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Music History 1 > Listening Quiz 1 > Flashcards

Listening Quiz 1 Flashcards

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1
Q

Composer of Puer natus est nobis (Introit for Christmas Day)

A

Anonymous

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2
Q

Genre of Puer natus est nobis (Introit for Christmas Day)

A

Gregorian chant from Mass propers

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3
Q

Century of Puer natus est nobis (Introit for Christmas Day)

A

9th

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4
Q

Composer of Kyrie (melody known as Kyrie Cunctipotens genitor)

A

Anonymous

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5
Q

Genre of Kyrie (melody known as Kyrie Cunctipotens genitor)

A

Gregorian chant from Mass ordinary

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6
Q

Century of Kyrie (melody known as Kyrie Cunctipotens genitor)

A

10th

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7
Q

Composer of Omnipotens genitor Deus

A

Tuotilo of St. Gall

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8
Q

Genre of Omnipotens genitor Deus

A

troped Kyrie

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9
Q

Century of Omnipotens genitor Deus

A

10th

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10
Q

Composer of Kyrie Cunctipotens genitor Deus

A

Anonymous

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11
Q

Genre of Kyrie Cunctipotens genitor Deus

A

organum

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12
Q

Century of Kyrie Cunctipotens genitor Deus

A

12th

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13
Q

Composer of A chantar

A

Beatriz, Comtessa de Dia

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14
Q

Genre of A chantar

A

troubadour song

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15
Q

Century of A chantar

A

12th/13th

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16
Q

Composer of Je puis trop bien

A

Guillaume de Machaut

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17
Q

Genre of Je puis trop bien

A

ballade

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18
Q

Century of Je puis trop bien

A

14th

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19
Q

Composer of Kyrie from Messe de Nostre Dame

A

Guillaume de Machaut

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20
Q

Genre of Kyrie from Messe de Nostre Dame

A

Mass ordinary setting

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21
Q

Century of Kyrie from Messe de Nostre Dame

A

14th

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22
Q

Composer of Se la face ay pale

A

Guillaume Du Fay

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23
Q

Genre of Se la face ay pale

A

ballade

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24
Q

Century of Se la face ay pale

A

15th

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25
Q

Composer of Kyrie from Missa Se la face ay pale

A

Guillaume Du Fay

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26
Q

Genre of Kyrie from Missa Se la face ay pale

A

Mass ordinary setting

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27
Q

Century of Kyrie from Missa Se la face ay pale

A

15th

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28
Q

Composer of Ave maria… virgo serena

A

Josquin des Prez

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29
Q

Genre of Ave maria… virgo serena

A

motet

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30
Q

Century of Ave maria… virgo serena

A

Early 16th

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31
Q

Composer of Puer natus est nobis

A

Heinrich Isaac

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32
Q

Genre of Puer natus est nobis

A

motet setting of Mass propers

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33
Q

Century of Puer natus est nobis

A

Early 16th

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34
Q

Composer of Gloria from Missa Hercules dux Ferrariae

A

Josquin des Prez

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35
Q

Genre of Gloria from Missa Hercules dux Ferrariae

A

Mass ordinary setting

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36
Q

Century of Gloria from Missa Hercules dux Ferrariae

A

Early 16th

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37
Q

Composer of Absalon, fili mi

A

Pierre de la Rue

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38
Q

Genre of Absalon, fili mi

A

motet

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39
Q

Century of Absalon, fili mi

A

Early 16th

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40
Q

Composer of Mille regretz

A

Josquin des Prez

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41
Q

Genre of Mille regretz

A

chanson

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42
Q

Century of Mille regretz

A

Early 16th

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43
Q

Composer of Nun komm der Heiden Heiland

A

Martin Luther

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44
Q

Genre of Nun komm der Heiden Heiland

A

chorale

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45
Q

Century of Nun komm der Heiden Heiland

A

Mid 16th

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46
Q

Composer of All people that on earth do dwell (Psalm 100)

A

John Dowland

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47
Q

Genre of All people that on earth do dwell (Psalm 100)

A

metrical psalm

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48
Q

Century of All people that on earth do dwell (Psalm 100)

A

Early 17th

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49
Q

Composer of If ye love me

A

Thomas Tallis

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50
Q

Genre of If ye love me

A

anthem

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51
Q

Century of If ye love me

A

Mid 16th

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52
Q

Composer of Spem in alium

A

Thomas Tallis

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53
Q

Genre of Spem in alium

A

motet

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54
Q

Century of Spem in alium

A

Late 16th

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55
Q

Composer of O salutaris Hostia

A

Anon. (Leonora d’Este?)

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56
Q

Genre of O salutaris Hostia

A

motet

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57
Q

Century of O salutaris Hostia

A

Mid 16th

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58
Q

Composer of Sybylla Samia, from Prophetiae Sibyllarum

A

Orlande de Lassus

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59
Q

Genre of Sybylla Samia, from Prophetiae Sibyllarum

A

secular motet

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60
Q

Century of Sybylla Samia, from Prophetiae Sibyllarum

A

Mid 16th

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61
Q

Composer of Pavane & Galliard on La dona, from Danserye

A

Tielman Susato (publisher)

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62
Q

Genre of Pavane & Galliard on La dona, from Danserye

A

dances

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63
Q

Century of Pavane & Galliard on La dona, from Danserye

A

Mid 16th

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64
Q

Composer of The Earl of Essex Galliard

A

John Dowland

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65
Q

Genre of The Earl of Essex Galliard

A

dance

66
Q

Century of The Earl of Essex Galliard

A

Late 16th

67
Q

Composer of Can she excuse my wrongs?

A

John Dowland

68
Q

Genre of Can she excuse my wrongs?

A

lute song / part song

69
Q

Century of Can she excuse my wrongs?

A

Late 16th

70
Q

Composer of Il bianco e dolce cigno

A

Jacques Arcadelt

71
Q

Genre of Il bianco e dolce cigno

A

madrigal

72
Q

Century of Il bianco e dolce cigno

A

Mid 16th

73
Q

Composer of Da le belle contrade d’oriente

A

Cipriano de Rore

74
Q

Genre of Da le belle contrade d’oriente

A

madrigal

75
Q

Century of Da le belle contrade d’oriente

A

Mid 16th

76
Q

Composer of Tirsi morir volea

A

Giaches de Wert

77
Q

Genre of Tirsi morir volea

A

madrigal

78
Q

Century of Tirsi morir volea

A

Late 16th

79
Q

Composer of So ben mi c’hà bon tempo

A

Orazio Vecchi

80
Q

Genre of So ben mi c’hà bon tempo

A

strophic song (aria)

81
Q

Century of So ben mi c’hà bon tempo

A

Late 16th

82
Q

Composer of Now is the month of maying

A

Thomas Morley

83
Q

Genre of Now is the month of maying

A

strophic song (ballett)

84
Q

Century of Now is the month of maying

A

Early 17th

85
Q

Composer of Amarilli mia bella

A

Giulio Caccini

86
Q

Genre of Amarilli mia bella

A

solo madrigal

87
Q

Century of Amarilli mia bella

A

Early 17th

88
Q

Composer of Damigella tutta bella

A

Claudio Monteverdi

89
Q

Genre of Damigella tutta bella

A

strophic song (canzonetta)

90
Q

Century of Damigella tutta bella

A

Early 17th

91
Q

Composer of Prologue to L’Euridice

A

Jacopo Peri

92
Q

Genre of Prologue to L’Euridice

A

strophic aria (from an opera)

93
Q

Century of Prologue to L’Euridice

A

Early 17th

94
Q

Composer of Tu sei morta, from L’Orfeo (Act II)

A

Claudio Monteverdi

95
Q

Genre of Tu sei morta, from L’Orfeo (Act II)

A

recitative (from an opera)

96
Q

Century of Tu sei morta, from L’Orfeo (Act II)

A

Early 17th

97
Q

Composer of Possente spirto, from L’Orfeo (Act III)

A

Claudio Monteverdi

98
Q

Genre of Possente spirto, from L’Orfeo (Act III)

A

strophic aria (from an opera)

99
Q

Century of Possente spirto, from L’Orfeo (Act III)

A

Early 17th

100
Q

Composer of Disprezzata regina, from L’incoronazione di Poppea (Act I)

A

Claudio Monteverdi

101
Q

Genre of Disprezzata regina, from L’incoronazione di Poppea (Act I)

A

recitative (from a opera)

102
Q

Century of Disprezzata regina, from L’incoronazione di Poppea (Act I)

A

Mid 17th

103
Q

Composer of Pur ti miro, from L’incoronazione di Poppea (Act II)

A

Claudio Monteverdi [?]

104
Q

Genre of Pur ti miro, from L’incoronazione di Poppea (Act II)

A

duet (from an opera)

105
Q

Century of Pur ti miro, from L’incoronazione di Poppea (Act II)

A

Mid 17th

106
Q

Composer of Che si può fare?

A

Barbara Strozzi

107
Q

Genre of Che si può fare?

A

cantata

108
Q

Century of Che si può fare?

A

Mid 17th

109
Q

Composer of Kyrie, from Missa in illo tempore

A

Claudio Monteverdi

110
Q

Genre of Kyrie, from Missa in illo tempore

A

Mass ordinary setting

111
Q

Century of Kyrie, from Missa in illo tempore

A

Early 17th

112
Q

Composer of final aria and chorus from Jephte

A

Giacomo Carissimi

113
Q

Genre of final aria and chorus from Jephte

A

oratorio

114
Q

Century of final aria and chorus from Jephte

A

Mid 17th

115
Q

Composer of Eftah na safatai

A

Salamone Rossi

116
Q

Genre of Eftah na safatai

A

Jewish prayer

117
Q

Century of Eftah na safatai

A

Early 17th

118
Q

Composer of Sonata sopra l’aria di Ruggiero

A

Salamone Rossi

119
Q

Genre of Sonata sopra l’aria di Ruggiero

A

sonata

120
Q

Century of Sonata sopra l’aria di Ruggiero

A

Early 17th

121
Q

Stuff for each piece on how to sonically identify it as well as what to say about the context around it

A

Stuff for each piece on how to sonically identify it as well as what to say about the context around it

122
Q

Sonic Elements of: 1. Puer natus est nobis (Introit for Christmas Day)

A
  • Puer natus est
  • Echoey
  • Nuns in an echoey chamber
  • only female voices
  • extremely resonant sound
  • all in unison
  • in latin
  • a latin phrase of words repeated
  • the sound of the 1st class
123
Q

Sonic Elements of: 2. Kyrie (melody known as Kyrie Cunctipotens genitor)

A
  • kyrie piece
  • gregorian chant style
  • different harmonic lines are added to the piece as time goes along
  • melody line (1st voice) is the same pattern every time per what is required for that section
  • 1st voice establishes, bass provides low harmony, countertenor + higher tenor comes in – sounds like the Talos principle
124
Q

Sonic Elements of: Omnipotens genitor Deus

A
  • A lower tenor/baritone range
  • Kyrie text
  • Multiple voices from the outset, no solo
  • Echoey like you can hear that you are in a chamber
  • More wordy text than the 1st kyrie
  • Very wordy
  • Practically every beat has a new word sung
  • Same temperment throughout, same vocal tone throughout
  • All in unison, no harmonic parts
  • No time to breathe and wait
125
Q

Sonic Elements of: Kyrie Cunctipotens genitor Deus

A
  • Soprano voices
  • Kyrie txt
  • Harmonic parts from the outset
  • Sounds like a choir of sopranos/altos as angels
  • Slower pace over all, time to breathe and think and sit in it
  • High soprano + alto
  • A lot of waiting through elongated phrases till you get to the end of the required phrase
  • Not overpoweringly echoey
  • Soprano appears and provides texture and a moving up and down line
  • High soprano has shorter duration notes than lower parts
  • ## A lot of boring waiting for the angellic sounds
126
Q

Sonic Elements of: A chantar

A
  • Instruments heard!
  • String plucking
  • Fast-ish pace of plucking on stringed instrument
  • Violin playing out longer notes
  • French is being sung
  • One female soloist
  • Telling a story
  • Like an early opera
  • Singing like speaking
  • Something sort of like italianish
  • Strings support the single female soloist
  • Same sort of repeating sonic pattern in singing, but with different speaking words as time goes on
  • Sad kind of woe is me sound
127
Q

Sonic Elements of: Je puis trop bien

A
  • 3 male singers
  • Tenor, baritone, and bass trio
  • Not an echoey sound
  • In French!
  • Bottom 2 voices are just making sound, the top tenor is the one actually singing words – explaining away his situation
  • Like a soloing line in an opera, with 2 male voices under providing basic harmony
  • ## Like watching your kid’s talent show solo
128
Q

Sonic Elements of: Kyrie from Messe de Nostre Dame

A
  • Kyrie text
  • Male voices
  • Harmony the whole time
  • Deep bass
  • All parts move up and down
  • Like a procession
  • Eh the whole time
  • Gregorian feel
129
Q

Sonic Elements of: Se la face ay pale

A
  • Male voice + female voice
  • Stringed instruments
  • Harp plucking + violín parts
  • Working together in counterpoint
  • Se starts some phrases
  • 2 voices, one male and one female, + string trio
  • Parts where strings take over after phrases finish
  • About half and half with soloists vs. without
  • Light
130
Q

Sonic Elements of: Kyrie from Missa Se la face ay pale

A
  • Kyrie text
  • Harmony of male voices, the whole time
  • Elongated the whole time
  • An endless gloss of sound
  • Romantic sound
  • Never ending sound
  • Floating on a cloud
131
Q

Sonic Elements of: Ave maria… virgo serena

A
  • Ave maria
  • Male and female singers
  • Slow pace
  • 2 words said and all parts repeat
  • In latin
  • Ex: dominus tecum is repeated by every single part at least once befor next 2 words hop in
  • Lower bass exists, and so do higher sopranos
  • Repetitious – one part establishes and then the others follow suit in their own harmony
  • All in harmony
  • Prayer-ish
132
Q

Sonic Elements of: Puer natus est nobis

A
  • Puer natus est
  • Taking longer time than the fast
  • Take time and add harmony
  • Male and female voices
  • Voices dancing together,
  • Repetitious – one part establishes and then the others follow suit in their own harmony
  • 2 words said and all parts repeat
  • Establish and then follow with this consistent harmony
  • Male and female voices
133
Q

Sonic Elements of: Gloria from Missa Hercules dux Ferrariae

A
  • Male and female voices
  • The female voices and the male voices seem to be taking turns
  • In latin
  • A powerful moving steadily along
  • Omnipotens
  • Dancing together in the sound
  • Qui
  • One time, the bass voices lead, another time the treble voices lead
  • Miserere heard
  • Like they are cutting each other off at every turn, but the sound keeps flowing
  • Sea of sound I guess
134
Q

Sonic Elements of: Absalon, fili mi

A
  • Absalon
  • Male and female voices
  • Latin
  • Working together
  • Slower seciton in the middle
  • Filli mi
  • Equal sound volume between male and female voices
  • Lower basses exist

OR
- 4 male voices
- Super low bass, lower than anything
- Very short comparatively
- Latin
- Extremely low bass

135
Q

Sonic Elements of: Mille regretz

A
  • Mille
  • In french
  • Male voices and one female voice
  • Shaaaa
  • Very beautiful
  • Je see grande
  • Softer and louder sections
  • Very emotive
  • Slow af overall
  • A lot of swells!
  • Points where they are out of sync, parts where they are perfectly in sync
  • Tempo changes at different times for emotive effect
  • Relatively short
136
Q

Sonic Elements of: Nun komm der Heiden Heiland

A
  • German
  • Chorus of men and women
  • Simple statements, not very connected into longer phrases
  • All in unison, with female and male voices
  • Same musical idea the whole time
137
Q

Sonic Elements of: All people that on earth do dwell (Psalm 100)

A
  • English
  • All people on earth do well
  • Sing to the lord
  • Tells a story
  • Tenor, bass, and a soprano
  • Counterpoint working together, in the same exact time
  • A harmonic melody line, no added texture
  • Nice to listen to
  • Like a psalm in english
  • The lord is good

Second setting:
- In english
- Includes instruments!
- One single countertenor
- One melody line, assisted by harmony from stringed instruments

138
Q

Sonic Elements of: If ye love me

A
  • A choir of male and female voices
  • In english
  • Low bass exists
  • If ye love me… all I’ll do
  • A choir piece, that really moves
  • Tenor 1’s blend texture with sopranos
  • Connected parts, and some parts where it feels like an echo
139
Q

Sonic Elements of: Spem in alium

A
  • High sopranos
  • Spem
  • Voices added as the piece moves along
  • Latin
  • Rich texture
  • Feels advanced in comparison to old latin church music
  • A lot, a lot of voices
  • Eventually a cacophony of noise, not sure what to make of it at times
  • Too many voices
  • The words get lost
140
Q

Sonic Elements of: O salutaris Hostia

A
  • Soprano voices
  • Voilin or some stringed instrument(s) supporting
  • Just treble voices
  • Harmony
  • Like an echo, creating a blend of sound
  • Continuous and constant sound
  • Latin, probably
141
Q

Sonic Elements of: Sybylla Samia, from Prophetiae Sibyllarum

A
  • Male and female voices
  • String bow playing AND picking assistijng the choir
  • Tenor and treble voices in harmony
  • In italian
  • Making statements
  • Sounds the same the whole time
  • Lower voices echo higher voices
  • Like a speech
142
Q

Sonic Elements of: Pavane & Galliard on La dona, from Danserye

A
  • All instruments
  • Ancient insruments
  • Recorders
  • Harp
  • Bassoonish type of instument
  • Sounds like a renaissance fair
  • Playful
  • Very middle ages
143
Q

Sonic Elements of: The Earl of Essex Galliard

A
  • Violins
  • Deep and melencholy sound
  • Just violins and upright string instruments
  • Very sad
  • Some moments of joy shine through, but a deep emotional scene shines through
  • Some slower parts, some faster parts
144
Q

Sonic Elements of: Can she excuse my wrongs?

A
  • Plucking
  • Can she excuse my wrongs
  • In english
  • Soprano/alto voices
  • One soprano soloist and the other female voices add some harmony
  • Pretty
  • Mideaval fair sound but very riding horesback
  • Recorders come in!!!!
  • Insterspread/intermittent recorders vs treble voice singing
  • Going off with the recorders
  • Awesome af
  • So cool
  • So dope
  • Gets intense and cool
  • Bop your head fast, riding a horse
    Second stting:
  • Theorbo plucking + soprano soloist, singing the whole time
  • In english
  • Love this song
  • Pretty
  • Mideaval
  • Nice
  • 😊
145
Q

Sonic Elements of: Il bianco e dolce cigno

A
  • Quiet theorbo plucking + choir of treble and bass voices
  • Low bass is heard
  • Soprano voice + 2 tenors + 1 bass singer + theorbo light in the background
  • In Italian
  • Gets deep in feeling over long long sound
146
Q

Sonic Elements of: Da le belle contrade d’oriente

A
  • Treble and bass voices
  • In latinish
  • High tenor, low bass, soprano voice
  • 5-part harmony
  • Working together, echoing each other ish
147
Q

Sonic Elements of: Tirsi morir volea

A
  • Harpsichord + soprano soloist
  • Italian
  • Pace is determined by soloist
  • Harp plucking happens
  • Morir in the text
148
Q

Sonic Elements of: So ben mi c’hà bon tempo

A
  • So ben mi cha
  • Fa la la la – funny sound that makes you want to laugh
  • Italian
  • Treble voice and bass voices
  • Low bass is present
  • So funny
  • Plucking a stringed instrument present in this song
  • Some parts where plucking and harp type instrumentals take over
  • Strict segments
149
Q

Sonic Elements of: Now is the month of maying

A
  • In english
  • Now is the month of maying
  • Low bass voice present
  • All voices, treble and bass, in harmony
  • Bonnie lass – sort of an irish temperment, also with the accents of the singers
  • Telling a story, one phrase at a time, and then fa la las take over
  • Strict segments
150
Q

Sonic Elements of: Amarilli mia bella

A
  • Theorbo plucking and playing, also utilizing lower register of the stringed instrument
  • SUPER HIGH COUNTERTENOR
  • Italian
  • Sweeping and echoey soloist
  • Just one singer and a theorbo
  • Sweeping and long sound, powerful and echoey
    Second setting:
  • Female soprano soloist + piano
  • Italian
  • Sweeping and powerful high soloist
  • Operatic
  • Like a song someone would sing for voice lessons
    Third setting:
  • Italian
  • Soprano soloist
  • Piano
  • Sweeping high sound
  • Also an upright bass
  • A voice lesson song
  • Emotive, some vibrato heard as well for sure
  • A lot of vibrato in this version
  • High sound
  • Some harmony from piano, giving it a modern twist
  • Very pretty sound
151
Q

Sonic Elements of: Damigella tutta bella

A
  • Stringed instruments – violin, harpsichord, theorbo, … + 2 soprano soloists in harmony
  • One line is said and then the instrumental takes over
  • In italian
  • Damigella tutta bella
  • Fun and mideaval sound
  • Fun and opera type of recetiticve statements
152
Q

Sonic Elements of: Prologue to L’Euridice

A
  • Opera!
  • From an opera
  • In italian
  • Harpsichord
  • One soprano soloist
  • Talking about love, but in italian
  • Super long, I need supertitles to enjoy and not fall asleep
  • Some theorbo plucking as well
  • Taking neat turns, but elongated too
153
Q

Sonic Elements of: Tu sei morta, from L’Orfeo (Act II)

A
  • Harpsichord
  • Tu sei morta
  • In italian
  • Very dark
  • Pretty but morose
  • Bowed string instrument
  • Very dramatic!
  • From an opera
  • My piu!
  • Telling a very intense story, in italian
  • Overly dramatic
  • Some organ sound
154
Q

Sonic Elements of: Possente spirto, from L’Orfeo (Act III)

A
  • From an opera
  • Stringed instruments
  • In a minor feel
  • Bowed instruments
  • Male soloist
  • Deeper sounding male soloist
  • In italian
  • A bunch of vibrato, seriously!
  • Fast bowing happens
  • Organ heard for sure
  • Dramatic but as if one breath in a meaningful exhale
  • Seems not to go to the same words every time
  • A bunch of things going on in the background, this guy is narrating the story going on around him in the opera
155
Q

Sonic Elements of: Disprezzata regina, from L’incoronazione di Poppea (Act I)

A
  • From an opera
  • In italian
  • Soprano soloist
  • Regina
  • Remember this from poppea?
  • Disprezzata regina
  • Dramatic but cool too
  • Bowed string instruments
  • Harpsichordish
  • Que pensa
  • Il matrimonio – talking about the story of the opera
  • Martire
  • Gets softer and slower at different parts
  • This lady really be going off like fr fr, and also she’s telling a story and a half
  • Operatic and vibrato in higher parts or sometimes lower parts for effect
  • Sad and melencholy
  • Sense of learning over the course of the piece
  • Talking about the shitty situation
  • Innocente
  • So sad, bro
156
Q

Sonic Elements of: Pur ti miro, from L’incoronazione di Poppea (Act II)

A
  • From an opera
  • Pur ti miro
  • When the maid and poppea are singing in a duet – one countertenor + a sopeano
  • Dramatic but joyful too
  • Remember this from poppea?
  • Talking about oh, mia vita
  • Harpsichordish, bowed string instruments
  • Back and forth echoing each other, relishing in the joy/other feelings they feel
  • Si si si si si song
  • Beautiful
  • This is the final lovely song between nerone and poppea
157
Q

Sonic Elements of: Che si può fare?

A
  • Stringed intsrument
  • Theorbo plucking
  • Minor feel
  • Soprano soloist
  • Che si puo fare
  • Dramatic
  • Softer from instuuments, and slower feel, giving room for soprano soloist to grow and sing high and dramatically and with emotion
  • In italian
  • Operatic type, yet a little free and wait wait wait
  • Pretty
  • The instrumentalists enter after soloist finishes up, then soloist comes back in and they work together as the soprano soloist leads
  • Vibratoish
158
Q

Sonic Elements of: Kyrie, from Missa in illo tempore

A
  • Kyrie setting
  • Male voices, then sopranos
  • All in treble and bass voiced harmony
  • Pretty, and elongated sound over anything
  • Dances together in counterpoint, very reminicent of opera by monteverdi
  • Pretty and not too sad at all
  • Pretty sea of sound
  • All voice parts heard
  • The parts work together to tell a story like an opera would
159
Q

Sonic Elements of: final aria and chorus from Jephte

A
  • Organ heard
  • Stringed instrument bowed
  • Theorboish plucking
  • Tenor soloist
  • Italisanish
  • A lower baritone-type of singer comes in, very dramatic af
  • Italian more like
  • Dramatic for sure
  • Soprano soloist come in too
  • Then they all come together, all the voice parts in harmony
  • Like when all the love comes together and things become at peace ant the end
  • Pretty, like a fluttering bird in the wind
  • nice
160
Q

Sonic Elements of: Eftah na safatai

A
  • in hebrew
  • eftach
  • harmony between treble voices and bass voices
  • aaron heard
  • low bass heard
  • classic rossi song
  • beautiful
  • bimzoa ha aron repeated
  • a prayer coming back againa nd again to the words
  • easy to identify
161
Q

Sonic Elements of: Sonata sopra l’aria di Ruggiero

A
  • stringed instruments bowed, violins + an upright bass type of instrument
  • starts softe and slow, then the pace picks up and everything works together, from aforementioned string instruments to a guitar and also a harpsichord
  • just an instrumental
162
Q

Stuff for each piece on how to sonically identify it as well as what to say about the context around it

A

Stuff for each piece on how to sonically identify it as well as what to say about the context around it

Music History 1 (1 decks)

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