Musical Forms (400-1750)

Question 0

Virelai

Answer 0

14th c.
Starts with refrain
Abba Abba Abba A

Question 1

Ballade

Answer 1

14th c. aabC aabC aabC French

Question 2

Rondeau

Answer 2

2 part refrain (AB)
Stanzas used same music as refrain
AB a A ab AB

Question 3

Trecento

Answer 3

Secular Italian polyphony

Francesco Landini

Question 4

Madrigal

Answer 4

14th c. 
pastoral or amorous topics
2-3 stanzas, 3 lines each
plus refrain (ritornello), 2 lines, contrasting meter
2 voices, no tenor, same text

Question 5

Ballata

Answer 5

Italy 14th c. (after madrigal)
3 voices, elaborate, melody over tenor and countertenor
AB cd cd ab AB (ripresa, piedi, volta, ripresa)

Question 6

Caccia

Answer 6

Italy 14th c., literally “chase” or “hunt”
2 equal voices + 1 lower, slower voice
often onomatopoeic, upper voices often in canon

Question 7

Gymel

Answer 7

England 14th c.

second line improvises polyphony, all other voices drop out

Question 8

Rota

Answer 8

England 14th c.

canonic imitation from staggered entrances in upper voices

Question 9

Chanson

Answer 9

France, 16th century
focus on declamation of text, often “long-short-short”
sometimes musical onomatopoeia

Question 10

Lieder

Answer 10

German, 16th c.
older style polyphony based on pre-existing tenor
often 2 imitative voices
up to 4 voices

Question 11

Quodlibet

Answer 11

German 16th c.

combination of several popular melodies

Question 12

Frottola

Answer 12

Italy 16th c. 
Syllabic setting of vernacular poetry on amorous or satirical subjects. 
Top voice most important
rhythmically like a dance
Also has ripresa piedi Volta ripresa
Pedal tone near end.

Question 13

Madrigal

Answer 13

Italy, 1525ish
syllabic setting with diatonic harmony
by 1550, more complex, quasi-text painting and eye music

Question 14

Conductus

Answer 14

Latin secular song, 11-13th c.
Religious but not part of service
“planctus” = lament

Question 15

Chansons de geste

Answer 15

Earliest 11th c.
performed by minstrels
epic poems in vernacular

Question 16

Canso/Chanson

Answer 16

Provençal/N. France 11th c.
themes of chivalrous love
structure: Frons (ab ab) Cauda (X) [each ab = Pes]
German equivalent: Minnelieder

Question 17

Minnelieder

Answer 17

German canso/chanson, 11th c.
More angular with more melodic skips, probably more regularly metered
Often explicitly religious
Form: “Bar,” Stollen (A[ab etc.]), Stollen, Abgesang (B)

Question 18

Laude

Answer 18

Italy, 13th c.
Developed by pilgrims, so much simpler
In Germany: “Geissler”

Question 19

Carol

Answer 19

England, 11th c.
For Dances/processionals
Verse/refrain ("burden")
Usually religious or moral
Sometimes combined English & Latin

Question 20

Canzonetta

Answer 20

Italy, late 1500s
Lighter, probably meant for smaller group
simpler

Question 21

Balletto

Answer 21

Italy, late 1500s
Dance
lively & strongly metrical rhythm,
recurring refrain (on nonsense syllables)

Question 22

Villanella

Answer 22

Italy, late 1500s
Deliberately crude or simple (to poke fun at madrigal)
3 voice texture, sometimes deliberately wrong (i.e. parallel 5ths)

Question 23

Ricercar

Answer 23

Renaissance Italy

Instrumental motet

Question 24

Canzona

Answer 24

Renaissance Italy Instrumental chanson Becomes Sonata

Question 25

Faburden

Answer 25

Ca. 1430 English Plainchant with one voice at a 4th above and one voice at a 3rd below.

Question 26

Early 1200s motet

Answer 26

Polyphonic piece derived from distant clausula, with words added to the upper voice

Question 27

1200s-1300s motet

Answer 27

Polyphonic piece with one or more upper voices, each with sacred or secular text in Latin or French, above tenor from chant or other source

Question 28

Motet ca. 1310-1450

Answer 28

Isorhyhmic motet: tenor structured by isorhythm

Question 29

Motet 1400s on

Answer 29

Used for polyphonic setting of a Latin text, esp. Liturgical text, other than a mass

Question 30

Motet Mid 1500s on

Answer 30

Used for some polyphonic settings of texts in other languages

Question 31

Rondellus

Answer 31

English 14th c. | Listen for voice exchange - all parts have same material in different order.

Question 32

Cantata

Answer 32

Early baroque works in strophic variation form

Question 33

Chorale fantasias

Answer 33

Based on pre-existing chorale with cantus firmus in soprano. Similar forms: chorale partita, chorale prelude and chorale fugue "Gebunden" forms

Question 34

Partitas

Answer 34

Baroque, Sets of variations | Chorale partita, romanesca/ruggiero

Question 35

Suite

Answer 35

``` Baroque dance music: Prelude Allemande Courante Sarabande (Various intermediate movements) Gigue Standard order after 1650 ```

Question 36

Cantata

Answer 36

6 mvt sacred work sung by small chorus