Mid Term II Terms Flashcards
Monophonic
A piece consisting of a single melodic line.
EX: can vei la lauzeta
Polyphonic
Musical texture consists of two or more simultaneous lines of independent melody.
EX: Cruda Amarili
Troubadour
troub adour (from Occitan trobar, “to compose a song”) A poet-composer of southern France who wrote monopHonic songs in Occitan (langue d’oc) in the twelfth or thirteenth century.
EX: Can Vei La Lauzeta
Chanson
chanson
(French, “song”; pronounced shanh-SONH) Secular song with French words; used especially for polyphonic songs of the fourteenth through sixteenth centuries.
EX: En Remirant vo Douce Pourtrature
Formes Fixes
Late medieval to early renaissance practice of writing form.
formes fixes (French, “fixed forms”; pronounced form FEEX)
Schemes of poetic and musical repetition, each featuring a REFrAIN,
used in late medieval and fifteenth-century French CHANsons; in
particular, the BALLADE, RONDEAU, and VIRELAI.
EX: En Remirant vo Douce Pourtrature
Ars Subtilior
Ars Subtilor (Latin, “more subtle art”) Style of poLypHony from the late fourteenth or very early fifteenth centuries in southern France and northern Italy, distinguished by extreme complexity in rhythm and notation.
EX: En Remirant vo Douce Pourtraiture
Madrigal
The genre that proved most significant in the long run was the Italian madrigal, in which Renaissance composers brought to a peak their intense interest in realizing in music the accents, images, and emotions of the text. Besides influencing later French chansons and German Lieder, madrigals became fashionable in England, joined around the end of the century by the lute song.
As Vesta was From Latmos Hill Descending
Madrigalism or Word Painting
madrigalism A particularly evocative or, if used in a disparaging sense, a thoroughly conventional instance of TEXT DEPICTION OF word-painting; so called because of the prominent role of word-
painting in Madrigals.
As Vesta was from Latmos Hill Descening
Through-Composed
through-composed Composed throughout, as when each stanza or other unit of a poem is set to new music rather than in a Strophic manner to a single
Mille Regretz
Basso Continuo
basso continuo (Italian, “continuous bass”) (1) System of Notation and performance practice, used in the Baroque Period, in which an instrumental bass line is written out and one or more players of keyboard, LuTE, or similar instruments fill in the Harmony with appropriate CHOrDS Or IMPROVISED MELODIC lines. (2) The bass line itself.
EX: Eseguisti, Oh Niren
Monody
The musical texture of solo singing accompanied by one or more instruments.
Flow my tears
Lute and Theorbo
An instrument
Flow my Tears
Seconda Practica
seconda pratica or second practice Monteverdi’s term for a practice of coUnTerpoint and composioN that allows the rules of sixteenth-century counterpoint (the prIMA pratica) to be broken in order to express the feelings of a text. Also called STILE MODERNO.
EX: Cruda Amarili
Tragédie en Musique
tragédie en musique (French, “tragedy in music”; later tragédie lyrique, “lyric tragedy”) French seventeenth- and eighteenth-century form of opera, pioneered by Jean-Baptiste Lully, that combined the French classic drama and bALLer traditions with music, DANcEs, and spectacles.
EX: Enfin Il Est En Ma Puissance
Ostinato Bass or Ground Bass
basso ostinato (Italian, “persistent bass”) or ground bass A pattern in the bass that repeats while the melody above it changes.
EX: When I am Laid in Earth
