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MUSIC HIST TO 1750 (MUSI-3347-02) 2018FA > FINAL: Essay > Flashcards

FINAL: Essay Flashcards

1
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Instruments create _____, reflects mood
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Instruments create tension, reflects mood
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2
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • ________ recitative
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Accompanied recitative
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3
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • ( a ) Saul’s _______ recitative - Saul’s resolve to have David Killed
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • ( a ) Saul’s accompanied recitative - Saul’s resolve to have David Killed
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4
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • ( b ) Minor _____, “Throws his javelin,” exit jonathan
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • ( b ) Minor staging, “Throws his javelin,” exit jonathan
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5
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • ( c ) fugal opennings, imitative entries, thinner texture than ____
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • ( c ) fugal opennings, imitative entries, thinner texture than Bach
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6
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Premiered at the _____ theatre in the Haymarket.
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Premiered at the King’s theatre in the Haymarket.
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7
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • One of Handel’s first _______
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • One of Handel’s first Oratorios
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8
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Handel was:
    • Very _____
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Handel was:
    • Very travelled
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9
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Handel was:
    • Exposed to wide _____ during his travels, impacted what he did.
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Handel was:
    • Exposed to wide genres during his travels, impacted what he did.
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10
Q

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Handel was:
    • ______ looking where as Bach was the opposite
A

George Frideric Handel

  • Saul*: Act II, Scene 10, Oratorio, 1738
  • Handel was:
    • Forward looking where as Bach was the opposite
      • Bach looked backwards towards counterpoint
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11
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • One of Bach’s duties as cantor and music director in _____ was to provide a large vocal composition each week to be performed between the Gospel reading and the sermon during the main Sunday morning service at either St. Thomas; or St. Nicholas’s, the two largest churches.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • One of Bach’s duties as cantor and music director in Leipzig was to provide a large vocal composition each week to be performed between the Gospel reading and the sermon during the main Sunday morning service at either St. Thomas; or St. Nicholas’s, the two largest churches.
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12
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Following the general pattern introduced by Lutheran theologian and poet Erdmann Neumeister in 1700, Bach composed each sacred work in several _______, to a text that combined verses from chorales or the Bible with poetic texts set as recitatives and arias.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Following the general pattern introduced by Lutheran theologian and poet Erdmann Neumeister in 1700, Bach composed each sacred work in several movements, to a text that combined verses from chorales or the Bible with poetic texts set as recitatives and arias.
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13
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Lutheran theologian and poet Erdmann Neumeister adopted the term ______ for such pieces, although Bach typically referred to them by other terms, such as “the principal composition” or simply “the music.”
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Lutheran theologian and poet Erdmann Neumeister adopted the term cantata for such pieces, although Bach typically referred to them by other terms, such as “the principal composition” or simply “the music.”
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14
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Such works share with the Italian secular cantata the use of recitatives and arias but include _____ movements and chorales as well.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Such works share with the Italian secular cantata the use of recitatives and arias but include choral movements and chorales as well.
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15
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Nun komm, der Heiden Heiland, is the cantata for the first Sunday in ______.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Nun komm, der Heiden Heiland, is the cantata for the first Sunday in Advent.
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16
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Nun komm, der Heiden Heiland, is based on _______’s Advent chorale.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Nun komm, der Heiden Heiland, is based on Martin Luther’s Advent chorale.
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17
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Each of the four vocal soloists is featured in a type of movement that is borrowed from _______.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Each of the four vocal soloists is featured in a type of movement that is borrowed from Italian opera.
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18
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The two recitatives–one with ______ alone and one accompanied by the orchestra–encompass the two standard types of the time.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The two recitatives–one with continuo alone and one accompanied by the orchestra–encompass the two standard types of the time.
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19
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • One aria features the full _______, and the other is essentially a continuo aria (for voice and continuo alone) in which the upper strings play in octave unison with the basso continuo.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • One aria features the full orchestra, and the other is essentially a continuo aria (for voice and continuo alone) in which the upper strings play in octave unison with the basso continuo.
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20
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Only the third and fourth movements adopt the recitative-aria ______ for the same soloist that was typical in Italian operas and cantatas; the tenor aria and soprano-alto recitative are free-standing.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Only the third and fourth movements adopt the recitative-aria pairing for the same soloist that was typical in Italian operas and cantatas; the tenor aria and soprano-alto recitative are free-standing.
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21
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The two choral movements are the only sections that incorporate the tune of the chorale, but Bach also made them as ______ from each other as possible. One is an elaborate chorale motet and the other is a simple harmonization in four parts.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The two choral movements are the only sections that incorporate the tune of the chorale, but Bach also made them as different from each other as possible. One is an elaborate chorale motet and the other is a simple harmonization in four parts.
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22
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The opening chorus is always the aesthetically _______ movement in Bach’s chorale cantatas, and in them Bach often combines traditional genres in ingenious ways.
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The opening chorus is always the aesthetically weightiest movement in Bach’s chorale cantatas, and in them Bach often combines traditional genres in ingenious ways.
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23
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The bass recitative is typical of Bach in it’s angular melody, large intervals, and text-painting, which includes a quickly rising scale on “laufen” (run), a falling seventh “Gefallne” (the fallen), and rapid motion on “heller” (brilliant).
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The tenor aria follows the traditional structure of a da capo aria.
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24
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The _____ recitative is typical of Bach in it’s angular melody, large intervals, and text-painting, which includes a quickly rising scale on “laufen” (run), a falling seventh “Gefallne” (the fallen), and rapid motion on “heller” (brilliant).
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • The bass recitative is typical of Bach in it’s angular melody, large intervals, and text-painting, which includes a quickly rising scale on “laufen” (run), a falling seventh “Gefallne” (the fallen), and rapid motion on “heller” (brilliant).
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25
Q

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.
A

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.
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26
Q

Johann Sebastian Bach

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

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.
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27
Q

Johann Sebastian Bach

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

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.
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28
Q

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Bach is _____ music, especially for vocalists
A

Johann Sebastian Bach

  • Nun komm, der Heiden Heiland,* BWV 62, Cantata, 1724
  • Bach is hard music, especially for vocalists
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29
Q

Johann Sebastian Bach

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

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
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30
Q

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 ____ that Josquin composed.
A

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.
31
Q

Josquin Deprez

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

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)
32
Q

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 _____.
A

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.
33
Q

Josquin Deprez

  • Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515
  • The ____ follows the hymn closely.
A

Josquin Deprez

  • Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515
  • The Kyrie follows the hymn closely.
34
Q

Josquin Deprez

  • Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515
  • The tenor takes the ____ 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.
A

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.
35
Q

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 _____ voices.
A

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.
36
Q

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 _____.
A

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.
37
Q

Josquin Deprez

  • Missa Pange lingua:* Kyrie and part of Credo, Paraphrase Mass CA 1515
  • Excerpts from the Credo demonstrate Josquin’s attention to _____ expression.
A

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.
38
Q

Josquin Deprez

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

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.
39
Q

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 ______.
A

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.
40
Q

Giovanni Pierluigi da Palestrina

  • Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s
  • It became Palestrina’s most _____ 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.
A

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.
41
Q

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 _____.
A

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.
42
Q

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 _____ piece of music.
A

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.
43
Q

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 _____.
A

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.
44
Q

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 _____ and brevity.
A

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.
45
Q

Giovanni Pierluigi da Palestrina

  • Pope Marcellus Mass:* Credo and Agnus Dei I, Mass, CA 1560s
  • The section beginning at measure 13 illustrates Palestrina’s ______ 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”).
A

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”).
46
Q

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 ______.
A

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.
47
Q

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 _____ sections.
A

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.
48
Q

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 ____.
A

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.
49
Q

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 ____ somewhat from the others, in a point of imitation that lasts fifteen measures.
A

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.
50
Q

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 _____ direction to fill in the gap.
A

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.
51
Q

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 _____ even when they were clearly intended by the composer.
A

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.
52
Q

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • Machaut wrote many ______ songs, including twenty-five virelais.
A

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • Machaut wrote many monophonic songs, including twenty-five virelais.
53
Q

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 ______ and in its playful approach to language.
A

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.
54
Q

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • The poem plays on images of feudal _____: 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.
A

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.
55
Q

Guillaume de Machaut

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

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.
56
Q

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • A virelai typically has three stanzas, each preceded and followed by a _____.
A

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • A virelai typically has three stanzas, each preceded and followed by a refrain.
57
Q

Guillaume de Machaut

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

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.
58
Q

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • The number of poetic lines in each section can ____ widely.
A

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • The number of poetic lines in each section can vary widely.
59
Q

Guillaume de Machaut

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

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.
60
Q

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • The melody is transposed ____ mode on G, with a Bb in the signature.
A

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • The melody is transposed Dorian mode on G, with a Bb in the signature.
61
Q

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • Musical rhymes or near-rhymes emphasize the rhythms in the _____.
A

Guillaume de Machaut

  • Douce dame jolie,* Virelai, Mid-fourteenth century
  • Musical rhymes or near-rhymes emphasize the rhythms in the poetry.
62
Q

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 ______.
A

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.
63
Q

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 _______, was born in the Arras and studied in Paris.
A

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.
64
Q

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 _____ Robert II, the court of Artois, and there he entered the service of Robert’s uncle, Charles of Anjou.
A

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.
65
Q

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 _____ play Le jeu de Robin et de Marion (The Play of Robin and Marion, ca. 1284)
A

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)
66
Q

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 _____.
A

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.
67
Q

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 _______, and a few of the songs have polyphonic settings.
A

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.
68
Q

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 _______ and polyphonic works.
A

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.
69
Q

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 _____ some of the songs in the play, but the range of styles from popular to elevated is characteristic of his music.
A

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.
70
Q

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 ________, a dialogue between a shepherdess and a knight who courts her.
A

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.
71
Q

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 ______, 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.
A

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.
72
Q

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 ______.
A

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.
73
Q

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 _____-like rhythm seems to invite instrumental accompaniment.
A

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.

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

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