Midterm Flashcards
The Protestant Reformation
Martin Luther (Music Lover), Jean Calvin (Music Suspicious)
Martin Luther
Believed music is a gift from God (second only to theology)
Wanted to involve the congregation
Deutsch Messe (translated it into the vernacular)
Chorale Singing - wrote congregational hymns with strophic text and monophonic melody
Ein Feste Burg (A Mighty Fortress)
T/F: The church heavily involved the common man in the days of Martin Luther.
False: The music was in Latin, so only the wealthy/educated understood it. Luther included the common man by translating and composing songs into the vernacular of the people
Martin Luther created congregational hymns so that people could worship in their own language. What are the sources of the chorale tunes?
Brand new compositions
Borrowed from Gregorian chant (kept tune, translated words)
Secular Songs
What is it called when church-appropriate lyrics are put to a secular tune?
Contrafactum
Jean Calvin
Suspicious of Music
Emphasis on words, not music
Psalters
Who created metric translations of the Psalms for Jean Calvin?
Huguenots (Clement Marot)
Psalters
Collections of metric translations of the Psalms w/music
Forerunner of modern-day hymnal
Used by John Calvin’s Followers
Compare/Contrast Martin Luther and John Calvin.
- Luther loved music; Calvin was suspicious of music.
- Luther wanted to involve the congregation using music; Calvin wanted the emphasis of the service to be on words (preaching), not music
- Luther translated and composed songs in German; Calvin restricted music in the church to Psalms
- Luther had followers in Germany and Scandinavia; Calvin had followers in Switzerland, Netherlands, Scotland, and parts of Germany
Counter Reformation
Council of Trent met to discuss reforms within the church
Palestrina
Panconsonant Style
What were some of the decisions made by the Council of Trent concerning music?
They believed music to be too complex (too many notes, too many words). Decided…
- Distinct words
- Avoid virtuosity
- Reverent spirit
Giovanni Pierluigi da Palestrina
Composer of the Counter Reformation
Model of 16th century contrapuntal writing
1st composer to be conscientiously immitated
Panconsonant Style
Panconsonant Style
Little movement outside the main key
Light and shade in voicing
Mostly stepwise
4-8 voices
A cappella
Syllabic text (for clarification of words)
Little dissonance (w/uncomplicated rhythm/movement)
Otaviano dei Petrucci
Set up print shop in Venice in 1501
St. Mark’s Basilica
Pope would have visited here while abroad
Cori spezzati
Cori spezzati
“spaced-out choirs”
Poly-choral technique that uses a small group of performers (2-4ppl) that produce contrasting sonorities/timbers antiphonally to create a stereo effect
Giovanni Gabrieli
Sonata Pian’ E Forte
First time specific dynamics found in a musical work
One of the first to include specific instrumentation
Baroque Era
1600-1750 Affections Monody Giulio Caccini Basso continuo Prima Practica Secunda Practica
Affections
Rationalized emotional states
A state of mind
Love😍, Hate😡, Joy😂, Sorrow😭, Wonder🤩, Desire🤤
Expresses the affection related to the text, not the composer’s feelings toward the text
One per movement/work
Musical figures portray the affection (trills for love, etc.)
Monody
Accompanied solo song
Accompanied by lute or keyboard
High voice w/figured bass
Forerunner of Italian Aria
Giulio Caccini
Monody
Le nuove musiche - collection of songs, 10 strophic arias in 16th c. (old) style, and 12 Madrigals in monodic (new) style (through composed, florid/virtuosic)
Basso continuo
A bass line w/Arabic numbers that indicate intervals to be supplied above the bass note
A shorthand accompaniment
Type 1 - Single instrument, chordal
Type 2 - Chordal instrument with another instrument doubling the bass
Compare/Contrast Prima Practica and Secunda Practica.
Prima Practica // Secunda Practica
16th centruy counterpoint // Deviates from contrapuntal rules
Music dominates the text // Text dominates the music
Limited dissonance // More dissonance
Palestrina // Monteverdi, Caccini
What are the 3 style of music in the first half of the 17th centruy?
Sylus theatralis/Theatrical style (opera)
Stylus cubicularis/Chamber style (secular vocal music)
Stylus ecclesiasticus/Church style (sacred music, oratorio)
Marco Scacchi
Opera
Drama presented musically w/all or most of the text being sung
A combination of art forms - visual art, literature, theater, dance, music (vocal and instrumental)
Jacopo Peri
Claudio Monteverdi
Jacopo Peri
Dafne (first opera)
Euridice (first surviving opera; a wedding gift to a royal family)
Librettist for both: Rinoccini
Stile rappresentativo
Stile rappresentativo
Forerunner of recitative
Speech-like and declamatory
More expressive than ordinary speech, but less melodious than song
Declamatory melody, flexible rhythm, irregular phrasing, Static basso continuo
Harmony - dissonance created as melody moves w/static bass
Claudio Monteverdi
L’Orfeo (1st opera masterpiece)
L’incoronazione di Poppea (Coronation of Poppea)
Music shows transition from Renaissance to Baroque
First opera house in Venice 1637
When/where did the first opera house open? Discuss the significance.
Venice 1637
Stylistic Trends: Solo singing, 2 types of Arias (Bel Canto and Florid), Instrumental music removed from middle and put at the beginning, consentration on entertainment value (complicated sets, set changes, lifts, etc.)
Discuss secular vocal music in the 17th century.
Vocal ensemble song
Monody (now solo or ensemble)
Concertato (will include instrumental intro, interlude, etc.)
Discuss sacred music in the 17th century.
Oratorio - largescale musical composition that resembles an opera, but
-has a narrator,
-places greater emphasis on chorus,
-has no stage action, scenery, or costumes,
-will take stories from the Bible (especially OT), and
-will include more vocal variety than opera (solo, duet, trio, chorus, etc.)
Giacomo Carissimi
Heinrich Schutz
Giacomo Carissimi
Father of the Oratorio
Jephte (Judges 11:29-40)
Heinrich Schütz
Student of G. Gabrieli and Monteverdi
Symphoniae Sacrae ("Sacred Symphony")Discuss instrumental music in the 17th century.
Fantasia
Sonata
Fantasia
One point of imitation
Jan Pieterzoon Sweelinck
Sonata
Division between sections
Trio Sonata (2 solo instruments w/Basso continuo type 2)
Suite
Suite
Johann Jacob Froberger
- Allemande (Dance of moderate tempo, duple rhythm, w/an anacrusis)
- Courante (2 part running figuration in triple or compound meter)
- Sarabande (Slow movement in triple meter w/stress on 2nd beat; lends itself to added ornamentation)
- Gigue (Fast, compound rhythm, triple meter w/imitative, fugue-like qualities)
Ballet de cour
Louis XIV
- influenced French opera
- allowed court to participate
- dance, poem, music
Jean-Baptiste Lully
Instrumental composer for Louis XIV
Comedies-ballets (partly sung, partly spoken)
Tragedies lyriques (Continuous Music, 5 acts, mythological plots, dancing, chorus, sets)
Philippe Quinault (librettist)
French Opera Style
Less distinction between recitative and aria
Measured recitative (organized by the flow of the language)
Flexible bar lines
Airs
French Overture
French Overture
Slow, stately passage beginning w/dotted rhythms
Faster, lighter fugal passage
5 part strings
Double reeds
What type of entertainment was more popular in England than opera?
Masque
Masque
- Allegorical* or mythological theme
* Poetry*, song, dance, instrumental music
Henry Purcell
Leading English composer
Dido and Aeneas
Ground bass
Ground Bass
A pattern of notes/single phrase most often set in the bass that is repeated over and over during the course of a vocal or instrumental piece
