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Question 1

contenance angliose

Answer 1

*contenance angloise 165-167
1. define=beautiful melodoes and new practice of
making lively consonance, of french composers,
said to be influenced by english qualities, emulating
john dunstable. English influences were widespread
in the first half of the fifteenth century. this quality
was refereed to by martin le franc. harmonic thirds
and sixths
2. application to composer=du fay and binchois
were influenced by dunstable, who was english.
3. application to a style (NA)
4. date 1440,

Question 2

anthem

Answer 2

*anthem 213,224,
1. define, a type of religious music, associated with
the anglican church. after church of england
adopted english as the language, the service and
the anthem formed. An anthem corresponds to a
latin motet. It is a polyphonic work in english,
usually sung by the choir near the end of matins or
evensong. Many anthems set texts from the bible
or book of common prayer. Beginning early in the
reign of elixabeth I, there were two main types, a
full anthem is for unaccompanied choir in
contrapuntal style, a verse anthem employs one or
more solo voices with organ or viol
accompaniment, alternating with passages for full
choir doubled by instruments.
2. application to composer, Tallis, “if ye love me”
3. application to a style, Anglican church services,
4. date, 1547,

Question 3

point of imitation

Answer 3

*point of imitation 197, 207, 209
1. define,
2. application to composer, obrecht used imitation
more frequently, series of imitative entrances,
3. application to a style
4. date, 1480-1520

Question 4

paired imitation

Answer 4

*paired imitation-145?148? 157 158 198
1. definePaired imitation
Definition and background:
special class of imitation wherein the first pair of the
four statements of the theme appear in close
succession, then three and four come later, also
paired For more information on the music term “Paired
imitation” check out these other resources:
2. application to composer
3. application to a style
4. date

Question 5

text painting

Answer 5

• text painting (no index)——————–
  1. define
  2. application to composer
  3. application to a style
  4. date

Question 6

parody or imitation mass

Answer 6

*parody or imitation mass 209, 211, 227, 229,
234, ——————–
1. define, change in musical structure near the end
of the fifteenth century, from music that was cantus
firmus based, to one where all voices were
essential and similar in style, josquins paraphrase
mass. An approach to basing a mass on a polyphonic
work, instead of using one voice as a cantus firmus,
the composer borrows extensively from all voices
of the model, reworking the models characteristic
motives, points of imitation and general strucutre in
each movement of the mass. resemblence to
original is strongest at the begining and end of the
movement. Borrowed material is all voices from a polyphonic work. The borowed material is used in all voices of the mass. The motives and points of imitation, or
other elements are reworked. The main texture is
imitative, with some homophonic passages.
paraphrase mass differs from imitation masses, in
their material. paraphrase mass borrows from
chant melody, imitation mass borrows from all
voices of a polyphonic work.
2. application to composer, First was de Fevin,
palestrina
3. application to a style (NA)
4. date, 1470-1511

Question 7

cantus firmus

Answer 7

*cantus firmus 103, 181-82, 183, 184-185, 184
-186, 188, 219, 224, 445
1. define, used in the cantus firmus mass, each
movement constructed around the same cantus
firmus that is normally placed in the tenor. tenor
usually written in long notes, and usually in an
isorhythmic patter, as in the isorhythmic motet.
2. application to composer,
3. application to a style, cantus firmus mass, the
principle type of mass by the second half of the
fifteenth century.
4. date, 15th century.

Question 8

improvisatory

Answer 8

*improvisatory 301, 264, 270, 279,
1. define, after 1450, instrumentalists improvised
on dance music, dance pieces were printed in
collections issued by petrucci, attaingnant and other
publishers, these tell much about improvisatory
practice, showing that instrumental performers of
the sixteenth century, often improvised by
ornamenting a given melodic line or by adding one
or more contrapuntal parts to a given melody or
bass line.
2. application to composer, toccatas of merulo,
3. application to a style, toccata was the chief form
of keyboard music in improvisatory style during the
second half of the sixteenth century.
4. date, 1500s, after 1450

Question 9

fauxbourdon

Answer 9

*fauxbourdon … 168, 179-80, 209
1. define=inspired by faburden, first in 1430, but
used earlier, and used for a century, before 1430-
1530improvised; polyphony, a plainchant in the
middle voice was joined by an upper voice a
perfect fourth above it, and a lower voice singing
mostly in parallel thirds below it. beginning each
phrase and ending phrases and most words on the
fifth below. fauxbourdon itself is a little bit different. , inspired by english faburden, but the procedure is different.ONly the cantus and tenor were written out,
moving mostly in parallel sixths, and ending each
phrase on an octave. A third voice, unwritten, sang
in exact parallel a fourth below the cantus,
producing a stream of 6/3 sonorities ending on an
open fifth and octave, as in faburden.
2. application to composer=dufay
3. application to a style, faburden= cantilenas,
freely composed, mostly homorhythmic settings of
latin texts, not based on existing chant melodies.
parallel 6/3 chords are interspersed with other
consonant sonorities in a texture as appealing as
faburden but more varied. FAUXBOURDON=was used chiefly for settings of the simpler office chants, hymns, antiphons, psalms and canticles,
4. date, 1430

Question 10

tenorlied

Answer 10

*Tenorlied (no index)
1. define GERMANY: THE TENORLIED
The German counterpart to the frottola, as
purveyed in the printed songbooks that appeared
in Germany from 1507 (making that country
chronologically the second to take up the music
trade), is now known as the Tenorlied. That is the
modern scholarly term for what contemporary
musicians called a Kernweise (roughly, “core
tune”): a polyphonic setting of a Liedweise, a
familiar song-melody, placed usually in the tenor
—or else a song that resembled a Liedweise
setting in texture. In other words, it was a cantus-
firmus setting of a lyrical melody, either traditional
or newly composed, in what by the early sixteenth
century would have been considered in other
countries a fairly dated style.Users without a subscription are not able to see the full content. Please, subscribe or login to access all content.
2. application to composer, Isaac
3. application to a style, german version of frottola
4. date, 1507,

Question 11

musica ficta

Answer 11

*musica ficta 138-40, 160, 193.
1. define, chromatic alternations made to the
gamut, raised or lowered notes to avoid the tritone
between f, and b. sixth expanding to an octave
should be major.
2. application to composer, beldomandi,
3. application to a style (many)
4. date 14th-16th centuries.

Question 12

hemiola

Answer 12

*hemiola 175-76, 244, 318
1. define, when a piece is in six 8, with cross
rhythms of 3/4, when piece shifts from six 8, to 3/4
and vice versal.
2. application to composer, binchois
3. application to a style, chanson of the fifteenth
century, Binchois,
4. date, fifteenth century.

Question 13

evaded, elided cadence

Answer 13

*evaded/elided cadence (no index)
1. define, evaded is where you expect cadence,
but does not happen, elided is where one voice
continues to move.
2. application to composer, Desprez
3. application to a style, motet
4. date, 1450-1521

Question 14

chorale

Answer 14

*chorale ….213, 216-18,
1. define, a result of the reformation, lutheran
church music, most important form of music in the
lutheran church, originally consisted of only a
metric rhymed strophic poem and a melody in
simple rhythm sung in unioson. without harmonization or accompaniment. four main sources for chorales, adaptations of gregorian chant, existing german devotional songs, 3, secular songs given new words, contrafactum, and 4 new compositionas.
2. application to composer, luther
3. application to a style, NA
4. date, late 16ht

Question 15

contrafact

Answer 15

*contrafact …217
1. define, secular songs that are given new words
2. application to composer, luther
3. application to a style, could be used as a source
for chorales part of the lutheran service, part of the
reformation
4. date, 16th

Question 16

transparent counterpoint

Answer 16

• transparent counterpoint NI
  1. define
  2. application to composer=palestrina
  3. application to a style=franco flemish school
  4. date

Question 17

council of trent

Answer 17

*Council of Trent…228, 228-29, 230, 240,
1. part of the counter reformation, a respons to the
protestant reformation. define, a church council
met in northern italy to consider how to respond to
the reformation, the council reaffirmed the
doctrines that luther and calvin attacked, but they
passed some measures to improve the church.
tropes and sequences were eliminated, leaving only
a few popular ones. some sought to restrict
polyphonic music, complaining that basing a mass
on a secular chanson profaned the liturgy or that
complicated polyphony made it imposssible to
understand the words. statement of fifteen sixty
two, “let them keep away from the churches
compositions in cwhcih there is a intermingling of
the lascivious or impure, wheterh by instrument or
by voice:.
2. application to composer (palestrina saved
counterpoint)
3. application to a style, composed six voice mass
that is reverant and did not obscure the words.
4. date 1545, to 1563,
————————–

Question 18

frottola

Answer 18

*frottola 161, 241, 244, 263
1. definein the early fifteenth century, the sixteenth
saw a proliferation of regional and national styles.
true especially in secular vocal music, with seperate
traditions emerging in spain italy france germany
england and elsewhere. this was encouraged by the
new market for printed music for amateurs. the
spanish villancico, the italian frottola and madrigal,
and the english lute song were examples. also, the
spanish villancico, the italian frottola and a new
kind of french chanson. These were simple,
strophic, mostly syllabic and homophonic easily
singable. the italian counterpart to the villancico, a four part strophic song set syllabically and homophonically,
with a melody in the upper voice, marked rhythmic
patterns, and simple diatonic harmonies. the music
of the frottola was essentially a tune for singing the
poetry marking the end of each line with a
cadence, with the lower parts providing a harmonic
foundation, the genre included several subtypes, of
which some had fixed forms while others were
free. featured simple music, earthy and satirical texts,
2. application to composer, isabella d’este
3. application to a style NA
4. date, sixteenth century. with the rise of
nationalistic styles.

Question 19

variation set

Answer 19

*variation set (264, 275-77,
1. define, new genre developed with the rise of
instrumental music. used for independent
instrumental pieces, rather than as dance
accompaniment, Variations combine change with
repetition, taking a given theme, some musical
subject, and presenting an uninterrupted series of
variants on that theme.
2. application to composer, first example in the lute
tablatures of joan ambrosio dalza, also narvaez,
1538, collection of works for vihuela contains the
first published sets of variations others are.
cabezon, and valderrabano, english virginalists
byrd, bull and gibbons. english varied the
melodies, while the spanish and italians, focused on
the bass pattersns and bare melodic outlines.
3. application to a style, na also english virginalists
used this,
4. date, sixteenth century, first example from 1508,

Question 20

idiomatic writing

Answer 20

*idiomatic writing (no index)
1. define, writing that is suited to a particular
instrument
2. application to composer
3. application to a style, instrumental music
4. date, probably after 1450, applied to
instrumental music

Question 21

ballett

Answer 21

*ballett 260-261
1. define, english version of the balletto from italy,
most are strophic and each verse in two repeated
sections. were written primarily for unaccompanied
solo voices, 2. application to composer, morley of england from fifteen 57 to sixteen o two, borrowing the italian
genre of balletto, were wr
3. application to a style NA
4. date, late sixteenth century?

Question 22

puzzle canon

Answer 22

*puzzle canon NO INDEX
1. define only one voice is notated and the rules for
determining the remaining parts and the time
intervals of their entrances must be guessed
2. application to composer, busnoys, dufai
3. application to a style
4. date

Question 23

cyclic mass

Answer 23

*cyclic mass 181——————–
1. define, composers after 1420, began to link
sections of the ordinary , until they linked them all,
all five main items of the ordinary, kyrie, gloria,
credo, sanctus and agnus dei,
2. application to composer, dunstable and Power
3. application to a style, (NA)
4. date after 1420.

Question 24

paratactic form

Answer 24

*paratactic form (no index)
1. define=Paratactic form
Definition
Small units that are more/less independent from
one another
2. application to composer
3. application to a style
4. date
————–

Question 25

tablature

Answer 25

*tablature 303, keyboard 346, lute, 262, 268, 285
1. define, associated with lute songs, airs, tablature,
is a notational system that tells the player which
strings to pluck and where to place the fingers on
the strings rather than indicating what pitches will
result. scheidt’s tablatura nova, from sixteen twenty four,
includes. he called it new because instead of using
traditional german organ tablature, he adopted the
italian practice of writing out each voice on a
seperate staff. The
2. application to composer, dowland,
3. application to a style.lute songs, english, airs
4. date, early sixteen hundresds

Question 26

retrograde

Answer 26

• retrograde 194,
  1. define, a type of canon,
  2. application to composer, ockeghem, busnoys,
  3. application to a style, masses
  4. date, after 1450

Question 27

air

Answer 27

*air 261-262, 371, 358, 360, 362,
1. define, solo song with accompaniment, in
england, leading composers were dowland,and
campion, also called a lute song, was more
personal than the madrigal, with more serious and
literary texts and with none of the madrigals aura of
social play. less word painting than madrigals, the
accompaniment is always subordinate to the
melody.
2. application to composer
3. application to a style
4. date early 1600s

Question 28

dodecachordon

Answer 28

*Dodecachordon 159
1. define-perhaps the most direct impact of
humanism on music lay in the recovery of ancient
music treatises, during the fifteenth century, greeks
emigrating from byzantium, and italian manuscript
hunters brought the principal greek writings on
music to the west, including the treatises of
aristides, quintilianu, claudius ptolemy and
cleonides, the eighth book of aristotle’s Politics and
passages on music in platos republic and laws, by
the end of the fifteenth century, all of these were
translated into latin. Gaffurio, was influenced by greek theorists. Gaffurio wrote treatises that were the most
influential of his time, that revived greek ideas, and
stimulated new thought on matters such as modes,
consonance, and dissonance, etc. Swiss theorist from fourteen eighty eitght to fifteen sixtey three, in dodekachordon, added four new modes to the traditional eight, using names of greek tono, aeolian and hypoaeolian, with the final on a, and ionian and hypoionian with the final on c. He also argued that polyphonic music could be understood as modal, analyzing the mode of any piece as that suggested by the superius, and tenor. With these additions, he made the theory of the modes more consistent with the current practice of composers who frequently employed tonal centers on A and C. In using terms borrowed from ancient
culture to modify his medieval heritage, Glareanus, was typical of his age.
2. application to composer glareanus
3. application to a style
4. date 1547

Question 29

consort

Answer 29

*consort (260, 267-8, 272-3, 275, 346, 372.
1. define, an instrumental ensemble, consisting of
four to seven instruments, in england known as a
consort,
2. application to composer
3. application to a style
4. date, after 1450, 16th century mostly

Question 30

haut/bas instruments

Answer 30

*haut/bas instruments 136,265
1. define, haut means high, bas, means low, high
ones are loud, bas ones are soft,
2. application to composer, many
3. application to a style instrumental
4. date, after 1450

Question 31

strophic

Answer 31

*strophic ….317, 329
1. define, villencico,
2. application to composer, ballett, nationalistic
forms,
3. application to a style
4. date

Question 32

divisions or diminutions

Answer 32

*divisions or diminutions
266,274,304,266,274,304
1. define, sixteenth century performers were
expected to embellish the music, decorating a given
melody with passing tones, neighbor tons, runs and
other figurations, because it divided long notes into
shorter ones, it was called divisions or diminutions.
2. application to composer, Ganassi,
3. application to a style, top line of a piece for
vocal or instrumental ensemble.
4. date, after fourteenth century.

Question 33

cipriano de rore, listen

Answer 33

*Cipriano de Rore, Da le belle contrade d’oriente   
57
1. title, Da le belle contrade d’oriente
2. genre, madrigal
3. date, 1560-1565           rec

Question 34

encina, listen

Answer 34

• Juan del Encina 54, Hoy Comamos y Bevamos
  1. title, oy comamos y bebamos,
  2. genre, villancico
  3. date, 1495 rec

Question 35

victoria, listening

Answer 35

*Tomás Luis de Victoria, O Magum Mysterium  
52
1. title, O Magum Mysterium 
2. genre, motet               rec
3. date, 1570

Question 36

palestrina, listening

Answer 36

*Giovanni Pierluigi da Palestrina, Missa Papae
Marcelli, Credo 51
1. title,Missa Papae Marcelli, Credo 51
2. genre mass rec
3. date, 1560s

Question 37

byrd, listening

Answer 37

• William Byrd, Sing Joyfully Unto God 49
  1. title, sing joyfully unto god rec
  2. genre, full anthem
  3. date, 1580s-1590s

Question 38

desprez, listening

Answer 38

• Josquin Desprez, Missa Pange Lingua 45
  1. title. missa pange lingua,
  2. genre, paraphrase mass
  3. date, 1515 rec

Question 39

isaac, listening

Answer 39

*Heinrich Isaac, Innsbruck, Ich muss dich lassen
41
1. title, innsbruck, ich muss dich lassen,
2. genre, lied
3. date, 1500 rec

Question 40

dufay, listen

Answer 40

• Guillaume Dufay, Se La Face Ay Pale 38
  1. title, se la face ay pale
  2. genre, ballade
  3. date. 1430s,

Question 41

pavane/galliard

Answer 41

*pavane/galliard, 272,
1. form, Pavane was a stately dance in three
repeated strains (AABBCC), the more lively
galliard follows the same form with a variant of te
same melody,
2. misc characteristics, a type of dance music,
renaissance musicians often grouoped dances in
pairs of threes. Slow dance in duple meter,
followed by a fast one in triple meter on the same
une. Pavane and galliard were often paired
together.
3. composers that wrote them, Gervaise

Question 42

dunstable, list

Answer 42

• John Dunstable, Quam Pulchra Est
  1. title, quam pulchre est
  2. genre, motet or cantilena
  3. date, 1400-1450

Question 43

villancico

Answer 43

villancico 161, 241 243-244* 291,
1. form*Juan del Encina 243-244
1.why importantvillancico, the most important form
of secular polyphonic song in renaissance spain.
texts on rustic or popular subjects, short strophic
syllabic and mostly homophonic,
always includes a refrain, and one or more stanzas. The stanzas begin with a new section, with two statements of a contrasting idea and conclude with a return to the music of the refrain, following the aab stanza structure. principal melody is always in the tope voice, the others may have been sung or performed on instruments. juan del encina, 1468-1529, the first spanish playwright was a leading composer of villancicos, like other poets and dramatists of his time, encina was interested in pastoral themes borrowed from ancient greek and roman literature, depicting an idealized world of shepherds and other rustic
figures in benign and beautiful rural landscapes, his eclogues, one act pastoral plays that mark the
beginning of spanish secular drama, each include
villancicos at midpoint and at the end.
2. misc characteristics
3. composers that wrote them

Question 44

mass movement

Answer 44

*mass movement 181
1. form NO ANSWER
2. misc characteristics, a polyphonic piece of music
set to texts from the ordinary.
3. composers that wrote them NO ANSWER

Question 45

italian madrigal

Answer 45

*Italian madrigal, 161, 241, 245-56, 260, 263,
309, 311
1. form, through composed for sixteenth century.
2. misc characteristics, the most important secular
genre of sixteenth century italy. used from 1530 on
for musical settings of italian poetry of various
types, from sonnets to free forms. typical sixteenth
century madrigals are through composed
3. composers that wrote them

Question 46

parisian chanson

Answer 46

*Parisian chanson 241, 257-9 263, 281,
1. form, varies, simple forms,
2. misc characteristics, light, fast, strongly rhythmic,
song for four voices. pleasant amorous situations,
syllabic, homophonic, verse forms vary, but most
forms are simple with repeating patterns.
3. composers that wrote them, de sermisy, and
janequin,

Question 47

dufay,

Answer 47

*Guillaume Dufay , 175, 176-80, 177, 154, 178,
178-9, 184, 191, 152, 191, 165, 192-3, 206,
179-80, 65-66, 164, 187,
1.why important,, most famous composer of his
time, associated with bergundian court, most widely traveled, wide range of styles, his music was famous in europe. his music represents well the international style of the mid fifteenth century. used fauxbourdon
2.date, 1397-1474,
3.type of composition, 6 masses, 35 other mass
movements, 4 magnificats, 60 hymns, 24 motets,
34 plainchant melodies, 60 rondeaux, 8 ballades,
13 other secular songs.
4. type of treatise,, NA

Question 48

ockeghem

Answer 48

*Johannes Ockeghem, 190-95, 191, 178, 198,
152, 183, 192-95, 206, 208, 211-212,
1.why important, esteemed for his masses,Tinctoris
lauded them as the most outstanding and most
famous professors of the art of music. Their
chansons, motets, and masses were widely
distributed, performed and imitated, and the new
elements of style they practiced laid the foundation
for later generations.wider range of masses
imitation profoundly influenced later generations,
equality of voices, expansion of range.
characteristic of the sixteenth century.
2.date, 1420-1497,
3.type of composition, 13 masses, requiem mass,
at least 5 motets, 21 chansons
4. type of treatise

Question 49

byrd

Answer 49

*William Byrd 225, 224-6, 240, 260, 276, 277
1.why important, Leading english composer in the
late sixteenth and early seventeenth centuries, byrd
wrote secular vocal and instrumental music, he
wrote both anglican service music and latin masses
and motets. composed in all forms of anglican
church music, including a great service, three short
services, psalms, full anthems, and verse anthems,
first english composer to absorb continental
imitative techniques, very well. latin masses and
motets are the best known vocal compostiitons, he
probably intended his earlier motets for the royal
chapel or for privatedlakfj. over 180 motets, 3 masses, 4 services, dozens of anthems, secular partsongs, consort songs, fantasias, and other works for viol consort and
variations, fantasias, dances and other works for
keyboard.
2.date, 1540-1623
3.type of compositionover 180 motets, 3 masses,
4 services, dozens of anthems, secular partsongs,
consort songs, fantasias, and other works for viol
consort and variations, fantasias, dances and other
works for keyboard.
4. type of treatise NA

Question 50

dunstable

Answer 50

*John Dunstable , 165, 169, 170-1, 172, 181,
183, 187, 204, 208 .
1.why important, preeminent among english
composers in the first half of the fifteenth century.
Three voiced sacred pieces are the best. 3
polyphonic mass cycles, 2 gloria-credo pairs, 15
other mass ordinary movements, 12 isorhythmic
motets, 6 plainchant settings, 20 other latin sacred
workds, 5 secular songs.
2.date, 1390-1453,
3.type of composition, all principle polyphony of
the time, isorhythmic motets, mass ordinary
sections, settings of chant, free settings of liturgivcal
texts, and secular songs.
4. type of treatise

Question 51

modes

Answer 51

1. Final = D, Reciting tone= A, Dorian
2. Final = D, Reciting tone=f, Hypodorian
3. Final = E,Reciting tone = C, Phrygian,
4. final = e, , Reciting tone = A,Hypophrygian
5. final = f, reciting tone=c, Lydian,
6. Final =f, Reciting tone=A, HypoLydian,
7. Final = G, , Reciting tone= D, Mixolydian
8. final= g, Reciting tone= C, HypoMixolydian,

Question 52

homorhythm

Answer 52

*homorhythm (no pages)
1. define…sameness of rhythm in all parts, a
condition of homophony.
2. application to composer,
3. application to a style
4. date

Question 53

encina

Answer 53

*Juan del Encina 243-244
1.why importantvillancico, the most important form
of secular polyphonic song in renaissance spain.
texts on rustic or popular subjects, short strophic
syllabic and mostly homophonic, always includes a refrain, and one or more stanzas. The stanzas begin with a new section, with two statements of a contrasting idea and conclude with a return to the music of the refrain, following the aab stanza structure. principal melody is always in the tope voice, the others may have been sung or performed on instruments. juan del encina, 1468-1529, the first spanish playwright was a leading composer of villancicos, like other poets and dramatists of his time, encina was interested in pastoral themes borrowed from
ancient greek and roman literature, depicting an
idealized world of shepherds and other rustic
figures in benign and beautiful rural landscapes, his
eclogues, one act pastoral plays that mark the
beginning of spanish secular drama, each include
villancicos at midpoint and at the end.
2.date
3.type of composition
4. type of treatise

Question 54

luther

Answer 54

*Martin Luther, 161, 200, 214, 215-220, 228,
240, 1.why important, instigator of the reformation,
composer of music for the lutheran church.
composer,
2.date1483-1546
3.type of composition, chorale,
4. type of treatise, NOT
APPLICATIONABILISTIC

Question 55

cara,

Answer 55

*Marchetto Cara 245
1.why important, among the most prolific and best
known composers of frottole,
2.date, 1465-1525
3.type of composition, frottole
4. type of treatise NA

Question 56

gombert

Answer 56

*Nicholas Gombert 226, 227, 234, 258,
1.why important, flemish composer prominent
between 1520-1550,,
2.date, 1495-1560
3.type of composition, motets
4. type of treatise NA

Question 57

gesualdo

Answer 57

*Carlo Gesualdo 225 256
1.why important, unusual among composers he
was aristocrat, contrasts between diatonic and
chromatic passages,
2.date, 1561-1613,
3.type of composition, madrigal
4. type of treatise NA

Question 58

weelkes

Answer 58

*Thomas Weelkes 261
1.why important, english madrigalist, leading english
madrigalist,
2.date, 1575-1623
3.type of composition, english madrigal,
4. type of treatise, morley collection

Question 59

gabrielli

Answer 59

*Giovanni Gabrielli , 282-84, 283, 362, 283, 285,
333, 337, 338,
1.why important italian composer, leading
composer of the late renaissance. and early
baroque. known today for his instrumental works.
2.date1555-1612
3.type of composition.type of composition, 100
motets, 30 madrigals, 37 ensemble canzonas, 7
sonatas, 35 organ works4. type of treatise

Question 60

glareanus

Answer 60

*Heinrich Glareanus 159, 203, 211, 306
1.why important, swiss theorist, added four new
modes to the traditional eight, polyphonic music is
modal,
2.date, 1488-1563
3.type of composition NA
4. type of treatise, dodekachordon

Question 61

marenzio

Answer 61

*Luca Marenzio 254 - 255
1.why important, native italian, important composer
of madrigal in the later sixteenth century, among
leading madrigalist, contrasting feelings and visual
details with the utmost artistry.
2.date, 1553-1599
3.type of composition, madrigal
4. type of treatise NA

Question 62

vincentino

Answer 62

*Nicolo Vincentino
Nicola Vicentino 226 252
1.why importantwas an Italian music theorist and
composer of the Renaissance. He was one of the
most visionary musicians of the age, inventing,
among other things, a microtonal keyboard.
reviving the chromatic and enharmonic genera of
Greek music in his treatise. Used greek microtones
in his madrigals,
2.date(1511 – 1575 or 1576)
3.type of composition, madrigals
4. type of treatise, L’antica musica ridotta alla
moderna, prattica (ancient music adapted to
modern practice, 1555)

Question 63

lassus

Answer 63

*Orlando de Lassus, 238, 258, 283, 259, 253,
237, 283, 240,
1.why important, chief among franco-flemish in
germany, great composer of sacred music in the
sixteenth century. also wrote secular, advocated
emotional expression and depiction of text through
music. synthesized the achievements of an
era.versatile composer
2.date 1532-1594
3., compositions, fifty seven masses. seven
hundred motets,
4. type of treatise (NA)

Question 64

morley

Answer 64

*Thomas Morley 260-1
1.why important, prolific english madrigalist,
2.date, 1557-1602
3.type of composition, balletts, canzonets,
madrigals,
4. type of treatise NA

Question 65

de sermisy

Answer 65

*Claudin de Sermisy 257-258
1.why important, principal composers in
attaingnants early chanson collections,
2.date1490-1562,
3.type of composition, chanson,
4. type of treatise NA

Question 66

palestrina

Answer 66

*Giovanni L. da Palestrina, 164, 229-33, 230,
233, 235, 240, 333, 383, 283.
1.why important, wrote masses that had intelligible
texts, palestrina style, almost like plainchant,
2.date, 1525-1594
3.type of composition, 104 masses, fifty one are
imitation masses, thirty four are paraphrase
masses,300 motets, 35 magnificats, 70 hymns, 50
spiritual madrigals, 94 secular madrigals.
4. type of treatise NA

Question 67

isaac

Answer 67

*Heinrich Isaac 196, 198-99, 201, 212, 226,
259,
1.why important, pan european output, thirty five
masses, fifty motets, wrote songs
2.date, 1450-1517
3.type of composition, tenorlied? thirty five masses,
fifty motets, songs with french, italian and german
texts.
4. type of treatise

Question 68

de rore,

Answer 68

*Cipriano de Rore 153, 226, 249-52, 250, 282,
1.why important, leading madrigal composer at
midcentury,
2.date, 1516-1565
3.type of composition=madrigal
4. type of treatise NA

Question 69

victoria

Answer 69

*Tomás Luis de Victoria 234, 235, 240, 283,
1.why important, the most famous spanish
composer of sixteenth century, all music is sacred
for catholic services,
2.date 1548-1611
3.type of composition, sacred music, imitation
masses based on his motets.
4. type of treatise NA

Question 70

dowland

Answer 70

*John Dowland 261-262
1.why important, leading composer of lute song in
early 1600s
2.date1563-1626
3.type of composition, lute songs or airs,
4. type of treatise NA

Question 71

desprez

Answer 71

*Josquin Desprez 195, 200-208, 201, 205, 152-
3, 273-274, 227, 234, 237, 216, 206-7, 204-6,
65-66, 164, 212,
1.why important, highest renown, 18 masses, over
50 motets, 65 chansons,
2.date, 1450-1521,
3.type of composition, masses motets, chansons,
4. type of treatisena

Question 72

arcadelt,

Answer 72

• Jacques Arcadelt 152, 246 247
  1. why important, madrigal composer, f
  2. date1507-1568
  3. type of composition, italian madrigal
  4. type of treatise NA

Question 73

renaissance motet

Answer 73

*Renaissance motet 172, 224, 225-26, 234, 235
1. form, NA>
2. misc characteristics, any work with texted upper
voices above a cantus firmus, sacred or secular,
came to designate any polyphonic composition on
a latin text.
3. composers that wrote them NA, many

Question 74

sermisy , listen

Answer 74

• Claudin de Sermisy, Tant que vivray 60
  1. titleTant que vivray
  2. genre, chanson rec
  3. date, 1527

Question 75

dowland, listen

Answer 75

• John Dowland, Flow My Tears 65
  1. title, flow my tears
  2. genre, air or lute song
  3. date, 1600

Question 76

susato, listen

Answer 76

• Tielman Susato, Pavane La Dona 66
  1. titlepavane la dona
  2. genre, pavane
  3. date, 1551

Question 77

narvaez, listen

Answer 77

*Luis de Narváez, Cuatro diferencias sobre
‘Guárdame las Vacas’ 68
1. title Cuatro diferencias sobre ‘Guárdame las
Vacas
2. genre, variation set
3. date, 1538

Question 78

things about four types of cyclic masses

Answer 78

*Answer with a paragraph:
1. Describe things about the four types of cyclic
masses.
3. polyphonic mass cycle, they simply composed
them all in the same style, whether freely
composed, based on paraphrased chants in the
upper voice, or using cantus firums in the tenor.
3. plainsong mass, the composer borrows an
existing kyrie, and uses it in his polyphonic kyrie,
this type of practice.
4. beginning each movement with the same melodic
motice, in one or all voices, head motive, called
motto mass,
2. cantus firmus mass, each one around the same
cantus firmus, usually in the tenor.
5. imitation mass imitates more than one voice of
the source.

Question 79

how one of the following influenced ren

Answer 79

2. How one of the following influenced the music of
   the Renaissance: humanism,invention of the printing
   press, rise of the middle class
   printing press encouraged amateur participation
   -perhaps the most direct impact of humanism on
   music lay in the recovery of ancient music treatises,
   during the fifteenth century, greeks emigrating from
   byzantium, and italian manuscript hunters brought
   the principal greek writings on music to the west,
   including the treatises of aristides, quintilianu,
   claudius ptolemy and cleonides, the eighth book of
   aristotle’s Politics and passages on music in platos
   republic and laws, by the end of the fifteenth
   century, all of these were translated into latin.
   Gaffurio, was influenced by greek theorists.
   Gaffurio wrote treatises that were the most
   influential of his time, that revived greek ideas, and
   stimulated new thought on matters such as modes,
   consonance, and dissonance, etc.
   Swiss theorist from fourteen eighty eitght to fifteen
   sixtey three, in dodekachordon, added four new
   modes to the traditional eight, using names of greek
   tono, aeolian and hypoaeolian, with the final on a,
   and ionian and hypoionian with the final on c. He
   also argued that polyphonic music could be
   understood as modal, analyzing the mode of any
   piece as that suggested by the superius, and tenor.
   With these additions, he made the theory of the
   modes more consistent with the current practice of
   composers who frequently employed tonal centers
   on A and C. In using terms borrowed from ancient
   culture to modify his medieval heritage, Glareanus,
   was typical of his age.

Question 80

3 generations madrigal composers

Answer 80

3. describe three “generations” of madrigal
   composers, include one or two stylistic features of
   each and the representing composer
4. early madrigals,
   a. representing composer, Philippe Verdalot
   b. style #1, mostly homophonic
   c. Style #2, four voices
5. midcentury madrigals
   a. representing composer=De Rore
   b. style #1, 5 voices
   c. Style #2, frequent changes of texture
6. late madrigalists
   a. representing composer= Marenzio,
   b. style #1, madrigalisms, text pictorally depicts
   characters.
   c. Style #2, contrasts, breaking rules for expressive
   purposes

Question 81

two religious movements

Answer 81

d)Describe two religious reform movements and
the effect that each had on music for worship. Be
prepared to name a composer and genre for each.
1. The lutheran reformation, they didn’t believe in
the process of buying repentance, must be through
faith alone. People composed Chorales for the
service. against the catholic church,
2. The calvinist movement, led by calvin. Calvin
rejected papal authority, justification through faith,
believed in predestination, and he followed the ible
closely as gods law, very strict, calvin insisted that
only biblical texts, especially psalms, should be
sung in church, they composed metrical psalms,
metric rhymed strophic translations of psalms in the
vernacular that were set to newly composed
melodies or tunes adapted from chant., loys
bourgeois, psalm 100, old hundredth.

Question 82

how instruments were classified in the ren

Answer 82

e) How instruments were classified in the
Renaissance (and an example from each), and
three types of instrumental music from the period.
1. Instrumental families, one timbre available
throughout the range of soprano to bass.
2. wind= recorders, transverse flute, sackbut,
3. percussion=tabor, side drum, kettledrums,
4. keyboard string=harpsichord, clavichord
5. plucked strings=vihuela
6. bowed strings=viola de gamba
7. Broad categories of instrumental music, Dance
music, arrangements of vocal music, settings of
existing melodies, variations, and abstract
instrumental works.
-pavane/galliard, 272,
1. form, Pavane was a stately dance in three
repeated strains (AABBCC), the more lively
galliard follows the same form with a variant of te
same melody,
2. misc characteristics, a type of dance music,
renaissance musicians often grouoped dances in
pairs of threes. Slow dance in duple meter,
followed by a fast one in triple meter on the same
une. Pavane and galliard were often paired
together.
3. composers that wrote them, Gervaise
-Variations, sixteenth century invention, used for
independednt pieces, combine change with
repetition. bass line, rune, some feature, and
present it in series of variations. First written by
Dalza, sometimes written over bass ostinatos,
-toccata, chief form of keyboard music in
improvisatory style, during the second half of the
sixteenth century, merulo exemplify the genre.

Question 83

how ren composers dealt with the text

Answer 83

f) How Renaissance composers dealt with text in
the early and later Renaissance. Think about the
influence on forms, as well as how the text was
reflected in the music. Be prepared to list a few
examples.Text was reflected in the music of maddrigals, with madrigalisms, picturesque moments, where the
music reflected something. An example is solo e
pensoso by marenzio, poet walking alone, the top
voice does a slow chromatic ascent, depicting
steps. In tant que vivray, sermisy highlights the
parallel structure and rhyme schemes of line 1-3,
and 4-6, by repeating the same music, creating an
aab form for each strophe.