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Music History > Unit III: Late Renaissance & Early Baroque > Flashcards

Unit III: Late Renaissance & Early Baroque Flashcards

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0
Q

What mass style did the Church adopt in the 1500s?

A

Parody mass

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1
Q

Netherlanders were influenced by what regions?

A

Italy, Southern Germany

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2
Q

How many voices were standard after 1550?

A

5-6

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3
Q

Gombert

A
  • Madrid, Vienna, Brussels
  • Pervasive imitation, points of imitation
  • Smooth, continuous, few rests
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4
Q

Clemens

A
  • Bruges
  • Dutch psalm books (4) in 3 parts
  • Clearer phrases than Gombert
  • Word setting
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5
Q

Senfl

A
  • Munich
  • A Swiss
  • Finished Isaac’s Choralis Constantinus
  • Wrote for both churches
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6
Q

Willaert

A
  • Netherlander in Italy
  • Text and music!
  • Maestro at St. Marks
  • Polychoral style
  • Trained others
  • Church modes
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7
Q

Frottola style

A

4-voice, homorhythmic, syllabic, dance-like, secular, top melody

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8
Q

Frottola composers

A

Cara, Trombocino

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9
Q

Villancico

A

Spanish version of frottola

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10
Q

Polyphonic lauda

A

Sacred, nonliturgical version of frottola, with melody from a secular song

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11
Q

Most important secular genre of 16th century

A

Madrigal

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12
Q

Through-composed

A

Characteristic of madrigals; non-strophic, new music for each new line of poetry

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13
Q

Madrigal poets

A

Petrarch, Bembo, Tasso, Guarini

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14
Q

Earliest madrigals resembled what?

A

Frottola; but later the madrigal had more continuous and overlapping phrases than the frottola

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15
Q

Madrigalists in Florence

A

Verdelot, Pisano, Layolle

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16
Q

Madrigalists in Rome

A

Verdelot, Pisano, Festa

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17
Q

Madrigalists in Venice

A

Willaert, Arcadelt

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18
Q

Name Bembo’s two emotional categories derived from his study of Petrarch’s poetry.

A

Piacevolezza (pleasingness) and gravità (seriousness), often alternated for contrast.

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19
Q

Rore

A

Midcentury madrigalist; alternated textures, meter, and length of note values freely. Concerned with emotional details of text.

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20
Q

Name the three Netherlanders of the third generation of madrigalists.

A

Orlando di Lasso, Phillipe de Monte, and Giaches de Wert

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21
Q

Name the three Italians of the third generation of madrigalists.

A

Marenzio, Gesualdo, Monteverdi

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22
Q

De Monte

A

Vienna, Prague; 32 books of madrigals.

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23
Q

Di Lasso

A

Musical cosmopolitan, mastered every national form of his time. Highly sensitive to text. Turned almost entirely to sacred music later in life.

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24
Q

De Wert

A

Influenced by Rore; wide leaps, recitative-like declamation, and strong contrasts. Influenced Monteverdi.

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25
Q

Marenzio

A

5-part madrigals; musical depiction of feeling and visual details; his work the crowning achievement of the Italian madrigal.

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26
Q

Gesualdo

A

Chromaticism, intense emotional states

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27
Q

Monteverdi

A

Key transitional figure to early Baroque; eight books of madrigals show this evolution in style; late works foreshadow recitative; wrote out his vocal ornaments.

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28
Q

Villanella/Villanelle

A

Naples c. 1540, strophic form imitating popular song using parallel fifths; 3-voice homorhythm.

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29
Q

Canzonetta

A

Italy c. 1560; clear harmonies and distinct, even phrases, many repeats

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30
Q

Balletto

A

“Fa-la-la” refrains used; for dancing, with dance rhythms

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31
Q

What composers masters the non-madrigal polyphonic forms of the 1500s?

A

Gastoldi, Banchieri, Vecchi

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32
Q

Who was the first French printer? What year did he begin printing in Paris?

A

Attaignant, 1528

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33
Q

Parisian Chanson

A

Characterized by many repeated notes; 4-voice, light, fast, homorhythmic

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34
Q

Composers of Parisian Chansons

A

Sermisy, Jannequin

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35
Q

Composers of French chansons that were more contrapuntally complex than the Parisian chanson

A

Gombert, Manchicourt, Clemens, Crequillon, Le Jeune, Costeley, Mauduit

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36
Q

Air de cour

A

Dominant vocal form in France after 1580; a solo singer with lute accompaniment

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37
Q

Who attempted to write French poetry using classic Greek and Latin poetic meter?

A

Antoine de Baïf

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38
Q

Musique mesurée

A

A homophonic, multi-metered French style of music imitating the meter of class Greek and Latin poetry.

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39
Q

When did the Franco-Flemish contrapuntal style reach Germany?

A

The 1530’s

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41
Q

Lied

A

A German vernacular polyphonic song with melody in top voice OR tenor; eventually took on madrigal-like qualities.

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42
Q

Which German composers are known for combining German melodic material with Franco-Flemish counterpoint?

A

Isaac, Finch, Hofhaimer, Senfl

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43
Q

Quodlibet

A

A German medium; a ragged compendium of popular tunes juxtaposing texts for humor

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44
Q

Hans Leo Hassler

A

Greatest German composer in the latter 1500s; combined Italian finesse with German characteristics.

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45
Q

What book brought Italian part song to England in 1588?

A

Yonge’s Musica Transalpina

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46
Q

English madrigalists

A

Morley, Weelkes, Wilbye

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47
Q

The Triumphs of Oriana

A

A collection of English madrigals compiled by Morley

48
Q

English lute song composers

A

Dowland, Campion

49
Q

Lute song

A

Solo voice accompanied by lute, with arrangements for vocal ensemble

50
Q

Consort song

A

Vocal solo or duet over a viol ensemble; mastered by William Byrd

51
Q

Michael Praetorius’ treatise on instrumental music

A

Syntagma Musicum

52
Q

Most popular household instrument of the Renaissance

A

Lute

53
Q

Form of notation use in lute, viol, and keyboard music

A

Tablature

54
Q

The canzona da sonar resembled an instrumental version of what?

A

French chansons

55
Q

Pairs of instrumental dances

A
  • Pavane, galliard

- Passamezzo, saltarello

56
Q

Which dances were essential to the Baroque Suite?

A

Allemande, Courante, Sarabande, and Gigue

57
Q

A strophic congregational hymn which began as a monophonic song

A

Lutheran chorale

58
Q

Contrapuntal settings of chorale tunes with the melody in the tenor

A

Chorale motets; Johann Walter was a noted chorale motet composer

59
Q

What is cantional style?

A

“Hymn style” of the chorale in which the melody is in the soprano with block chords beneath.

60
Q

Who were the primary composers of cantional-style chorales?

A

Hans Leo Hassler, Michael Praetorius, and Johann Hermann Schein

61
Q

What psalter, prepared by Loys Bourgeois, was the most important of the mid-1500s?

A

The Genevan Psalter

62
Q

Composers of French psalm settings

A

Goudimel, Le Jeune

63
Q

English Psalter used by the separatists living in Holland

A

The Ainsworth Psalter, prepared by Henry Ainsworth

64
Q

The first American psalter

A

The Bay Psalm Book

65
Q

English Church composers of the 1500s

A

Taverner, Tye, Tallis, Byrd

66
Q

Who was the most notable English Church composer of the 16th century?

A

Thomas Tallis, who wrote “Lamentations of Jeremiah” and “Spem in alium”

67
Q

The composer/organist known as the “finest hand in England”

A

Orlando Gibbons

68
Q

Great service

A

Anglican Church form with contrapuntal and melismatic settings.

69
Q

Short service

A

Anglican Church form with chordal and syllabic settings; less elaborate than a great service

70
Q

Anthem

A

In the Anglican Church, an English-texted piece resembling the Latin motet.

71
Q

Full anthem

A

Anglican Church a cappella piece in contrapuntal style

72
Q

Verse anthem

A

Anglican Church piece with soloists and chorus accompanied by instruments

73
Q

When did the Council of Trent convene?

A

1545-1563

74
Q

What Church music practices did the Council of Trent find fault with?

A
  • They opposed the use of secular cantus firmi.
  • They thought polyphony obscured the liturgical text.
  • They claimed instruments were used improperly in Church music.
  • They claimed musicians were disrespectful of the clergy.
75
Q

Name the most important Church composer of the Renaissance.

A

Palestrina, the first composer whose words were conscientiously preserved and studied

76
Q

What style did Palestrina master?

A

Franco-Flemish counterpoint

77
Q

What is Palestrina’s most famous work?

A

Missa Papae Marcelli

78
Q

Name Palestrina’s church contemporaries.

A

Neri, Nanino, and Anerio

79
Q

Name the Spanish composers prominent during the late 1500s.

A

Tomas Luis de Victoria (who wrote Missa O Magnum Mysterium), Christobal de Morales, and Francisco Guerrero

80
Q

William Byrd

A

First English composer to comfortably use the continental style; so highly esteemed that he wrote for the royal chapel even as a Roman Catholic.

81
Q

What years does the Baroque period encompass?

A

1600-1750

82
Q

Instead of the Church, musicians in the 1600s relied increasingly on the patronage of the ______.

A

wealthy/aristocracy

83
Q

prima prattica

A

In Baroque music, the “old” Franco-Flemish contrapuntal style in which music dominated words.

84
Q

seconda prattica

A

In Baroque music, the new practice in which words dominated music; rules could be broken for the sake of emotional expression.

85
Q

Name the three musical styles developed in the early Baroque period.

A
  • a church style
  • a chamber music style
  • a theatrical style
86
Q

Describe the Baroque doctrine of the affections.

A

Composers thought music should arouse emotions in the listener; they attempted to create musical depictions of emotions even in solely instrumental music.

87
Q

By what year were bar lines standard?

A

1650

88
Q

How many instruments were required for basso continuo?

A

Two; a keyboard instrument and a bass instrument.

89
Q

Name two early Baroque organists.

A

Frescobaldi and Froberger

90
Q

By about 1670, most music was ______ rather than modal.

A

tonal (major/minor)

91
Q

The use of basso continuo fostered ________ thinking rather than melodic/linear thinking.

A

harmonic/vertical

92
Q

An __________ is a drama that combines soliloquy, dialogue, scenery, action, and continuous (or nearly continuous) music.

A

opera

93
Q

Name the three sources of opera.

A
  • Intermezzo
  • Madrigal comedy
  • Pastoral poetry
94
Q

Name the association of noblemen who met periodically to discuss philosophical and scientific matters in the 1570’s.

A

The Florentine Camerata

95
Q

What authority on ancient Greek music and theater claimed that the power of Greek music lay in its monophonic character, condemning the madrigal as a means of poetic expression?

A

Girolamo Mei

96
Q

Which two composers wrote the first operas, settings of L’Euridice?

A

Jacopo Peri (1600) and Giulio Caccini (1602)

97
Q

What vocal style, pioneered by Peri, imitated the natural inflections of speech with a melodic line above a long, sustained bass?

A

Recitative style (stile recitativo)

98
Q

Name the first notable oratorio.

A

Cavalieri’s Rappresentatione di Anima e di Corpo

99
Q

A single vocal line with instrumental accompaniment is called _______.

A

monody

100
Q

Name Monteverdi’s first opera.

A

L’Orfeo (1607)

101
Q

After its birth in Florence, opera developed more extensively in the city of _________.

A

Rome

102
Q

Name two Roman opera composers.

A

Stefano Landi and Luigi Rossi

103
Q

Name Monteverdi’s last two operas.

A

Ulysses (1641) and Poppea (1642)

104
Q

Where did opera spread (and make a lasting home) after reaching Rome?

A

Venice

105
Q

Name two features of opera established by 1650 that remained for over two centuries.

A
  • A concentration on solo vocal music, as opposed to ensemble and instrumental
  • The separation of aria and recitative into two distinct styles and functions
106
Q

Name two Venetian opera composers.

A

Cavalli (Monteverdi’s pupil) and Cesti

107
Q

Strophic variation

A

What occurs when a work uses the same basic harmonic and melodic plan for each strophe, but the music is varied in order to facilitate the text and expression.

108
Q

Concertato medium

A

Instruments of differing timbre used together in harmonious ensemble

109
Q

Stile concitato

A

“Agitated style;” rapid and prolonged reiteration of a single note to create excitement and enhance dramatic expression

110
Q

Name the four trends of musical style in the early 17th century.

A
  • Monody combines with the madrigal
  • Form generated from bass patterns (and their resulting harmonies) along with the introduction of ritornellos (instrumental refrains)
  • The concertato medium provides variety of texture
  • Arias begin to be clearly delineated from recitative.
111
Q

A composition for basso continuo and solo voice on a lyrical or quasi-dramatic text; used several sections of both recitative and aria.

A

Cantata

112
Q

Name three early cantata composers.

A

Rossi, Carissimi, Strozzi

113
Q

Name the musical hub of the early Baroque period.

A

Venice

114
Q

This early Baroque Catholic Church form used massive ensembles and often multiple choirs.

A

Grand concerto

115
Q

This early Baroque Catholic Church form used several soloists with organ continuo, often imitating the sound of polyphony, like in Viadana’s Cento concerti esslesiatici.

A

Small-scale sacred concerto

116
Q

Who was the greatest German composer c. 1650, said to have composed the first German opera (Dafne)?

A

Heinrich Schutz

117
Q

The ricercare, fantasia, and sonata of the early Baroque all used what style?

A

Fugal style in continuous imitative counterpoint.

Music History (1 decks)

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