Early Period (Ancient Greece through Baroque)

Question 1

Organum (timeline, composers, function, aesthetics)

Answer 1

• 1100-1200
• Leonin/Perotin; others anonymous - Notre Dame Cathedral
• Church music, i.e. masses for special occasions
• Polyphony - first 2 voices, note/note counterpoint
• Eventually multiple voices (Perotin)
• Long melismas over drones, eventually rhythmic modes
• Florid - Aquitaine, lower voice sustains / upper voice sings phrases (1100)
• Notre Dame Polyphony - Ornate; more free sections combined w/Discant.

Question 2

Monophonic Song (timeline, composers, function, aesthetics)

Answer 2

• Ancient Greece (1st cent CE) - improvised
• Gregorian chants (8-900) - Latin text, sacred
• Tropes (900) - Extended melismas
• Goliard/Troubador/Minnesinger/Cantigas- Songs (1170) - National traveling songs; secular, poetry, love, politics; servants to a lord
-Ventadorn-1180
-Comtessa de Dia-1150

Question 3

Instrumental Dance Music (timeline, composers, function, aesthetics)

Answer 3

• 1547 - Attaignant (publisher) - Instrumental music improvised, Att. compiled. Percussion improvised. Embellished phrase endings.
• 1538 - Narvaez - Intabulation. Spanish vihuela music. Adapted chansons
• 1597 - Gabrieli “Canzona”. choirs of instruments, based off of sacred writing and chansons
• Late 1500s, early 1600s - John Dowland “Flow my tears”
• 1600 - Byrd “Pavana Lachrymae”

Question 4

Cantata (timeline, composers, regions, development)

Answer 4

• 1650 - Strozzi “Lagrime Mie”. Vocal music w/continuo; Like récit. and aria. Love poetry, dramatic. Italy.
• Carissimi - “Vittoria, mio core”
• 1690 - Scarlatti “Clori vezzosa, e bella.” Da capo aria form. Embellishments @ Da Capo. Wide harmonic vocabulary. Italian.
• 1724 - Bach “Nun komm der Heiden Heiland”. Church cantata, Lutheran liturgy, interpret gospel. Expression; mix of motet and concerto. Borrows from opera. International style (Leipzig)

Question 5

Oratorio (timeline, composers, regions, development)

Answer 5

• 1648 - Carissimi “Jephte.” Sacred subject, not staged. Like opera (recital, arias, duets, instr.). Latin text. Italian
• Charpentier -France
• 1739 - Handel “Saul.” Introduced chorus, infl. by English choral music and German chorus+soloists.
• 1741 - Handel “Messiah”.
•

Question 6

Liturgical Drama (timeline, composers, regions, development)

Answer 6

• 1151 - Hildegard Von Bingen “Ordo Virtutum.” Based off of trope from chant. Morality play w/allegorical characters. Latin text. Gave way to early opera.

Question 7

Mass - 500 - end of 1200s

Answer 7

• 500 - Chants. Latin text, Kyrie, gloria, sanctus, agnus dei, ite missa est
• 900 - Tropes. Extended melismas, adding text based on earlier chants.
• 995 - Wipo of Burgundy. “Victimae paschali laudes”. Verses.
• 1100-1200- Leonin/Perotin. Organum, clausulae, multiple voices

Question 8

Masses - 1300s

Answer 8

• Guillaume de Machaut “Messe de Nostre Dame” (1364)

Question 9

Masses - 1400s

Answer 9

• Ockegem “Missa de plus en plus.” Cantus firmus mass, polyphony. (1450s)
• Guillaume Du Fay “Misa se la face ay pale”. CF mass based off of secular song (1450s)
• John Dunstable (early 1400s)

Question 10

Sacred music and politics (by century)

Answer 10

• 300s - - Christianity official Roman religion, Roman Empire dissipates.
• 800 - Charlemagne crowned emperor anointed by pope. Focus on education
• 1000 - Holy Roman Empire (German kings)
• 1050-1300 - churches, architecture
• 1300 - decline of population (plague)

• 1500s - Reformation (Lutheran)

Question 11

Ancient Greek - Medieval (Musical changes)

Answer 11

• Monophonic songs - polyphonic songs
• Simplicity - complexity
• Secular stems from sacred (Sacred even based on secular w/CF mass)
• Introduction of form (Isorhythm, formes fixes, etc)

Question 12

Medieval-Renaissance (Musical changes)

Answer 12

• Masses expanded (more voices, some based on secular songs)
• Many new forms, slightly more “international” styles
• Beginning of more functional harmonies
• More published instrumental music

Question 13

Renaissance - Baroque (Musical changes)

Answer 13

• Rise of opera
• Rise of instrumental music (post 1550); based off of vocal music, improvisatory genres
• Vocal music still prominent (Oratorio, sacred concerto, cantata), but many other styles begin to flourish
• Convey general human emotions. Dissonance, chromaticism, evolution of tonality.
• Combination of voices/instruments

Question 14

Opera Timeline/Composers (1600-1700)

Answer 14

• Peri - “l’Euridice” (1600)
• Monteverdi - “L’Orfeo” (1607)
• Cesti “Orontea” (1656)

Question 15

Motets - 1200s

Answer 15

• Various motets - based on tenor of

* Adam De La Halle “Me Dame Vient” (1260s)

Question 16

Motets - 1300s

Answer 16

• Philippe de Vitry “In arboris/Tuba sacre/Virgo sum” (1320) - Ars Nova
• Isorhythmic motets begin

Question 17

Motets - 1400s

Answer 17

• Dunstable “Quam pulchra es” - Early 1400s. England
• Josquin des Prez “Ave Maria…virgo serena” (1484)
• Guillaume Du Fay - isorhythmic motets

Question 18

Italian secular vocal music - 1300s

Answer 18

• Jacopo da Bologna “Fenice Fu” (1360) Madrigal
• Gherardello da Firenze “Tosto che l’alba” (Mid 1300s) Caccia
• Francesco Landini “Non avrà ma pieta” (1375) Ballata

CHARACTERISTICS

• Rhythmic, Italian lyrics
• Moments of melismas, but plenty of syllabic writing
• Clear cadences, 2-3 voices (typically lower voices less syllables)

Question 19

Ars Nova / Ars Subtilior

Answer 19

ARS NOVA - Early 1300s
• Treatise attributed to Philippe de Vitry (1300-1350)
• In France - satirizing political corruption
• Isorhythm - Talea (repeating rhythm), color (melody)
• Guillaume de Machaut - Isorhythmic motets, hocket
• Formes fixes - rondeaux, ballades, virelai (Chansons)

ARS SUBTILIOR - Late 1300s
• Refined/complex. Ornate manuscripts
• Johannes Ciconia “Sus une fontayne”

Question 20

Medieval Politics

Question 21

Leonin Vs. Perotin

Answer 21

Leonin - 1150s
• 2 voices
Perotin - 1200
• More than 2 voices (extraordinary melismas!)

Question 22

Keyboard music - 1600s

Answer 22

• Frescobaldi - Toccatas, 1615

Question 23

Madrigal composers - 1500s

Answer 23

ITALY
• Arcadelt "Il bianco" (1538)
• Cipriano de Rore "Da le belle" (1560)
• Luca Marenzio "Solo e penoso" (1590)
• Claudio Monteverdi "Cruda Amarilli" (1590s)
• Don Carlo Gesualdo "Io Parto" (1600)- chromaticism
ENGLAND
• Weelkes "As Vesta Was" (1601)

Question 24

Secular vocal music - 1300s

Answer 24

• Machaut “Rose liz,” rondeau (1350s)
• Jacopo da Bologna, “Fenice fu”, madrigal (1360)
• Francesco Landini “Non avrà” ballata (ca 1375)
• Johannes Ciconia “Sus une fontayne,” virelai (1400)

Question 25

Secular Song - 1500s

Answer 25

• Juan del Encina “Oy comamos,” villancico (Late 1400s)
• Marco Cara “Io non compro più speranza” frottola (1500)
• Claudin de Sermisy “Tant que vivray” chanson (1527)
• Claude le Jeune “Revecy Venir” chanson (Late 1500s)
• Thomas Morley, “My bonny lass…” ballett (1595)
• John Dowland “Flow my tears” air/lute song (1600)

Question 26

Motets - 1300-1500

Answer 26

• Philippe de Vitry (1320)
• John Dunstable, “Quam pulchra es” (Early 1400s)
• Josquin des Prez “Ave Maria virgo serena” (1484)
CHARACTERISTICS
-Latin text, not for mass
-Imitative, polyphonic, much like polyphonic masses

Question 27

Masses - 1500s

Answer 27

• Giovanni Pierluigi da Palestrina - “Pope Marcellus Mass,” 1560
• Tomas Luis de Victoria - “Missa O magnum mysterium” 1580

Question 28

Motets - 1500s

Answer 28

Orlando di Lasso - “Tristis est anima mea” 1565