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study for comps Flashcards
passepied
fast minuet, usually in 3/8, used by lully. one of the fastest of the triple time dances of its time.
rigaudon
rigaudon, lively duple meter, similar to a bourree, simple
sarabande
dance in triple meter, emphasizes 2nd beat.
passacablia,
serious character, often based on bass ostinato, in triple meter.
bal-musette,
asdf
minuet,
dance for two people, in 3/4 time.
loure, also known as gigue lente, or slow gigue
slow french baroque dance, named after the sound of the instrument called the loure, , sometimes in triple meter, most often in compound duple meter. seitght is on the first beat.
gigue
a lively baroque dance originating from the british jig. usually at the end of a suite, usually in 3/8 or six 8 or 6/4 9/8 12/8.
gavotte,
french dance, notated in 4/4/ tiem or 2/2 time usually moderate tempo,
furlana
italian folk dance, fast dance in duple time 6/8
courante,
family of triple meter dances fr. paired with a preceding allemande., making it the second or third if there is a prelude.
chaconne,
used for variation, repeated short harmonic progression is repeated many times,
canary dance,
fiery wooing dance guy
bourree
dance of french origin, resembles the gavotte, it is in double time, but quicker,
allemande
often the first movement, paired with courante, duple meter dance of moderate tempo,
who is in second practice?
monteverdi
stile concitato
expresses agitation, monteverdi
singspiel
comic style, from opera
mazurka
Mazurka: Polish national dance in triple meter and moderate tempo, with strong accents on the second or third beat. Popularized in the 19th century through Chopin’s mazurkas for piano, which retained the dance’s unusual metrical properties. Also featured modal inflections (especially Lydian) borrowed from folk use of the dance.
aAdam de la Halle:
c. 1250-1306. French trouvre
Boethius:
c. 480-524. Roman writer and statesman.
Ciconia, Johannes:
1370-1412. Franco-Flemish composer, active in Italy
Cordier Baude
: fl. 1360-1398. French composer.
Guido d’Arezzo:
c. 991-1033. Theorist and pedagogue. Developed
Franco of Cologne:
Franco of Cologne: fl. 1250-1280. German composer and theorist
Hildegard von Bingen
Hildegard von Bingen: c. 1098-1179. German Benedictine abbess, visionary, writer, and composer
Leonin:
Leonin: c. 1135-1201. Poet, composer, and cathedral administrator at Notre Dame
Landini,
Landini, Francesco: c. 1325-1397. Italian composer, poet, organist, singer, and instrument maker.
Machaut,
Machaut, Guillaume: c. 1300-1377. French composer and poet.
Marchetto da Padova
Marchetto da Padova: fl. 1305-19. Italian theorist and composer.
Perotin:
Perotin: c. 1180-1207. Composer of organum and conductus at the Cathedral of Notre Dame.
Petrus de Cruce
Petrus de Cruce (Pierre de la Croix): fl. 1270-1300. Composer and theorist.
Vitry, Philippe de
Vitry, Philippe de: c. 1291-1361. French composer and theorist. Leading composer of the French Ars nova
Binchois, Gilles
Binchois, Gilles: 1400-1460. Franco-Flemish composer.
Desprez, Josquin:
Desprez, Josquin: French composer whose music served as a model for much of the 16th century.
Dunstable, John:
Dunstable, John: 1390-1453. English composer. Influence extended to continental composers like Dufay and Binchois,
Dufay, Guillaume
Dufay, Guillaume: c. 1397-1474. French composer and theorist whose music was copied and performed virtually eve
Gabrieli, Andrea
Gabrieli, Andrea: 1532-1585. Italian composer and organist,
Gesualdo, Carlo:
Gesualdo, Carlo: 1561-1613. Italian nobleman and composer
Isaac, Heinrich:
Isaac, Heinrich: c. 1450-1517. South Netherlandish composer.
Lasso, Orlando di:
Lasso, Orlando di: 1532-1594. With Palestrina, one of the great composers of 16th century
Marenzio, Luca
Marenzio, Luca: c. 1553-1599. Italian composer. Helped develop
Obrecht, Jacob
Obrecht, Jacob: c. 1457-1505. South Netherlandish composer. Leading
Ockeghem, Johannes
Ockeghem, Johannes: c. 1410-1497. Franco-Flemish composer who
Palestrina, Giovanni da
Palestrina, Giovanni da: Italian composer. Prolific composer of masses and motets, but
Zarlino, Gioseffo
Zarlino, Gioseffo: 1517-1590. Italian theorist and composer. Treatise Le istitutioni harmoniche established Willaer
Blow, John:
Blow, John: c. 1649-1708. English composer, organist, and teacher.
Caccini, Giulio:
Caccini, Giulio: 1551-1618. Italian composer and singer.
Carissimi, Giacomo
Carissimi, Giacomo: 1605-1674. Italian composer, most important in mid-17th century Rome
Cavalli, Francesco
Cavalli, Francesco: 1602-1676. Italian composer, organist, and singer.
Charpentier, Marc-Antoine:
Charpentier, Marc-Antoine: 1634-1704. French composer.
Corelli, Arcangelo:
Corelli, Arcangelo: 1653-1713. Italian composer and violinist.
Couperin, François:
Couperin, François: 1668-1733. French composer, harpsichordist, and organist. Most important musical figure in France between Lully and Rameau.
Florentine Camerata
Florentine Camerata: fl. 1573-1592. Group of philosophers, poets, and musicians who met at the home of Giovanni Bardi (and later, Jacopo Corsi) to perform music and discuss aesthetics. Included Vincenzo Galilei (lutenist and singer), Ottavio
Frescobaldi, Girolamo
Frescobaldi, Girolamo: 1583-1643. Italian composer and keyboard virtuoso.
Froberger, Johann:
Froberger, Johann: 1616-1667. German composer, organist, and keyboard
Keiser, Reinhard
Keiser, Reinhard: 1674-1739. German composer. Foremost composer of German baroque opera, combining contrapuntal textures
Monteverdi, Claudio:
Monteverdi, Claudio: 1567-1643. Italian composer. Nine books of madrigals consolidated achievements of late Renaissance composers and cultivated
Pachelbel, Johann:
Pachelbel, Johann: 1653-1706. German composer and organist. Noted
Purcell, Henry
Purcell, Henry: 1659-1695. English composer. Student of John Blow and organist at Westminster Abbey. Only opera, Dido and Aeneas (1689) representative of Purcell’s skill in setting English texts for both solos and chorus. Use
Rameau, Jean-Philippe:
Rameau, Jean-Philippe: 1683-1764. French composer and theorist. Wrote Traité de l’harmonie reduite ses principes naturels, which established tonic
Scarlatti, Alessandro:
Scarlatti, Alessandro: 1660-1725. Italian composer. Generally considered founder of the 18th century Neopolitan school.
Scarlatti, Domenico:
Scarlatti, Domenico: 1685-1757. Italian composer and harpsichordist. Though little known in life, was one of the first composers
Schütz, Heinrich:
Schütz, Heinrich: 1585-1672. German composer. First German composer of international stature, and may have written the first German opera. Wrote over 500 sacred and secular works. Style featured a fusion of Italian and
Telemann, Georg Philipp:
Telemann, Georg Philipp: 1681-1767. Most prolific German composer of his time. Also contributed to fields of music publishing,
Torelli, Giuseppe:
Torelli, Giuseppe: 1658-1709. Italian composer. Contributed to the development of the concerto (both concerto grosso
Billings, William:
Billings, William: 1746-1800. American composer and teacher of choral singing. Composed over 340 compositions, almost exclusively sacred choral pieces for 4-part unaccompanied chorus. Also composed fuging
Burney, Charles:
Burney, Charles: 1726-1814. English musician, composer, and music historian. Popular music teacher whose legacy rests primarily on his writings about music. Articulated views of music typical of Enlightenment thought,
Burney, Charle
Burney, Charles: 1726-1814. English musician, composer, and music historian. Popular music teacher whose legacy rests primarily on his writings about music. Articulated views of music typical of Enlightenment
Gluck, Cristoph: 171
Gluck, Cristoph: 1714-1787. Bohemian composer. Set out to reform opera seria with librettist Calzabigi, describing his aims in the preface to Alceste (1767). Sought greater naturalism in opera. Wanted to remove
Hasse, Johann Adolph:
Hasse, Johann Adolph: 1699-1783. German composer. Opera seria composer who studied with Alessandro Scarlatti. Wrote most of his 80 operas on librettos by Metastasio. Valued the bel canto lyricism and subordinated other musical concerns to the display of the voice. Married Italian soprano Faustina
Haydn, Franz Joseph:
Haydn, Franz Joseph: 1732-1809. Austrian composer. Studied with Porpora. Started career in the traditional patronage system of the late Austrian baroque and ended it in the early years of 19th-century romanticism. Excelled in every musical genre of his era; vocal works were as famous as instrumental ones in his lifetime. Works demonstrated variety of styles, including galant, Emfindsamkeit, and Sturm
Quantz, Johann Joachim:
Quantz, Johann Joachim: 1697-1773. German flautist, composer, and flute maker. Wrote Versuch einer Answeisung die Flöte travesiere zu spielen, an instructional treatise on playing the transverse flute and contemporary
Rousseau, Jean-Jacques:
Rousseau, Jean-Jacques: 1712-1778. Swiss philosopher, theorist, composer, and provocateur. Leading proponent of Enlightenment thought in France. Wrote a comic opera, Le Devin du village, which failed to produce immediate success. A year later, became involved in the Querelle des Bouffons
Sammartini, Giovanni Battista:
Sammartini, Giovanni Battista: 1700-1775. Italian composer. Important figure in development of classical style. Influenced development of the symphony by adapting Italian opera overture (sinfonia), to independent
Bellini, Vincenzo
Bellini, Vincenzo: 1801-1835. Italian composer. Noted for expressive melodies and sensitive text settings. Sought a balance between lyricism and dramatic tension. Bel canto style of Bellini’s arias
Bizet, Georges:
Bizet, Georges: 1838-1875. French composer. Opera composer whose lyrical style contrasted with the pyrotechnics of earlier grand opera composers Berlioz and Meyebeer. Best known for Carmen, whose gritty, realistic portrayals influenced later verismo composers and scandalized French audiences
Bruckner, Anton: 1
Bruckner, Anton: 1824-1896. Austrian composer and organist. Style firmly rooted in formal traditions of Beethoven and Schubert, while inflected with Wagnerian harmony and orchestration
Donizetti, Gaetano:
Donizetti, Gaetano: 1797-1848. Italian composer. Equally successful in comic and tragic genres, and an important predecessor of Verdi. Wrote over 70 operas; compared to contemporary
Fauré, Gabriel:
Fauré, Gabriel: 1845-1924. French composer, teacher, pianist, and organist. Most advanced composer of his generation in France whose melodic and harmonic innovations affected the teaching of harmony for later generations. Music characteristic of 19th-century French aesthetics,
Gounod, Charles:
Gounod, Charles: 1818-1893. French composer. Proponent of French lyric opera, which eliminated spoken
Grétry, André-Erneste-Modest:
Grétry, André-Erneste-Modest: 1741-1813. Belgian-French composer. Contributed to the scope and style of
Mason, Lowell:
Mason, Lowell: 1792-1872. American music educator, church musician, composer, and anthologist
when was nationalism?
in romantic era, response to german domination of music.
who wrote ars nova?
de vitry
who led to the monodic style of caccini?
monteverdi,,
development of madrigal
- madrigal developed from the frottola, implementing high quality poetry, and more polyphony.
- first generation from 1520-50, exemplified by arcadelt, polyphonic sections, alternate with homophonic,
- dissonant harmonies reflect the text.
- second generation, greater variety of poets, more chromatic,
- second, exemplified by rore,
- third generation, expressionists or mannerists, of 1590s, unusual expressive devices,
- emotionally intense texts,
- unresolved dissonances, breaking rules to express text. Monteverdi, second practice,
- audiences were very select..
- english madrigals, Nicholas young the largest and most influencial, madrigal collection
- morley and weelkes also wrote madrigals, influenced by the first generation.
development of the motet.
- development of the motet.
- medieval times
1. ornate, illumintations - origins,
1. clausula contributed to the creation of the motet in three ways
1a. composers started to think of them as independent compositions.
1b. composers started applying prosula(additional text) to the untexted upper voices of clausulae
1c. composers started writing all new upper parts, rather than just borrowing melodies. - late medieval motet,
1. secular, polytextual, and in three voices,,
2. often layering of more than one text - rhythmic notation,
1. 13th and 14th century modteds, tied to rhythmic notation
2. franco of cologne, ars cantus mensurabilis, introduced rhythmic notation,
3. introduced the semibreve, resulted in franconian motet. - petrus de cruce, introduced system, that allowed for prolation.
- late medieval polyphony and ars nova,
1. polyphonic works increased in length, and complexity with further notational innovations and the technique of isorhythm. - early renaissance motet,
1. tenors from plainchant or newly composed
2. texture of three voices,
3. dufay is typical of early renaissance, - josquin,
1. eliminated isorhythm, interlocking points of imitation,
2. greater attention to the text, more fluid flexible rhythms and strong cadences that c;asldkfja;k
3. more imitation,
development of the symphony.
*development of the symphony,
1. first used in the 17th century,
1a. typically introductory movements to operas, oratorios, and cantatas etc.
2. influenced by the18th century Italian opera overture, three sections, fast slow fast,
-the 18th century symphony through stamitz
1. important composers, sammartini, brioschi,
2. cpe bach, and stamiz
3. bach, shocking surprises, which influenced haydn.
4. stamitz demonstrates features of the later Viennese classical symphony.
-Haydn, Mozart
1mozarts early and middle are influenced by haydn.
19th century symphony
- 19th century symphony,
1. from Beethoven to Mahler they all stayed the same
2. work was in three four or five movements.
3. an extended opening movement in sonata form
4. a lyrical slow movement in sonata form, aba, or theme and variations
5. a dance-inspired scherzo movement, usually in triple meter, followed by a fast finale, sometimes positions of the second and third movements were reversed.
6. 19th centyr,the symphony acquired greater status, people valued the abstract more. - beethoven and the symphony,
1. ninth symphony was revolutionary. Introduced the chorus to the symphony, - crisis in the symphony
1. people compared themselves to Beethoven.
development of opera seria
- development of opera and opera seria,
- opera seria
1. zeno and metastasio
2. zeno wanted historical subjects, serious subjects, not comedy, supernatural contrived plots, etc.
3. metastasio, fulfilled these requests.
4. both created a unified three act structure, characters drawn from ancient history or legend.
5. musical numbers were more virtuosic,
6. da capo arias.
7. singers were the main attraction
8. castrati, - handel and opera seria
- comic opera and the intermezzo,
1. intermezzos in serious opera, like a second opera - Gluck and opera reforem
1. wanted greater simplicity, less vocal virtuosity, more natural,
2. gluck used antiquity,
3. accompanied recitative, as opposed to secco, that is unaccompanied, - Opera buffa and Mozart
1. opera buffa, the characters reacted in more human realistic ways,
2. his operas show normal human behavior with flaws. Etc.
3. arias were less the center of attention, they were moments for the characters to reflect.
4. Mozart used forms such as sonata in the music sometimes as a way to resolve conflict.
development of opera
- the development of opera before 1700,
1. medieval liturgical dramas, and morality plays,
2. the ballet, the pastorale and the intermedio, forms of courtly entertainment was more a source than liturgical dramas
3. intermedio were musical works performed during the acts of a play. - the Florentine camerata, 1570, an informal group of Florentine intellectuals meeting,
1. the group, discussed aesthetics
2. they had a preference for earlier music
3. they didn’t like incohesive music
4. they didn’t like counterpoint, and they came up with monody. - humanist court opera, first operas based on the Orpheus myth,
1. crucial development, when music appropriate to dramatic dialogue was invented. (distinguishing it from intermedi)
2. caccini, peri, cavalieri, and galielie,
3. peri’s euridice, is often cited as the first performed opera, - venician opera,
1. opera was a sensation in venice, when it arrived,
2. glorified play, the people there loved theater
3. venetian opera is important, standard form evolved during this time. Solemn chordal opening, followed by one or more movements in contrasting tempos. - opera in rome and naples,
1. alessandro Scarlatti, important in rome.
2. Scarlatti standardized the Italian overture, quick opening movement, short slow interlude and closing movement in two part form with dance rhythms.
3. aria began to express one mood only,
4. greater importance of instruments, - opera in france,
1. did not establish opera as an established tradition until 1671.
2. because they were attached to ballet
3. French was hard to sing
4. lully was an important French opera composer, - tragedie lyrique, the French operatic form created by lully, developed characteristics, that were to remain central to the genre through rameaus time.
1. plots were tragic,
2. French opera was written to magnify the king and entertain him
3. five acts, with a prologue glorifying the king.
4. explains the dotted rhythm, two parts, homophonic, pompous dotted rhythm section, followed by quick imitative sections, became popular baroque form.
5. a lot of forms used, strophic arias, dance numbers, chorus, recitative, duet, instrumental interludes. - opera in England, English opera rooted in the court entertainment of the masque was stymied early in its development by the growing puopupopularity of Italian opera,
1. Purcell, one opera, dido and aeneas,
2. very like French opera,
19th century opera.
- 19th century opera, influenced by Mozart
1. scene complex, continuas succestion of orchestrally accompanied recitatives, solo arias, duets, ensembles and choruses which advanced the plot. Begins with a slow introduction, followed by a recitative, the primo tempo, (slow, cantabile) or first part of the aria, comes next, after the primo tempo, a transitional tempo di mezzo follows often featureing the chorus. Last comes the cabaletta, a lively virtuoso solo or duet (when marking the entracnec of a character, the cantabile/cabaletta pair can be called a cavatina). - rossini,
1. comic, classical conventions, pioneered in opera buffa, bringing them to new heights, - Bellini,
1. long arched melodies, which influenced chopin,
2. importance placed on text. - Donizetti,
1. they were weird but entertaining, - Verdi and Italian opera
- french grand opera,
1. created by veron, Meyerbeer, scribe and cicero,
2. give the people what they want and lots of it.
3. violence and action, - meyerbeer,
1. the most successful grand opera composer of his time, - french lyric opera,
1. middle ground between pompous grand and light operetta,
2. early versions had spoken recitative.
development of polyphony
- development of polyphony,
1. associated with glossing and elaboration - early organum
1. scholia enchiriadis, told of what was then an improvised practice,
2. earliest polyphnony was strict parallel organum,
3. octave doubling and oblique motion eventually was allowed, - 11-12th century developments
1. aquitanian polyphony, chant appeared below, - notre dame polyphony
1. organum, florid melismativ upper voice against sustained notes from the chant melody in the bottom voice
2. discant, note against note,
3. copula,
4. leonine and perotin used rhythmic modes, first system of rhythmic notation since antiquity. - Early motets,
1. discant clausulae, they started adding text to the untexted upper voices, - rhythmic notation and polyphonic developments,
1. franco of cologne, the art of measurable music, franconian notation - petrus de cruce,
- ars nova, polyphonic works increased in length and complexity with further notational innovations and the technique of the breve
chanson
- chanson
1. started 12th century, , monophonic, strophic, secular, troubadors and trouvers,
2. love songs, mostly aab - 14ht century
1. forms fixes,
1a. rondeau ABaAabAB
1b. Ballade aabC
1c. Virelai, AbbaA
2. treble dominated,
3. contrapuntal - 15th century
1. graceful, more simple melody and rhythms, - 16th century
1. free forms, josquin, imitative
madrigal
- madrigal
1. started in 14tth century Italy
2. secular text,
3. in ornamented conductus style, free composed, improvisational strophic,
4. usually AAB form, 2 strophes one ritornello, - 16th century
1. secular, Italian poetry,
2. 4-6 voices
3. avoided forms fixes,
4. contrasts chordal and imitative sections
5. no relation to medieval madrigal,
6. Italian madrigal is the most progressive.
development of the chanson
- development of the chanson
1. means any polyphonic secular French composition, including forms fixes
2. in 13th century, most written in note against note style, resembles conductus,
3. machaut the first important composer - ars subtilior and te chanson
- The burgundian chanson, 15th century
1. forms fixes, - josquins generation, and the netherlandish chanson
1. no more fixed forms
2. more like a motet - parisian chanson, of the 16th century,
development of the concerto
*development of the concerto
1. at first applied to vocal and mixed vocal and instrumental forms
2. ensembles placed at different places in a cathedral.
3. the sacred concerto from Germany. Schutz,
-instrumental concerto
1. torelli and corelli are credited with the development of the instrumental concerto.
2. torelli violin concertos, three movement, fast slow fast,
3. corelli, two violins, cello, and orchestra of the same instruments.
4. concerto grosso of corelli,
-baroque concerto, early 18th century
1. three types emerged
1a. solo, concerto grosso, ripieno concerto
2. solo evolved from the vocal ritornello form, solo as;dlfkj
3. concerto grosso large ensemble, and small, featured ensemble, (concertino was the small one)
-ripieno concerto,
1. for an ensemble with all of the instruments playing featured roles,
-concertos often served a liturgical function, appearing as instrumental offertories, preludes and postludes.
-audiences
1. audiences were accustomed to hearing instrumental music as accompaniment in vocal or dance music
-vivaldi and the concerto
1.
members of the mass ordinary.
I. Kyrie See also: Kyrie § Musical settings Menu 0:00 A Gregorian chant Kyrie eleison
In the Tridentine Mass, the Kyrie is the first sung prayer of the Mass ordinary. It is usually (but not always) part of any musical setting of the Mass. Kyrie movements often have an ternary (ABA) musical structure that reflects the symmetrical structure of the text. Musical settings exist in styles ranging from Gregorian chant to Folk.
Of 226 catalogued Gregorian chant melodies, 30 appear in the Liber Usualis. In what are presumed to be the oldest versions, the same melody is repeated for the first eight iterations, and a variation used on the final line (that is, formally, aaa aaa aaa’). These repeats are notated by the Roman numerals “iij” (for three times) or “ij” (for twice). The Kyrie for the Requiem Mass in the Liber Usualis has this form. Later Kyries have more elaborate patterns, such as aaa bbb aaa’, aaa bbb ccc’, or aba cdc efe’. Note that the final line is nearly always modified somewhat; in some cases this may be because it leads into the Gloria better. In forms both with and without literal repeats, most Kyries in the Liber Usualis have a closing phrase used in nearly all of the lines of the text. This in fact parallels the text, as each line ends with the same word “eleison”.
Because of the brevity of the text, Kyries were often very melismatic. This encouraged later composers to make tropes out of them, either by adding words to the melisma (as how a sequence is often considered), or extending the melisma. In fact, because of the late date of most Kyries, it is not always clear whether a particular Kyrie melody or the apparently troped text came first; it could just as easily be the case that a syllabic song was converted into a melisma for a Kyrie verse. In some cases, verses interpolate Latin text between each “Kyrie” (or “Christe”) and “eleison”.
Menu
0:00
The introductory words “Kýrie Eléison” from the Kyriale Mass XI, Orbis Factor
As the Kyrie is the first item in settings of the mass ordinary and the second in the requiem mass (the only mass proper set regularly over the centuries), nearly all of the thousands of composers over the centuries who have set the ordinaries of the mass to music have included a Kyrie movement.
Kyrie movements often have a structure that reflects the concision and symmetry of the text. Many have a ternary (ABA) form known as a three-fold kyrie, where the two appearances of the phrase “Kyrie eleison” consist of identical or closely related material and frame a contrasting “Christe eleison” section. Or AAABBBCCC’ form is also commonly used which is known as a nine-fold kyrie. Famously, Mozart sets the “Kyrie” and “Christe” texts in his Requiem Mass as the two subjects of a double fugue.
II. Gloria
See also: Gloria in excelsis Deo § Musical settings
The Gloria is a celebratory passage praising God the Father and Christ.
In Mass settings (normally in English) composed for the Church of England’s Book of Common Prayer liturgy, the Gloria is commonly the last movement, because it occurs in this position in the text of the service. In Order One of the newer Common Worship liturgy, however, it is restored to its earlier season.
III. Credo
See also: Credo § Musical settings
The Credo, a setting of the Nicene Creed, is the longest text of a sung Mass.
Organizers of international celebrations, such as World Youth Day, have been encouraged by Rome to familiarize congregants in the Latin chants for the Our Father and the Credo, specifically Credo III (17th century, Fifth Mode) from the Missa de Angelis. The purpose of singing these two texts in Latin is to engender a sense of unity in the faithful, all of whom thus sing the prayer of Jesus and the shared belief of the universal Church in the same language.
IV. Sanctus and Benedictus
See also: Sanctus § Musical settings
The Sanctus is a doxology praising the Trinity. A variant exists in Lutheran settings of the Sanctus. While most hymnal settings keep the second person pronoun, other settings change the second person pronoun to the third person. This is most notable in J.S. Bach’s Mass in B minor, where the text reads gloria ejus (“His glory”). Martin Luther’s chorale Isaiah, Mighty in Days of Old, and Felix Mendelssohn’s setting of the Heilig! (German Sanctus) from his Deutsche Liturgie also use the third person.
The Benedictus is a continuation of the Sanctus. Hosanna in excelsis is repeated after the Benedictus section, often with musical material identical to that used after the Sanctus, or very closely related.
In Gregorian chant the Sanctus (with Benedictus) was sung whole at its place in the mass. However, as composers produced more embellished settings of the Sanctus text, the music often would go on so long that it would run into the consecration of the bread and wine. This was considered the most important part of the Mass, so composers began to stop the Sanctus halfway through to allow this to happen, and then continue it after the consecration is finished. This practice was forbidden for a period in the 20th century.
V. Agnus Dei
For more details on this topic, see Agnus Dei (music).
The Agnus Dei is a setting of the “Lamb of God” litany, containing the responses miserere nobis (have mercy upon us), repeated twice, and dona nobis pacem (grant us peace) once at the end.
In a Requiem Mass, the words “miserere nobis” are replaced by “dona eis requiem” (grant them rest), while “dona nobis pacem” is replaced by “dona eis requiem sempiternam” (grant them eternal rest).
sections of the mass ordinary
Kyrie, Gloria, Credo, Sanctus (including benedictus and hosanna), agnus dei, and Ite, missa est, or benedicamus.
development of the cyclic mass
- development of the cyclic mass
- 14th century,
1. anonymous tournai mass, earlies example,
2. machaut, messe de nostre dame, first work by single composer, thought of as one unit. - english composers and the mass,
1. works were written in ads;lfkja
2. Gloria-credo, and sanctus-agnus pairs are basic,
3. power and dunstable were the first composers to write a mass unified by a single cantus firmus tenor in all movements - the cyclic mass in dufay’s generation, second half of the 15th century
1. motto mass, similar head motives, same mode and same number of voices.
2. cantus firmus mas, used the same melody, borrowed from chant or secular song as a structural basis for the work. - puzzle canons
- Cyclic masses and josquin generation, they used old stuff and new stuff
1. cantus firmus and motto masses faded into the background and the parody mass becomes the most important.
2. two most prominent mass genres of Palestrina were paraphrase and parody mass,
development of the oratorio
- development of the oratorio,
1. oratorio was founded in rome,
2. liturgical drama, miracle and mystery plays, the passion, and dialogue lauda had an impact on the oratorio
3. Florentine camerata, introduction of monody
4. by mid 1600s, two types of oratorio emerged, 1. Oratorio volgare, with an Italian text, 2. Oratorio latino, with latin text,
5. carissimi’s jepthe was the best known oratorio of the 17th century.
6. style of the work was typical of contemporary operas, with recitatives, ariosos, and arias in various forms, - oratorio in Germany,
1. first appeared mid 17th century,
2. Lutheran historia anteceded it, preceded it. Musical setting of scriptural story, performed in church.
3. schutz Christmas oratorio, - handel and the English oratorio
1. English oratorio was handels creation
2. handel had greater use of chorus and division of texts into three acts, which made it different from Italian oratorios.
3. happened when people objected to stated performance of handels esther, and the performance without the stage was successful, so he wrote it intentionally for this purpose.
Modes
Da. Df. Ec. Ea. Fc. Fa. Gd. Gb
pastorale,
Pastorale
A slow version of the giga, using the same compound meter and skipping rhythm. The dance was associated with shepherds, as its name implies.
concertato motet
Concertato motet:
Written by Gabrieli, these are a distinctive type of polychoral motet, scored for multiple choruses singing antiphonally. Groups of instruments or voices share a melody, usually in alternation. In ecclesiss from the anthology, is an example of a concertato motet.
estampie
Estampie: Dance and poetic form of 13th and 14th century France and Italy. As a musical genre, was one of the earliest surviving forms of instrumental music. Could be monophonic or polyphonic in triple meter. Consisted of several sections, or puncta, which were repeated.
rota
Rota: a 13th and 14th century vocal round; voices enter in succession singing exactly what the previous voice sang; popular in England; one of most famous is Sumer is icumen in (Summer is Coming) - Anonymous
ballett
**Ballett: Light English secular genre similar to first-generation madrigals. Typically homophonic, in binary form, with fa-la refrain. Flourished in last third of the 16th century. Composed by Morley.
cori spezzati
Cori spezzati: Technique of divided choirs used in 16th century Venetian polychoral motets. Developed by Lassus and several San Marco composers, including Willaert and the Gabrielis (although paradoxically, Willaert’s psalm setting performances at San Marco had the singers bunched together rather than spatially separated). Works by the Gabrielis and later composers started to include instruments in the choirs. Technique was important to the development of the concerto, with its distinct groups of instruments.
dulcian
Dulcian: early bassoon, one piece rather than jointed (as modern bassoon is) mid-16th century; available in a variety of sizes but mostly bass; also a stopped organ reed stop
galliard
Galliard (a.k.a. Gagliardo , Gaillarde): joyous, carefree, 16th – century court dance; Italian origin; characterized by compound duple meter with occasional hemiola (3/4) measures; Abondantes (composer)
madrigal
**Madrigal: Secular polyphonic composition popular in Italy and England during the 15th and early 16th centuries. First generation madrigals by composers like Arcadelt (and Morley in England) had chordal textures and imitation; were slightly more polyphonic than frottolas. Second generation madrigals more polyphonic, sectionalized, continuous counterpoint, focus on conveying overall effect of the text. Composed by Cipriano de Rore in Italy, Weelkes in England. Third generation “mannerist” madrigals had mostly polyphonic textures, extreme chromaticism, excursions to remote modal areas, expressing each individual word in the text. Composed by Gesualdo and Marenzio.
cantata
Cantata: Work for one or more voices with instrumental accompaniment. Was the most important vocal genre in the baroque era outside opera and oratorio. Emerged in the 17th century as a succession of contrasting sections which became independent movements by the 18th century (usually two arias,
each preceded by recitative). Was primarily a secular genre in 17th century Italy, but became regular fixture of Lutheran music by the 18th century. Sacred Lutheran form included choral movements in addition to recitative and aria.
coloratura
Coloratura: highly decorated/ornamented vocal melody (improv or notated); a soprano with a high, light, and agile voice – virtuoso arias like Queen of the Night; term appears in 17th century (Praetorius)
episode
Episode: A portion of a fugue during which the complete subject is not present, although motives derived from it may existed. Fugue proceeds with alternation between thematic statements and episodes. Of all the characteristics of the fugue, was historically one of the last elements to emerge. First described by Mattheson in Der vollkommene Capellmeister (1739), in which they were designated Zwischenspiele.
tonal answer
Tonal Answer: an answer (statement of the subject in a fugue after the initial statement; usually at the fifth) that does not maintain the exact intervals of the original subject
ballade opera
Ballad opera: An English form having brief popularity in the early 1730s which alternates spoken dialogue with songs set to popular melodies. John Gay’s The Begger’s Opera
bagatelle
Bagatelle: A trifle, or a short piece with light character. First appeared in Couperin’s 10th ordre in 1717. Beethoven published three sets of bagatelles (op. 33, 119, 126) of varying character, some light, some profound. Bagatelles since Beethoven were typically published in sets and included descriptive titles, like those of Smetana and Saint-Saëns. Were usually piano compositions, although Dvořák and Webern wrote for small instrumental ensembles.
empfindsamer stil
empfindsamer Stil (a.k.a Empfindsamkeit) Musical aesthetic associated with north Germany during the middle of the 18th century. Aims were to achieve an intimate, subjective expression; tears of melancholy were among its most desired responses. Often translated as “sentimental style” but is better expressed through the English and French sensibilité. Was part of a wider literary movement that considered the immediacy of emotional response a surer guide than intellect to moral behavior. Best exemplified in the keyboard sonatas and symphonies of C.P.E. Bach, who was close to Lessing and other progressive literary figures.
opera buffa
**Opera buffa: First applied to genre of comic opera as it rose to popularity in Italy and abroad over course of the 18th century. Style pioneered in Naples, where plot often featured a pair of lovers surrounded by other stock characters. Spread to Rome and Venice, where Goldoni wrote comic works called dramma giocosos. Genre culminated with three comic works of Mozart: Figaro, Don Giovanni, and Cosi fan tutte.
opera comique, and opera seria.
Opéra-comique: Term for a French stage work of the 18th, 19th, and 20th centuries with vocal and instrumental music and spoken dialogue (though it may also include recitative). Originally light-hearted subject matter, by 19th century incorporated serious element, and eventually simple referred to presence of spoken dialogue. Its origins were found in the 18th century Parisian Fair Theaters.
Opera seria: Italian opera of 18th and 19th centuries with heroic or tragic subjects often drawn from Greek or Roman mythology; aria and secco recitatives; Metastasio, A. Scarlatti, and Gluck
style galant
Style galant: Term galant was first applied to social graces; Voltaire said that “being galant, in general, means seeking to please.” Though the term first described French courtly manners, it came to signify an essentially Italian style of music and manner of performing. Style transfers the theatrical, fluid style of Italian vocal music to instruments. Characterized by lightly accompanied, periodic melodies, homophonic textures, and slower harmonic rhythm. Exemplified in the keyboard works of J.C. Bach, and influenced works of Mozart.
bullet points of opera develop
- ballet, pastorale, and intermedio,
- intermedio
- florentine camerata
- music appropriate to dialogue added to intermedi
- first opera
- venetian opera took off
- scarlatti overture
- arias are singular in mood
- late start for france
- tragedie lyrique
- propaganda of french
- english influenced by french
