FINAL: Essay Flashcards

Question

Johann Sebastian Bach * Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724 * In the ____ recitative, the soprano and alto soloists sing mostly in parallel thirds and sixths that combine with the soft, slowly changing chords in the strings to create the aura of reverence and mystery appropriate to the words and to the season of Advent.

Answer 1

Johann Sebastian Bach * Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724 * In the **_final_** recitative, the soprano and alto soloists sing mostly in parallel thirds and sixths that combine with the soft, slowly changing chords in the strings to create the aura of reverence and mystery appropriate to the words and to the season of Advent.

Answer 2

Johann Sebastian Bach * Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724 * The **_closing_** chorale is set in four-part harmony, though Bach energizes the harmonization of eighth notes that appear almost continuously in at least on part.

Answer 3

Johann Sebastian Bach * Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724 * Bach drew on a wide range of styles and **_genres_** for his cantata, including Lutheran chorale and chorale motet, Italian opera, cantata, and concerto, and French dance.

Answer 4

Johann Sebastian Bach * Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724 * Bach is **_hard_** music, especially for vocalists

Answer 5

Johann Sebastian Bach * Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724 * Bach is looking **_backward_** toward counterpoint and is considered old-fashioned in his day

Answer 6

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * Since Ottaviano Petrucci did not print *Missa Pange lingua* in any of his collections of Josquin des Prez's masses, it is likely that it was one of the **_last_** that Josquin composed.

Answer 7

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * The mass is based on the melody of a **_hymn_** *Pange lingua glorioso* (text by St. Thomas Aquinas), assigned to second Vespers on the feast of Corpus Christi (*Liber usualis,* . 957)

Answer 8

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * Josquin based all the movements of the mass-though not all its subdivisions--on the hymn **_melody_**.

Answer 9

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * The **_Kyrie_** follows the hymn closely.

Answer 10

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * The tenor takes the **_lead_** at the outset, following the contour of the hymn's first phrase exactly, then adding effusive decoration before cadencing on the last note of the hymn's phrase.

Answer 11

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * The third and fourth phrases of the hymn are paraphrase in the Christe, again with imitation in **_paired_** voices.

Answer 12

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * In the final Kyrie, the fifth and sixth phrases of the hymn are treated a bit more **_freely_**.

Answer 13

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * Excerpts from the *Credo* demonstrate Josquin's attention to **_text_** expression.

Answer 14

Josquin Deprez * Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515 * **_Josquin_** and **_Palestrina_** are the ones that everyone studies today in counterpoint class. When Bach and Brahms were studying counterpoint, they studied these guys.

Answer 15

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * The relation of this mass to Pope Marcellus II, who reigned for only twenty days in 1555, is **_uncertain_**.

Answer 16

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * It became Palestrina's most **_famous_** mass thanks to a legend that he composed it in order to demonstrate to the Council of Trent that is was possible to write a polyphonic mass that was reverent in spirit and id not obscure the words, thus saving polyphonic music from condemnation by the church.

Answer 17

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * The legend that Palestrina saved polyphony is probably untrue, but it was widely believed in part because the text of the mass is set so **_clearly_**.

Answer 18

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * Unlike most other masses and unlike most of Palestrina's masses, this one is not based on an **_existing_** piece of music.

Answer 19

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * The credo is a particularly challenging section of the mass to compose because of the importance and length of the **_text_**.

Answer 20

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * In the credo setting, Palestrina abandoned imitation for the sake of clear **_diction_** and brevity.

Answer 21

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * The section beginning at measure 13 illustrates Palestrina's **_flexible_** approach to music textures. One group of four voices sings "Et in unum Dominum" (And in one Lord), and another group of four voices answers by repeating those words and completing the thought ("Jesum Christum").

Answer 22

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * Throughout this section of the credo, each phrase closes on a sixth-to-octave **_cadence_**.

Answer 23

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * As was common in setting the Credo, Palestrina divided the text into **_smaller_** sections.

Answer 24

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * Palestrina used a similar approach for the Gloria of this mass, which also has a long and theological crucial **_text_**.

Answer 25

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * In Agnus Dei I, the opening subject is sung nine times, each statement **_differs_** somewhat from the others, in a point of imitation that lasts fifteen measures.

Answer 26

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * Palestrina's melodies typically move by step, and any skips or leaps are usually followed by stepwise motion in the **_opposite_** direction to fill in the gap.

Answer 27

Giovanni Pierluigi da Palestrina * Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s * In the original publications of the *Pope Marcellus Mass* , repetitions of text were not **_indicated_** even when they were clearly intended by the composer.

Answer 28

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * Machaut wrote many **_monophonic_** songs, including twenty-five virelais.

Answer 29

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * *Douce dame jolie* carries on the tradition of the trouvères both in its subject matter, related to ***_fine amour,_*** and in its playful approach to language.

Answer 30

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * The poem plays on images of feudal **_fealty_**: the lady is the sovereign and the singer is her vassal, who says he has humbly and loyal serve her all his life and begs for her aid.

Answer 31

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * This virelai appears in most of Machaut's **_manuscripts_** of his collected works, including the earliest, and thus must have been written by about 1350.

Answer 32

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * A virelai typically has three stanzas, each preceded and followed by a **_refrain_**.

Answer 33

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * The stanzas have the **_AAB_** pattern of musical repetition familiar from many earlier secular songs, and the refrain uses the same music as the last section of the verse.

Answer 34

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * The number of poetic lines in each section can **_vary_** widely.

Answer 35

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * Most of the lines have **_seven_** syllables, with three and six syllables respectively for the last two lines of each b section.

Answer 36

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * The melody is transposed **_Dorian_** mode on G, with a Bb in the signature.

Answer 37

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * Musical rhymes or near-rhymes emphasize the rhythms in the **_poetry_**.

Answer 38

Guillaume de Machaut * Douce dame jolie,* Virelai, Mid-fourteenth century * In addition to the clear mode and frequent repetitions, rhythmic factors that contribute to this son's popular character are duple meter and **_syncopations_**.

Answer 39

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * Adam de la Halle, one of the last and most famous of the **_trouvères_**, was born in the Arras and studied in Paris.

Answer 40

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * In 1283, he traveled to Italy with his **_patron_** Robert II, the court of Artois, and there he entered the service of Robert's uncle, Charles of Anjou.

Answer 41

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * In Naples, Adam composed and staged for his two patrons the **_musical_** play *Le jeu de Robin et de Marion* (The Play of Robin and Marion, ca. 1284)

Answer 42

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * Like many other secular dramas of the time, it is a spoken play that features **_music_**.

Answer 43

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * It includes far more music than it's **_contemporaries_**, and a few of the songs have polyphonic settings.

Answer 44

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * Adam is one of the very few medieval composers who is known to have composed in both **_monophonic_** and polyphonic works.

Answer 45

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * It has been suggested that Adam may have **_borrowed_** some of the songs in the play, but the range of styles from popular to elevated is characteristic of his music.

Answer 46

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * The plot and poetry of the play draw on the genre of the lyric poem known as ***_pastourelle_***, a dialogue between a shepherdess and a knight who courts her.

Answer 47

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * Typical of the tuneful songs in the play is *Robins m'aime,* sung by Marion at the opening in a celebration of Robin's love for her. It is a monophonic rondeau in the form **_ABaaBAB_**, using separate letters for each musical phrase, capitals for the refrain, and lower case when the same music appears with new words in the stanza between the refrains.

Answer 48

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * The songs of the trouvères, like those of the troubadours, were written in a notation that did not indicate **_rhythm_**.

Answer 49

Adam de la Halle *Jeu de Robin et de Marion:* Rondeau, *Robins m'aime* Musical play, CA. 1284 * The is written as a single melodic line, but its **_dance_**-like rhythm seems to invite instrumental accompaniment.