Genres Flashcards
1
Q
Chant
A
- Monophonic
- 4 line stave
- Guido of Arezzo
- Solmization
- Ut Queant Laxis
- Guido of Arezzo
- 3 types
- Driect
- Antiphonal
- Responsorial
2
Q
Notre Dame Polyphony
A
- c. 1160 to 1250
- Leonin
- Perotin
- organum quadruplum
- Anonymous IV
- The motet was developed during this period out of the clausula.
- Magnus Liber Organi
- Rhythmic modes
3
Q
Motet
A
- 13th to the late 16th century
- Polytextual
- From Notre Dame School
- Isorhythmic
- Renaissance composers abandoned CF
- Guillaume Dufay
- Nuper Rosarum Flores
- Josquin des Prez
- Ave Maria … Virgo serena
- Guillaume Dufay
- Polyphonic
- Sacres madrigals
- Palestrina
- Missa Papae Marcelli
- if it’s Latin, it’s a motet; if the vernacular, a madrigal.
- Palestrina
- contrapuntal passages often alternate with monody
4
Q
Broken Consort
A
- Mixed consorts of instruments
- Didn’t mix haut/bas
- Standardized in England at end of 15th cent
- One or more recorders
- Both plucked and bowed string instuments
- Keyboard instrument
- Popular during the Elizabethan era
- Often accompanied vocal songs
5
Q
Fauxbourdon
A
- French for false bass
- Late Middle Ages and early Renaissance
- Burgundian School
- Guillaume Dufay
- Ave Maris Stella
- Supremum est mortalibus
- Guillaume Dufay
- Homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly.
- Cantus firmus and two other parts a sixth and a perfect fourth below
- Gilles Binchois
6
Q
Madrigal
A
- Secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras
- Number of voices varies from two to eight, frequently from three to six
- Originated in Italy during the 1520s
- Through-composed
- Attempted to express the emotion contained in each line
- Word painting
- Poetry of Petrarch
- Orlando de Lassus
- Andrea Gabrieli
- Claudio Monteverdi
- Cruda Amarilli
- transition from the late 16th-century polyphonic style to the monodic and concertato style
- polyphonic madrigals for equal voices in the manner of the late 16th century
- solo voice accompanied by continuo
- unprepared dissonances and recitative-like passages
- In the early 17th century, the aria displaced the madrigal.
- stile concitato
- “agitated style”
- Giulio Caccini
- Published the first collection of solo madrigals with his Le nuove musiche in 1601/2
- Amarilli, mia bella
- almost entirely diatonic
- Published the first collection of solo madrigals with his Le nuove musiche in 1601/2
7
Q
Pavane/Galliard
A
- Pavane
- 16th century
- slow processional dance
- Petrucci
- Slow duple metre
- Generally follows the form of A,A1, B,B1, C,C1
- Homophonic accompaniment
- Galliard
- athletic dance
- Compound meter
- Hemiolas
8
Q
Monody
A
- solo vocal style with a single melodic line and instrumental accompaniment
- early 17th century, particularly the period from about 1600 to 1640
- Compositions in monodic form might be called madrigals, motets, or even concertos
- aria and the recitative
- Vincenzo Galilei (1520 – 1591)
Giulio Caccini (c. 1545 – 1618)
Emilio de’ Cavalieri (c. 1550 – 1602)
Bartolomeo Barbarino (c. 1568 – c. 1617)
Jacopo Peri (1561 – 1633)
Claudio Monteverdi (1567 – 1643)
9
Q
Aria
A
- Voice and lute
- Familiar style
- Strophic
- Simple harmonic style
- Giulio Caccini
- Le Nuove Musiche
- Performance practice
- passaggi
- accento
- esclamatione
- tillo
- gruppo
- Strophic arias
- Through-composed madrigals
- Continuo bass
- Performance practice
- Le Nuove Musiche
- Opera
- Bel-canto
- Syllabic setting
- Slow triple meter
- contrasting florid style
- Rapid coloratura
- Less distinctive from recitative in French opera
- Bel-canto
- Late 17th century
- Ternary form
- Da capo aria
- Ternary form
10
Q
Recitative
A
- rhythms of ordinary speech
- Through-composed
- Caccini
- stile rappresentativo
11
Q
Cantata
A
- “sung”
- Vocal composition with an instrumental accompaniment
- Several movements, often involving a choir
- Early 17th century
- simple single voice madrigal
- scene in recitative
- primitive aria repeated at intervals
- Late 17th Century
- group of two or three arias joined by recitative
- indistinguishable from a scene in an opera
- multi-voice “cantata da camera”
- church cantata
- solo or choral
- indistinguishable from a small oratorio or portion of an oratorio
- Lutheran churches
- group of two or three arias joined by recitative
- Francesca Caccini
- Daughter of Giulio
- Barbara Strozzi
- Adoptive father was librettist for Monteverdi
- JS Bach
- Christ lag in Todesbanden
12
Q
Sonata
A
- Vivaldi: La Primaverameans a piece played as opposed to a cantata
- sonata da chiesa
- Church
- Fugal
- Form
- most often in one key, one or two of the internal movements are sometimes in a contrasting tonality
- slow introduction
- loosely fugued allegro
- cantabile slow movement
- lively finale in some binary form
- sonata da camera
- court
- prelude followed by a succession of dances
- suite in all but name
- Aracangel Corelli
- Violin
- Domenico Scarlatti
- 500 sonatas for keyboard instruments
- one binary-form movement only
- Vivaldi
- Four Seasons
- La Primvera
- solo sonatas
- trio sonatas
- Four Seasons
- Marini
- Sonata IV per il violinio per sonar con due corde
13
Q
Fantasia
A
- Renaissance
- Improvised instrumental piece
- imitation of the vocal motet
- Early 17th century
- Point of imitation, or subject
- Exposition
- Presentation of the subject
- Jan Pieterszoon Sweelinck
- keyboard fantasia
14
Q
French Overture
A
- two parts
- enclosed by double bars and repeat signs
- slow in dotted rhythms and fast in fugal style
- first ends with a half-cadence
- second ends with a brief recollection of the first
- Jean-Baptiste Lully
- ballet overture for 1650s
- JS Bach
- opening movement of Orchestral Suites
- George Frideric Handel
- opening to many operas and oratorios
15
Q
Semi-opera
A
- Restoration
- combined spoken plays with masque-like episodes
- employing singing and dancing characters
- Supplanted by Italian opera
- *The Fairy Queen *(1692)
- Purcell/ Shakespeare
