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Renaissance Flashcards

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1
Q

Low Rennaissance

A

-Early Renaissance 15th C
-Limited Imitation
1 or 2 dominant voices (parts) (Higher voices)

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2
Q

High Renaissance (Late)

A
  • 16th C
  • Systematic Continuos Imitation
  • Equality of Voices (Parts)
  • Reflection of the text
  • Construction of rhythms that reflect speech patterns
  • Increased use of homophony
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3
Q

Humanism

A

• Renaissance
• Movement in Ren to revive ancient Greek and Roman culture
• Study things pertaining to human knowledge and experience
• Musical Humanism
o Greek Theory: Boethius
o Wanted expressiveness represent in their works
o Accurate representation of text in the music

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4
Q

Johannes Tinctoris

A

Renaissance

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5
Q

Painting in the Renaissance

A

**

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6
Q

Systematic or Continuous Imitation

A

• Renaissance
• Point of Imitation
o 16th century technique allowing all voices to present motive idea
o Each line is set imitatively with a new melody
• Following section begin to overlap each other
o Occurs in masses, motets, madrigals, and chansons
o Used by Palestrina
o Also used in instrumental works
• Ricercar, canzona, fantasia, cappricio

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7
Q

Word Painting

A
  • Renaissance

* Using musical gestures to reinforce or suggest images in a text, such as rising on the word “ascend”

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8
Q

Guillaume Dufay

A
  • Renaissance
  • Regarded as the greatest composer of the time by his contemporaries
  • Wrote masses, motets (isorhythmic, polytextural)
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9
Q

Cyclic Mass

A
  • Renaissance
  • All movements of the mass are based on the same borrowed tenor line
  • Ockenghem Missa De plus en plus
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10
Q

Tenor (AKA Cantus Firmus) Mass

A

• Renaissance
• Polyphonic Mass
• Uses the same Cantus Firmus in each Mvt
o Generally in the Tenor
• Plainchant melody used (borrowed) as the cantus firmus

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11
Q

Paraphrase Mass

A
  • Renaissance
  • Polyphonic Mass in which each Movement is based on the same Monophonic melody (normally a chant) which is paraphrased in most all voices rather than being used as a cantus firmus in one voice.
  • Phrases of from the hymn melody are adapted as motives that are treated in points of imitation
  • Results in a cyclic mass because the same motives appear in each section
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12
Q

Josquin des Prez

A
  • Renaissance
  • 16th Century
  • Straddles low and high Ren. Periods
  • Helped begin the high Ren. Period
  • Composer of Motets (Pater noster, Ave Maria)
  • Composer of Masses
  • Spent time serving the Sforza family
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13
Q

Lauda

A
  • Renaissance

* Italian sacred (devotional) song

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14
Q

Contrafactum

A
  • Renaissance
  • The practice of replacing the text of a vocal work with a new text while the music remains essentially the same.
  • Secular -> Sacred
  • Sacred -> Secular
  • Martin Luther hymns are representative
  • French Chanson is representative
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15
Q

Frottola

A
  • Renaissance
  • 16th Century Italian Polyphonic song
  • Very Structured
  • Strophic
  • Syllabic, homophonic, diatonic
  • Melody in the upper voice
  • More lively than the Carnival Song
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16
Q

Balletto

A
  • Renaissance
  • 16th Century Italian song
  • For singing and dancing
  • Homophonic, Strophic
  • “Fa la la la” Refrains
17
Q

Italian Madrigal

A
  • Renaissance
  • Dominant musical form of the 14th C.
  • Initially written in Italian by non-Italians
  • Ciprano de Rore, Orlando Lass, Claudio Montverdi
  • Through-composed
  • Written for various occasions
  • Complete representation of the text
  • Became more complex and performed by Professionals
18
Q

English Madrigal

A

• Renaissance
• Late 16th century
• Englich desires fashions of Italian culture: art & music
• Simple texts
• Dance-like style
• Vocal music: both polyphonic and homophonic textures
• Ex. As vesta was – Thomas Weelkes
o Considered one of the most prominent composers of England
Thomas Morely, Thomas Weelkes
Influence of Italian madrigal and Balletto

19
Q

Chanson (Renaissance)

A 
•	Renaissance
•	French secular song based on love poems
•	Primariy homophonic
•	Bar Form AAB
•	No word painting
•	Some transcribed for instruments
•	15th C. Instrumental lines written for accompaniment
o	Generally mirrored the vocal line
20
Q

Luther Reformation

A

• Renaissance
• 1517 when Martin Luther nailed his 95 thesis on the church door
o Opposed church indulgences
• Money accepted to lessen time in purgatory
• Against church Heirarchy
o All persons had the right to commune with God
o Wanted everyone to participate in church
• Wrote chorales to facilitate this

21
Q

Chorale

A

• Renaissance
• Congregational song or Hymn
• Originally in German and credited to Martin Luther
o Luther placed value on congregational singing
o Some were new material, many based on Psalms
• Strophic, metrical, common language
• Bar form; AAB
• Short phrase structure followed by a fermata
• Initially monophonic
• Easy to memorize – familiar to all saints
• Johann Walther
o Friend of Luther
o Arranged & published hymns for 4 parts
o Original hymn book was for choir
• Choir – Latin, Congregation - German

22
Q

Chorale Motet

A
  • Renaissance
  • Setting of a chorale to the style of 16th century motet
  • Very elaborate for choir
  • Simple for the congregation
23
Q

Counter-Reformation

A
  • Renaissance
  • Catholic church began to make changes because of the Luther reformation
  • Council of Trent
24
Q

Council of Trent

A 
•	Renaissance
•	1545-1563
•	Catholic response to the Luther Reformation
•	People had to be more involved services
•	Not willing to get rid of Latin
•	Mass virtually unchanged
•	People gathered in buildings called oratorios
o	Speak their own language
o	Talk of biblical items
•	Wanted the music to be cleaner
o	Less dissonance
o	Reduce chromaticism
o	Reduce counterpoint
o	Wanted cleaner text
o	New music was needed
25
Q

Giovani Pierluigi de Palestrina

A

• Renaissance
• 1525-1694
• Choir master at Saint Peters Basilica
• Wrote many masses as a result of the Council of Trent
• Developed Palestrina Style -> used well into the Baroque Era
o Lots of step-wise motion
o Clarity of text
o Make sure 2 points of imitation do not overlap
o Lots of homophony
o Dissonance handled as a passing tone

26
Q

Prima Practica (Stile Antico/Palestrina Style)

A 
•	Renaissance
•	Lots of step-wise motion
•	Clarity of text
•	Make sure 2 points of imitation do not overlap
•	Lots of homophony
•	Dissonance handled as a passing tone
•	Gioseffo Zarlino
o	1558: Wrote Le istitutioni harmoniche
•	Codified the Prima Practica
27
Q

Seconda Practica

A

• Renaissance
• Julius Caesar Monteverdi
o Wrote about differences between prima and seconda practica
• If the text demands dissonance then do it – if the text demands beautiful counterpoint – then do it
• Preface to writing -> Scherzi Musicali
• We begin to see a connection between music an rhetoric

28
Q

Doctrine of Musical Figures

A
  • Renaissance

* Many treatise written and list the connections between music and rhetoric

29
Q

Doctrine of Affections

A
  • Renaissance
  • All music moves affections (emotions)
  • Affections are vapors in the body that affects emotions
  • The music has an “Affekt” (happy, sad, joyful, etc)
  • Instrumental music should be written in a manner that is consistent with the desired emotion

History (8 decks)

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