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Music History 1 > Test 2 > Flashcards

Test 2 Flashcards

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1
Q

Michael Praetorius

A

(1571–1621) Known for Terpsichore, a collection of over 300 4-5 part instrumental harmonizations of popular dance tunes. Best known as the author of Syntagma musicum (1614) one of the most important illustrated encyclopedias of musical instruments.

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2
Q

Andrea Gabrieli

A

(1532–1585) Italian composer and organist of the late Renaissance. Ricercar del duodecimo tuono.

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3
Q

Johannes Ockeghem

A

(1410–1497) most famous composer of the Franco-Flemish School in the last half of the 15th century, and is often considered the most influential composer between Dufay and Josquin des Prez. In addition to being a renowned composer, he was also an honored singer, choirmaster, and teacher. Missa Prolatonium.

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4
Q

Orlande de Lassus

A

(1532–1594) most famous of sixteenth century. Last great Burgundian composer. Over 2000 works spanning each genre. Worked for duke Albrecht of Bavaria. Knighted by pope. Used quick changes in texture and number of voices. “Cum Essen parvulus” “prophetiae sibyllarium: prologue”. Had a foot both in baroque in Renaissance music. His music expressed emotional meaning of text.

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5
Q

Thomas Morley

A

(1557–1602) Organist at St. Pauls Catherdal, publisher, theorist. One of first native English composers to adopt style of madrigal. Now is the month of Maying.

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6
Q

Heinrich Schütz

A

(1585–1672) German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century. Saul, was verfolgst du mich?

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7
Q

Jacob Arcadelt

A

(1505–1568) Burgundian composer. Primo libro di madrigali d Arcadelt reprinted more than 50 times. Il bianco e dolce cigno.

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8
Q

Cipriano de Rore

A

(1516–1565) Franco-flemish composer, worked mostly in Italy. Published 8 books of madrigals. Known for chromatic expressive style. Established norm of 5 voices for madrigal. De la belle dontrad d’oriente

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9
Q

Maddelena Casulana

A

(1544–?) first female composer to publish her work. Two books of madrigals for four voices. Few details are known about her life. Morir no pup il mio cure.

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10
Q

Barbara Strozzi

A

(1619–1677) published eight volumes of vocal music. Supported herself.

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11
Q

Claudio Monteverdi

A

(1567–1643) Italian. Employed at the court of Madua, until 1613 then finished the rest of his life in Venice. One of the first to compose operas. Leader in the formation of a late style madrigal (concerted madrigal). 12 operas. Orfeo. Vespers of 1610. Published nine books of madrigals, one posthumously.

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12
Q

Thomas Weelkes

A

(1576–1626) English composer and organist. He became organist of Winchester College in 1598, moving to Chichester Cathedral. His works are chiefly vocal, and include madrigals, anthems and services. Friends with Morley.

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13
Q

John Dowland

A

(1563–1626) finest composer of lute songs. Published 4 collections of lute ayres. Come, Heavy Sleep. Come again.

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14
Q

William Byrd

A

(1543–1623) Preeminent composer of the Elizabethan age. Remained true to catholic roots, protected by Queen Elizabeth. Composed across all genres. Sing Joyfully unto God

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15
Q

Giovanni da Palestrina

A

(1525–1594) Spirit of the music of the counter-reformation. Careful, restrained part writing and clear text declamation. Mass for Pope Marcellus. Mostly sacred music, few madrigals and other secular songs.

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16
Q

Josquin des Prez

A

(1450–1521) widely considered by music scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime. Miss fortuna desperate. Miss Pange lingua.

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17
Q

Jacob Obrecht

A

(1457–1505) Dutch composer of the Dutch school of Renaissance music. He was the most famous composer of masses in Europe in the late 15th century, being eclipsed by only Josquin des Prez after his death.

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18
Q

Gilles Binchois

A

(1400–1460) Netherlandish composer, one of the earliest members of the Burgundian school and one of the three most famous composers of the early 15th century

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19
Q

Thomas Tallis

A

(1505–1623) Gentleman in the Chapel Royale (estlablishmen in the Royal Household including priests, composers, and singers whose task was to serve the spiritual needs of the sovereign) Very very I say unto you.

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20
Q

Giulio Caccini

A

(1545–1618) Italian composer, teacher, singer, instrumentalist and writer of the very late Renaissance and early Baroque eras. One of the founders of Opera. one of the single most influential creators of the new Baroque style. Sfoga con le stele. Le nuove musiche

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21
Q

Luca Marenzio

A

(1553–1599) Italian composer and singer of the late Renaissance. He was one of the most renowned composers of madrigals. Solo e pensoso.

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22
Q

Discuss Renaissance instruments & instrumental music. Describe types of instruments and how they were used. Discuss the repertoire available to Renaissance instrumentalists and the development of an idiomatic instrumental repertoire. Include keyboard, string, wind, and brass instruments.

A

Haut- Loud and high or soft and low. Haus used in Germany in whole and mixed consorts. Trumpets, shwams, bagpipes, drums,
bas instruments-Bas used in Ricercarsm heard in taverns and peasant dance. recorders, traverse, lute viols, viula,
Organ, harpsichord, and clavichord. Used for chamber and solo Music. Used in sacred and secular music.
Keyboard variation, dance music, free composed pieces, arrangements of vocal music

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23
Q

Discuss the organ, harpsichord, and clavichord of the late-Medieval through Renaissance periods. Include which instruments were used in various genres of music; basic principles of design and tone production; tone characteristics; and important composers, collections, and works.

A

Organ- edge tone created by air moving across fluted pipe. Sustain tone indefinitely. Thunderous louds and whispery softs, can’t crescendo or diminuendo. Dunstable, Du Fay, and Binchois
Clavichord- string struck by a metal tangent, remains on string as long as key is depressed. Modest sustain time. Very soft dynamics. Subtle dynamic changes. Prez, Cabezon.
Harpsichord-String plucked by a quill pluctrum. Very short sustain time. Moderate dynamics, no ability to change dynamics except by using additional manual. William Byrd, Cabezon.

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24
Q

Discuss Religious developments and conflicts during the Renaissance and their effect on sacred music. Include criticisms of Renaissance sacred music from a clerical point of view and the solutions that were offered. Identify important individuals and events.

A

Papal schism, sale of church offices reached new heights, to make more money for the pope. Wealth flowing into the church became enormous. Martin Luther protested right for everyone know what the Bible said. Abuses that needed to be fixed- Complex polyphony, and melodies made it impossible to understand text. Secular cantus firmus. Inappropiate use of instruments other than organ. Viruosic music drew attention to performer rather then spiritual meaning of text. Excesseive dissonance. Use of other languages than Latin. Council of Trent made Counter Reformation. Palestrina most prominent composer in fixing this abuses, music not draw attention to itself

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25
Q

Discuss the development of Renaissance madrigal from its roots in late fifteenth-century Italian popular music until 1600. Include both English and Italian madrigalists in your discussion. Include the development of musical style, text considerations, and identify important composers of Renaissance madrigals.

A

Early Madrigal- Not from Trecento. Secular song in Italian. Generally high quality poetry. Through-composed. A cappella. Word painting. Imitative polyphony. Arcedelt, Rore, Casulana-first female. Marenzio. Luzzaschi.
English Madrigal- first introduces in 1588 with Musica Transalpina. Madrigal school 1588-1627 (more than 40 books written) Five voice became norm. Light playful style. Morley. Farmer. Dowland, who took madrigal and transformed into consort song and lute ayre.

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26
Q

Differencias sobre el canto de la Dama le demanda

A

Antonio de Cabezón. (keyboard variations)

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27
Q

Recercar quinto (lute)

A

Vincenzo Capirola. Ricercar

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28
Q

Ricercar del duodecimo tuono

A

Andrea Gabrieli. Ricercar

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29
Q

Pavane, the Earle of Salisbury (harpsichord)

A

William Byrd. Dance Music

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30
Q

Dances from Terpsichore; La Bouree, Volte

A

Michael Praetorius. Dance Music

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31
Q

Il bianco e dolce cigno

A

Jacob Arcadelt. Madrigal

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32
Q

Da le belle contrade d’oriente

A

Cipriano de Rore. Madrigal

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33
Q

Morir non puó il mio cuore

A

Maddalena Casulana. Madrigal

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34
Q

Solo e pensoso

A

Luca Marenzio. Madrigal

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35
Q

T’amo mia vita

A

Luzzasco Luzzaschi. Madrigal

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36
Q

Matona mia cara

A

Orlande de Lassus: Villanella

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37
Q

Now is the Month of Maying…

A

Thomas Morely. English Madrigal

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38
Q

Fair phyllis I saw sitting all alone

A

John Farmer. English Madrigal

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39
Q

Come Heavy Sleep

A

John Downland. Lute song

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40
Q

Verily, Verily I say unto you

A

Thomas Tallis. Anthem

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41
Q

Sing Joyfully unto God

A

William Byrd. Anthem

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42
Q

Missa Pope Marcelli: credo

A

Palestrina. Mass

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43
Q

Cum essen parvulus

A

Orlande de Lassus. Motet

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44
Q

Prophetiae Sibyllarum: Prologue

A

Orlando de Lassus. Motet

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45
Q

Dunque fra torbide onde

A

Giacopo Monody

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46
Q

Sfoga con le stele

A

Giulio Caccini Monody

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47
Q

Crude Amarilli

A

Claduio Monteverdi. Madrigal

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48
Q

T’amo mia vita

A

Claudio Monteverdi. Madrigal

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49
Q

Zefiro torna e di soavi accenti

A

Claudio Monteverdi. Concerted Madrigal

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50
Q

Tradimento!

A

Barbara Strozzi. Arietta

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51
Q

L’orfeo Act II

A

Claudio Monteverdi. Opera

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52
Q

L’incoronazione di Poppea

A

Claudio Monteverdi. Opera

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53
Q

Vespers of 1610

A

Claudio Monteverdi. Vespers

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54
Q

Vespers of 1610. “Deus in auditorium.”

A

Claudio Monteverdi. Response

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55
Q

Vespers of 1610. “Audi coelum”

A

Motet. Monteverdi

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56
Q

Vespers of 1610. “Lauda Jerusalem”

A

Psalm. Monteverdi

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57
Q

Vespers of 1610. “Sonata Sopra Sancta Maria”

A

sonata or sinfonia. Monteverdi

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58
Q

Vespers of 1610. “Ave Maris Stella”

A

Hymn. Monteverdi.

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59
Q

Saul, was verfolgst du mich?

A

Heinrich Schutz. Motet

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60
Q

Hautboys

A

what the shawm became known as in the sixteenth century

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61
Q

crumhorn

A

double reed instrument. Reed was encapsulated so that the performer blew into the capsule and the reed vibrated freely.

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62
Q

shawm

A

musical instrument of the woodwind family made in Europe from the 12th century (at the latest) until the 17th century.

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63
Q

ricercar

A

type of late Renaissance and mostly early Baroque instrumental composition lute and keyboard. The term means to search out. Precursor to fugue.

64
Q

fantasia

A

pieces for viols, characteristically—though not always—alternating, in this case rapid fugal sections with slower sections in slow notes and sometimes clashing harmonies.

65
Q

stadtpfeifer

A

Town piper

66
Q

canzona

A

instrumental musical form of the 16th and 17th centuries that developed from the Netherlandish chanson. differed from the similar forms of ricercare and fantasia in its livelier, markedly rhythmic material and separation into distinct sections.

67
Q

serpent

A

long cone bent into a snakelike shape, hence the name. bass wind instrument, descended from the cornett.

68
Q

Reformation (england)

A

King of England became formal head of Anglican Church. Divorce became Legalized.

69
Q

chorale

A

a melody to which a hymn is sung by a congregation in a German Protestant Church service. Started after Martin Luther Protests.

70
Q

Geistliche Gesangbuchlein

A

Spiritual songbook

71
Q

Tafelmusik

A

term used since the mid-16th century for music played at feasts and banquets

72
Q

Council of Trent

A

Series of Music in Trent where the counter reformation took place.

73
Q

Counter-reformation

A

When the catholic church implemented reforms to counter the complaints of the Protestants. 1545-1563.

74
Q

a cappella

A

unaccompanied vocal music.

75
Q

point of imitation

A

melody or rhythm that one voice sings that other voices use to imitate.

76
Q

castrato

A

type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty.

77
Q

pavane

A

slow courtly dance from Renaissance England.

78
Q

anthem

A

sacred vocal composition. much like a motet but sun in English. Full anthem- for a cappella chorus throughout. Verse Anthem- alternates choral passages with passages for solo voice and instrument.

79
Q

cross relation

A

type of dissonance that sometimes occurs in classical polyphonic music, most commonly in vocal music of the Renaissance. The term describes a “chromatic contradiction” between two notes sounding simultaneously

80
Q

Fitzwilliam Virginal book

A

Largest collection of English keyboard music. 297 compositions.

81
Q

musica transalpina

A

33 madrigals by Italian composers were give with English, not Italian texts.

82
Q

lute ayre

A

Elizabethan Renaissance when soloist is accompanied by a lute.

83
Q

consort song

A

Elizabethan Renaissance when voice was accompanied by consort of viols.

84
Q

concerto delle donne

A

group of professional female singers in the late Renaissance court of Ferrara, Italy, renowned for their technical and artistic virtuosity

85
Q

musica secreta

A

another name for musica reserveta. text sensitive music reserved fora small circle of connoisseurs.

86
Q

Artusi-Monteverdi controversy

A

Artusi was a conservative music theorist, he criticized Monterverdi for mistakes and errors his work Cruda Amarilli. Monterverdi replied in 1605 and 1607 declaring this moments to momentary diversion from commonplace contrapuntal practice necessitated by an especially vivid word or phrase of text.

87
Q

seconda practica

A

Text driven approach to music. Flowing rhythms. Punctation points. Cadences of Varying strength.

88
Q

prima practica

A

conservative style of Renaissance. Syllabic settings, minimal melismas. Clear text. Palestrina continued it from Ockeghem, and Josquin.

89
Q

passamezzo

A

Italian dance of the 16th and early 17th centuries

90
Q

psaltery

A

stringed instrument of the zither family. harp like.

91
Q

recorder

A

popular in medieval times through the baroque era. woodwind instrument. traditionally associated with pastoral scenes, miraculous events, funerals, marriages and amorous scenes.

92
Q

viol

A

fretted six strings instrument. Comes in treble, tenor, and bass. Bass is usually known as viola da gamba.

93
Q

musica reservata

A

text sensitive music reserved fora small circle of connoisseurs.

94
Q

cadential elision

A

overlapping cadences, to create smooth flowing style.

95
Q

part song

A

form of choral music which consists of a secular song which has been written or arranged for several vocal parts.

96
Q

Morning prayer

A

Part of Newly reformed anglican service. Compression of Matins and Lauds.

97
Q

Evensong

A

Part of Newly reformed anglican service. Similar compression of Vespers of Compline.

98
Q

plagal of “amen” cadence

A

empathic conclusion to a psalm provided by old Hebrew word for “and so be it” IV-I chordal movement with the bass in root position falling down by the interval of the fourth.

99
Q

Variation technique

A

formal technique where material is repeated in an altered form. Generally for keyboard instruments in the Medieval period.

100
Q

Quodlibet

A

piece of music combining several different melodies, usually popular tunes, in counterpoint and often a light-hearted, humorous manner.

101
Q

bourree

A

dance of French origin. danced in quick double time, somewhat resembling the gavotte

102
Q

Opera

A

art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score, usually in a theatrical setting

103
Q

Florentine Camerata

A

group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de’ Bardi to discuss and guide trends in the arts, especially music and drama.

104
Q

Stile rappresentativo

A

A style of singing developed in the early Italian operas of the late 16th century that is more expressive than speech, but not as melodious as song. It is a dramatic recitative style of the early Baroque era in which melodies move freely over a foundation of simple chords.

105
Q

Monody

A

compositions for an individual vocal line with accompaniment. Homophonic in texture.

106
Q

Le nuove musiche

A

collection of monodies and songs for solo voice and basso continuo by the composer Giulio Caccini.

107
Q

recitative

A

singer is allowed to adopt the rhythms of ordinary speech.

108
Q

simple recitative?

A

?

109
Q

toccata

A

“to touch” virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections.

110
Q

aria

A

originally any expressive melody, usually, but not always, performed by a singer.

111
Q

arioso

A

type of solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style.

112
Q

libretto

A

the text used in, or intended for, an extended musical work such as an opera.

113
Q

stile concertato

A

Innovation of baroque music. New style of music that has dramatic contrast. Can have agitated style of ritornello rapid repeating notes, cascading scales and fanfare like figures.

114
Q

cori spezzati

A

type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation.

115
Q

concerted motet

A

Schütz piece

116
Q

concerted madrigal

A

Accompanied, dramatic solo. Evolves into the secular cantata. Claudio Monteverdi was a composer who developed it.

117
Q

Vespers of 1610

A

Vespers written by Monteverdi. One of his most famous pieces.

118
Q

galliard

A

form of Renaissance dance and music popular all over Europe in the 16th century.

119
Q

Rondo

A

repetitions of a couplet separated by longer sections of poetry. recurring element is sometimes embellished and/or shortened in order to provide for variation. ABA. ABACA. ABACABA.

120
Q

Volta

A

anglicised name for a Renaissance dance for couples from the later Renaissance. associated with galliard.

121
Q

fauxbourdon

A

technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. fauxbourdon consists of the cantus firmus and two other parts a sixth and a perfect fourth below. unwritten.

122
Q

musica ficta

A

Unwritten raising or lowering of notes to make counterpoint. Goes away in late renaissance.

123
Q

madrigalisms

A

use of word painting.

124
Q

ritornello

A

reinviting passage in Baroque music for orchestra or chorus. “ little return” small passages of music that return throughout a piece of music.

125
Q

Buxheim Organ book

A

1460s. 256 works by composers such as Dunstable, Du Fay, and Binchois.

126
Q

Ileborgh Tablature

A
  1. Five preambles and three arrangements of a German song. For organ.
127
Q

Fundamentum organisandi

A

(1452) “the fundamentals of Composition” by Conrad Paumann

128
Q

Hauts instruments

A

Loud or high instruments in Renaissance:

Trumpets, shwams, bagpipes, drums, tambourines, sackbut, shawms cornett, drums, drum horn.

129
Q

sackbut

A

trombone from the Renaissance and Baroque eras, i.e., a brass instrument, similar to the trumpet

130
Q

Cornett of cornetto

A

wooden instrument with finger holes the tone of which is like a soft trumpet

131
Q

bas instruments

A

soft. recorders, traverse, lute viols, viula, harpsichord.

132
Q

basse dance

A

“low dance”, was the most popular court dance in the 15th and early 16th centuries, especially at the Burgundian court, often in a combination of 6/4 and 3/2 time allowing for use of hemiola.

133
Q

contrafactum

A

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

134
Q

frottola

A

predominant type of Italian popular, secular song of the late fifteenth and early sixteenth century. It was the most important and widespread predecessor to the madrigal.

135
Q

lira da braccio

A

European bowed string instrument of the Renaissance. used by Italian poet-musicians[2] in court in the 15th and 16th centuries to accompany their improvised recitations of lyric and narrative poetry.

136
Q

through composed

A

different music for each stanza of the lyrics.

137
Q

soggetto cavato

A

innovative technique of Renaissance composer Josquin des Prez. a subject ‘carved out of the vowels from these words.’ It is an early example of a musical cryptogram.

138
Q

penitential psalms

A

are the Psalms 6, 32, 38, 51, 102, 130, and 143. expressive of sorrow for sin

139
Q

recitation tone

A

repeated musical pitch around which the other pitches of the chant gravitate, or by extension, the entire melodic formula that centers on one or two such pitches.

140
Q

clavichord

A

string struck by a metal tangent, remains on string as long as key is depressed. Modest sustain time. Very soft dynamics. Subtle dynamic changes.

141
Q

organ

A

used mostly as sacred music instrument. edge tone created by air moving across fluted pipe. Sustain tone indefinitely. Thunderous louds and whispery softs, can’t crescendo or diminuendo.

142
Q

Syntagma musicum

A

(1614) one of the most important illustrated encyclopedias of musical instruments. Written by Michael Preatorious.

143
Q

keyboard tablature

A

system of tablature or musical notation written using letters and numbers that designate the timing and keys to hit on a keyboard or piano

144
Q

virginal

A

diminutive harpsichord possessing a single keyboard with the strings placed at the right angles to the keys.

145
Q

lute

A

pear shaped instrument with six sets of strings called courses. Peg box that turns back at a right angel to the fingerboard.

146
Q

lute tablature

A

System in which lute music is written. Fingers are directed to frets on specific strings.

147
Q

vihuela

A

Spanish guitar. Plucked string instrument with a body constructed from curved, thin slabs of wood. Descendant of moder classical guitar.

148
Q

viol de gamba

A

Bass size of viol.

149
Q

violin

A

devoloped in 1520 in mother italy. Considered to be low brow instrument. Suitable for taverns and peasant dances. Not for high class gatherings.

150
Q

German flute

A

what we know now as the flute. Also called traverso. Made of word, or ivory.

151
Q

traverso

A

German flute.

152
Q

flauta

A

Flute. Generally meant recorder in pieces

153
Q

whole consort

A

A consort consisting entirely of instruments of the same family.

154
Q

broken consort

A

in English early Baroque musical terminology refers to ensembles featuring instruments from more than one family

155
Q

clarino

A

common name for a trumpet in the Middle Ages and the Renaissance.

156
Q

English Renaissance music genres

A

Keyboard music- variations of dance suite. Byrd: pavane for earl of Salisbury
Madrigal: similar to Italian model. Morley: now is the month of maying.
Solo song: two forms. Accompanied by viol consort, or by lute. Dowland: come, heavy sleep.
Anthem: sacred. Similar to motet. Byrd: sing joyfully unto god.

Music History 1 (9 decks)

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