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MUSC 3635 > Mid Term I > Flashcards

Mid Term I Flashcards

1
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Ave Maria … virgo serena
  • Genre: motet
  • Composer: Josquin Desprez
  • Time Period: Renaissance (early 16th century)
  1. The motet opens with several overlapping points of imitation in which all four voices paraphrase each phrase of the cant sequence melody in turn.
  2. When the hymn text begins, the music is no longer based on borrowed material, and becomes relatively homophonic.
  3. This piece recalls elements of fauxbourdon.
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2
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Vespers for Christmas Day: Antiphon Tecum principium and Psalm Dixit dominus
  • Genre: Office Plainchant Psalm
  • Composer: Anonymous
  • Time Period: Medieval (before 900)
  1. The cantor sings the opening words of the antiphon to set the pitch
  2. It is imple and mostly syllabic
  3. The chant often centers and cadences around important notes of the mode.
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3
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Vespers for Christmas Day: Christe redemptor omnium
  • Genra: Office Plainchant hymn
  • Composer: Anonymouus
  • Time Period: Medieval (6th century)
  1. strophic
  2. Melodies often repeat one or more phrases, producing a variety of patterns.
  3. It has onoe note on most syllables with two or three notes on others.
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4
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Christ, redemptor omnium
  • Genra: Hymn
  • Composer: Guillaume Du Fay
  • Time Period: Renaissance (mid 15th century)
  1. Fauxbourdon
  2. Isorhythms
  3. Only even-numbered stanzas were sung polyphonically.
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5
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Cum statua / Hugo, Hugo / Magister invidie
  • Genre: Motet
  • Composer: Philippe de Vitry
  • Time Period: Medieveal (early 14th century)
  1. Isorhythmic
  2. Hocket
  3. Talea and Color
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6
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Ein Feste Burg
  • Genra: Four-voice Chorale motet
  • Composer: Johann Walter
  • Timer Period: Renassaince
  1. Borrowed from existing genres
  2. Polyphonic
  3. Placing C.F. in the tenor and surrounding it with three or more free-flowing parts.
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7
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Ein Feste Burg
  • Genra: Chorale
  • Composer: Martin Luther
  • Timer Period: Renaissance
  1. attention to expression and declamation of words.
  2. rhythm fit the stresses in the text.
  3. song strongly identified with the reforamtion.
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8
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Conclusion of the Historia di Jephte: plorate colles - recitative
  • Genra: Oratorio
  • Composer: Giacomo Carissimi
  • Timer Period: Baroque (c. 1648)
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9
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: If ye love me
  • Genra: Anglican Anthem
  • Composer: Thomas Tallis
  • Time Period: Renaissance (c. 1546-1549)
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10
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Mass for Christmas Day: Kyrie
  • Genra: Mass Ordinary Plainchant
  • Composer: Anonymous
  • Time Period: Medieval (before 900)
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11
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Missa Pange Lingua: Kyrie
  • Genra: Cyclic or paraphrase mass
  • Composer: Josquin Desprez
  • Time Period: Renaissance (early 16th century)
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12
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Nun Komm, der Heiden Heiland
  • Genra: Contata
  • Composer: Johann Sebastian Bach
  • Time Period: Baroque (1724)
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13
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Nun komm, der Heiden Heiland: Lob sei Gott
  • Genra: Chroale
  • Composer: Johann Sebastian Bach
  • Time Period: Baroque (1724)
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14
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Pope Marcellus Mas: Credo
  • Genra: Mass, Credo
  • Composer: Giovanni Pierluigi da Palestrina
  • Time Period: Renaissance (c. 1560)
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15
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Quam pulchra es
  • Genra: motet or cantilena
  • Composer: John Dunstable
  • Time Period: Renaissance (early 15th century)
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16
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Saul, was verfolgst du mich
  • Genra: Sacred concerto
  • Composer: Heinrich Schütz
  • Time Period: Baroque (c. 1650)
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17
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Aria of the St. Matthew Passion: Erbarme dich
  • Genra: passion
  • Composer: Johann Sebastian Bach
  • Time Period: Baroque (1727, revised 1736)

Basso continuo & expressive dissonance.

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18
Q

List the following:
The Title of the Piece.
The Genera.
The Composer
The Time Period.

A
  • Title: Viderunt omnes
  • Genra: Notre-Dame organum qudruplum
  • Composer: Perotinus
  • Time Period: Medieval (early 14th century)
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19
Q

When was the Medieval Era?

A

750 - 1400

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20
Q

When was the Renaissance Era?

A

1400 - 1600

21
Q

When was the Baroque Era?

A

1600 - 1750

22
Q

Pope Gregory I

A

Pope Gregory I is the namesake of Gregorian chant. The chant repertory in frankish lands during his time period were attributed to him by the liturgical texts of the time. However, there is no evidence from his own time that pope Gregory played any role in composing or standardizing chant.

Relevant Piece: Mass for Christmas Day, anonymous

23
Q

Charlemagne

A

Charlemagne was the son of Pippin the Short, and the successor to the Frankish kingdom. During his rule, his conquests expanded his territory throughout modern-day France, Belgium, the Netherlands, western Germany, Switzerland, and northern Italy. He was crowned emperor in Rome by Pope Leo III, which initiated what later became known as the Holy Roman Empire. Charlemagne helped standardize liturgical chant.

Relevant Piece: Mass for Christmas Day: Gradual: Viderunt Omnes, Anonymous

24
Q

Philippe de Vitry

A

Philippe de Vitry was a French composer. He lived during the end of the 13th and beginning of the 14th century. Vitry inaugurated a new French musical style known as Ars Nova.

Relevant Piece: Cum Statua / Hugo, Hugo / Magister invidie, Philippe de Vitry

25
Q

Guillaume Du Fay

A

Guillaume Du Fay was born in Belgium. He was a composer who adopted many French, Italian, and English styles into his music. His music is representative of the international style of the mid-fifteenth century.

Relevant piece: Christe, redemptor omnium, guillaume du fay.

26
Q

Martin Luther

A

Martin Luther is widely regarded as the instigator of the [protestant] Reformation. His approach to theology was influenced by his humanistic education, which taught him to rely on reason, on direct experience, and on his own reading of Scripture rather than on received authority. He was charged with heresy and excommunicated. He organized the new Evangelical church. In the Lutheran church, there was a new emphasis on congregational singing.

Relavant piece: Ein Feste Burg, Martin Luther

27
Q

Giovanni Pierluigi da Palestrina

A
28
Q

Johann Sebastian Bach

A

Bach built on the heritage of the Lutheran church. He was renowned in protestant Germany as an organ virtuoso, keyboard composer, and writer of learned contrapuntal works. He embraced all major styles, forms, and genres of his time (except oper) and blended them in new ways, and developed them further.

Relevant piece: Nun Komm, der heiden Heiland

29
Q

Plainchant or Gregorian Chant

A

Unison unaccompanied song, particularly that of the Latin Liturgy.

Relevant Piece: Mass for Christmas Day, anonymous

30
Q

Syllabic

A

Having (or tending to have) one note sung to each syllable of text.

Relevant Piece: Christe Redemptor Omnium, anonymous

31
Q

Neumatic

A

In chant, having about one to six notes or so sung to each syllable of text.

Relevant Piece: Mass for Christmas Day, Introit, anonymous.

32
Q

Melismatic

A

Melisma is the signing of a single syllable of text while moving between several different notes in succession.

Relevant piece: Mass for Christmas Day, Kyire, Anonymous.

33
Q

Mass (ordinary vs. proper)

A

Mass Ordinary: Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Mass Proper: Introit, Gradual, Alleluia, Sequence, Offertory, Communion.

34
Q

Office

A

From latin officium, “obligation” or “ceremony,” a series of eight prayer services of the Roman church, celebrated daily at specified times, especially in monasteries and convents.

Relevant piece: Antiphon Tecum principium and Psalm Dixit dominus

35
Q

Strophic

A

Of a poem, consisting of two or more stanzas that are equivalent in form and can be sung to the same Melody. Of a vocal work, consisting of a strophic poem set to the same music for each stanza.

Relevant piece: Ein Feste Burg, Martin Luther

36
Q

Mode

A

A scale or melody type, identified by the particular intervallic relationships among the notes in the mode.

Relevant Piece: Viderunt omnes, Perotinus

37
Q

Organum and Notre-dame Polyphony

A

One of several styles of early polyphony from the night through thirteenth centuries involves the addition of one or more voices to an existing chant.

Relevant piece: Christe, redemptor omnium, Guillaume du Fay

38
Q

Motet

A

Polyphonic vocal composition; the specific meaning changes over time. The earliest motets add a text to an existing distant clausula. Thirteenth-century motets feature one or more voices, each with its own sacred or secular text in latin or french, above a tenor drawn from chant or another borrowed melody.

Relevant piece: Cum Statua / Hugo, Hugo / Magister Invidie, Philippe de Vitry.

39
Q

Ars Nova Mensural Notation

A

Latin for “new art,” it was a style of polyphony from fourteenth-century France, distinguished from earlier styles by a new system of rhythmic notation that allowed duple or triple division of note values, syncopation, and great rhythmic flexibility.

40
Q

Faburden vs. Fauxbourdon

A

Faburden is the English style of improvised polyphony from the late Middle Ages and Renaissance, in which a change in the middle voice is joined by an upper voice moving in parallel perfect fourth above it and a lower voice that follows below the chant mostly in parallel thirds.

Fauxbourdon is continental style of polyphony in the early Renaissance, in which two voices are written, moving mostly in parallel sixths, and a third unwritten voice is sung in parallel perfect fourths below the upper voice.

Relevant Piece: Christe, redemprtor omnium, Guillaume du Fay

41
Q

Cyclic Mass

A

In Renaissance music, the cyclic mass was a musical setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie, Gloria, Credo, Sanctus, and Agnus Dei – shared a common musical theme, commonly a cantus firmus, thus making it a unified whole.

Relevant Piece: Missa Pange Lingua, Josquin Desprez

42
Q

Cantus Firmus

A

Fixed melody. An existing melody, often taken from a Gregorian chant, on which a new polyphonic work is based.

Relevant Piece: Ave Maria … Virgo Serena, Josquin Desprez.

43
Q

Imitation vs. Homorhythm

A

Imitation occurs in polyphonic music when a melody or motive announced in one part is repeated in one or more other parts. There may be minor melodic or rhythmic alterations. Homorhythm is when several voices move together with the same rhythm, not necessarily repeating a melodic idea or motive.

Related Piece: Ave Maria… virgo serena, Josquin Desprez.

44
Q

Reformation

A

related piece: Ein Feste Burg, Martin Luther

45
Q

Counter-reformation

A

Relevant piece: Conclusion of the Historia di Jephte, “Plorate colles,” Giacomo Carissimi

46
Q

Oratorio

A

Genre of dramatic music that originated in the seventeenth century, combining narrative, dialogue, and commentary through, Arias, Recitatives, Ensembles, Choruses, and instrumental music, like an unstaged opera.

Relevant Piece: Conclusion of the Historia di Jephte: plorate colles, Giacomo Carissimi

47
Q

Chorale

A

Strophic Hymn in the Lutheran tradition, intended to be sung by the congregation.

Relevant piece: Ein feste Burg, Martin Luther

48
Q

Cantata

A

A vocal chamber work with continuo, usually for solo voice, consisting of several sections or movements that include recitatives and arias and setting a lyrical or quasi-dramatic text.

Relevant piece: Nun Komm, der Heiden Heiland, Johann Sebastian Bach

49
Q

Passion

A

A musical setting of one of the biblical accounts of Jesus’s crucifixion.

Relevant piece: St. Matthew Passion, “Erbarme dich,” Johann Sebastian Bach.

MUSC 3635 (5 decks)

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