Intro to Classical Listening Test 1 Flashcards
In Paradisum
ID: Simple gregorian chant, only one
Properties: Antiphon, 7th cent, requiem mass, g-d mostly, cadence centered on g. Follows phrase pattern, modal. grows more melismatic as it goes, cadences sometimes on middle of words.
By: Unknown
Columba Aspexit
ID: female gregorian chant w/ drone.
Properties: Drone for anchoring pitch, sequence style AA’BB’CC’ etc (solo then choir)
By: Hildegard of Bingen
La Douza Votz
ID: twangy instrument thing, La Douza Vots beginning
Properties: secular, strophic, stanzas aa’b.
Bernart de Ventadorn, troubador
Alleluia. Diffusa est gratia
the feet are gracious
ID: Greg chant choir, alleluia x2 in beginning.
Properties: Organum (addition of voice to plainchant), this is melismatic free organum [added voice melismatically does chant higher up, base voice so slow its almost drone])
By: Pérotin
Sumer is Icumen In
ID: Sing Coo Coo,
Properties: More complex medieval harmony, “pes” repeating part, staggered round. six voices total, two pes and four come in. secular round
By: Anonymous
Dame, De Qui Toute Ma Joie Vient (Excerpt)
ID: DAME in female voices. harmony falling in and out. 4 part harmony/ 4 lines of music, not idiomatic, what parts instruments and voices not defined. modal.
Properties: “chanson”, VERY melismatic style, imitative polyphony. aa’b form.
By: Guillaime de Machaut, medieval
Ave Maris Stella
ID: Floating “Ave Maris STella”, high harmony.
Properties: Homophonic setting of a gregorian hymn (tune sung through many stanzas, then amen.) EQUALITY OF VOICES. Alternates between plainchant and paraphrase. Embellished gregorian chant. Uses 3rds harmonies in addition to 5ths 4ths and octaves. modal though
By: Guillaime Dufay, renaissance
Pange Lingua Mass, Kyrie
ID: Pan-jay lingua gloriosi haunting voice, pause, then imitative polyphony kyrie.
Properties: Melody from gregorian hymn “pange lingua.” uses four voices. heavy use of imitative polyphony. Can hear kyrie/christe sections.
By: Josquin des Prez
Pange lingua mass, gloria
ID: Qui Tollis sung very high. Polyphonic IN GLORIA repeated at end.
Properties: Line sung in imitative polyphony, then homophonic MISERERE NOBIS. Voices seem to fit together into chords. Centered on E.
By: Josquin des Prez
Mille Regrets
ID: Imititate mille regrets, trilling.
Properties: secular chanson. two homphonic movements. slow, drooping rhythm and melody. can hear both homophonic and imitation polyphony. Consonants on strong beats.
By: Josquin Des Prez
Pope Marcellus Mass, Gloria
ID: Familiar with it from Civ. Begins with small quiet voices. Ends with imitation In gloria dei patris
Properties: Almost all homophonic (counter-reformation), but has sub-choirs answering one another. 6 parts, full-bodied round. Voices go in and out but are always joined. Shows that complex music can be understood.
By: Palestrina
As Vesta was from Latmos hill descending.
ID: “As vesta was from latmos hill descending”, round style.
Properties: text painting. secular madrigal, very light tune. six-part madrigal, two sop, 1 alt, 2 ten, bass. Contrasts very serious music of Palestrina and Josquin.
By: Thomas Weelkes.
Gallaird, Daphne
ID: Final-fantasy sounding strings, aa bb cc repeating of melody.
Properties: Renaissance dance. Gaillaird is a faster , tuple meter kind of dance. aa bb cc repeating of melody, with embellishment added each time a thing repeats
ID: Anonymous
Kemp’s Jig
ID: Flute-like final fantasy music. Lute also playing.
Properties: aab pattern. Melody done by flute first, then by viol (precurcor to modern strings). Embellishments added first just to the repeated a part, then more and more.
By: Anon, named for Shakespearan actor WIll Kemp.
Jolly!
O Magnum Mysterium
ID: Opens with slow note and shrill-like organ sound. OOOOO magnum mysterium.
Two choirs, each with. 7 pt harmony and organ. Celebrates mystery that animals were first to see birth of Jesus. Homophonic at first, then into imitative polyphony, Goes from triple to duple during alleluia. antiphonal- includes different sections playing against each other. surehanded control. IS IT REALLY ANTIPHONAL?
Poppea Tornerai?
ID: Tornerai? Back and forth between two women.
Properties: Recitative, arioso on Io non posso da te (more dramatic briefly). Then another rec, aria is diff part. no real melody except arioso part. speeds and slows and goes up and down.
By: Claudio Monteverdi
Poppea Speranzi tu mi vai
ID: Melody at beginning-mem it. Speranza tu me via?
Properties: Aria: dramatic singing of opera but with more melody and rhythm.
By Monteverdi.
Dido and Aeneas “Thy Hand, belinda”
ID: Single voice singing sadly.
Properties: Dry recitative. Text painting on “darkness.” Bass string and a lute provide basso continuo. IS IT BASSO CONTINUO?
By: Henry Purcell
Dido and Aeneas “With Drooping Wings”/Dido’s Lament
ID: “With drooping wings” sung by chorus.
Properties: Very sad aria, lamenting death of dido. Uses painted text on drooping wings ans soft soft. Has a ground bass repeating through out it, repeating one tune over and over. Greek chorus -
By
Brandenburg Concerto 5 Mvt 1
ID: YOU KNOW IT!
Properties: Concerto grosso, soloists are flute, violin, and harpsicord. Soloists in imitative polyphony at beginning. Harpsichord does double duty as soloist and basso continuo chord. Full rittornello only at beginning and end. Features two long solos. Harpsichord cadenza near end.
By: JS Bach.
Violin Concerto in G, la stravaganza, op 4 no 12
ID: Opens with happy string notes. Listen for rit-solo-rit form.
Properties: 3 movements, fast-slow-fast form. Solo concerto, so solo instrument is violin. Clear difference between rits and solos. Whole piece in triple meter. First mvt spirtuoso, 2nd largo, 3rd allegro. 2nd has ground bass, repeating notes that keep going down after repeating 4 times. Each time there’s a cadence, theme changes. themes≠ground bass.
Violin Concerto in G mvt one.
spirituoso, fast played. has rits and solo parts, clearly differentiated. spirited but not too fast.
Violin concerto in g mvt 2
Ground bass stepping down. sadder and more instrospective. 1 2 3 4 different sections. Small pauses.
violin concerto in g mvt 3
This one weirdly starts with solo, then rit. Allegro. No clear divisioin between solo and rits. solo concerto, violin vs orchestra in solo and rit forms.
Well-tempered clav book one c major prelude
ID: You know it.
Composed of arpeggios (broken chords).
Exemplifies well-tempered (even) tuning. Tonal, clear chord progression.
By: JOHANN S BACH
Minuet and Tambourin from castor and pollux
ID: Baroque part that goes into thumpy tambourin.
Listen for “danciness” of minuet. Triple meter. Clear cadences to signify choreography. Tambourin in middle bookended by minuets -no second min here.. Binary form- AB AB.
By Rameau
Gigue from Cello Suite 2 in D minor
ID: You know it.
Property: Stylized dance music. not actually for dancing, but written like baroque dance piece.
AB main pattern.
Julius Caesar, “La Giustizia”
ID: Baroque intro, then La Justica. Opera by Handel. Normal opera stuff, this selection is an aria. Sillified roman history. Number opera stuff. ABA form
Messiah they were shepards
ID: “They were shepherds” in english.
Uses oratorio form- english, choir emphasis, biblical,
Keeps number parts and nature of those parts from opera. Recitative.
Alternates dry/accomp/dry/accomp
Some parts VERy short.
TEXT PAINTING. glory to god the HIGHEST- peace on EARTH (low)
Messiah Hallelujah
ID: You know it!
From Messiah oratorio by Handel. Exemplifies oratorio- in english, choir emphasis, biblical themes. Mostly homophonic choir, imitation at end (he shall reign). Uses a festive orchestra.
Christlag stanza 3
ID: Wild violin, bachness. Bach harmonization of a chorale by Martin luther. Has gapped form, a piece of vocal music then instrumentation.
German lutheran sacred music. Uses BC
christlag stanza 4
ID: Not gapped. Alto voice sings quarter notes others seem faster. The voices form the orchestral power here.
Christlag stanza 7
Simple tune. Probably designed to be sung by whole congregation. All four soloist voices sung in homophony.
Fugue in c major
ID: Simple piano but with different parts coming in.
A fugue because there are two lines of music at once. different from most fugues because there are no episodes. There is a main tune, then imitation of tune. Uses stretto- tense interruptions of main theme so it never gets to finish.
modal vs tonal
SING COO COO
Modal: what does it mean
tonal is c major or minor
start c major d e f g a b c d - dorian mode
all the harmonies are also different
c major scale, c major chord CEG
modal DFA not a major chord.
thirds apart but funky
modes that start on each degree of scale.
dorian, mixolydian (3rd, E for c maj), phridgian (
tonal vs modal: tonals start on major and minor scales
certain pattern of half-steps and whole steps.
EF half step
wwhwwwh
e flat major = c sharp minor
Music for Royal Fireworks
ID: You’ll know it.
Properties: Minuet. Triple meter. Countable 8:8 form. AAB repetition. clear cadences.
BY: GF Händel
T
w
