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Quals > Renaissance Study Guide > Flashcards

Renaissance Study Guide Flashcards

1
Q

When was the word Madrigal first used in print?

A

1530

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2
Q

When did black-note notation and common time become standard?

A

1540

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3
Q

Antoine Busnois

A

1430-1492

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4
Q

Gilles Binchois

A

1400-1460

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5
Q

Philippe de Vitry dates

A

1291-1361

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6
Q

Guillaume de Machaut dates

A

1300-1377

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7
Q

Trecento

A

1300s; Florence

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8
Q

Francesco Landini dates

A

1335-1397

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9
Q

John Dunstaple dates

A

1390-1453

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10
Q

Quattrocento

A

1400s; Venice

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11
Q

Johannes Tinctoris dates

A

1435-1511

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12
Q

Agricola Dates

A

1446-1506

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13
Q

Compere Dates

A

1450-1518

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14
Q

Josquin dates

A

1450-1521

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15
Q

Obrecht Dates

A

1457-1505

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16
Q

Mouton Dates

A

1459-1522

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17
Q

De La Rue Dates

A

1460-1518

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18
Q

Janequin dates

A

1485-1560

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19
Q

Sermisy dates

A

1490-1544

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20
Q

Adrian Willaert dates

A

1490-1562

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21
Q

Hans Sachs dates

A

1494-1576

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22
Q

John Taverner dates

A

1495-1545

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23
Q

Cristobal de Morales dates

A

1500-1553

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24
Q

Nicholas Gombert dates

A

1500-1556

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25
Q

Thomas Tallis dates

A

1505-1585

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26
Q

Clemens non Papa dates

A

1510-1556

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27
Q

Rore (dates)

A

1516-1565

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28
Q

Giovanni Pierluigi da Palestrina Dates

A

1525-1594

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29
Q

Claude Le Jeune dates

A

1525-1600

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30
Q

Francisco Guerrero dates

A

1527-1599

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31
Q

Madrigals made it to England around when?

A

1530s

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32
Q

Orlando di Lasso dates

A

1532-1594

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33
Q

Andreas Gabrilie dates

A

1533-1585 Venice

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34
Q

Giaches de Wert dates

A

1535-1596

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35
Q

William Byrd’s dates

A

1540-1623

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36
Q

Tomas Luis de Victoria dates

A

1548-1611

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37
Q

Orazio Vecchi dates/location

A

1550-1605 Rome

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38
Q

Luca Marenzio dates

A

1553-1599

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39
Q

Giovanni Gabrieli dates

A

1556-1612 Venice

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40
Q

Thomas Morley dates

A

1557-1603

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41
Q

Carlo Gesualdo dates

A

1560-1613

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42
Q

Claudio Monteverdi dates

A

1567-1643

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43
Q

John Wilbye dates

A

1574-1638

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44
Q

Thomas Weelkes dates

A

1575-1623

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45
Q

Catholic censorship was at its height when?

A

16th century

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46
Q

Difference in major and minor becomes clear when?

A

16th century

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47
Q

polyphony came into style when?

A

after 1150

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48
Q

When does the Mass begin to become a more important musical form?

A

After 1450

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49
Q

When did composers begin varying texture for textual emphasis?

A

after 1450

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50
Q

Most important court, mid 1400s

A

Burgundy

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51
Q

When were rhythmic modes codified?

A

ca 1250

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52
Q

Motives as compositional tools introduced when?

A

ca. 1500

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53
Q

What element of music first begins to become more important after 1450?

A

changes in texture

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54
Q

Oldest example of fauxbourdon

A

Dufay’s Missa Sancti Jacobi

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55
Q

When did English and continental style achieve blend?

A

end of the 1400s

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56
Q

After 1450, what musical element was most important?

A

harmony

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57
Q

In the 1300s, compare French and Italian music

A

Italian music is simpler

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58
Q

Solage dates

A

late 1300s

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59
Q

Parisian chanson separated from NTL when?

A

late 1520s

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60
Q

When did the idea of an integrated mass first come into being

A

mid to late 1400s

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61
Q

Timeline for primary note values

A

pre 1550–semibreve pulse 1550-1600 semibreve pulse more subdivisions; 1580-1650 minim pulses more common, slower over-all beats

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62
Q

Which FF was more popular later in the period?

A

Rondeau

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63
Q

Major development of Middle Ages

A

Trend toward organized, measured rhythm; trend toward basing harmony on thirds, not perfect sounds; Reaching toward larger-scale forms/structures

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64
Q

What was the distinguishing feature of polyphony after 1450?

A

variety, not clarity

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65
Q

Mannered Notation

A

notation that reflects the meaning of text or music–heart shaped, unfilled notes for eyes, etc.

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66
Q

Rondeau Quatrain form

A

ABCDabABabcdABCD Capital = refrain, lower = strophe text; letters = music

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67
Q

Rondeau Cinquain form

A

ABCDEabcABCabcdeABCDE

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68
Q

Old Virelai

A

I; II; II (new text); I (new text); I (original text)

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69
Q

New Virelai

A

Bergerette

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70
Q

Bergerette

A

Virelai with one stanza

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71
Q

Ballade

A

3 stanzas, later 1 or 2; continuing scheme; ababcdE

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72
Q

Ballade Style

A

Vocal top line supported by subordinate, instrumental tenor and contratenor (applies to forms other than ballades, too)

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73
Q

canto di glosso

A

singing with embellishments

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74
Q

Migrant Cantus Firmus

A

Originally English style; use of CF in multiple voice parts, sometimes simultaneously

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75
Q

Gymel

A

temporarily dividing one voice part into two

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76
Q

Major prolation

A

triple subdivision (older style)

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77
Q

Minor prolation

A

duple subdivision

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78
Q

Tempus

A

beats

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79
Q

Tempu Perfectum

A

three beats

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80
Q

Tempus Imperfectum

A

two beats

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81
Q

Prolatio

A

subdivisions

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82
Q

Perfectum/Major

A

nine/eight

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83
Q

Perfectum/Minor

A

three/four

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84
Q

Imperfectum/Major

A

six/eight

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85
Q

Imprefectum/Minor

A

two/four

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86
Q

Tractulus

A

separators dot; clarified which notes were part of a group

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87
Q

Parole

A

textual stress of individual syllables

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88
Q

Contrafactum

A

the substitution of one text for another without substantial change to the music

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89
Q

Urtext

A

alters only the most glaring errors from the original manuscript

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90
Q

solmization

A

the process of assigning names to notes according to their position in a hexachord

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91
Q

hexachord

A

a scalar sequence of six notes whose intervallic arrangement is fixed

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92
Q

the gamut

A

repetition of hexachords to cover G2 to E5; “musica recta”

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93
Q

mutation

A

moving from one hexachord to another; only when absolutely necessary, and rarely between hard and soft hexachords

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94
Q

opposite of musica ficta; preferred over musica ficta

A

musica recta

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95
Q

molle

A

soft hexachord

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96
Q

causa necessitatis

A

perfect consonances

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97
Q

causa pulchritudinis

A

imperfect consonances

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98
Q

coniuncta

A

transposing recta hexachords to alien pitches or unaccustomed places

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99
Q

disiuncta

A

violent transition from one hexachord to another where no mutation is possible

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100
Q

faburden

A

improvised fauxbourdon

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101
Q

musica reservata

A

relaxing of certain harmonic rules for textual expressive purposes; private performances for “refined ears”; soft and discreet

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102
Q

musica comuna

A

harmonic rules trump textual expression; public places for “ordinary ears”

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103
Q

passaggi

A

ornamental runs and turns; originally improvisatory, but later written out

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104
Q

chitarrone

A

large, bass lute

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105
Q

diminuzioni

A

passaggi; ornamenting a solo song with diminution

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106
Q

Post-Tridentine

A

after the Council of Trent

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107
Q

Recover

A

follow a leap with a step in the opposite direction

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108
Q

Syncope dissonance

A

dissonance created by syncopation in one or more voices against non-syncopationin one or more voices; England, turn of 1400s

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109
Q

Franconian law “Ars cantus mensurabilis”

A

accented beats should be consonant (early Renaissance)

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110
Q

Substitution Masses

A

Loyset Compere–motets would replace certain Mass movements

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111
Q

alternatim practice

A

alternating polyphony with plainsong and/or organ music in a Mass setting

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112
Q

frottola

A

3 or 4 voices; upper voice melody; instrumental accompaniment?; abba ripresa and cdcdda stanza (or cdcddeea); related to ballata

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113
Q

chace (3)

A

early term for canon; began in France, spread elsewhere; used in motets

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114
Q

antiquated term for virelai

A

chanson balladee

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115
Q

virelai

A

refrain / couplet (new music, new text) / epilog (music of refrain with new text) / refrain

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116
Q

triplum

A

instrumental part above the cantus

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117
Q

contratenor (Machaut)

A

instrumental part below the cantus

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118
Q

tenor (Machaut)

A

instrumental part accompanying a single voice (cantus)

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119
Q

cantus (Machaut)

A

vocal solo line accompanied by an instrument (tenor)

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120
Q

madrigale

A

2 or 3 voice vocal songs of the 1300s in Italy

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121
Q

ritornello

A

returning section in contrasting rhythm

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122
Q

Subdivisions were also known as (2)

A

prolations or manners of performance

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123
Q

larger phrases aka “close”

A

clausula

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124
Q

note against note style; lower voice at same speed as upper part

A

discantus or discant

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125
Q

phrases in discant style

A

discant clausulae

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126
Q

Originally a processional, this became a generic term for all polyphonic music

A

conductus

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127
Q

Clausula became known as…

A

puntus organi (phrase organ point)

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128
Q

What word came to replace “duplum” as a voice part?

A

Motetus

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129
Q

Common Cadence early-middle Renaissance

A

Under-third

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130
Q

Common cadences of late Medieval/early Renaissance

A

Under third, Burgundian, Phrygian

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131
Q

TTLD over V-I, may include crossing parts with one leaping up an octave

A

Under-third

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132
Q

Two different but simultaneous leading tones (B and E to C and F in F)

A

Burgundian

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133
Q

Bass down by half step, treble up by whole step

A

Phrygian

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134
Q

Explain key signature discrepancies

A

Efficiency/unnecessary (due to notes in the part), not transposition

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135
Q

Chansonniers

A

large, ornate choir books

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136
Q

Odhecaton

A

first book of polyphonic music printed with movable type

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137
Q

discant settings

A

note-against-note harmonizations of a plainchant

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138
Q

chanson style

A

treble-dominated, ornamented

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139
Q

parody mass

A

includes more than one voice of the polyphonic model on which it is based

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140
Q

Carols (in the 1300s)

A

secular songs of a popular character; refrain with stanzas

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141
Q

talea

A

rhythmic pattern

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142
Q

color

A

pitch pattern

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143
Q

villanelle/villanesche (4)

A

pop songs for the masses; strophic; 3-parts; chordal

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144
Q

villotta/e

A

late 15th/early 16th century polyphonic arrangements of street songs and pop tunes

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145
Q

balletti

A

dance songs by Gastoldi

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146
Q

Tenorlieder

A

lied with melody first stated in the tenor

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147
Q

Meistersingers

A

amateur musicians modeled on medieval Minnesingers; strict rules, bar forms

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148
Q

villancico

A

courtly genre similar to frottola, but with freer rhythms; aB cd cd aB (B = same text and music)

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149
Q

romances

A

long, narrative poems of many strophes

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150
Q

ensalada (3)

A

through-composed; text painting; multiple sources of text in one composition

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151
Q

Eton Choirbook

A

English music, turn of 1500s, antiphons and magnificats

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152
Q

Sarum

A

English chants

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153
Q

anthem

A

polyphonic setting of a religious text in English; may also apply to texts in Latin

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154
Q

strambotti

A

poems in ottava rima; improvised music; self-accompanied on strings

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155
Q

ottava rima

A

Poetic rhyme scheme abababcc or abababab

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156
Q

lira da braccio

A

common chordal instrument for accompanying one’s own singing

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157
Q

barzelletta

A

represa (four line refrain), six-line stanza, coda (AB+x)

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158
Q

odes

A

quatrains; classic poetry

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159
Q

capitoli

A

aba bcb cdc…

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160
Q

Simple tune, sacred, similar to folk/pop music

A

Laude

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161
Q

falsobordone

A

constant use of third and fifth (rather than third and sixth in fauxbourdon)

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162
Q

code-note

A

in SCA, it is a single note that absolutely requires musica ficta, and thus sends the entire composition down a road of chromaticism

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163
Q

Musica Nova

A

Willaert’s collection of motets and madrigals

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164
Q

Characteristics of mid-Renaissance French Chanson

A

Mostly a3, some a4 (later); French text

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165
Q

Three forms of Rondeaux

A

quatrain, cinquain, sixain

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166
Q

Characteristics of early 15th C. Sacred Music

A

Opening upper-voice duo

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167
Q

Primary musical language of Medieval/Renaissance transition

A

French

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168
Q

What category of music was most important in the 14th century?

A

Secular music

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169
Q

What category of music was most important in the early 15th century?

A

Secular music

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170
Q

What was Dufay’s most common form of chansons?

A

Rondeau

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171
Q

What compositional technique is noticeably absent from secular music in the early Renaissance?

A

Cantus Firmus

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172
Q

Describe the differences between English discant and Fauxbourdon

A

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

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173
Q

How did FB affect other styles of music?

A

Composers sought to transfer its sonoroities to non-FB compositions

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174
Q

Formes fixes

A

rondeau, virelai, ballade

175
Q

How did the Rondeau change over time?

A

Machaut–2 or 3 line refrains, later versions had 4 or 5 line refrains

176
Q

Forerunner to bar form

A

Ballade

177
Q

Five styles of Early Chansons

A

Treble dominated (ballade style); Conductus; Ballata; Motet; Polytextual

178
Q

Conductus Style

A

Simultaneous movement, point against point

179
Q

Ballata style

A

Vocal cantus and tenor, instrumental contratenor

180
Q

Motet Style

A

free or imitating upper voices (canon?); influenced by caccia; less rhythmic tenor

181
Q

Polytextual style

A

derived from motet

182
Q

What music was banned by the church?

A

Texts about drink/drunkenness/erotic love; highly chromatic (especially with secular texts); nonsense syllables; irreverent quotations of chant

183
Q

What was the intermiediate step between motets becoming a mass?

A

Complete mass settings as aggregates of individual motets

184
Q

What was more important to early theorists regarding the mass?

A

Variety (varietas) over similarity/integration

185
Q

How did the Enlightenment change the definition of the cyclic mass

A

placed greater value on tracing historic pedigree of cultural endeavors; launched the hunt for the beginning of the cyclic mass

186
Q

Why did early historians value Josquin’s motets more than his masses?

A

Motets did not use preexisting material

187
Q

Problems with the term and celebration of CF Mass

A

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
Q

Rules of canto di glosso

A

only at cadences; limited diminutions; penultimate syllables; sung on “o”; one voice at a time; applied equally to all voices

189
Q

Old Hall Manuscript

A

largest MS of English music in early 15th C

190
Q

Cantus Firmus use of plainchant in Old Hall MS

A

transposed; with elaboration; in multiple voices; sometimes simultaneously in multiple voices

191
Q

Variety of musical styles in Old Hall MS

A

English conductus; Italian caccia Mass; Free treble style (Ballade Style) most common; Isorhythmic motets

192
Q

Characteristics of Ars Nova

A

Systematic use of prepared dissonances; more complicated rhythms; unified Mass cycle; coloration

193
Q

Methods of unifying Cyclic Masses

A

Motto/head motive (earlier); same CF in all movements (later)

194
Q

Natural pairings in Mass movements

A

Gloria/Credo like psalmody; Agnus/Sanctus/Kyrie–three part texts

195
Q

Cyclic CF Mass began where

A

England

196
Q

Why did Renaissance musicians respect the cyclic Mass?

A

most beautiful/most artistic, therefore most worshipful, despite liturgical challenges

197
Q

Ars subtilior

A

mostly secular; mannered notation; coloration

198
Q

Conductus

A

Sacred, non-liturgical; may incorporate sacred or secular melodic fragments

199
Q

Rondellus

A

interchange of text or musical elements; common to English music around turn of 14th century: ABCDEF; CABFDE; BCAEFD

200
Q

basse-dance/bassadanza

A

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
Q

Rule of Three or Golden Rule

A

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
Q

General rules for text underlay

A

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
Q

Issues for modern editors

A

beaming obscures original note groupings; original note values are too large; phrases rarely start on the beat;

204
Q

Options for barring Ren. Music

A

no barlines; German Mensurstrich (barlines between staves); Full barlines with editorial explanation; Modern barlines with meter changes as needed

205
Q

Types of Musica Ficta

A

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
Q

Why was Musica Ficta standardized

A

Publication allowed music to travel further than knowledge of local customs

207
Q

3 hexachords

A

G (hard), C (natural), F (soft)

208
Q

meant

A

treat the # note as mi (in D hexachord)

209
Q

b meant

A

treat the b note as fa (in F hexachord)

210
Q

CN: Mi contra fa

A

don’t sing mi against fa on 5ths and 8ves

211
Q

CN: Fa super la

A

when a melody goes a second past a hexachord and returns, the seventh note is fa without mutation and must be sung flat

212
Q

causa pulchritudinis (rule)

A

perfect consonances should be approached by the nearest imperfect consonance

213
Q

CP: Leading notes

A

The lower note should be sharpened

214
Q

CP: Tierced e Picardie

A

If a third appears in the final chord, it must be major whenever possible

215
Q

Musica Ficta in imitation

A

Imitation is more important than voice leading

216
Q

chromatic clausula

A

two consecutive half-steps are rare, but sometimes necessary

217
Q

Musica Ficta priority

A

melodic over harmonic

218
Q

Reasons to abandon recta for ficta

A

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
Q

Key signature effect on recta

A

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
Q

What was the effect of La Contenance Angloise on French traditions?

A

focused it from “too much variety”

221
Q

CF Mass composition style was inspired by what?

A

Motets

222
Q

What was the cultural edge during Binchois’ time?

A

cultivated imitation; tenor with text; more thirds and sixths

223
Q

Differences between musica reservata in Italy and the Netherlands

A

Italy = secular; NTL = sacred

224
Q

musica reservata was prominent in what three centers

A

Germany, Netherlands, Italy

225
Q

One facet of humanism and three results found in late Renaissance style…

A

fascination with music of the ancient world: experimentation, greater emphasis on the text, revival of monody

226
Q

Musica secreta and musica privata gave rise to…

A

professional female singers

227
Q

Professional female singers of the late Renaissance performed private chamber music called

A

musica secreta or musica privata

228
Q

Typical characteristics of late Renaissance madrigals (3)

A

short motives; runs and trills; harmonic chaos

229
Q

To Monteverdi, what is the difference between stile antico/prima prattica and seconda prattica?

A

PP–Harmony is in control of everything; SP–harmony is commanded by text

230
Q

What is the purpose of triads in the 16th century?

A

Effect/sonority/color, not structure or progression

231
Q

Gradualia

A

book by William Byrd, a Catholic mass out of order; “most important collection of Mass and Office Propers since Isaac’s Choralis Constantinus”

232
Q

Gesualdo’s harmonies might best be compared to what 20th century technique?

A

klangfarbenmelodie–succession of sonorities, not a progression

233
Q

In the late Renaissance, what eclipsed the chanson in Paris?

A

Lute songs

234
Q

How do English madrigals compare to Italian ones?

A

Lighter and more jolly

235
Q

Singular shared quality of late Renaissance music?

A

Diversity

236
Q

Musical/cultural center of late Renaissance

A

Italy

237
Q

Placement of Dissonances in Palestrina style

A

weak beats, no longer than one beat (minim), often in passing or ornamentation

238
Q

What did Palestrina do after writing madrigals?

A

He later apologized for writing secular music.

239
Q

Ars Antiqua

A

based on perfect sonorities

240
Q

Difference between continent and England late 13th century

A

England thinks vertical, continent horizontal

241
Q

Syncope dissonances always resolve in what direction?

A

Down

242
Q

Three phases of dissonance

A

Secondary phenomenon (melodically induced accidental); primary phenomenon (deliberate contrast to consonance); Means of poetical expression

243
Q

Melodic intervals common in Palestrina

A

M/m 2 and 3; P4, P5, m6 (asc); P8–mostly like plainsong

244
Q

If a composition seems to be breaking rules of dissonance, how can you fix it?

A

Change the level of resolution–maybe the whole note is the beat, not the quarter or half note

245
Q

Choralis Constantinus

A

Isaac’s best-known work; 300+ polyphonic settings of Proper items

246
Q

One possible influence on northern turn toward proper text declamation

A

Italian secular songs

247
Q

Three types of motets during Josquin’s time

A

liturgical texts, non-liturgical biblical texts, miscellaneous for prayers, poems, songs of praise, etc.

248
Q

El grillo is what genre?

A

frottola

249
Q

rondeau, virelai, and ballade poetry based on…

A

Trouvere poetry set to polyphony

250
Q

Masses were cultivated where?

A

Cathedrals

251
Q

Secular songs were cultivated where?

A

courts

252
Q

“pure melody unencumbered by contrapuntal artifice” (in early 1300s)

A

Trouvere songs

253
Q

chace later became known as

A

caccia

254
Q

caccia is most associated with what time signature

A

six-eight

255
Q

motet is a direct continuation of what genre?

A

conductus

256
Q

Codex Montpellier

A

300 motets in groups

257
Q

hocket struck certain medieval observers as

A

hopelessly ludicrous, unsuitable for sacred music

258
Q

What technique led to the creation of canon

A

voice interchange

259
Q

The first rhythmic mode

A

long-short

260
Q

Three voices of conductus from bottom to top

A

tenor, duplum, triplum

261
Q

Why did Conductus fall out of favor?

A

Not enough chant

262
Q

What is special about the Parisian motet?

A

additional texts as commentary or reflection added to the upper voice (after 1200)

263
Q

Motet was coined to describe

A

a piece of discant with French texts; later also applied to Latin texts

264
Q

What fragmented European musical style over time

A

reactions to literary trends

265
Q

Problem with the word “Renaissance”

A

came into being in the 19th century, and implies superiority over music of preceding periods

266
Q

Best genre in which to study style changes between 1430 and 1600

A

Motets

267
Q

What explains major differences between a composer’s secular and sacred style?

A

Employers’ wishes

268
Q

Main outcomes of Council of Trent (3)

A

eliminate secular elements; limit florid polyphony in favor of text; correct accentuation of Latin

269
Q

Why was SCA so short-lived?

A

Camouflage to escape the Orthodox, too ambiguous for the Reformers

270
Q

Italian chromaticism vs. NTL chromaticism

A

Italian–secular only; NTL, some sacred

271
Q

Evidence that a composer might be a reformationist

A

choice of texts

272
Q

Extant music suggests what type of music was preferred by English composers in the early 1400s century

A

sacred

273
Q

Telescoping and omitting text is common in what Mass movement?

A

Credo

274
Q

Why is the OHM important?

A

Describes English choral music that then revolutionized music across the continent

275
Q

What was the typical rhyme scheme of a traditional carol?

A

aaab

276
Q

Most famous cathedral schools for music

A

Cambrai and Liege

277
Q

Basic Rondeaux form

A

ABaAabAB (capital = same text and music, lower case = same music)

278
Q

Italian ballete is most like what FF

A

virelai

279
Q

According to madrigalists, music should do what?

A

intensify the poetry it sets

280
Q

Parisian chansons characteristics (5)

A

humanist; text-centered; form; classical ideals

281
Q

What influenced French motets and masses to be simpler, shorter, and declamatory in the 16th century?

A

Parisian Chanson

282
Q

Parisian chanson is structured how?

A

S/T duet with bass line and filler alto

283
Q

Spanish sacred sound early 1500s (3)

A

harmonic; S/B relationship; textually expressive

284
Q

Differences between English and Italian music

A

English = restraint/balance; Italian = overwhelming expressivity

285
Q

frottole based on what poems

A

barzelletta, strambottie, and others

286
Q

frottole go with what rhythms

A

triple with hemiolas

287
Q

Renaissance Italian sacred genre

A

Laude

288
Q

Renaissance instrumental forms (6)

A

toccata, ricercar, canzona, variation, dance types

289
Q

frottola based on

A

Burgundian songs

290
Q

accidentals in NTL music of the 1500s symbolized what

A

suffering

291
Q

What evidence makes NTL a perfect breeding ground for SCA?

A

history of puzzles in music; culture of religious censorship; double meanings in visual and textual arts

292
Q

Important genre/technique after Josquin

A

parody

293
Q

Parody mass conventions (3)

A

maintain order of original material; opening idea from motet begins each movement; final cadence of original ends each movement

294
Q

Dufay was most modern in

A

Secular music

295
Q

Ockeghem was most modern in

A

Sacred music

296
Q

Set some of his own texts to music

A

Busnois

297
Q

Known for small forms and attentionto detail

A

Busnois

298
Q

Time signatures preferred by Dufay

A

Early: 6/8, later 3/4

299
Q

Time signature preferred by Busnois

A

three-four

300
Q

Which parts were most important in 3-voice Dufay chansons?

A

Superius and Tenor

301
Q

Which part was the “filling in” part for Dufay?

A

Contratenor

302
Q

Who wrote a polyphonic Requiem before Ockeghem?

A

Dufay (mentioned in his will, but no copies survive)

303
Q

What early Renaissance composer is most known for his chansons?

A

Binchois

304
Q

Which early Renaissance composer is most known for his versatility?

A

Dufay

305
Q

Which FF did Machaut prefer?

A

Ballade

306
Q

Tinctoris

A

Defines mass as a genre separate from motets; draws on Cicero

307
Q

What is significant about music historian Baini

A

Palestrina advocate; first to see his predecessors as epochs headed by representitive genii

308
Q

What is significant about music historian Keisewetter?

A

Highlights Ockeghem (and to a lesser extent, Dufay)

309
Q

What is significant about music historian Brendel?

A

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
Q

What is significant about music historian Ambros?

A

Highlights Josquin, equating him with Palestrina; cements “organic perfection” and “inner unity” as desirable qualities in masses

311
Q

Who are the significant music historians who deal with the development of the cyclic mass?

A

Burney/Forkel, Baini, Keisewetter, Brendel, Ambros, Bukofzer

312
Q

Dufay advanced Cyclic Mass how?

A

Using secular tunes for CF; sometimes using both mottos and CF

313
Q

Known for isorhythmic motets

A

Dufay

314
Q

First composer to link a pair of mass movements with a common CF in the tenor

A

Dunstable

315
Q

If Dufay is perfection, who is the “rough edge of stylistic growth”?

A

Binchois

316
Q

Ockeghem moves masses toward what style?

A

Chansons

317
Q

Who was “the leader of his generation in songs”?

A

Busnois

318
Q

Who built on Ockeghem’s Chanson Mass concept?

A

Obrecht

319
Q

Who connects the two styles of Dufay’s composition?

A

Ockeghem

320
Q

Claude Le Jeune known for…

A

musique mesuree–free of regular time signatures; dependent on rhythm of the text

321
Q

What poets were favorites of the Virtuoso Madrigalists?

A

Petrarch, Ariosto, Sannazaro, Tasso, Guarini

322
Q

Four top Virtuoso Madrigalists

A

de Wert, Marenzio, Gesualdo, Monteverdi

323
Q

de Wert is similar to what composer

A

de Rore

324
Q

de Wert known for… (5)

A

text expression; imitation; homophonic; diatonic and chromatic melodies; variety dictated by text

325
Q

Marenzio known for… (7)

A

lyrical and pastoral; refined and elegant; earlier playful and sensuous; accessible to amateurs; prolific; famous in his lifetime; emphasis on flow and consistency

326
Q

Marenzio late works known for… (3)

A

melancholy gravity (his own words); more chromatic; better continuity in structure

327
Q

Gesualdo known for… (6)

A

Prince; murderer; eccentric; early conventional, later more chromatic/intense; fragmented by rests; harmonic surprises

328
Q

Monteverdi known for… (5)

A

adding basso continuo accompaniment; small motives; written-out ornaments; unmeasured text rhythms; dissonance

329
Q

Who does Monteverdi cite as the first exponent of seconda prattica?

A

Rore

330
Q

Who coined the term, “triad” and when?

A

Zarlino (1558)

331
Q

First Italian composer to compete successfully with the Northerners in serious music

A

Palestrina

332
Q

Palestrina is known for… (4)

A

length and grace, but at the sacrifice of contrast and extremes; mostly stepwise; careful dissonance; gentle arches

333
Q

Late Renaissance Composers who tend to modify imitation (2)

A

Willaert and Lasso

334
Q

William Byrd known for…

A

more contrapuntal than Palestrina, forceful rhythms of Lasso, rich harmonies of Gombert

335
Q

Known for Cori spezzati in madrigals

A

Andreas Gabrieli

336
Q

Morely known for (NOT MADRIGALS)…

A

canzonette and ballet

337
Q

English lute songs composed by

A

John Dowland

338
Q

Best example composer of stile antico/prima prattica

A

Palestrina

339
Q

di Lasso known for… (7)

A

stylistic diversity; textural supremacy; beginnings of modulation; musica reservata; later melancholy; secular songs; extremely prolific

340
Q

Known for especially bawdy Chansons

A

di Lasso

341
Q

Spanish composer who studied in Rome; composed as a hobby

A

Victoria

342
Q

Victoria known for… (4)

A

secular techniques in sacred music; textual expression; poly choral; paraphrasing

343
Q

Known for consort songs and metrical psalms

A

William Byrd; solo with instrument, builds on Dowland

344
Q

The chief aim of Palestrina’s style

A

Linear fluidity and elasticity

345
Q

Palestrina dissonance is generally…

A

conjunct: passing, neighbor, cambiata, Portamento

346
Q

Palestrina generally employs dissonance for…

A

musical purposes, not textual purposes

347
Q

Agricola’s melodic style

A

quick, nervous lines of short motives

348
Q

Contemporaries of Josquin (5)

A

Agricola, Obrecht, Compere, De La Rue, Mouton

349
Q

Agricola known for (6)

A

secular; chansons; formes fixes; melismas; imitation; motives

350
Q

Obrecht known for (6)

A

conservative; parallel motion; motives; sequences; fast and slow lines at the same time; CF technique

351
Q

Compere known for (4)

A

courtly music; lyric chansons; concise clear-cut phrases; syllabic

352
Q

Compere contemporary of ____ and _____ where

A

Agricola and Josquin in Milan

353
Q

Isaac best known work

A

Choralis Constantinus–300+ polyphonic settings of Proper items

354
Q

Isaac wrote two types of Masses…

A

through-composed cycles and alternatim

355
Q

Isaac most known for… (2)

A

secular chansons; motets

356
Q

De La Rue known for (4)

A

somber; linear; changing textures; dark sonorities

357
Q

Mouton known for

A

improper text declaration; full sonorities (all voices all the time); motets; variety of Mass styles

358
Q

Josquin’s best compositions…

A

motets

359
Q

Principle genre of secular music during Josquin’s time?

A

chansons

360
Q

What was a common quotation source in Josquin’s liturgical motets?

A

chant

361
Q

Which composer was one of the first to set polyphonic psalms?

A

Josquin

362
Q

Josquin most known for… (3)

A

Diversity; formal coherence; changes in texture

363
Q

Josquin’s motet compositional devices (6)

A

CF, paraphrase chant; no borrowed material; imitation; canons; interlocking sections

364
Q

Josquin’s mass types (3)

A

CF, paraphrase, canons

365
Q

Perotin known for

A

vigor

366
Q

Petrus de Cruce known for…

A

charming whimsy

367
Q

Philippe de Vitry known for cultivating…

A

musica ficta and relationships between tenor and upper parts

368
Q

Machaut masses known for (2)

A

simple declamatory style (Gloria/Credo); hocket and motet-style (other movements)

369
Q

Machaut motets known for… (3)

A

twisted phrases and clouded chords; cross relations/dissonance; modal rhythms

370
Q

Machaut transition from motet to accompanied song

A

polytext becomes single text with instrumental accompaniment; rhythmic patterns were eliminated; second instrument added

371
Q

Landini known for what genre

A

ballata

372
Q

Landini did what for Italian music?

A

made it more French

373
Q

Solage composed most pieces in the…

A

Chantilly Codex

374
Q

Solage connected to what compositional school

A

ars subtilior

375
Q

Who suggested further subdivisions ca. 1260

A

Franco of Cologne

376
Q

Who learned to control dissonance with no prior models?

A

Leonin

377
Q

What was Calvin’s effect on music?

A

restrictions

378
Q

What was Luther’s effect on music?

A

made it richer

379
Q

Who created polyphonic arrangements of Lutheran tunes?

A

Johann Walter

380
Q

Who is responsible for the Genevan Psalter?

A

Marot/deBeze texts with music by Franc/Bourgeois

381
Q

Who set the Book of Common Prayer to chants and new monophonic music?

A

John Marbeck

382
Q

NTL composer who uniquely wrote no music for the Roman Catholic Church

A

Waelrant

383
Q

Dunstable known for… (2)

A

move toward controlled dissonance; insistence on full triads

384
Q

What characterizes Ocheghem’s form?

A

hidden structure

385
Q

Dufay was more about ______, while Ockeghem was more about _____

A

harmonic planning; line and counterpoint

386
Q

Ockeghem may have taught whom?

A

Josquin

387
Q

Ockeghem worked where?

A

French court

388
Q

Who wrote a lament on the death of Binchois?

A

Ockeghem

389
Q

Binchois style

A

treble dominated, 6/3 chords

390
Q

Busnois worked for what court?

A

Burgundian

391
Q

Busnois is known for what genre?

A

chansons

392
Q

Who composed the first Missa L’homme arme? (Perhaps)

A

Busnois

393
Q

Who printed the Odhecaton?

A

Petrucci

394
Q

Most represented composer in Old Hall Manuscript

A

Leonel Power

395
Q

Composed the first known parody mass

A

Bedinham

396
Q

Dunstaple most known for what type of music?

A

Sacred

397
Q

Dunstaple motet characteristics

A

alternating treble-dominated trios and equal-voiced duets; isorhythm in all voice parts (not just the tenor)

398
Q

Cadences for Dufay were not defined by pitch associations, but by…

A

voice leading patterns

399
Q

Dufay taught at what music school?

A

Cambrai

400
Q

Dufay met who in the Court of Savoy?

A

Binchois

401
Q

Dufay motets characteristics (3)

A

isorhythmic; a4; slow-moving tenor, faster upper parts

402
Q

Who made dissonance control popular?

A

Dufay

403
Q

Best Burgundian composer?

A

Binchois

404
Q

Binchois wrote mostly what kind of music?

A

sacred

405
Q

Great composers of Parisian Chansons

A

Sermisy, Janequin

406
Q

First native Italian madrigalist of value

A

Festa (died 1545)

407
Q

Who made lieder internationally famous (2)

A

Lasso and Hassler

408
Q

Spanish composers of sacred music around turn of 1500s (3)

A

Anchieta, Peñalosa, Escobar

409
Q

Late Spanish composers of secular music (5)

A

Vasquez, Flecha, Rabal, Brudieu, Vila

410
Q

Morales known for (4)

A

sacred music; variety of compositional techniques; drama; expression

411
Q

Composer widely known in Spanish colonies

A

Guerrero

412
Q

First English composers to adopt continental polyphonic style

A

Tallis and Byrd

413
Q

Spem in alium

A

Thomas Tallis

414
Q

Wrote balletti with more counterpoint

A

Morley

415
Q

English composers of madrigals with more depth

A

Thomas Weelkes and John Wilbye

416
Q

Patron in Mantua who incluenced Italian secular music by the texts she chose

A

Isabella d’Este

417
Q

Petrucci worked in what city?

A

Venice

418
Q

Florentine patron

A

Lorenzo de Medici

419
Q

Biggest follower of Josquin

A

Mouton

420
Q

Mouton known for what technique

A

canon

421
Q

Composer who completely vocalized polyphony

A

Josquin

422
Q

Two composers of Frottola

A

Cara and Tromboncino

423
Q

First NTL composer to match the cultured sound of Chansons in madrigals

A

Verdelot

424
Q

Credited with raising the madrigal to artistry level of Mouton’s motets

A

Arcadelt

425
Q

Gombert and Ockeghem known for (3)

A

dark sounds; thick polyphony; all tutti all the time

426
Q

Greatest of post-Josquin composers

A

Clement (Clemens non Papa)

427
Q

Clemens known for…

A

lots of imitation

428
Q

Willaert known for…

A

canon

429
Q

Rore studied with

A

Willaert

430
Q

Willaert most known for what genre

A

Italian madrigal

431
Q

Willaert studied with

A

Mouton

432
Q

SCA composers

A

Willaert, Clemens

433
Q

Clemens known for… (4)

A

conservative/radical (depending on SCA); sensitive text; imitation; repetition

Quals (3 decks)

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