Renaissance Study Guide Flashcards
1
Q
When was the word Madrigal first used in print?
A
1530
2
Q
When did black-note notation and common time become standard?
A
1540
3
Q
Antoine Busnois
A
1430-1492
4
Q
Gilles Binchois
A
1400-1460
5
Q
Philippe de Vitry dates
A
1291-1361
6
Q
Guillaume de Machaut dates
A
1300-1377
7
Q
Trecento
A
1300s; Florence
8
Q
Francesco Landini dates
A
1335-1397
9
Q
John Dunstaple dates
A
1390-1453
10
Q
Quattrocento
A
1400s; Venice
11
Q
Johannes Tinctoris dates
A
1435-1511
12
Q
Agricola Dates
A
1446-1506
13
Q
Compere Dates
A
1450-1518
14
Q
Josquin dates
A
1450-1521
15
Q
Obrecht Dates
A
1457-1505
16
Q
Mouton Dates
A
1459-1522
17
Q
De La Rue Dates
A
1460-1518
18
Q
Janequin dates
A
1485-1560
19
Q
Sermisy dates
A
1490-1544
20
Q
Adrian Willaert dates
A
1490-1562
21
Q
Hans Sachs dates
A
1494-1576
22
Q
John Taverner dates
A
1495-1545
23
Q
Cristobal de Morales dates
A
1500-1553
24
Q
Nicholas Gombert dates
A
1500-1556
25
Thomas Tallis dates
1505-1585
26
Clemens non Papa dates
1510-1556
27
Rore (dates)
1516-1565
28
Giovanni Pierluigi da Palestrina Dates
1525-1594
29
Claude Le Jeune dates
1525-1600
30
Francisco Guerrero dates
1527-1599
31
Madrigals made it to England around when?
1530s
32
Orlando di Lasso dates
1532-1594
33
Andreas Gabrilie dates
1533-1585 Venice
34
Giaches de Wert dates
1535-1596
35
William Byrd's dates
1540-1623
36
Tomas Luis de Victoria dates
1548-1611
37
Orazio Vecchi dates/location
1550-1605 Rome
38
Luca Marenzio dates
1553-1599
39
Giovanni Gabrieli dates
1556-1612 Venice
40
Thomas Morley dates
1557-1603
41
Carlo Gesualdo dates
1560-1613
42
Claudio Monteverdi dates
1567-1643
43
John Wilbye dates
1574-1638
44
Thomas Weelkes dates
1575-1623
45
Catholic censorship was at its height when?
16th century
46
Difference in major and minor becomes clear when?
16th century
47
polyphony came into style when?
after 1150
48
When does the Mass begin to become a more important musical form?
After 1450
49
When did composers begin varying texture for textual emphasis?
after 1450
50
Most important court, mid 1400s
Burgundy
51
When were rhythmic modes codified?
ca 1250
52
Motives as compositional tools introduced when?
ca. 1500
53
What element of music first begins to become more important after 1450?
changes in texture
54
Oldest example of fauxbourdon
Dufay's Missa Sancti Jacobi
55
When did English and continental style achieve blend?
end of the 1400s
56
After 1450, what musical element was most important?
harmony
57
In the 1300s, compare French and Italian music
Italian music is simpler
58
Solage dates
late 1300s
59
Parisian chanson separated from NTL when?
late 1520s
60
When did the idea of an integrated mass first come into being
mid to late 1400s
61
Timeline for primary note values
pre 1550--semibreve pulse 1550-1600 semibreve pulse more subdivisions; 1580-1650 minim pulses more common, slower over-all beats
62
Which FF was more popular later in the period?
Rondeau
63
Major development of Middle Ages
Trend toward organized, measured rhythm; trend toward basing harmony on thirds, not perfect sounds; Reaching toward larger-scale forms/structures
64
What was the distinguishing feature of polyphony after 1450?
variety, not clarity
65
Mannered Notation
notation that reflects the meaning of text or music--heart shaped, unfilled notes for eyes, etc.
66
Rondeau Quatrain form
ABCDabABabcdABCD Capital = refrain, lower = strophe text; letters = music
67
Rondeau Cinquain form
ABCDEabcABCabcdeABCDE
68
Old Virelai
I; II; II (new text); I (new text); I (original text)
69
New Virelai
Bergerette
70
Bergerette
Virelai with one stanza
71
Ballade
3 stanzas, later 1 or 2; continuing scheme; ababcdE
72
Ballade Style
Vocal top line supported by subordinate, instrumental tenor and contratenor (applies to forms other than ballades, too)
73
canto di glosso
singing with embellishments
74
Migrant Cantus Firmus
Originally English style; use of CF in multiple voice parts, sometimes simultaneously
75
Gymel
temporarily dividing one voice part into two
76
Major prolation
triple subdivision (older style)
77
Minor prolation
duple subdivision
78
Tempus
beats
79
Tempu Perfectum
three beats
80
Tempus Imperfectum
two beats
81
Prolatio
subdivisions
82
Perfectum/Major
nine/eight
83
Perfectum/Minor
three/four
84
Imperfectum/Major
six/eight
85
Imprefectum/Minor
two/four
86
Tractulus
separators dot; clarified which notes were part of a group
87
Parole
textual stress of individual syllables
88
Contrafactum
the substitution of one text for another without substantial change to the music
89
Urtext
alters only the most glaring errors from the original manuscript
90
solmization
the process of assigning names to notes according to their position in a hexachord
91
hexachord
a scalar sequence of six notes whose intervallic arrangement is fixed
92
the gamut
repetition of hexachords to cover G2 to E5; "musica recta"
93
mutation
moving from one hexachord to another; only when absolutely necessary, and rarely between hard and soft hexachords
94
opposite of musica ficta; preferred over musica ficta
musica recta
95
molle
soft hexachord
96
causa necessitatis
perfect consonances
97
causa pulchritudinis
imperfect consonances
98
coniuncta
transposing recta hexachords to alien pitches or unaccustomed places
99
disiuncta
violent transition from one hexachord to another where no mutation is possible
100
faburden
improvised fauxbourdon
101
musica reservata
relaxing of certain harmonic rules for textual expressive purposes; private performances for "refined ears"; soft and discreet
102
musica comuna
harmonic rules trump textual expression; public places for "ordinary ears"
103
passaggi
ornamental runs and turns; originally improvisatory, but later written out
104
chitarrone
large, bass lute
105
diminuzioni
passaggi; ornamenting a solo song with diminution
106
Post-Tridentine
after the Council of Trent
107
Recover
follow a leap with a step in the opposite direction
108
Syncope dissonance
dissonance created by syncopation in one or more voices against non-syncopationin one or more voices; England, turn of 1400s
109
Franconian law "Ars cantus mensurabilis"
accented beats should be consonant (early Renaissance)
110
Substitution Masses
Loyset Compere--motets would replace certain Mass movements
111
alternatim practice
alternating polyphony with plainsong and/or organ music in a Mass setting
112
frottola
3 or 4 voices; upper voice melody; instrumental accompaniment?; abba ripresa and cdcdda stanza (or cdcddeea); related to ballata
113
chace (3)
early term for canon; began in France, spread elsewhere; used in motets
114
antiquated term for virelai
chanson balladee
115
virelai
refrain / couplet (new music, new text) / epilog (music of refrain with new text) / refrain
116
triplum
instrumental part above the cantus
117
contratenor (Machaut)
instrumental part below the cantus
118
tenor (Machaut)
instrumental part accompanying a single voice (cantus)
119
cantus (Machaut)
vocal solo line accompanied by an instrument (tenor)
120
madrigale
2 or 3 voice vocal songs of the 1300s in Italy
121
ritornello
returning section in contrasting rhythm
122
Subdivisions were also known as (2)
prolations or manners of performance
123
larger phrases aka "close"
clausula
124
note against note style; lower voice at same speed as upper part
discantus or discant
125
phrases in discant style
discant clausulae
126
Originally a processional, this became a generic term for all polyphonic music
conductus
127
Clausula became known as...
puntus organi (phrase organ point)
128
What word came to replace "duplum" as a voice part?
Motetus
129
Common Cadence early-middle Renaissance
Under-third
130
Common cadences of late Medieval/early Renaissance
Under third, Burgundian, Phrygian
131
TTLD over V-I, may include crossing parts with one leaping up an octave
Under-third
132
Two different but simultaneous leading tones (B and E to C and F in F)
Burgundian
133
Bass down by half step, treble up by whole step
Phrygian
134
Explain key signature discrepancies
Efficiency/unnecessary (due to notes in the part), not transposition
135
Chansonniers
large, ornate choir books
136
Odhecaton
first book of polyphonic music printed with movable type
137
discant settings
note-against-note harmonizations of a plainchant
138
chanson style
treble-dominated, ornamented
139
parody mass
includes more than one voice of the polyphonic model on which it is based
140
Carols (in the 1300s)
secular songs of a popular character; refrain with stanzas
141
talea
rhythmic pattern
142
color
pitch pattern
143
villanelle/villanesche (4)
pop songs for the masses; strophic; 3-parts; chordal
144
villotta/e
late 15th/early 16th century polyphonic arrangements of street songs and pop tunes
145
balletti
dance songs by Gastoldi
146
Tenorlieder
lied with melody first stated in the tenor
147
Meistersingers
amateur musicians modeled on medieval Minnesingers; strict rules, bar forms
148
villancico
courtly genre similar to frottola, but with freer rhythms; aB cd cd aB (B = same text and music)
149
romances
long, narrative poems of many strophes
150
ensalada (3)
through-composed; text painting; multiple sources of text in one composition
151
Eton Choirbook
English music, turn of 1500s, antiphons and magnificats
152
Sarum
English chants
153
anthem
polyphonic setting of a religious text in English; may also apply to texts in Latin
154
strambotti
poems in ottava rima; improvised music; self-accompanied on strings
155
ottava rima
Poetic rhyme scheme abababcc or abababab
156
lira da braccio
common chordal instrument for accompanying one's own singing
157
barzelletta
represa (four line refrain), six-line stanza, coda (AB+x)
158
odes
quatrains; classic poetry
159
capitoli
aba bcb cdc...
160
Simple tune, sacred, similar to folk/pop music
Laude
161
falsobordone
constant use of third and fifth (rather than third and sixth in fauxbourdon)
162
code-note
in SCA, it is a single note that absolutely requires musica ficta, and thus sends the entire composition down a road of chromaticism
163
Musica Nova
Willaert's collection of motets and madrigals
164
Characteristics of mid-Renaissance French Chanson
Mostly a3, some a4 (later); French text
165
Three forms of Rondeaux
quatrain, cinquain, sixain
166
Characteristics of early 15th C. Sacred Music
Opening upper-voice duo
167
Primary musical language of Medieval/Renaissance transition
French
168
What category of music was most important in the 14th century?
Secular music
169
What category of music was most important in the early 15th century?
Secular music
170
What was Dufay's most common form of chansons?
Rondeau
171
What compositional technique is noticeably absent from secular music in the early Renaissance?
Cantus Firmus
172
Describe the differences between English discant and Fauxbourdon
ED was originally improvisational, and is created by adding notes above the lowest part; FB was always written out, and built from the top voice down
173
How did FB affect other styles of music?
Composers sought to transfer its sonoroities to non-FB compositions
174
Formes fixes
rondeau, virelai, ballade
175
How did the Rondeau change over time?
Machaut--2 or 3 line refrains, later versions had 4 or 5 line refrains
176
Forerunner to bar form
Ballade
177
Five styles of Early Chansons
Treble dominated (ballade style); Conductus; Ballata; Motet; Polytextual
178
Conductus Style
Simultaneous movement, point against point
179
Ballata style
Vocal cantus and tenor, instrumental contratenor
180
Motet Style
free or imitating upper voices (canon?); influenced by caccia; less rhythmic tenor
181
Polytextual style
derived from motet
182
What music was banned by the church?
Texts about drink/drunkenness/erotic love; highly chromatic (especially with secular texts); nonsense syllables; irreverent quotations of chant
183
What was the intermiediate step between motets becoming a mass?
Complete mass settings as aggregates of individual motets
184
What was more important to early theorists regarding the mass?
Variety (varietas) over similarity/integration
185
How did the Enlightenment change the definition of the cyclic mass
placed greater value on tracing historic pedigree of cultural endeavors; launched the hunt for the beginning of the cyclic mass
186
Why did early historians value Josquin's motets more than his masses?
Motets did not use preexisting material
187
Problems with the term and celebration of CF Mass
Not typical of opinions/descriptions from the time; unnecessarily separates isorhythmic and CF masses; marginalizes many other mass styles that were praised at the time
188
Rules of canto di glosso
only at cadences; limited diminutions; penultimate syllables; sung on "o"; one voice at a time; applied equally to all voices
189
Old Hall Manuscript
largest MS of English music in early 15th C
190
Cantus Firmus use of plainchant in Old Hall MS
transposed; with elaboration; in multiple voices; sometimes simultaneously in multiple voices
191
Variety of musical styles in Old Hall MS
English conductus; Italian caccia Mass; Free treble style (Ballade Style) most common; Isorhythmic motets
192
Characteristics of Ars Nova
Systematic use of prepared dissonances; more complicated rhythms; unified Mass cycle; coloration
193
Methods of unifying Cyclic Masses
Motto/head motive (earlier); same CF in all movements (later)
194
Natural pairings in Mass movements
Gloria/Credo like psalmody; Agnus/Sanctus/Kyrie--three part texts
195
Cyclic CF Mass began where
England
196
Why did Renaissance musicians respect the cyclic Mass?
most beautiful/most artistic, therefore most worshipful, despite liturgical challenges
197
Ars subtilior
mostly secular; mannered notation; coloration
198
Conductus
Sacred, non-liturgical; may incorporate sacred or secular melodic fragments
199
Rondellus
interchange of text or musical elements; common to English music around turn of 14th century: ABCDEF; CABFDE; BCAEFD
200
basse-dance/bassadanza
meaning of name unclear; may relate to gliding dance steps (as opposed to leaping); combination of 6/4 and 3/2 time with hemiola
201
Rule of Three or Golden Rule
One thing is mentioned twice by two different numbers, a second thing is mentioned by only one number; solve for the missing proportion; relates to mensural and rhythmic proportions
202
General rules for text underlay
General meaning more important than local word stress; longer notes start syllables, shorter notes sustain syllables; err toward syllabic settings over melismatic ones; textual accent becomes indispensible in the mid 16th century
203
Issues for modern editors
beaming obscures original note groupings; original note values are too large; phrases rarely start on the beat;
204
Options for barring Ren. Music
no barlines; German Mensurstrich (barlines between staves); Full barlines with editorial explanation; Modern barlines with meter changes as needed
205
Types of Musica Ficta
Indispensible (necessary to avoid forbidden intervals) usually flat the second note, but sometimes sharp the first one; Essential accidentals (create leading-notes and final triads) mostly sharps
206
Why was Musica Ficta standardized
Publication allowed music to travel further than knowledge of local customs
207
3 hexachords
G (hard), C (natural), F (soft)
208
meant
treat the # note as mi (in D hexachord)
209
b meant
treat the b note as fa (in F hexachord)
210
CN: Mi contra fa
don't sing mi against fa on 5ths and 8ves
211
CN: Fa super la
when a melody goes a second past a hexachord and returns, the seventh note is fa without mutation and must be sung flat
212
causa pulchritudinis (rule)
perfect consonances should be approached by the nearest imperfect consonance
213
CP: Leading notes
The lower note should be sharpened
214
CP: Tierced e Picardie
If a third appears in the final chord, it must be major whenever possible
215
Musica Ficta in imitation
Imitation is more important than voice leading
216
chromatic clausula
two consecutive half-steps are rare, but sometimes necessary
217
Musica Ficta priority
melodic over harmonic
218
Reasons to abandon recta for ficta
if recta would require more extreme ficta elsewhere; if the composer's accidental explicitly requires ficta in another part; if the music has gone to ficta world and returning to recta would be too abrupt; if close imitation, sequencing, or repeated figure is involved
219
Key signature effect on recta
transposes what defines recta; Eb is recta in a part with a single Bb key signature just as Bb is recta in an unsignatured part
220
What was the effect of La Contenance Angloise on French traditions?
focused it from "too much variety"
221
CF Mass composition style was inspired by what?
Motets
222
What was the cultural edge during Binchois' time?
cultivated imitation; tenor with text; more thirds and sixths
223
Differences between musica reservata in Italy and the Netherlands
Italy = secular; NTL = sacred
224
musica reservata was prominent in what three centers
Germany, Netherlands, Italy
225
One facet of humanism and three results found in late Renaissance style...
fascination with music of the ancient world: experimentation, greater emphasis on the text, revival of monody
226
Musica secreta and musica privata gave rise to...
professional female singers
227
Professional female singers of the late Renaissance performed private chamber music called
musica secreta or musica privata
228
Typical characteristics of late Renaissance madrigals (3)
short motives; runs and trills; harmonic chaos
229
To Monteverdi, what is the difference between stile antico/prima prattica and seconda prattica?
PP--Harmony is in control of everything; SP--harmony is commanded by text
230
What is the purpose of triads in the 16th century?
Effect/sonority/color, not structure or progression
231
Gradualia
book by William Byrd, a Catholic mass out of order; "most important collection of Mass and Office Propers since Isaac's Choralis Constantinus"
232
Gesualdo's harmonies might best be compared to what 20th century technique?
klangfarbenmelodie--succession of sonorities, not a progression
233
In the late Renaissance, what eclipsed the chanson in Paris?
Lute songs
234
How do English madrigals compare to Italian ones?
Lighter and more jolly
235
Singular shared quality of late Renaissance music?
Diversity
236
Musical/cultural center of late Renaissance
Italy
237
Placement of Dissonances in Palestrina style
weak beats, no longer than one beat (minim), often in passing or ornamentation
238
What did Palestrina do after writing madrigals?
He later apologized for writing secular music.
239
Ars Antiqua
based on perfect sonorities
240
Difference between continent and England late 13th century
England thinks vertical, continent horizontal
241
Syncope dissonances always resolve in what direction?
Down
242
Three phases of dissonance
Secondary phenomenon (melodically induced accidental); primary phenomenon (deliberate contrast to consonance); Means of poetical expression
243
Melodic intervals common in Palestrina
M/m 2 and 3; P4, P5, m6 (asc); P8--mostly like plainsong
244
If a composition seems to be breaking rules of dissonance, how can you fix it?
Change the level of resolution--maybe the whole note is the beat, not the quarter or half note
245
Choralis Constantinus
Isaac's best-known work; 300+ polyphonic settings of Proper items
246
One possible influence on northern turn toward proper text declamation
Italian secular songs
247
Three types of motets during Josquin's time
liturgical texts, non-liturgical biblical texts, miscellaneous for prayers, poems, songs of praise, etc.
248
El grillo is what genre?
frottola
249
rondeau, virelai, and ballade poetry based on...
Trouvere poetry set to polyphony
250
Masses were cultivated where?
Cathedrals
251
Secular songs were cultivated where?
courts
252
"pure melody unencumbered by contrapuntal artifice" (in early 1300s)
Trouvere songs
253
chace later became known as
caccia
254
caccia is most associated with what time signature
six-eight
255
motet is a direct continuation of what genre?
conductus
256
Codex Montpellier
300 motets in groups
257
hocket struck certain medieval observers as
hopelessly ludicrous, unsuitable for sacred music
258
What technique led to the creation of canon
voice interchange
259
The first rhythmic mode
long-short
260
Three voices of conductus from bottom to top
tenor, duplum, triplum
261
Why did Conductus fall out of favor?
Not enough chant
262
What is special about the Parisian motet?
additional texts as commentary or reflection added to the upper voice (after 1200)
263
Motet was coined to describe
a piece of discant with French texts; later also applied to Latin texts
264
What fragmented European musical style over time
reactions to literary trends
265
Problem with the word "Renaissance"
came into being in the 19th century, and implies superiority over music of preceding periods
266
Best genre in which to study style changes between 1430 and 1600
Motets
267
What explains major differences between a composer's secular and sacred style?
Employers' wishes
268
Main outcomes of Council of Trent (3)
eliminate secular elements; limit florid polyphony in favor of text; correct accentuation of Latin
269
Why was SCA so short-lived?
Camouflage to escape the Orthodox, too ambiguous for the Reformers
270
Italian chromaticism vs. NTL chromaticism
Italian--secular only; NTL, some sacred
271
Evidence that a composer might be a reformationist
choice of texts
272
Extant music suggests what type of music was preferred by English composers in the early 1400s century
sacred
273
Telescoping and omitting text is common in what Mass movement?
Credo
274
Why is the OHM important?
Describes English choral music that then revolutionized music across the continent
275
What was the typical rhyme scheme of a traditional carol?
aaab
276
Most famous cathedral schools for music
Cambrai and Liege
277
Basic Rondeaux form
ABaAabAB (capital = same text and music, lower case = same music)
278
Italian ballete is most like what FF
virelai
279
According to madrigalists, music should do what?
intensify the poetry it sets
280
Parisian chansons characteristics (5)
humanist; text-centered; form; classical ideals
281
What influenced French motets and masses to be simpler, shorter, and declamatory in the 16th century?
Parisian Chanson
282
Parisian chanson is structured how?
S/T duet with bass line and filler alto
283
Spanish sacred sound early 1500s (3)
harmonic; S/B relationship; textually expressive
284
Differences between English and Italian music
English = restraint/balance; Italian = overwhelming expressivity
285
frottole based on what poems
barzelletta, strambottie, and others
286
frottole go with what rhythms
triple with hemiolas
287
Renaissance Italian sacred genre
Laude
288
Renaissance instrumental forms (6)
toccata, ricercar, canzona, variation, dance types
289
frottola based on
Burgundian songs
290
accidentals in NTL music of the 1500s symbolized what
suffering
291
What evidence makes NTL a perfect breeding ground for SCA?
history of puzzles in music; culture of religious censorship; double meanings in visual and textual arts
292
Important genre/technique after Josquin
parody
293
Parody mass conventions (3)
maintain order of original material; opening idea from motet begins each movement; final cadence of original ends each movement
294
Dufay was most modern in
Secular music
295
Ockeghem was most modern in
Sacred music
296
Set some of his own texts to music
Busnois
297
Known for small forms and attentionto detail
Busnois
298
Time signatures preferred by Dufay
Early: 6/8, later 3/4
299
Time signature preferred by Busnois
three-four
300
Which parts were most important in 3-voice Dufay chansons?
Superius and Tenor
301
Which part was the "filling in" part for Dufay?
Contratenor
302
Who wrote a polyphonic Requiem before Ockeghem?
Dufay (mentioned in his will, but no copies survive)
303
What early Renaissance composer is most known for his chansons?
Binchois
304
Which early Renaissance composer is most known for his versatility?
Dufay
305
Which FF did Machaut prefer?
Ballade
306
Tinctoris
Defines mass as a genre separate from motets; draws on Cicero
307
What is significant about music historian Baini
Palestrina advocate; first to see his predecessors as epochs headed by representitive genii
308
What is significant about music historian Keisewetter?
Highlights Ockeghem (and to a lesser extent, Dufay)
309
What is significant about music historian Brendel?
Invokes Hegelian Metaphysics--art is best after contacting divinity and returning to secular arenas to stand on its own (highlights value of the CF mass)
310
What is significant about music historian Ambros?
Highlights Josquin, equating him with Palestrina; cements "organic perfection" and "inner unity" as desirable qualities in masses
311
Who are the significant music historians who deal with the development of the cyclic mass?
Burney/Forkel, Baini, Keisewetter, Brendel, Ambros, Bukofzer
312
Dufay advanced Cyclic Mass how?
Using secular tunes for CF; sometimes using both mottos and CF
313
Known for isorhythmic motets
Dufay
314
First composer to link a pair of mass movements with a common CF in the tenor
Dunstable
315
If Dufay is perfection, who is the "rough edge of stylistic growth"?
Binchois
316
Ockeghem moves masses toward what style?
Chansons
317
Who was "the leader of his generation in songs"?
Busnois
318
Who built on Ockeghem's Chanson Mass concept?
Obrecht
319
Who connects the two styles of Dufay's composition?
Ockeghem
320
Claude Le Jeune known for...
musique mesuree--free of regular time signatures; dependent on rhythm of the text
321
What poets were favorites of the Virtuoso Madrigalists?
Petrarch, Ariosto, Sannazaro, Tasso, Guarini
322
Four top Virtuoso Madrigalists
de Wert, Marenzio, Gesualdo, Monteverdi
323
de Wert is similar to what composer
de Rore
324
de Wert known for... (5)
text expression; imitation; homophonic; diatonic and chromatic melodies; variety dictated by text
325
Marenzio known for... (7)
lyrical and pastoral; refined and elegant; earlier playful and sensuous; accessible to amateurs; prolific; famous in his lifetime; emphasis on flow and consistency
326
Marenzio late works known for... (3)
melancholy gravity (his own words); more chromatic; better continuity in structure
327
Gesualdo known for... (6)
Prince; murderer; eccentric; early conventional, later more chromatic/intense; fragmented by rests; harmonic surprises
328
Monteverdi known for... (5)
adding basso continuo accompaniment; small motives; written-out ornaments; unmeasured text rhythms; dissonance
329
Who does Monteverdi cite as the first exponent of seconda prattica?
Rore
330
Who coined the term, "triad" and when?
Zarlino (1558)
331
First Italian composer to compete successfully with the Northerners in serious music
Palestrina
332
Palestrina is known for... (4)
length and grace, but at the sacrifice of contrast and extremes; mostly stepwise; careful dissonance; gentle arches
333
Late Renaissance Composers who tend to modify imitation (2)
Willaert and Lasso
334
William Byrd known for...
more contrapuntal than Palestrina, forceful rhythms of Lasso, rich harmonies of Gombert
335
Known for Cori spezzati in madrigals
Andreas Gabrieli
336
Morely known for (NOT MADRIGALS)...
canzonette and ballet
337
English lute songs composed by
John Dowland
338
Best example composer of stile antico/prima prattica
Palestrina
339
di Lasso known for... (7)
stylistic diversity; textural supremacy; beginnings of modulation; musica reservata; later melancholy; secular songs; extremely prolific
340
Known for especially bawdy Chansons
di Lasso
341
Spanish composer who studied in Rome; composed as a hobby
Victoria
342
Victoria known for... (4)
secular techniques in sacred music; textual expression; poly choral; paraphrasing
343
Known for consort songs and metrical psalms
William Byrd; solo with instrument, builds on Dowland
344
The chief aim of Palestrina's style
Linear fluidity and elasticity
345
Palestrina dissonance is generally...
conjunct: passing, neighbor, cambiata, Portamento
346
Palestrina generally employs dissonance for...
musical purposes, not textual purposes
347
Agricola's melodic style
quick, nervous lines of short motives
348
Contemporaries of Josquin (5)
Agricola, Obrecht, Compere, De La Rue, Mouton
349
Agricola known for (6)
secular; chansons; formes fixes; melismas; imitation; motives
350
Obrecht known for (6)
conservative; parallel motion; motives; sequences; fast and slow lines at the same time; CF technique
351
Compere known for (4)
courtly music; lyric chansons; concise clear-cut phrases; syllabic
352
Compere contemporary of ____ and _____ where
Agricola and Josquin in Milan
353
Isaac best known work
Choralis Constantinus--300+ polyphonic settings of Proper items
354
Isaac wrote two types of Masses...
through-composed cycles and alternatim
355
Isaac most known for... (2)
secular chansons; motets
356
De La Rue known for (4)
somber; linear; changing textures; dark sonorities
357
Mouton known for
improper text declaration; full sonorities (all voices all the time); motets; variety of Mass styles
358
Josquin's best compositions...
motets
359
Principle genre of secular music during Josquin's time?
chansons
360
What was a common quotation source in Josquin's liturgical motets?
chant
361
Which composer was one of the first to set polyphonic psalms?
Josquin
362
Josquin most known for... (3)
Diversity; formal coherence; changes in texture
363
Josquin's motet compositional devices (6)
CF, paraphrase chant; no borrowed material; imitation; canons; interlocking sections
364
Josquin's mass types (3)
CF, paraphrase, canons
365
Perotin known for
vigor
366
Petrus de Cruce known for...
charming whimsy
367
Philippe de Vitry known for cultivating...
musica ficta and relationships between tenor and upper parts
368
Machaut masses known for (2)
simple declamatory style (Gloria/Credo); hocket and motet-style (other movements)
369
Machaut motets known for... (3)
twisted phrases and clouded chords; cross relations/dissonance; modal rhythms
370
Machaut transition from motet to accompanied song
polytext becomes single text with instrumental accompaniment; rhythmic patterns were eliminated; second instrument added
371
Landini known for what genre
ballata
372
Landini did what for Italian music?
made it more French
373
Solage composed most pieces in the...
Chantilly Codex
374
Solage connected to what compositional school
ars subtilior
375
Who suggested further subdivisions ca. 1260
Franco of Cologne
376
Who learned to control dissonance with no prior models?
Leonin
377
What was Calvin's effect on music?
restrictions
378
What was Luther's effect on music?
made it richer
379
Who created polyphonic arrangements of Lutheran tunes?
Johann Walter
380
Who is responsible for the Genevan Psalter?
Marot/deBeze texts with music by Franc/Bourgeois
381
Who set the Book of Common Prayer to chants and new monophonic music?
John Marbeck
382
NTL composer who uniquely wrote no music for the Roman Catholic Church
Waelrant
383
Dunstable known for... (2)
move toward controlled dissonance; insistence on full triads
384
What characterizes Ocheghem's form?
hidden structure
385
Dufay was more about ______, while Ockeghem was more about _____
harmonic planning; line and counterpoint
386
Ockeghem may have taught whom?
Josquin
387
Ockeghem worked where?
French court
388
Who wrote a lament on the death of Binchois?
Ockeghem
389
Binchois style
treble dominated, 6/3 chords
390
Busnois worked for what court?
Burgundian
391
Busnois is known for what genre?
chansons
392
Who composed the first Missa L'homme arme? (Perhaps)
Busnois
393
Who printed the Odhecaton?
Petrucci
394
Most represented composer in Old Hall Manuscript
Leonel Power
395
Composed the first known parody mass
Bedinham
396
Dunstaple most known for what type of music?
Sacred
397
Dunstaple motet characteristics
alternating treble-dominated trios and equal-voiced duets; isorhythm in all voice parts (not just the tenor)
398
Cadences for Dufay were not defined by pitch associations, but by...
voice leading patterns
399
Dufay taught at what music school?
Cambrai
400
Dufay met who in the Court of Savoy?
Binchois
401
Dufay motets characteristics (3)
isorhythmic; a4; slow-moving tenor, faster upper parts
402
Who made dissonance control popular?
Dufay
403
Best Burgundian composer?
Binchois
404
Binchois wrote mostly what kind of music?
sacred
405
Great composers of Parisian Chansons
Sermisy, Janequin
406
First native Italian madrigalist of value
Festa (died 1545)
407
Who made lieder internationally famous (2)
Lasso and Hassler
408
Spanish composers of sacred music around turn of 1500s (3)
Anchieta, Peñalosa, Escobar
409
Late Spanish composers of secular music (5)
Vasquez, Flecha, Rabal, Brudieu, Vila
410
Morales known for (4)
sacred music; variety of compositional techniques; drama; expression
411
Composer widely known in Spanish colonies
Guerrero
412
First English composers to adopt continental polyphonic style
Tallis and Byrd
413
Spem in alium
Thomas Tallis
414
Wrote balletti with more counterpoint
Morley
415
English composers of madrigals with more depth
Thomas Weelkes and John Wilbye
416
Patron in Mantua who incluenced Italian secular music by the texts she chose
Isabella d'Este
417
Petrucci worked in what city?
Venice
418
Florentine patron
Lorenzo de Medici
419
Biggest follower of Josquin
Mouton
420
Mouton known for what technique
canon
421
Composer who completely vocalized polyphony
Josquin
422
Two composers of Frottola
Cara and Tromboncino
423
First NTL composer to match the cultured sound of Chansons in madrigals
Verdelot
424
Credited with raising the madrigal to artistry level of Mouton's motets
Arcadelt
425
Gombert and Ockeghem known for (3)
dark sounds; thick polyphony; all tutti all the time
426
Greatest of post-Josquin composers
Clement (Clemens non Papa)
427
Clemens known for...
lots of imitation
428
Willaert known for...
canon
429
Rore studied with
Willaert
430
Willaert most known for what genre
Italian madrigal
431
Willaert studied with
Mouton
432
SCA composers
Willaert, Clemens
433
Clemens known for... (4)
conservative/radical (depending on SCA); sensitive text; imitation; repetition
