exam 3 Flashcards
1
Q
imitative counterpoint
A
one voice will introduce a melody and another voice will repeat it in a way
2
Q
homophony
A
all voices move the same way
3
Q
Reviving ancient learning: grammar, rhetoric; developing the individual mind/spirit, interest in human reason, Music recovering Greek theoretical writings
A
Humanism
4
Q
marked by pervasive consonance, harmonic thirds and sixths in parallel
A
contenance angloise
5
Q
improvised polyphony around a chant, two voices added at intervals fourth above/third below, bottom voice drops to form octave at cadences
A
faburden
6
Q
Chant moved to top in France
A
fauxbourdon
7
Q
polyphonic songs not based on a cantus firmus
A
cantilenas
8
Q
148 mass movements, score notation, Henry V, major source of early Renaissance English music
A
Old Hall manuscript
9
Q
settings of poetry, English and/or Latin Refrain, 2-3 voice parts, often with texture contrasts, English, Religious themes
A
carol
10
Q
a setting of liturgical text in contemporary style
A
motet (15th century)
11
Q
Burgundian lands
A
Netherlands, Belgium, NE France, Luxembourg, and Lorraine
12
Q
French setting of secular poem, often uses the formes fixes
A
chanson
13
Q
Octave leap cadence
A
Burgundian cadence
14
Q
movements based on chant for a specific liturgical day
A
plainsong mass
15
Q
polyphonic mass in which the movements are linked primarily by sharing the same opening motive or phrase
A
motto mass
16
Q
initial passage of a piece used for a phrase that appears at the beginning of each movement of a cantus-firmus mass or a motto mass
A
head motive
17
Q
deriving two voices from a single written part
A
canon
18
Q
The uniform lengthening of a melody using longer note values
A
augmentation
19
Q
backward statement of a previously heard melody
A
retrograde
20
Q
poem, first letter in each line creates a name
A
acrostic
21
Q
4-part settings of popular tunes in homophonic style
A
Lieder
22
Q
massive collection of propers for the church year
A
Choralis Constantinus
23
Q
mass based on a single melody that is freely reworked
A
based on a single melody that is freely reworked
24
Q
based on all voices of a polyphonic model
A
imitation mass
25
musical subject derived from vowels of a word
Soggetto cavato
26
Composer for Henry V's brother, mathematician astronomer, most influential English composer on Continental style, 60 compositions Auam pulchra es
John Dunstable
27
Premiere composer of chanson, singer, composer, priest for Phillip the Good, De plus en plus
Gilles Binchois
28
Most famous composer of his time, born around Cambrai, France, bastard, frequent guest at Burgundy Resevellies voux
Guillaume Du Fay
29
Born in Northern Burgundy, singer, chaplain at French royal court, beat up a priest, chansons, puzzle technique, Je ne puis
Antoine Busnoys
30
Born/trained in IIainaut, close association with Du Fay, first composer to systematically strucutres music using imitation and canon, first to use canon on imperfect intervals, Missa Prolatinoum
Jean de Ockeghem
31
Born in Ghent, early training in trumpet, worked near flanders,, Missa Fortuna desperata
Jacob Obretcht
32
Born in Flanders, career in Innsbruck, court composer for Maximilian 1 , traveled, cultivates Lieder, contributes to Chorais Constantinus, Puer natus est
Henricus Isaac
33
Biography still subject to speculation, born in northern France or Hainut, trained in conde and Cambrai, emulation/reworking his music, More publication of his works than nay other composer
Josquin du Prez
34
Harmonice Musices Odhecaton, multiple impression printing, blank staves first, music, and then text
Ottaviao Petrucci
35
Single impression printing
Pierre Attaingnant
36
Describe how trends in Renaissance history, art, and culture affected musical style
Trends of the Renaissance such as recovering Greek theoretical writing, applying ideas on oratory/ rhetoric to musical expression.. Realism is applied to music: wider ranges, stronger contrasts in range/ textures, clearer formal sections. Clearer declamation, focus on accents/meter, music expressing emotional content of text, text phrases/sentences dictate musical form
37
What large-scale musical trends characterize the Renaissance
Clearer declamation, focus on accents/meter, music expressing emotional content of text, text phrases/ sentences dictate musical form, printing
38
What features characterize English music of the fifteenth century? Provide examples of genres, musical sources, techniques, and historical figures
Pervasive consonance, simple melodies, harmonic 3rds/6ths in patalllel motions, full triads, and syllabic text setting. Faburden. The Old Hall manuscript is a major source of early Renaissance English music. It contains 148 pieces, mostly mass movements many in score format. Includes composer names, many working for King Henry. There was an emphasis on canons and five voices pieces and triadic sonorities. The English Carol is a setting of poetry in English and Latin that contains 2-3 voices, a religious theme, a refrain and several stanzas. The most influential English composer on Continental style was John Dunstable. He composed for Henry V's brother.
39
Describe the musical life of the court of Burgundy. What historical events led to this region's prominenece? What composers and genres were cultivated? How did music function in court life
Dukes of Burgunday consolidated power in the early mid 15th century, Court entered Digon but traveled through lands, E/N France. The Burgundian chaped became one of Europe's finest. Created by Philip the Bold and Sregthened under Philip the Good. It featured the international music style, visiting musicans and a diverse membership The Burgundian Chanson was a french settings of a secular poem. It becomes the dominant form of secular music. Gilles Binchoise and Guillaume Du Fay are two popular composers associated with Burgundy
40
How did chansons develop in fifteenth century France? What forms and techniques did they use?
The term chanson became known to encompass any polyphonic setting of a French secular poem. They most often set stylized love poems in the courtly tradition of fine amour and followed the form of the rondeau. Josquin used features such as the equality of voices blending imitation and homophony, frequent melodic repetition, music responding to text
41
How did motetes develop in the fifteenth century? What forms and techniques did they use?
The term motet became known as a setting of a liturgical text in contemporary style. Josquin was renowed for the motet. He turned motets from abstract to expressive, they were often rooted in compositional rules such as cantus firmus and canon, and there was frequent use of paired imitation.
42
Describe several techniques used for composing masses in the fifteenth century
Plainsong mass-movements based on chant for a psecific liturgical day, molto mass: movements linked by a common cantus firmus, cantus-firmus/ imitation mass: borrowing cantus firmus plus other elements from another source, paraphrase mass: based on a single melody that is freely reworked, imitation mass: based on all voices of a polyphonic model
43
The late fifteenth- century saw a rise in "riddles" and advanced contrapuntal techniques
An acrostic, imitatio and canon, canon at different intervals, different mensurations signs, mensuration canons
44
How does the relationship between music and text change in the later fifteenth century
There is a greater concern with connections between music and text. Music is to reflect and emphasize the text in an expressive way.
45
Why is Josquin considered among the most important of all Renaissance composers
He had enormous influence after his death, emulation/reworking of his music, more publication of his works than any other composer, many ancedotes survive about his talent, reputation, and work process
46
women's voices (probably halle-lujah
Alleluia, a newe work, a carol with two burdens and prevalence of parallel motion
47
Quam (men
John dunstable, Quam pulchra es, setting glorifying virgin mary, motet, songs of solomon
48
De plus (light, high male voices)
Gilles de Binchois, De plus en plus, triple meter, cantus melody, rondeau, syllabic, burgundian cadence
49
Re-eeeee
Du Fay Resvellies vous ballade form, dissonances, rhythmic synocopations
50
Se la face
Se la face ay pale, Du fay, later adopted as a cantus firmus for a mass, ballade
51
Christe-eee
Christe, redemptor omnium, use of fauxbordon, harmonizations a fourth/sixth below
52
Gloria- en, haaaa
Guillaume Du Fay Missa Se la Face ay pale, first complete mass with secular cantus firmus, might have been composed to honour the holy shroud,
53
Je ne puis vivre (male and female)
Antoine Busnoys, Je ne puis vivre, uses an acrostic, emphasizees emotion better, lots of imitation
54
Kyrie, eee,higher ee
Jean de Ockeghem, Missa prolationum kyrie, mensuration canon, canons at different intervals, different mensuration signs
55
Different gloria
Jacob Obretcht, Miss Fortuna desperata: Gloria, clarity of melodic phrases and text declamation, Cantus firumus, and retrograde form in first half
56
Innsbruck
Henricus Isaac, Insbruck, ich muss dich lassen, clear phrases and cadences, melody in top voice, matching of music and text
57
Faultee (men) (later women)
Josquin Desprez Faulte d'argent, canon between tenor and quintus, comical text, imitation, muscal repetition, chanson
58
Milleee reeree
Josquin Desprez, Mille regretz blending of imitation and homophony, chanson, may not actually be Josquin
59
Ave maria (women first)
Josquin Desprez Ave maria..virgo serena, motet, Virgin Mary,
60
Kyrie quicker than other kyrie, ee,ee, men and women on high notes
Josquin Desprez Missa Prange lingua Kyrie. paraphrase mass, pervasive imitation, textual emphasis, probably last mass composed by Josquin
