Test 2 Flashcards
Michael Praetorius
(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.
Andrea Gabrieli
(1532–1585) Italian composer and organist of the late Renaissance. Ricercar del duodecimo tuono.
Johannes Ockeghem
(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.
Orlande de Lassus
(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.
Thomas Morley
(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.
Heinrich Schütz
(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?
Jacob Arcadelt
(1505–1568) Burgundian composer. Primo libro di madrigali d Arcadelt reprinted more than 50 times. Il bianco e dolce cigno.
Cipriano de Rore
(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
Maddelena Casulana
(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.
Barbara Strozzi
(1619–1677) published eight volumes of vocal music. Supported herself.
Claudio Monteverdi
(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.
Thomas Weelkes
(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.
John Dowland
(1563–1626) finest composer of lute songs. Published 4 collections of lute ayres. Come, Heavy Sleep. Come again.
William Byrd
(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
Giovanni da Palestrina
(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.
Josquin des Prez
(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.
Jacob Obrecht
(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.
Gilles Binchois
(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
Thomas Tallis
(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.
Giulio Caccini
(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
Luca Marenzio
(1553–1599) Italian composer and singer of the late Renaissance. He was one of the most renowned composers of madrigals. Solo e pensoso.
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.
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
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.
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.
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.
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
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.
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.
Differencias sobre el canto de la Dama le demanda
Antonio de Cabezón. (keyboard variations)
Recercar quinto (lute)
Vincenzo Capirola. Ricercar
Ricercar del duodecimo tuono
Andrea Gabrieli. Ricercar
Pavane, the Earle of Salisbury (harpsichord)
William Byrd. Dance Music
Dances from Terpsichore; La Bouree, Volte
Michael Praetorius. Dance Music
Il bianco e dolce cigno
Jacob Arcadelt. Madrigal
Da le belle contrade d’oriente
Cipriano de Rore. Madrigal
Morir non puó il mio cuore
Maddalena Casulana. Madrigal
Solo e pensoso
Luca Marenzio. Madrigal
T’amo mia vita
Luzzasco Luzzaschi. Madrigal
Matona mia cara
Orlande de Lassus: Villanella
Now is the Month of Maying…
Thomas Morely. English Madrigal
Fair phyllis I saw sitting all alone
John Farmer. English Madrigal
Come Heavy Sleep
John Downland. Lute song
Verily, Verily I say unto you
Thomas Tallis. Anthem
Sing Joyfully unto God
William Byrd. Anthem
Missa Pope Marcelli: credo
Palestrina. Mass
Cum essen parvulus
Orlande de Lassus. Motet
Prophetiae Sibyllarum: Prologue
Orlando de Lassus. Motet
Dunque fra torbide onde
Giacopo Monody
Sfoga con le stele
Giulio Caccini Monody
Crude Amarilli
Claduio Monteverdi. Madrigal
T’amo mia vita
Claudio Monteverdi. Madrigal
Zefiro torna e di soavi accenti
Claudio Monteverdi. Concerted Madrigal
Tradimento!
Barbara Strozzi. Arietta
L’orfeo Act II
Claudio Monteverdi. Opera
L’incoronazione di Poppea
Claudio Monteverdi. Opera
Vespers of 1610
Claudio Monteverdi. Vespers
Vespers of 1610. “Deus in auditorium.”
Claudio Monteverdi. Response
Vespers of 1610. “Audi coelum”
Motet. Monteverdi
Vespers of 1610. “Lauda Jerusalem”
Psalm. Monteverdi
Vespers of 1610. “Sonata Sopra Sancta Maria”
sonata or sinfonia. Monteverdi
Vespers of 1610. “Ave Maris Stella”
Hymn. Monteverdi.
Saul, was verfolgst du mich?
Heinrich Schutz. Motet
Hautboys
what the shawm became known as in the sixteenth century
crumhorn
double reed instrument. Reed was encapsulated so that the performer blew into the capsule and the reed vibrated freely.
shawm
musical instrument of the woodwind family made in Europe from the 12th century (at the latest) until the 17th century.
ricercar
type of late Renaissance and mostly early Baroque instrumental composition lute and keyboard. The term means to search out. Precursor to fugue.
fantasia
pieces for viols, characteristically—though not always—alternating, in this case rapid fugal sections with slower sections in slow notes and sometimes clashing harmonies.
stadtpfeifer
Town piper
canzona
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.
serpent
long cone bent into a snakelike shape, hence the name. bass wind instrument, descended from the cornett.
Reformation (england)
King of England became formal head of Anglican Church. Divorce became Legalized.
chorale
a melody to which a hymn is sung by a congregation in a German Protestant Church service. Started after Martin Luther Protests.
Geistliche Gesangbuchlein
Spiritual songbook
Tafelmusik
term used since the mid-16th century for music played at feasts and banquets
Council of Trent
Series of Music in Trent where the counter reformation took place.
Counter-reformation
When the catholic church implemented reforms to counter the complaints of the Protestants. 1545-1563.
a cappella
unaccompanied vocal music.
point of imitation
melody or rhythm that one voice sings that other voices use to imitate.
castrato
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.
pavane
slow courtly dance from Renaissance England.
anthem
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.
cross relation
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
Fitzwilliam Virginal book
Largest collection of English keyboard music. 297 compositions.
musica transalpina
33 madrigals by Italian composers were give with English, not Italian texts.
lute ayre
Elizabethan Renaissance when soloist is accompanied by a lute.
consort song
Elizabethan Renaissance when voice was accompanied by consort of viols.
concerto delle donne
group of professional female singers in the late Renaissance court of Ferrara, Italy, renowned for their technical and artistic virtuosity
musica secreta
another name for musica reserveta. text sensitive music reserved fora small circle of connoisseurs.
Artusi-Monteverdi controversy
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.
seconda practica
Text driven approach to music. Flowing rhythms. Punctation points. Cadences of Varying strength.
prima practica
conservative style of Renaissance. Syllabic settings, minimal melismas. Clear text. Palestrina continued it from Ockeghem, and Josquin.
passamezzo
Italian dance of the 16th and early 17th centuries
psaltery
stringed instrument of the zither family. harp like.
recorder
popular in medieval times through the baroque era. woodwind instrument. traditionally associated with pastoral scenes, miraculous events, funerals, marriages and amorous scenes.
viol
fretted six strings instrument. Comes in treble, tenor, and bass. Bass is usually known as viola da gamba.
musica reservata
text sensitive music reserved fora small circle of connoisseurs.
cadential elision
overlapping cadences, to create smooth flowing style.
part song
form of choral music which consists of a secular song which has been written or arranged for several vocal parts.
Morning prayer
Part of Newly reformed anglican service. Compression of Matins and Lauds.
Evensong
Part of Newly reformed anglican service. Similar compression of Vespers of Compline.
plagal of “amen” cadence
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.
Variation technique
formal technique where material is repeated in an altered form. Generally for keyboard instruments in the Medieval period.
Quodlibet
piece of music combining several different melodies, usually popular tunes, in counterpoint and often a light-hearted, humorous manner.
bourree
dance of French origin. danced in quick double time, somewhat resembling the gavotte
Opera
art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score, usually in a theatrical setting
Florentine Camerata
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.
Stile rappresentativo
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.
Monody
compositions for an individual vocal line with accompaniment. Homophonic in texture.
Le nuove musiche
collection of monodies and songs for solo voice and basso continuo by the composer Giulio Caccini.
recitative
singer is allowed to adopt the rhythms of ordinary speech.
simple recitative?
?
toccata
“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.
aria
originally any expressive melody, usually, but not always, performed by a singer.
arioso
type of solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style.
libretto
the text used in, or intended for, an extended musical work such as an opera.
stile concertato
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.
cori spezzati
type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation.
concerted motet
Schütz piece
concerted madrigal
Accompanied, dramatic solo. Evolves into the secular cantata. Claudio Monteverdi was a composer who developed it.
Vespers of 1610
Vespers written by Monteverdi. One of his most famous pieces.
galliard
form of Renaissance dance and music popular all over Europe in the 16th century.
Rondo
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.
Volta
anglicised name for a Renaissance dance for couples from the later Renaissance. associated with galliard.
fauxbourdon
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.
musica ficta
Unwritten raising or lowering of notes to make counterpoint. Goes away in late renaissance.
madrigalisms
use of word painting.
ritornello
reinviting passage in Baroque music for orchestra or chorus. “ little return” small passages of music that return throughout a piece of music.
Buxheim Organ book
1460s. 256 works by composers such as Dunstable, Du Fay, and Binchois.
Ileborgh Tablature
- Five preambles and three arrangements of a German song. For organ.
Fundamentum organisandi
(1452) “the fundamentals of Composition” by Conrad Paumann
Hauts instruments
Loud or high instruments in Renaissance:
Trumpets, shwams, bagpipes, drums, tambourines, sackbut, shawms cornett, drums, drum horn.
sackbut
trombone from the Renaissance and Baroque eras, i.e., a brass instrument, similar to the trumpet
Cornett of cornetto
wooden instrument with finger holes the tone of which is like a soft trumpet
bas instruments
soft. recorders, traverse, lute viols, viula, harpsichord.
basse dance
“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.
contrafactum
the substitution of one text for another without substantial change to the music.
frottola
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.
lira da braccio
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.
through composed
different music for each stanza of the lyrics.
soggetto cavato
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.
penitential psalms
are the Psalms 6, 32, 38, 51, 102, 130, and 143. expressive of sorrow for sin
recitation tone
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.
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.
organ
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.
Syntagma musicum
(1614) one of the most important illustrated encyclopedias of musical instruments. Written by Michael Preatorious.
keyboard tablature
system of tablature or musical notation written using letters and numbers that designate the timing and keys to hit on a keyboard or piano
virginal
diminutive harpsichord possessing a single keyboard with the strings placed at the right angles to the keys.
lute
pear shaped instrument with six sets of strings called courses. Peg box that turns back at a right angel to the fingerboard.
lute tablature
System in which lute music is written. Fingers are directed to frets on specific strings.
vihuela
Spanish guitar. Plucked string instrument with a body constructed from curved, thin slabs of wood. Descendant of moder classical guitar.
viol de gamba
Bass size of viol.
violin
devoloped in 1520 in mother italy. Considered to be low brow instrument. Suitable for taverns and peasant dances. Not for high class gatherings.
German flute
what we know now as the flute. Also called traverso. Made of word, or ivory.
traverso
German flute.
flauta
Flute. Generally meant recorder in pieces
whole consort
A consort consisting entirely of instruments of the same family.
broken consort
in English early Baroque musical terminology refers to ensembles featuring instruments from more than one family
clarino
common name for a trumpet in the Middle Ages and the Renaissance.
English Renaissance music genres
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.
