q

what musical characteristics and uses for music existed in the Jewish tradition within the sixteenth century?

A

singing of psalms with recourse to traditional psalm formulas, prevalence of responsorial performance, chanting of Hebrew Scriputres with recourse to system of cantillation, and a special notation as developed in the 9th century, employment of a cantor as a professional musician.

133
Q

what are some indications used in the Jewish “te’ anim” notation.

A

accents, divisions of text, provisions of melodic patterns, improvisations of melody with recourse to melodic formulas.

Music History (7 decks)

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