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Renaissance Listening Flashcards

* John Dunstable: "Quam pulchra es" * Guillaume Du Fay: Gloria, 
from "Missa Se la face ay pale" * Henricus Isaac: "Innsbruck, ich muss dich lassen" * Josquin des Prez: "Ave Maria... virgo serena" * Johann Walter: "Ein' feste Burg" * William Byrd: "Sing joyfully unto God" * Giovanni Pierluigi da Palestrina: Agnus Dei I, from "Pope Marcellus Mass" * Orlando di Lasso (Lassus): "Cum essen parvulus" * Thomas Weelkes: "As Vesta was" * Claude le Jeune: "Revecy venir du printans" *

1
Q
  • ca. before 1430
  • Text from Song of Solomon
  • Genre: motet or cantilena
A

John Dunstable: “Quam pulchra es”

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2
Q

TEXTURE
* 3-part largely homophonic with short melismas
* Each voice nearly equal in importance (polyphonic?)

A

John Dunstable: “Quam pulchra es”

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3
Q

HARMONY
* frequent 3rds, 6ths and occasional triadic outlines
* almost every vertical sonority is consonant
* tonal center or C – Ionian mode on C NOT C MAJOR!

A

John Dunstable: “Quam pulchra es”

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4
Q

RHYTHM
* 3/4 METER
* no repeated rhythmic patterns
* homorhythmic

A

John Dunstable: “Quam pulchra es”

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5
Q

MELODY
* mostly syllabic with cadential melismas (brief)

A

John Dunstable: “Quam pulchra es”

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6
Q

FORM
* freely composed, but 2 sections divided by the text
* section 1: mm1-30 based on abbreviated versions of vs. 6, 7, 5, and 4 from Ch. 7 of Song of Solomon
* section 2 from vs. 11-12 with added alleluia
* strongest cadences mark ends of Bible verses

A

John Dunstable: “Quam pulchra es”

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7
Q

TIMBRE
* men’s voices

A

John Dunstable: “Quam pulchra es”

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8
Q
  • Genre: cantus-firmus mass (and imitation mass)
A

Guillaume Du Fay: Gloria, 
from “Missa Se la face ay pale”

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9
Q

TEXTURE
* polyphonic (up to four parts)
* superius, contra, tenor, tenor bassus

A

Guillaume Du Fay: Gloria, 
from “Missa Se la face ay pale”

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10
Q

HARMONY
* lots of 3rds and 6ths which lead to triads on strong beats
* 6th to octave cadences between various voices
* mostly consonance with dissonances in suspensions and on passing lines
* in F mode in outer two sections
* middle section in C starting at “cum sancto” at m. 159

A

Guillaume Du Fay: Gloria, 
from “Missa Se la face ay pale”

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11
Q

RHYTHM
* triple meter 3/4 (3x3/4 in tenor) in outer sections but middle section in duple meter

A

Guillaume Du Fay: Gloria, 
from “Missa Se la face ay pale”

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12
Q

MELODY
* upper two voices – mostly stepwise with some skips
* bassus, mostly provides foundation of chords
* tenor holds cantus firmus
* upper two voices fastest moving lines
* also head motive stated in superious that recurs in this piece at mm. 40, 88, 119, 165, and 184

A

Guillaume Du Fay: Gloria, 
from “Missa Se la face ay pale”

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13
Q

FORM
* 3 sections based on statements of the tenor with upper voice duet preceding: first section rhythm x 3 of original
* second x 2
* third in same time as ballade
* 3rd section sounds more like the original, also quotes more from original in upper voices
* form pertains to ratios and Golden Section

A

Guillaume Du Fay: Gloria, 
from “Missa Se la face ay pale”

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14
Q

TIMBRE
* 4 part male voices

A

Guillaume Du Fay: Gloria, 
from “Missa Se la face ay pale”

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15
Q
  • ca. 1500
  • Innsbruck – favorite city of the emperor Maximilian I
  • Genre: Lied
A

Henricus Isaac: “Innsbruck, ich muss dich lassen”

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16
Q

TEXTURE
* Homophonic (melody in Superius)
* four parts satb

A

Henricus Isaac: “Innsbruck, ich muss dich lassen”

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17
Q

HARMONY
* suspensions leading to cadences to F or G
* each stanza midpoint cadences on G
* modal rather than tonal
* cadences from 6th to octave with occasional triads on E-flat – whole step below final – unusual to occur in a piece in F major.

A

Henricus Isaac: “Innsbruck, ich muss dich lassen”

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18
Q

RHYTHM
* Homorhythmic
* duple meter

A

Henricus Isaac: “Innsbruck, ich muss dich lassen”

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19
Q

MELODY
* mostly conjuct with some skips
* lots of suspensions

A

Henricus Isaac: “Innsbruck, ich muss dich lassen”

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20
Q

FORM
* strophic setting

A

Henricus Isaac: “Innsbruck, ich muss dich lassen”

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21
Q

TIMBRE
* Four parts
* SATB (women and men)

A

Henricus Isaac: “Innsbruck, ich muss dich lassen”

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22
Q

TEXTURE
* constantly changing to reflect the text in each section
* points of imitation (polyphonic) in beginning
* then 2,3,4, voices relatively homophonic

A

Josquin des Prez: “Ave Maria… virgo serena”

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23
Q

HARMONY
* invokes old fauxbourdon style of parallel sixths and 6-3 sonorities
* clear tonal center – C Hypoionian as range of at least a fifth above and a fourth below C in the tenor and superius
* consonant

A

Josquin des Prez: “Ave Maria… virgo serena”

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24
Q

RHYTHM
* reflects phrasing of words giving longer syllables longer values
* changing meters: 4/2; 6/2; 3/2; 2/2
* changes to reflect text for emphasis AND for expression of feelings and ideas

A

Josquin des Prez: “Ave Maria… virgo serena”

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25
MELODY * mostly stepwise with emphasis of 5 to 1 leaps in opening lines * mostly short phrases * often syllabic, sometimes neumatic
Josquin des Prez: "Ave Maria... virgo serena"
26
FORM * determined by the form of the poem; * Section I: points of imitation, then voice together with faster rhythm in “drive to the cadence”; * Section II: homophony (with recalling old style of sacred music to emphasize the text); also staggered voices to represent “multitudes of heavenly and earthy voices” * Switching continues throughout other sections, * Ending with slow rhythmic unison
Josquin des Prez: "Ave Maria... virgo serena"
27
TIMBRE * four voiced choir with women’s and men’s voices
Josquin des Prez: "Ave Maria... virgo serena"
28
* Most famous of Luther’s chorales * printed 1529 in a chorale collection * words based on Psalm 46 * Genre: Lutheran, four-part chorale
Johann Walter: "Ein' feste Burg"
29
TEXTURE * four voice polyphony
Johann Walter: "Ein' feste Burg"
30
HARMONY * Chorale tune in tenor as was tradition in German Lied * free counterpoint with other voices * Ionian mode transposed to F * Luther associated Ionian modes with hymns of faith
Johann Walter: "Ein' feste Burg"
31
RHYTHM * 4/2 meter * rhythm echoes proper stresses of text * Walther smoothes out some of jaunty rhythms of Luther’s original hymn
Johann Walter: "Ein' feste Burg"
32
MELODY * melody seems to conjure a “sturdy fortress” with repeated notes and strength * long notes with descending (and at times, ascending) scale motives * Stepwise, skips and some leaps * OrIginal in tenor
Johann Walter: "Ein' feste Burg"
33
FORM * AAB * with A and B sections ending with same musical phrase
Johann Walter: "Ein' feste Burg"
34
TIMBRE * four voice choir with men and women * also performed with brass (and organ?)
Johann Walter: "Ein' feste Burg"
35
* setting of Psalm 81, vs. 1-4 * Genre: full anthem
William Byrd: "Sing joyfully unto God"
36
TEXTURE * Polyphonic * six parts (employs continental imitative techniques)
William Byrd: "Sing joyfully unto God"
37
HARMONY * Ionian mode (transposed to E-flat in anthology) * most cadences on final or tenor (E-flat or B-flat) * bass motion of a fifth down or fourth up exhibits precursor to dominant to tonic chord progressions to come later in music history
William Byrd: "Sing joyfully unto God"
38
RHYTHM * some homorhythmic moments * rhythm and stresses of the word paid head and set to reflect it * 4/2 meter indicated by “cut time symbol”

William Byrd: "Sing joyfully unto God"
39
MELODY * lots of skips and leaps –especially in bass

William Byrd: "Sing joyfully unto God"
40
FORM * freely or through-composed
William Byrd: "Sing joyfully unto God"
41
TIMBRE * six part choir with men and women’s voices * ssaatb * (organ accompaniment written but probably not by Byrd, and not on recording)
William Byrd: "Sing joyfully unto God"
42
* Genre: Agnus dei from a Free mass * Palestrina saved polyphony from Council of Trent * His music first to be intentionally preserved and imitated
Giovanni Pierluigi da Palestrina: Agnus Dei I, from "Pope Marcellus Mass"
43
TEXTURE * polyphonic (6 parts) * imitative counterpoint * Point of imitation lasting 15 measures
Giovanni Pierluigi da Palestrina: Agnus Dei I, from "Pope Marcellus Mass"
44
HARMONY * mostly consonant * cadence on C-E-G * final sonorities often include thirds * Only certain dissonances allowed - Passing tones - Neighbor tones - Suspensions - Cambiatas * Varied spacing
Giovanni Pierluigi da Palestrina: Agnus Dei I, from "Pope Marcellus Mass"
45
RHYTHM * 2/2 meter (cut time) * rhythmic independence of voices
Giovanni Pierluigi da Palestrina: Agnus Dei I, from "Pope Marcellus Mass"
46
MELODY * clear setting of text due to staggered entrances, syllabic emphasis * Mostly conjunct * Leaps followed by stepwise motion in opposite direction
Giovanni Pierluigi da Palestrina: Agnus Dei I, from "Pope Marcellus Mass"
47
FORM * determined by text (3 sections)
Giovanni Pierluigi da Palestrina: Agnus Dei I, from "Pope Marcellus Mass"
48
TIMBRE * Six part choir; men and women * cantus, altus, tenor I; tenor II; bassus I; bassus II
Giovanni Pierluigi da Palestrina: Agnus Dei I, from "Pope Marcellus Mass"
49
* 1 Corinthians 13:11-13 * 1579 * genre: six-voice motet
Orlando di Lasso (Lassus): "Cum essen parvulus"
50
TEXTURE * Polyphonic * Alternations of texture to represent text * varied numbered of voices at a time * Counterpoint * Homophonic at times
Orlando di Lasso (Lassus): "Cum essen parvulus"
51
HARMONY * G Dorian * Part one ends on fifth degree D and second part on final G * Parallel motion * Musica ficta * Suspensions * Triads * Influenced by text
Orlando di Lasso (Lassus): "Cum essen parvulus"
52
RHYTHM * 4/2 time (double 2/2) * Different textures lead to different rhythms * Sometimes more homorhythmic * Influenced by text
Orlando di Lasso (Lassus): "Cum essen parvulus"
53
MELODY * Lots of word * Influenced by text (upper voices for childlike sound, then lower voices for more manly sound) * Mostly conjunct motion, some leaps * Use of imitation * Recurring motives “as a child”
Orlando di Lasso (Lassus): "Cum essen parvulus"
54
FORM * divided into two parts, corresponding to divisions in text
Orlando di Lasso (Lassus): "Cum essen parvulus"
55
TIMBRE * six voices (Cantus, Altus I, Altus II, Tenor, Bassus I, Bassus II) * men and women on recording * likely for only boys and men
Orlando di Lasso (Lassus): "Cum essen parvulus"
56
* 1601 * Genre: madrigal
Thomas Weelkes: "As Vesta was"
57
poetry: * Text depiction * Vesta, Jupiter’s unmarried sister * Diana, Greek goddess of virginity and the hunt
Thomas Weelkes: "As Vesta was"
58
TEXTURE * Polyphonic * lots of variety
Thomas Weelkes: "As Vesta was"
59
HARMONY * Mostly consonant * Use of thirds
Thomas Weelkes: "As Vesta was"
60
RHYTHM * Varied to express text * metered (common time symbol)
Thomas Weelkes: "As Vesta was"
61
MELODY * word painting * Melodic motives passed back and forth * Madrigalism * “Long live fair Oriana” * motive enters 49 times * long life represented by length of section, and augmentation of the motive in the bass by factor of eight and again by four
Thomas Weelkes: "As Vesta was"
62
FORM * Determined by text * very long final section “long live Oriana”
Thomas Weelkes: "As Vesta was"
63
TIMBRE * Men and women’s voices * six parts (soprano/cantus; soprano/sextus; alto/altus; tenor/tenor; tenor/quintus; bass/bassus)
Thomas Weelkes: "As Vesta was"
64
* Genre: chanson in Musique mesurée * French “measured music”
Claude le Jeune: "Revecy venir du printans"
65
TEXTURE * Homophonic and polyphonic * five voices, but strophes or chants for two, three, four or five voices
Claude le Jeune: "Revecy venir du printans"
66
HARMONY * Consonant * triadic harmonies * Cadences on F
Claude le Jeune: "Revecy venir du printans"
67
RHYTHM * musicque mesurée * pattern SS LS LS L L * Results in groupings of quarter notes in 2 33 22
Claude le Jeune: "Revecy venir du printans"
68
MELODY * Use of melismas of four notes or less proved relief to repetitive rhythm * short phrases * step-wise with some skips
Claude le Jeune: "Revecy venir du printans"
69
FORM * Refrain, verse
Claude le Jeune: "Revecy venir du printans"
70
TIMBRE * Five voices: - Dessus (superious) - Taille (tenor) - Haute-Contre (contratenor altus) - Basse-Contre (contratenor bassus) - Cinquiesme (quintus –“fifth”) * Some vocal lines doubled by instruments on recording
Claude le Jeune: "Revecy venir du printans"
71
* (Canzona in Mode 7 in eight parts) * from Sacrae symphoniae (1597) * Genre: ensemble canzona
Giovanni Gabrieli: "Canzon septimi toni a 8," from "Sacrae symphoniae (1597)"
72
TEXTURE * Imitative polyphony * Homophonic passages
Giovanni Gabrieli: "Canzon septimi toni a 8," from "Sacrae symphoniae (1597)"
73
HARMONY * Consonant * Authentic mode on G (seventh tone): Mixolydian mode * Some musica ficta at cadences * G major triad cadences * Sonorities on C as well as D
Giovanni Gabrieli: "Canzon septimi toni a 8," from "Sacrae symphoniae (1597)"
74
RHYTHM * 4/2 meter marked with “cut time” symbol * Mostly duple but refrain begins in 3
Giovanni Gabrieli: "Canzon septimi toni a 8," from "Sacrae symphoniae (1597)"
75
MELODY * Improvisational * Conjunct, some leaps * Long phrases * Strongly rhythmic motives * Motives change from section to section, but also some shared material * Recurring refrain
Giovanni Gabrieli: "Canzon septimi toni a 8," from "Sacrae symphoniae (1597)"
76
FORM * ABCBDBE
Giovanni Gabrieli: "Canzon septimi toni a 8," from "Sacrae symphoniae (1597)"
77
TIMBRE * CORI SPEZZATI: primus chorus and secundus chorus * four parts each: cantus, altus, tenor, bassus ranges * types of instruments not specified; on this recording choir I: violins on top two lines; sackbuts on bottom two; choir II: cornetts on top two lines; sackbuts on botton two * each part can be accompanied by an organ (“basso per l’organ”) basso continuo later called basso seguente
Giovanni Gabrieli: "Canzon septimi toni a 8," from "Sacrae symphoniae (1597)"

Music History & Lit. (6 decks)

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