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MUSIC HIST TO 1750 (MUSI-3347-02) 2018FA > CLASS: Oct 12, 2018 - INCOMPLETE > Flashcards

CLASS: Oct 12, 2018 - INCOMPLETE Flashcards

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1
Q

REVIEW QUESTIONS

What did Luther think about music? Why?

  • He ______ it
A

What did Luther think about music? Why?

  • He loved it
    • The greatest gift from God
    • The most important way to praise God
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Q

Review Questions

How did Luther use music in his church?

  • As _______ to spread Lutheran theology
A

Review Questions

How did Luther use music in his church?

  • As propaganda to spread Lutheran theology
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Q

Review Questions

How did Luther use music in his church?

  • As a Teaching tool
    • ________ (Setting different texts to a familiar existing melody)
A

Review Questions

How did Luther use music in his church?

  • As a Teaching tool
    • CONTRAFACTUM (Setting different texts to a familiar existing melody)
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4
Q

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • ______ melodies
  • Narrow vocal range
  • Everyone sang
  • Written in vernacular so everyone could sing, congregational singing
  • Short phrases, easy places for the choir to breathe
  • Strophic form (easy to remember when the melody is repeated over and over with different texts)
  • Language is key in identifying music of the different Reformations because much of the music characteristics are similar
A

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • Simple melodies
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5
Q

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • _____ vocal range
A

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • Narrow vocal range
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6
Q

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • Written in _______ so everyone could sing, congregational singing
A

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • Written in vernacular (common language) so everyone could sing, congregational singing
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7
Q

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • ______ phrases, easy places for the choir to breathe
A

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • Short phrases, easy places for the choir to breathe
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8
Q

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • ______ form (easy to remember when the melody is repeated over and over with different texts)
A

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • Strophic form (easy to remember when the melody is repeated over and over with different texts)
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9
Q

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • ______ is key in identifying music of the different Reformations because much of the music characteristics are similar
A

REVIEW QUESTIONS:

How will you identify Lutheran church music? What does it sound like?

  • Language is key in identifying music of the different Reformations because much of the music characteristics are similar
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10
Q

REVIEW QUESTIONS

What did Luther say about standardizing music practices in the church?

  • ______ necessary
A
  • Wasn’t necessary
    • As long as purposes is holy and sacred, anything goes
    • Differs greatly from the Catholic in the Council of Trent, they dictate what people do
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11
Q

REVIEW QUESTIONS

Who was Luther’s sidekick composer who composed many polyphonic settings of Lutheran Chorales?

A

Johann Walter “Vahl-thur“

Took Luther’s hymn tunes and set them polyphonically

You can hear the text because texture is homophonic and people are basically singing the same thing at the same time. You have to understand the text, very key.

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12
Q

REVIEW QUESTIONS

How did the Swiss Reformers’ approach to music in church differ from that of Luther?

  • _________: They removed idols from the church/destruction of icons
A
  • ICONOCLASM: They removed idols from the church/destruction of icons
    • Made the inside of the church very plain and boring. No decoration. Straight, boring lines.
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13
Q

How do you tell a Lutheran church or an early Christian church from a Calvinist church?

A
  • The reformers were thinking about the vernacular
  • For our purposes, you can use the languages to help you identify the pieces
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16
Q

Different (Swiss) Protestant Reformations

How did John Calvin and Ulrich Zwingli view music? How did this reflect in their own music?

  • Quite ______. Draw your mind away from Godly things towards earthly pleasures.
A

Different (Swiss) Protestant Reformations

How did John Calvin and Ulrich Zwingli view music? How did this reflect in their own music?

  • Quite dangerous. Draw your mind away from Godly things towards earthly pleasures.
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17
Q

Different (Swiss) Protestant Reformations

How did John Calvin and Ulrich Zwingli view music? How did this reflect in their own music?

  • They treated their own music with great ____ and _____.
A

Different (Swiss) Protestant Reformations

How did John Calvin and Ulrich Zwingli view music? How did this reflect in their own music?

  • They treated their own music with great care and concern.
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18
Q

Different (Swiss) Protestant Reformations

How did John Calvin and Ulrich Zwingli view music? How did this reflect in their own music?

  • They took down everything to make the church plain. Simple colors. While in church you are supposed to focus on the ____ and ____ and nothing else.
A

Different (Swiss) Protestant Reformations

How did John Calvin and Ulrich Zwingli view music? How did this reflect in their own music?

  • They took down everything to make the church plain. Simple colors. While in church you are supposed to focus on the sermon and liturgy and nothing else.
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21
Q

Different (Swiss) Protestant Reformations

John Calvin and Ulrich Zwingli allow music into the service but only to set text from the bible. Book of Psalms. Prayers. What genre do we associate with this?

A

Metrical Psalm

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22
Q

The Word of the Lord: Metrical Psalm Settings

  • Metrical Psalm
    • _____ text to a rhythm and melody
A

The Word of the Lord: Metrical Psalm Settings

  • Metrical Psalm
    • Psalm text to a rhythm and melody
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23
Q

The Word of the Lord: Metrical Psalm Settings

  • Metrical Psalm
    • Form: ______
A

The Word of the Lord: Metrical Psalm Settings

  • Metrical Psalm
    • Form: Strophic
24
Q

The Word of the Lord: Metrical Psalm Settings

  • Who writes the text for Luther’s hymns (compared to Metrical Psalm?
A

The Word of the Lord: Metrical Psalm Settings

  • Who writes the text for Luther’s hymns (compared to Metrical Psalm?
    • Luther (not a Psalm text)
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A
26
Q

The Catholic Reformation: The Council of Trent (1545-1563)

  • How did the Catholics respond to the Lutheran Reformation?
    • _______ Reformation, a period of 20 years in Trent every now and then. Break for a while, get back together.
A

The Catholic Reformation: The Council of Trent (1545-1563)

  • How did the Catholics respond to the Lutheran Reformation?
    • Catholic Reformation, a period of 20 years in Trent every now and then. Break for a while, get back together.
      • Theology surrounding Mary, the saints, The Eucharist, responding to Luther’s criticisms
      • How music is treated
27
Q

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “The singing of the Mass should not be an obstacle to the worshipers’ involvement but should allow the Mass and its sacred symbolism to reach tranquilly into the ears and hearts of those who hear it.” - Canon on Music to be Used in the Mass (1562)
      • _____ involvement (shift from pre Luther days)
A

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “The singing of the Mass should not be an obstacle to the worshipers’ involvement but should allow the Mass and its sacred symbolism to reach tranquilly into the ears and hearts of those who hear it.” - Canon on Music to be Used in the Mass (1562)
      • Worshipers involvement (shift from pre Luther days)
28
Q

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “The singing of the Mass should not be an obstacle to the worshipers’ involvement but should allow the Mass and its sacred symbolism to reach tranquilly into the ears and hearts of those who hear it.” - Canon on Music to be Used in the Mass (1562)
      • Music to move the ____ and ____ of people
A

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “The singing of the Mass should not be an obstacle to the worshipers’ involvement but should allow the Mass and its sacred symbolism to reach tranquilly into the ears and hearts of those who hear it.” - Canon on Music to be Used in the Mass (1562)
      • Music to move the hearts and minds of people
29
Q

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “In the case of those Masses which are celebrated with singing and with organ, let nothing profane be intermingled, but only hymns and divine praises.” - Canon on Music to be Used in the Mass (1562)
      • They are targeting the masses based on _____ models. Should only write liturgical music based on hymns and divine praises
A

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “In the case of those Masses which are celebrated with singing and with organ, let nothing profane be intermingled, but only hymns and divine praises.” - Canon on Music to be Used in the Mass (1562)
      • They are targeting the masses based on secular models. Should only write liturgical music based on hymns and divine praises
30
Q

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “The whole plan of singing in musical modes should be constituted not to give empty pleasure to the ear, but in such a way that the words may be clearly understood by all, and thus the hearts of the listeners be drawn to the desire of heavenly harmonies…”
      • Warning against the ____ of music (Luther warned about this too).
A

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “The whole plan of singing in musical modes should be constituted not to give empty pleasure to the ear, but in such a way that the words may be clearly understood by all, and thus the hearts of the listeners be drawn to the desire of heavenly harmonies…”
      • Warning against the power of music (Luther warned about this too).
31
Q

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “The whole plan of singing in musical modes should be constituted not to give empty pleasure to the ear, but in such a way that the words may be clearly understood by all, and thus the hearts of the listeners be drawn to the desire of heavenly harmonies…”
      • _____ need to be heard and understood (Luther also agreed).
A

Music of the Catholic Reformation

  • What did the Catholics say about music in 1562?
    • “The whole plan of singing in musical modes should be constituted not to give empty pleasure to the ear, but in such a way that the words may be clearly understood by all, and thus the hearts of the listeners be drawn to the desire of heavenly harmonies…”
      • Words need to be heard and understood (Luther also agreed).
32
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A
33
Q

Pope Marcellus Mass, Credo

What composer do you associate with the Council of Trent and the Catholic Reformation?

A

Giovanni Pierluigi da Palestrina

34
Q

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • Palestrina _____ polyphony in the church by composing this 6 part polyphony for members of the council to listen to.
A

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • Palestrina saved polyphony in the church by composing this 6 part polyphony for members of the council to listen to.
35
Q

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • The Myth goes: Palestrina wrote this piece. The council listened to it and said: “Wow, six voices, and it’s polyphony, we can understand the words and hear what’s going on.” Polyphony can be composed in a way that is manageable within the church, and they decided to _____ it.
A

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • The Myth goes: Palestrina wrote this piece. The council listened to it and said: “Wow, six voices, and it’s polyphony, we can understand the words and hear what’s going on.” Polyphony can be composed in a way that is manageable within the church, and they decided to allow it.
36
Q

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • We don’t have ______ that this was performed for the council of Trent to prove the myth
A

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • We don’t have evidence that this was performed for the council of Trent to prove the myth
37
Q

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • The new style that aligns with post-council of Trent Goals
      • ______ texture
A

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • The new style that aligns with post-council of Trent Goals
      • Homophonic texture
38
Q

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • The new style that aligns with post-council of Trent Goals
      • Clear ____ declamation
A

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • The new style that aligns with post-council of Trent Goals
      • Clear text declamation
39
Q

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • The new style that aligns with post-council of Trent Goals
      • _____ text setting- Text is easy to understand
A

Pope Marcellus Mass, Credo

  • What is the myth surrounding Palestrina’s position surrounding the Council of Trent
    • The new style that aligns with post-council of Trent Goals
      • Syllabic text setting- Text is easy to understand
40
Q
A
41
Q

Pope Marcellus Mass, Credo

The counterpoint that we study today in counterpoint classes is that of ______.

A

Pope Marcellus Mass, Credo

The counterpoint that we study today in counterpoint classes is that of Palestrina.

  • How Bach and Brahms studied counterpoint, they studied Josquin and Palestrina
42
Q

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Palestrina writes in an older style
    • Sounds like ______
A

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Palestrina writes in an older style
    • Sounds like Josquin
43
Q

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Palestrina writes in an older style
    • Points of _____
A

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Palestrina writes in an older style
    • Points of imitation
44
Q

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Palestrina writes in an older style
    • Dense _______
A

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Palestrina writes in an older style
    • Dense polyphony
45
Q

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Palestrina writes in an older style
    • No _______- words don’t line up
A

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Palestrina writes in an older style
    • No homophony- words don’t line up
46
Q

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • When Palestrina chose which _____ to employ in each individual movement.
A

Palestrina’s Pope Marcellus Mass, Agnus Dei ​

  • When Palestrina chose which style to employ in each individual movement.
    • The Credo “I believe”, important to know what the words say.
47
Q

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Josquin always writes in 4 or 5 voices. Palestrina writes in __ voices.
A

Palestrina’s Pope Marcellus Mass, Agnus Dei

  • Josquin always writes in 4 or 5 voices. Palestrina writes in 6 voices.
48
Q
A
49
Q

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • The language of liturgical texts is _____
A

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • The language of liturgical texts is Latin
50
Q

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • ____ style
    • Imitation
A

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • Old style
    • Imitation
51
Q

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • Victoria models a Mass based on his own setting of a motet (Parody Mass)
    • Not a French Chanson, it’s a ______
A

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • Victoria models a Mass based on his own setting of a motet (Parody Mass)
    • Not a French Chanson, it’s a Sacred Motet
52
Q

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • Focus on Catholic Doctrine
    • Text about Mary, abandons imitative texture in favor of crystal clear ______ so you can hear the words
A

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • Focus on Catholic Doctrine
    • Text about Mary, abandons imitative texture in favor of crystal clear homophony so you can hear the words
53
Q

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • Take the polyphonic model (4-part motet) and integrates it into his mass
    • _____ Mass
      • At this point this style is very old-fashioned
A

Remnants of the Older Style:

Victoria, O Magnum Mysterium

  • Take the polyphonic model (4-part motet) and integrates it into his mass
    • Parody Mass
      • At this point this style is very old-fashioned
54
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A
55
Q

36:30

A

MUSIC HIST TO 1750 (MUSI-3347-02) 2018FA (55 decks)

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