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Musical Analysis > Midterm > Flashcards

Midterm Flashcards

1
Q

year of the middle ages

A

450-1450

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2
Q

scared music

A

church was the center of musical life
most important musicians =pirests
only men allowed to sing
only voca;

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3
Q

when was organ used in church?

A

after 1100

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4
Q

what was the offical music of the Roman Catholic Church?

A

Gregorian Chant
melody set to sacred Latin texts
no accompaniment
represents the voice of the church
no meter, flexible rhythm

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5
Q

gregorian chant

A

named after Pope Gregory
the unique sound of the chants results from unfamiliar scales called church modes

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6
Q

church modes

A

the unique sound of Gregorian Chants created by unfamiliar scales

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7
Q

Alleluia Vidimus Stellam
We Have Seen His Star

A

chant
melisma- many notes sung on 1 syllable
monophonic
A B A form

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8
Q

melisma

A

many notes sung on 1 syllable

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9
Q

O Successores
You Successors

A

chant
by Hildegard of Bingen
1-4 notes to each syllable
large pitch range

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10
Q

Hildegard of Bingen

A

nun
1st women composer

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11
Q

secular music

A

1st large body of songs surviving in notation-no rhythm
composed during 12th and 13th century
performed by court minstrels
mainly about love
regular meter and defined beat

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12
Q

Estampie

A

secular
13th century
a medieval dance
1 of the earliest surviving forms of instrumental music
features a rebec, pipe, and psaltery
triple meter

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13
Q

rebec

A

string instrument for estampie

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14
Q

psaltery

A

plucked string instrument for estampie

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15
Q

organum

A

gregorian chant with 1 or more additional melodic lines

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16
Q

the development of polyphony: organum

A

secular
started between 700 + 900 years
monks in monastery choirs begain to improv 2nd melodic line

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17
Q

school of notre dame: measured rhythm

A

secular
after 1150, Paris became center of polyphonic music
2 chair masters =Leonin + Perotin
1st time notation indicated rhythm w/ definite time values, meter, and pitches

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18
Q

leonin +perotin

A

secular
1st composers known by name
them and their followers referred to as the School Of Notre Dame

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19
Q

14th Century Music: The New Art in France

A

secular became more important than sacred
polyphonic
improved notation

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20
Q

Since I Am Forgotten by You

A

secular
by Guilliaume De Machaut
written 1363
breakup song
vocal melody and 2 accompanying parts, low pitch
2 phrases that go back and forth

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21
Q

Agnus Dei From the Notre Dame Mass

A

secular
by Guilliaume De Machaut
1 of the greatest compostions from the Middles Ages
a prayer for mercy and peace
triple meter
2 upper and 2 lower parts
dissonance harmony

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22
Q

Renaissance years

A

1450-1600
printing enabled an increase in the amount of composers and performers
every educated person required to learn music
musical activity shifted to courts
higher status and pay

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23
Q

characteristics of renaissance msuic

A

vocal music still more important
used word painting to enhance meaning and emotions
mostly polyphonic
homophonic for dance music
expanded range and richer harmony

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24
Q

2 main forms of sacred music

A

1) motet- a shorter polyphonic choral work set to a sacred latin text
2) mass- longer polyphonic choral composition, made of 5 sessions: kyrie, gloria, credo, sanctus, agnus dei

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25
Q

Ave Maria Virgo Serena

A

by Josquin Desprez
1475
4-voice motet
polyphonic
meter changes (duple, triple, duple)

26
Q

Kyrie from the Pope Marcellus Mass

A

by Palestina
1562-1563
his most famous mass
written for a capella of 6 parts: soprano, alto, 2 tenors, + 2 basses
polyphonic

27
Q

The Renaissance Madrigal

A

secular
originated in Italy 1520
for several solo voices set to a short poem
homo amd poly
word painting, unusual harmonies

28
Q

As Vesta was Descending

A

by Thomas Weekles
1601
to honor Queen Elizabeth
6 voice parts
word painting

29
Q

Passamezzo and Galliard

A

by Pierece caroubel
instrumental
duple meter
written for 6 instruments
same melody in 5 different parts

30
Q

baroque years

A

1600-1750
2 main composers: Handel and Bach
divided into 3 phases:
1) early 1600-1640
2) middle 1640- 1680
3) later 1680-1750

31
Q

who created opera

A

Italian composers of early Baroque

32
Q

early baroque

A

homo
dissonance

33
Q

middle baroque

A

church modes gave way to major and minor scales
instruments became important

34
Q

later baroque

A

produced most baroque played today
harmony developed
dominant chord to tonic chord
polyphonic
instrumental as important as vocal

35
Q

characteristics of late baroque

A

unity of mood- 1 mood through whole piece
rhythm- patterns repeated
melody- repetitions of melody
dynamics- stays the same but sudden shift
texture- mainly poly some homo
chords + basso continuo- chords became important
lots of word painting

36
Q

the baroque orchestra

A

10-40 players
instrumentation flexible
tone color less important

37
Q

baroque forms

A

multiple movements
3 part form ABA
2 part AB

38
Q

concerto grosso

A

small group of soloists pitted against a larger group of players called “tutti”
2-4 soloists play with 8-20 players
tutti mainly strings
several movements and diff tempos, 1st and 3rd ritornello form

39
Q

ritornallo form

A

tutti opens themes called ritornello (refrain), theme has different varaitions

40
Q

the fugue

A

polyphonic
voices imitate subject (main theme)
3-5 voices
form is flexible but subject will presents w/ unaccompanied voice
has countersubject paired with subject
episodes

41
Q

other common devices for fugue

A

1) stretto- subject imitated before completed, 1 voice tries to catch the other
2) pedal point- single tone by bass, is held while other voices produce a series of changing harmonies

42
Q

subject can be varied in 4 ways:

A

1) inversion- each interval reversed in direction to turn the line upside down
2) retrograde- begins w/ last note of the subject and proceeds backwards to the 1st
3) augmentation- time values lengthened
4) diminution- shortened

43
Q

elements of opera

A

a drama
started in italy around 1600
libretto- the text
aria- main attractions for fans, song or solo voice
recitative- lead into aria, vocal lines that imitates rhythms and pitch

44
Q

Claudio Monteverdi

A

1567-1643
employed by court of Mantua for 21 years
wrote Orpheus
1613- appointed music director at St. Mark’s in venice (most important church in Italy)
music for voice only
developed new orchestral effects (pizzicato + tremolo)

45
Q

Orpheus

A

1607
by Monteverdi
opera
uses recitatives, arias, duets, choruses and instrumental interludes

46
Q

Act 2: Recitative- “You Are Dead”

A

sung by Orpheus after his wife’s death
vocal line accompanied by basso continuo
homophonic
little sense of beat

47
Q

Henry Purcell

A

1659-1695
born in London
prodigy
wrote Dido and Aeneas
1st native English composer of international rank until the 20th century
wrote church, secular, and music for small groups of instruments
employed device known as “ground bass/ bass ostinatio”- bass repeated over and over

48
Q

Act 3: “Dido’s Lament”

A

1689
by Purcell
tragic song that Dido sang before killing herself
melodic recitative starts the piece accompanied by basso continuo
repeated text “Remember Me”

49
Q

baroque sonata

A

originated in Italy
composition in several movements for 1-8 instruments
“Trio Sonatas” popular-had 3 melodic lines

50
Q

Antonio Vivaldi

A

1678-1741
towering figure of late Italian Baroque
nickname “red priest” from religious background and red hair
violinist, composer, conductor, teacher
died in poverty
known for his concerti grossi and solo concertos

51
Q

The Four Seasons

A

1725
by Vivaldi
depicts sounds and events associated with each season
concertos example of baroque program music

52
Q

1st movement: allegro
4 seasons

A

ritornello form, terrace dynamics, word painting, homo
high trills for birdsong
soft running notes for stream
string temolos and rapid scales for thunder

53
Q

Bach

A

1685-1750
born in Germany
very religious-spent most of career in church
considered the most eminent organist, harpischordist, and improviser
wrote everything BUT opera
poly and homo

54
Q

2nd Mv: Largo
4 seasons

A

much slower/ quieter
only violins, violas, and solo violin
expansive melody for solo depicts goatherd’s slumber
violins=rustling leaves
violas= barking of dog
unchanging texture, rhythm and dynamic level

55
Q

the baroque suite

A

by Bach
dance inspired mov
all in same key but different tempo, meter
2 part form
A section= tonic key

56
Q

the chorale

A

hymn
sung in vernacular and congregation
easy to sing/remember
1 note to each syllable
melodies were harmonized
harmony has 3 lower partd

57
Q

church cantata

A

principal means of expression in the Lutheran service
sung by chorales
written for chorus, vocal soloists, organ and small orch
religious text-either new or from Bible

58
Q

oratorio

A

large scale composition for chorus, vocal soloists and orch
narrative text
differs from opera- no acting
based on biblical stories but not intended for religious services
narrator has recitatives

59
Q

Handel

A

1685-1759
born in germany
child prodigy
at 21, went to italy to write operas
became England’s most important composer and fav of Queen Anne
director of Royal Academy of Music (commerical opera company)
made his own company later on
composed performed and directed at his company
almost blind before he died
considered master of Italian opera and English oratorios

60
Q

Messiah

A

1741
by Handel
most famous oratorio
2 and 1/2 hours long
53 movements
composed in 24 days
commentary on jesus Christ’s nativity, passion and resurrection
lacks plot action and characters
only English oratorio that uses New Testament and Old

61
Q

Hallelujah Chorus

A

1 of the most famous choral pieces
sudden changes
poly, homo, and mono
most famous from Messiah
took his text from the Relevation of St. John, which celebrates God as almighty ruler

Musical Analysis (3 decks)

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