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RCM History 2 > Unit Two Renaissance > Flashcards

Unit Two Renaissance Flashcards

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1
Q

Renaissance meaning years

A

1450-1600
rebirth - breaking free from Church views
Science for fresh answers Humanism
Turkish took over Constantinople (Isantbul) 1453
church scholars fled to Rome, revived classical antiquity

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2
Q

Renaissance technology

A

printing press 15th C Johann Gutenberg
cost effective, changed a lot; understand and exchange more styles
music publishing centers Venice, Amsterdam and Antwerp

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3
Q

Renaissance Art

A

Michelangelo, Leondardo da Vinci Sandro botticelli; humanism; naked figures, more realistic than 12th-13 century; proportions correct, more 3D shadowing (before very 2D like in fabric murals)

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4
Q

continuous imitation

A

Renaissance style polyphony
motive passed between voices
series: points of imitation

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5
Q

homorhythmic

A

all voices sing same rhythm
chordal
text clarity
top voice stands out

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6
Q

modal counterpoint

A

polyphonic based on modes

counterpoint

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7
Q

word painting

A

musical pictorilization, music relfects text/idea

madrigals, operas, oratorios

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8
Q

chormatisicm

A

chroma colour greek

melodies/harm includes all notes avail

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9
Q

musical leaders

A

Frano-Flemish School
Murgandy, Belgium Holland
15 16th C
Johannes Ockeghem, Josquin des Prez, Jacob Orbrecht
vocal polyphony contracpuntal high development motets and mass

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10
Q

Renaissance motet

A

single text line; clarity direct
14C:more complexity, still built on cantus firmus and polytextual
15C: develop as significant genre vocal polyphony
allowed composer to experiement contrpuntal writting
Sacred 4 voice imitative contrasting 3rd 6th

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11
Q

Josquin des Prez

A

1440-1521
brilliant career supported nobles Sforza and d’Este families - worked in Italy prestigious churches including Sistine Chapel

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12
Q

Josquin’s Ave Maria

A 
Virgin Mary exaulted during Renaissance - humanism
motet 1470-1480
rhymed strohpic poem
opening and closing couplet, 5 quatrains
4 voice a cappella polyphonic
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13
Q

Joquin Ave Maria music notes

A

plainchant and cantus firmus used in opening couplet fragment
continuous imitation ascending P4 Ave each voice, and gratia plena
Other texture: 1 quatrain; pairing of voices SQ, TB clarity
beautiful imitation layered in last two quatrains
closing homorhy chordal triadic harmony
rests; impact
ends with open 5ths

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14
Q

Josquin Ave Maria music notes extras

A 
simple rhytm well balanced
triple meter Ave vera verginitas
syllabic but for small melismas
word painting lucifer high pitch light
3 and 6th lots, cadnece in 5th or 8ths
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15
Q

Josquin Style

A

successful known
contrapuntal master canonic immitative
emotional expression humanism
meaning of words importantl clarity with texture
modal harmony triadic spiced with dissonance

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16
Q

Josquin Titles

A

motest 100 Ave Maria, Absalon, fili mi
Masses: 18, Missa L;homme arme, Missa La sol fa re mi
chanson: 60 el grillo, Millie regrets

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17
Q

Renaissance Mass

A

early monophonic, 12 13C organum - Machuat mass longest polyphonic middle ages
14 15C: polyphonic 5 mov contrapuntal devices
cantus firmus created from secular hymnes
parody, paraphrase, elaborate canonic
movements linked..same cantus firmus ie
can be freely composed

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18
Q

Mass

A

most important service Roman Catholic

prayers, readings, Last supper reinactment, Holy Communion

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19
Q

Mass Ordinary

A

unchanging prayers: Kyrie, Gloria, Credo, Santus, Benedictus, Angus Dei

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20
Q

Mass Proper

A

changing pryaers; calender

Gradual, introit, communion, alleluia

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21
Q

Martin Luther

A

1483-1546
1517 German preist, potest to practices of roman catholic 95 Theses
protestant reformation; Lutheran Church
transcribed bible into German
German service, replace polyphonic with simple Lutheran hymns

22
Q

Reformation

A

16 C christian reform in Europe
MartinLuther lead
Protestant denominations

23
Q

Counter-reformation

A

mid 16C Catholic reaction
win back support and authority
Council of Trent 1545-1563 meetings high officials
reaffirmed doctrines, litergical music: text audible, no dense counterpoint, no instruments, no chromatism, no secular cantus firmus, no virtuosity

24
Q

Palestrina Missa Papae Marcelli Gloria

A 
1567
Latin 6 SATTBB a cappela
polyphonic
opens monophonic Glory to God in the Highest
through-composed sectional matches text
unity at Son of God, You alone are most high
texture changes diff voices
mostly syllabic, easy to hear words
restrained contrapuntal homorhtym
spiritual message, not overbearing
25
Q

Giovanni Pierluigi da Palestrina Style

A 
deep personal faith counter reformed Catholic
a cappella vocal polyphony
model counerpoint of Renaissance
chordal
cantus firmus, parody, paraphrase, canonic
vocal line move by step
accents text
dissonance avoided
26
Q

Palestrina Titles

A

300 motets Lauda Sion, Alma Redemptoris Mater
100 Masses Missa L;homme arme, Missa Lauda Sion
liturgical works hymns magnificat
madrigals sacred secular

27
Q

Italian Madrigal

A

14 C poetic form musical setting strophic
secular
16 17C secluar song aristocrats Italy went popular out to Eurpose and England
initial homophonic pleasure amature music
more complex polyphonic chrom aristocrats
late 16, early 17: virtuosic mannered personalized
17 C basso continuos -> baroque style

28
Q

Italian Madrigal characteristic features

A 
text short poems lyric reflective character
through composed
love and esign politics humor
word painting
chromat expressive
29
Q

Carlo Gesualdo notes

A

1561-1613
aristocrat amateur musician Prince of Venosa
arranged murder wife and lover

30
Q

Moro, lasso, al mio duolo general

A

1611
a cappella polyphoniv 5 voice
completixty refinement exaggerated chrom

31
Q

Moro, lasso, al mio duolo words

A 
I die, alas, in my suffering
and she who could give me life
alas, kills me and will no help me
o worrowful fate
she who could give me life, alas give me death
32
Q

Moro, lasso, al mio duolo music notes

A

chromatic moro opening, all semitones firsrt 4 measures
descending chrom grief and death
active rhtm on ‘life’
imitation and seq motive
diatonic and she who give me life contrasts chromatic moro
chordal vs immitative contrasts

33
Q

Carlo Gesualdo style

A 
Italian, lutenist
intense emtion
extravag word paint
exag chrom dissonance
abrupt chord changes
repition
wrote own texts
34
Q

Carlo Gesualdo titles

A

6 books of madrigals
sacred Tenebrae Responsoria
instrumental music

35
Q

English Madrigal notes

A

Court Elizabeth 1st 1558-1603
madrigal grew in popularity and developed under her riegn
anthologies 1580’s popular spread England

36
Q

musica transalpina

A

Musica transalpina anthology music from beyond the alps 1588 Nicholas Younge
vol 1; 57 pcs

37
Q

English Madrigal music notes

A 
English composers took on genre, slightly diff character Orlando Gibbons, Thomas Morley, Thomas Weekles, John Wilbye.
poly and homophonic alternates
word painting
pastoral text
nonsense fa la la nonny nonny no
38
Q

Fair Phyllis notes

A

John Farmer 1599 a cappella 4 voices ply
phyllis alone feeding flocks, found by her lover and they fell a kissing
pyllis naration soprano voice
flock -all voices together homoryhtm syncopation on flock
up and down word painting immitation
o then fell a skiing triple meter synco fell a kissing

39
Q

John Farmer style

A 
organizst Christ Chruch Dublin to London
1599 collection 4 part madrigals Tears and Lamentations of Sorr Soul
4 voice madrigals
chordal homophonic with imi polyphoni
lightheart pastoral
modal diatonic
vivid word painting
40
Q

John Farmer titels

A

16 madrigals in one collection

A pretty little bonny lass, Fair Phyllis

41
Q

consort of instruments

A

renaissance term ensemble
whole consort - all family instruments
broken consort mixed combo

42
Q

viols

A

bowed instruments renaissance

small to large

43
Q

viola da gamba

A

viol family
6 strings
bw legs like cello
fretted like guitar

44
Q

virginal

A

plucked keyboard in England
smaller harpsichord simpler less expensive
English rectangular, Italian Flemish various
lap or tabletop

45
Q

Fitzwilliam Virginal Book

A

Englihs keyboard 17C Viscount Fitz patron 1816 donate Cambridge
300works
dances, fantasies, preludes, songs, madrigals
Willan Byrd, John Bll, Thomas Morley, Giles Farnaby
idiomatic writing
virtuosic rapid scale ornamentation
Carman’s Whistle, The Kings Hunt, The Ghost

46
Q

Dance Music general

A 
Eliz 1st and Henry VIII dancers; wanted courtier same. nobiity and middleclass dance
social entertainment as early 13th C notation
publishing allowd more notated
improv in creation 
keyboard, lute, ensemble
polyphonic 4 part like voal
instrument not specified
melodies from vocal words
47
Q

Renaissance dances

A

branle, pavane, galliar, saltarello, allemande
often paired for contrast
pavane slow, galliard lively

48
Q

Pavane Mille regretz

A 
Danserye 1551 Belgium collection dances
'cheerful fit for all instruments'
Josquin chanson
AABBCC duple metre
E Phyrgian mode
a thousand regrets polyphonic 4 voices
so many greif sorrow want to end my days
49
Q

Pavane Mille regretz music notes

A 
4 part texture like chanson
duple frequen dotted
modal traidic harmony
top voice plays elegant arched melody
each section repeated
pavan dance; line of couples stately noble character
50
Q

Tielman Susato

A

1515-1567
composer instrumentalist publisher Antwerp Belgium
Frano-Flemish masters works publish; Roland de Lassus 1532-1594
Danserye

RCM History 2 (5 decks)

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