Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

Music History I > Exam #2 > Flashcards

Exam #2 Flashcards

You may prefer our related Brainscape-certified flashcards:
AP® U.S. History flashcards World History 101 flashcards European History 101 flashcards AP® European History flashcards Ultimate Music Theory flashcards AP® World History flashcards World History 102 flashcards U.S. History 101 flashcards U.S. History 102 flashcards
1
Q

chapels

A

groups of salaried musicians and clerics that were associated with a ruler rather than a particular building

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

Guillaume Du Fay

A

served at the Cathedral of Cambrai in the Burgundian lands, at courts in Pesaro (northern Italy), and Savoy (southeastern France), and in the pope’s chapel in Rome, Florence, and Bologna

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

new counterpoint

A
  • emphasis on octaves, fifths, sixths, and thirds
  • avoided parallel fifths and octaves
  • focused on beauty, order, and pleasing the senses
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Johannes Tinctoris

A

wrote “Liber de rate contrapuncti” A Book on the Art of Counterpoint 1477

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

number of voices

A
  • expansion of range in each voice and overall

- four voice texture with a bass line below the tenor

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

equality of voices

A
  • away from cantos firmus

- composers worked out all the parts at the same time in relation to each other

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

imitative counterpoint

A

-voices imitate or echo a motive or phrase in another voice, usually at a different pitch level, such as a fifth, fourth, or octave away

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

homophony

A

-all voices move together in essentially the sea rhythm, the lower parts accompanying the cantos with consonant sonorities

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

Pythagorean intonation

A

-all fourths and fifths were perfectly tuned; thirds and sixths had complex ratios that made them dissonant by definition and out of tune to the ear

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

just intonation

A

-tuning system that produced perfectly tuned thirds and sixths

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

temperaments

A

pitches were adjusted to make most or all intervals usable without adding keys

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

mean-tone temperament

A

fifths were tuned small so that the major thirds could sound well

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

equal temperament

A

each semitone is exactly the same

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

emotion and expression

A

composers sought to dramatize the content and convey the feelings of the texts, often using specific intervals, sonorities, contours, motions and other devices

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

contenance angloise

A
  • English guise or quality
  • frequent use of harmonic thirds and sixths, often in parallel motion, resulting in pervasive consonance with few dissonances
  • preference for relatively simple melodies, regular phrasing, primarily syllabic text-setting, and homorhythmic textures
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

English music

A
  • English nobility brought musicians with them where they went
  • English sought alliances and trade with Burgundy and other lands; with these diplomats around Europe, music was imported all over
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

faburden

A

-a plainchant in the middle voice was joined by an upper voice in a perfect fourth above it and a lower voice singing mostly in parallel thirds below it, beginning each phrase and ending phrase and most words on a fifth below

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

cantilenas

A
  • freely composed, mostly homorhythmic settings of Latin texts, not based on existing chant melodies.
  • parallel 6/3 chords are interspersed with other consonant sonorities in a texture as appealing as faburden but more varied
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

carol

A
  • a distinctively English genre
  • monophonic dance-song with alternating solo and choral sections
  • two or three part setting of a poem in English, Latin, or mix
  • mostly on religious subjects
  • example: Alleluia: A newe work which includes two burdens
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

burden

A

-refrain in a carol with its own musical phrase sung at the beginning and then repeated after each stanza

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

John Dunstable

A
  • examples of all of the types of polyphony during his time: isorhythmic motets, Mass Ordinary sections, settings of chant, free settings of liturgical texts, and secular songs
  • In his Regina caeli laetare, no two measures in succession in his music have the same rhythms
  • most celebrated motet is a four-part work that combines the hymn Veni creator spiritus and the sequence Veni sancta spiritus. Embodies the English preference for 3rds and 6ths.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

paraphrase

A
  • the melody is given a rhythm and ornamented by adding notes around those of the chant
  • Dunstable uses this technique
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

15th century motet

A
  • used to be a free mostly homorhythmic setting of Latin text
  • then redefined as any work with texted upper voices above a cantus firms, whether sacred or secular
  • example: Quam pulchra es
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

Burgundian Lands

A
  • Philip the Bold established a chapel in 1384
  • Philip the Good reached 23 singers by 1445 and maintained a band of minstrels
  • members of the chapel were constantly coming and going, creating a cosmopolitan musician life
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

genre and texture of 1450s

A
  • secular chanson with French texts; motets; Magnificats; settings of the Mass Ordinary
  • most pieces were 3 voices with slightly larger range than earlier
  • each line has a distinct role, main melody in cantos, contrapuntal support in tenor, and harmonic filler in countertenor
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

chanson

A

-in the 1400s, chansons were any polyphonic setting of a French secular poem, and most followed the form of the rondeau

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

Binchois

A
  • most important composer at the court of Philip the Good
  • particularly known for his chansons, “De plus en plus”
  • varied rhythm from measure to measure, text is more syllabic
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

Guillaume Du Fay

A
  • associated with Burgundian court
  • represents international style
  • French characteristics: ballade form, long melismas, frequent syncopation, some free dissonances
  • Italian elements: relatively smooth vocal melodies, melismas on the last accented syllable of each line of text, and a meter change for the b section, paralleling the change of meter at the ritornello in the Italian madrigal
  • he wrote isorhythmic motets sometimes for formal occasion
  • example: Se la face ay pale and the Mass based on it
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

fauxbourdon

A
  • only the cantus and tenor were written out, moving mostly in parallel sixths and ending each phrase on an octave
  • a third voice, unwritten, sang in exact parallel a fourth below the cantus, producing a stream of 6/3 sonorities ending on an open fifth and octave, as in faburden
  • example: 24 pieces by Du Fay, specifically his hymn Christe, redemptor omnium
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

polyphonic Mass

A
  • it became standard practice for composers to set the Ordinary as a coherent whole
  • Dunstable and Leonel Power led this development
  • linking the Ordinary items through impressive polyphony gave a musical shape to the whole service
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

plainsong mass

A

-when the composer bases each movement on an existing chant for that text, the mass gains coherence because the borrowed melodies were all liturgically appropriate, although not related musically

32
Q

15th century chanson (Burgundian chanson)

A
  • any polyphonic setting of a French secular poem
  • most often stylized love poems in the courtly tradition of fine amour, and most followed the form of the rondeau (ABaAabAB)
  • example: De plus en plus by Binchois
33
Q

Johannes Ockeghem (1420-1497)

A
  • served the kings of France for almost half a century
  • esteemed for his masses
  • chansons blend traditional and new features; most are three voices in treble dominated style and uses the forms fixes, especially rondeau form (which is an older tradition)
  • the syncopated rhythms, careful dissonance treatments, and prominent thirds and sixths of the Du Fay generation are still evident
  • new features include longer-breathed melodies, increased use of imitation, greater equality between voices, and more frequent use of duple meter
  • marks a transition between the older counterpoint, in which cantus and tenor form the essential structure for the other voices, and the approach that emerged in the late 15th century in which all voices play more similar roles
  • even though Du Fay was older, Ockeghem’s composition age overlapped and they influenced each other
  • most of his masses are four voices and cover wide rangers; “Missa prolationum” fuller darker texture; this mass is notated in two voices but sung in four, using the four prolations of mensural notation
  • “Missa De plus en plus” takes as its cantus firmus from the tenor of Binchois’ chanson “De plus en plus” and the tenor is closer to the other voices through changes in rhythm and added notes; it isn’t just the cantos firms
  • “Missa cuiusvis toni” can be sung in mode 1, 3, 5, or 7.
  • he believed that audiences should not be able to detect canons
34
Q

Antoine Busnoys

A
  • served Charles the Bold, Mary of Burgundy, and Mazimilian of Hapsburg.
  • prolific chanson composer
  • chansons blend traditional and new features; most are three voices in treble dominated style and uses the forms fixes, especially rondeau form (which is an older tradition)
  • the syncopated rhythms, careful dissonance treatments, and prominent thirds and sixths of the Du Fay generation are still evident
  • new features include longer-breathed melodies, increased use of imitation, greater equality between voices, and more frequent use of duple meter
  • marks a transition between the older counterpoint, in which cantus and tenor form the essential structure for the other voices, and the approach that emerged in the late 15th century in which all voices play more similar roles
  • his composition time overlapped with Du Fay and Ockeghem
  • his virelai “Je ne puis vivre” has the refrain in a triple meter, and the b section is in duple; typical of Busnoys, the melody combines smooth, mostly scalar motion with interesting, constantly changing rhythms; it is imitated in the congratenor and again somewhat later in the tenor, with free counterpoint after the initial imitative entrances.
  • his masses cover a larger vocal range than Du Fay
35
Q

Heinrich Isaac

A
  • combines northern and southern elements from traveling widely; serious tone, focus on structure, intricate polyphony, rhythmic variety, flowing melismatic melodies of the north with the lighter mood, homophonic textures, dancelike rhythms, and clearly articulated phrases of the Italians
  • structure was largely determined by text
  • worked for Lorenzo de Midici (the Magnificent) in Florence and as court composer for Holy Roman emperor Maximilian I at Vienna
  • his “Choralis Constantinus” is a three-volume cycle of settings of the texts and melodies of the Proper, comparable to the “Magnus liber organ”
  • in his setting of “Innsbruck, ich muss rich lassen, he uses sweet harmony and full triad cadences
36
Q

Jacob Obrecht

A
  • uses imitation more frequently and extensively than did earlier composers
  • his “Missa Fortuna desperata, three voices enter at two-measure intervals with the same melody in three different octaves, then continue with free counterpoint
  • remarkable for clarity and transparency with audible structure
37
Q

Josquin des Prez

A
  • he was very highly regarded, and his music was played even after his death
  • the usual in his motets: clear phrasing, form, tonal organization, fluid and tuneful melodies, transparent textures, use of imitation and homophony, careful declamation of the text
  • very famous for his “text depictions” and “text expressions”
  • in his “Ave Maria…virgo serena,” every segment has a unique musical treatment and a concluding cadence on the tonal center C; texture is constantly changing
  • he basically did a ton and has a lot of examples
38
Q

Lieder (Lied)

A
  • song with German words, whether monophonic, polyphonic, or for voice with accompaniment
  • used especially for polyphonic songs in the Renaissance
39
Q

text depiction/text expression

A
  • using musical gestures to reinforce or suggest images in a text, such as rising on the word “ascend”
  • conveying or suggesting through musical means the emotions expressed in a text
40
Q

imitation mass

A
  • also called parody mass
  • polyphonic mass in which each movement is based on the same polyphonic model, normally a chanson or motet, and all voices of the model are used in the mass, but none is used as a cantus firmus
41
Q

paraphrase mass

A

-polyphonic mass in which each movement is based on the same monophonic melody, normally a chant, which is paraphrased in most or all voices rather than being used as a cantus firmus in one voice

42
Q

Protestant Reformation

A

The Protestant Reformation was the schism within Western Christianity initiated by Martin Luther, John Calvin, and other early Protestants.

43
Q

Martin Luther

A
  • leader of the Protestant Reformation
  • was taught to rely on reason and on his own reading of the scriptures rather than authority
  • he was a singer, performer on the flute and lute, and composer
44
Q

95 theses

A

-written by Martin Luther protesting against Catholic indulgences and clerical abuses

45
Q

Lutheran Church

A
  • Martin Luther increased the use of the vernacular to include the people more
  • he believed in the educational and ethical power of music
46
Q

Lutheran Chorale

A
  • congregational hymn
  • known today primarily in four-part harmonized settings
  • originally consisted of only a metric, rhymed, strophic poem and a melody in simple rhythm sung in unison, without harmonization or accompaniment.
  • sources: adaptations of Gregorian chant; existing German devotional songs; secular songs given new words called contrafactum; new compositions
  • example: “Veni Redemptor gentium” was adapted by Luther into “Nun komm, der Heiden Heiland.”
47
Q

contrafactum

A

-secular songs given new words

48
Q

Leid technique

A
  • placing the unaltered chorale tune in the tenor and surrounding it with three or more free-flowing pats, as in the setting by Luther’s collaborator Johann Walter
  • example: Two settings of “Ein feste Burg”
49
Q

chorale motet

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
  • chorale setting in the style of a 16th century motet
50
Q

Jean Calvin

A
  • largest branch of Protestantism outside of Germany and Scandinavia
  • believed that some people are predestined for salvation, other for damnation
  • required his followers to live lives of constant piety, uprightness, and work
  • stripped the churches of worldly pleasures but valued congregational singing
51
Q

metrical psalms

A

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

52
Q

psalter

A
  • where metrical psalms were published
  • a complete French psalter was published in 1562, and tens of thousands of copies were printed in several cities
  • example: tune for Psalm 134 by Loys Bourgeois
53
Q

Church of England

A
  • third major branch of Protestantism
  • remained Catholic in doctrine under Henry but changed to Protestant doctrines with his son by his third wife
  • leading composer was John Taverner; long melismas, full textures, and cantus-firmus structures
  • Thomas Tallis encompasses Latin masses and hymns, English service music, and other sacred works that reflect the religious and political upheavals in England; very naturally sung lines
54
Q

King Henry VIII

A

-married Catherine of Aragon and only had a daughter; he wanted to marry Anne Boleyn but the pope said no, so he convinced the Parliament to separated from Rome and he was named head of the Church of England

55
Q

Full Anthem

A
  • unaccompanied choir in contrapuntal style
  • an anthem corresponds to a Latin motet; it is a polyphonic work in English, usually sung by the choir near the end of Matins or Evensong; most anthems set texts from the Bible or Book of Common Prayer
56
Q

William Byrd

A
  • leading composer in the late 16th and early 17th centuries
  • served the Church of England
  • in addition to secular vocal and instrumental music, he wrote both Anglican service music and Latin masses and motets
  • Byrd composed in all forms of Anglican church music, including a Great Service, three Short Services, psalms, full anthems, and verse anthems
  • first English composer to absorb Continental imitative techniques so thoroughly that he could apply then imaginatively and without constraint
  • example: “Sing joyfully unto God” for six voices
  • best known vocal compositions are Latin masses; his book “Gradualia” contain complete polyphonic Mass Propers for the major days of the church year, a cycle as ambitious and impressive as the “Magnus liber organi” and Isaac’s “Choralis Constantinus”
  • provided almost all polyphonic music his Catholic countrymen needed
57
Q

Council of Trent

A

The Council issued condemnations on what it defined as Protestant heresies at the time of the Reformation and defined Church teachings in the areas of Scripture and Tradition, Original Sin, Justification, Sacraments, the Eucharist in Holy Mass and the veneration of saints. It issued numerous reform decrees.[3] By specifying Catholic doctrine on salvation, the sacraments, and the Biblical canon, the Council was answering Protestant disputes.[1] The Council entrusted to the Pope the implementation of its work; as a result, Pope Pius IV issued the Tridentine Creed in 1565; and Pope Pius V issued in 1566 the Roman Catechism, in 1568 a revised Roman Breviary, and in 1570 a revised Roman Missal. Through these the Tridentine Mass was standardised (named after the city’s Latin name Tridentum). In 1592, Pope Clement VIII issued a revised edition of the Vulgate Bible.[4]
The Council of Trent, delayed and interrupted several times because of political or religious disagreements, was a major reform council; it was an embodiment of the ideals of the Counter-Reformation.[4] More than 300 years passed until the next Ecumenical Council. When announcing Vatican II, Pope John XXIII stated that the precepts of the Council of Trent continue to the modern day, a position that was reaffirmed by Pope Paul VI.[5]

58
Q

Giovanni Pierluigi da Palestrina

A
  • leading Italian composer of church music in the 16th century
  • saved polyphony from the condemnation by the Council of Trent by composing a six-voice mass that was reverent in spirit and did not obscure the words
  • called the “Prince of Music” and his works the “absolute perfection” of church style
  • his “Pope Marcellus Mass” was controversial because it was thought to obscure the text
  • his melodies are long-breathed and elegantly curved with few leaps
  • in his “Le istitutione harmoniche” the music is almost entirely in duple; the independent lines meet in a consonant sonority of each beat, except when there is a suspension; dissonances may occur if entered and left by step
  • he often used cambiata
  • transparency and serenity
  • made sure that text could be heard clearly
  • typically gave each new phrase to different voices, reserving all voices for the climax, major cadences, or significant words
  • no two measures have the same rhythm next to each other
  • the first composer to be consciously preserved and modeled
59
Q

Tomas Luis de Victoria

A
  • most famous Spanish composer of the 16th century
  • all of his music was sacred and intended for Catholic Masses
  • short, less florid melodies, more frequent cadences, chromatic alterations, and contrasting passages in homophony or triple meter (as compared to Palestrina)
  • example: “O magnum mysterium” he uses a variety of motives and textures to express successively the muster, wonder, and joy of the Christmas season
  • most of his masses are imitation masses based on his own motets
60
Q

Orlando di Lasso

A
  • German/Franco-Flemish composer
  • ranks among Palestrina, but he also wrote secular music
  • as the opposite of Palestrina, he was an advocate of emotional expression and the depiction of text through music
  • glory lies in motets
  • example: “Cum essem parvulus” with very obvious text depiction with the duet and the two people talking
61
Q

madrigal

A
  • musical settings of Italian poetry of various types, from sonnets to free forms
  • most are a single
  • no refrains or repeated lines, distinguishing from the 16th century madrigal from the frottola
  • typically through-composed with new music for every line of poetry
  • frequently chose texts by major poets such as Francesco Petrarca, Ludovico Ariosto, Torquato Tasso, and Giovanni Battista Guarini
  • sentimental or erotic
  • high text depiction and expression
62
Q

lute song

A
  • English genre of solo song with lute accompaniment
  • John Dowland and Thomas Campion
  • more serious and personal texts, less word painting
  • example: Dowland’s “Flow, my tears”
63
Q

16th century madrigal

A

-

64
Q

Pietro Bembo

A
  • poet and scholar
  • was a scholar of Petrarch, and through his analyses, he noted that there are two opposing qualities in Petrarch’s verses: pleasingness and severity
  • rhythm, distance of rhyme, number of syllables per line, patterns of accents, lengths of syllables, and the sound qualities of the vowels and consonants all contributed to the kind of sound
65
Q

Francesco Petrarch

A

Francesco Petrarca commonly anglicized as Petrarch was an Italian scholar and poet in Renaissance Italy, and one of the earliest humanists. Petrarch’s rediscovery of Cicero’s letters is often credited for initiating the 14th-century Renaissance. Petrarch is often called the “Father of Humanism”. In the 16th century, Pietro Bembo created the model for the modern Italian language based on Petrarch’s works, as well as those of Giovanni Boccaccio, and, to a lesser extent, Dante Alighieri. Petrarch would be later endorsed as a model for Italian style by the Accademia della Crusca. Petrarch’s sonnets were admired and imitated throughout Europe during the Renaissance and became a model for lyrical poetry. He is also known for being the first to develop the concept of the “Dark Ages”.

66
Q

Piacevolezza

A

-

67
Q

Gravita

A

-

68
Q

Gioseffo Zarlino

A

-

69
Q

Jacques Arcadelt

A
  • Franco-Flemish composer
  • his “Il bianco e dolce cigno” with the dying swan and sexual climax and strange things is this most famous of the early madrigals
  • madrigals were read from part books at this time
70
Q

Cipriano de Rore

A
  • leading madrigal composer of mid 1500’s
  • his teacher was Willaert
  • his “Da le belle contrade d’oriente” was published after his death (page 251 for more details about the piece)
71
Q

Concerto delle donne

A

-

72
Q

Luca Marenzio

A
  • leading Italian later madrigalist
  • his “Solo e pensoso” is based on a Petrarch sonnet and published in his last book of madrigals
  • musical elements almost evoked the text literally
73
Q

madrigalisms

A

-striking images that evoke the text literally

74
Q

Carlo Gesualdo

A
  • he was an aristocrat which was rare
  • he was also a murderer
  • preferred modern poems with strong images
  • diatonic/chromatic, dissonant/consonant, chordal/imitative, slow/active
  • example: “ ‘Io parto’ e non più dissi”
75
Q

Thomas Morley

A
  • wrote madrigals, canzonets, and ballets
  • his ballett “My bonny lass she smileth” is based on a Gastoldi balletto; it is strophic and each verse is in two repeated sections (AABB)
  • he wrote “A Plaine and Easie Introduction to Practicall Musicke” for the amateur to learn about music
76
Q

Thomas Weelkes

A

-“As Vesta was” is written around his own poem; this is the one we did the listening assignment on

Music History I (2 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions