Exam 2 Review

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Renaissance Dates

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1

Renaissance Dates

1400-1600

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2

What does Renaissance mean?

French for "rebirth"

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3

What changes did moveable type have on music?

new technology, printing press; new genres, new textures, international style

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4

What are the general styles of Renaissance?

Expressive, focus on consonance, importance of text, strict rules for dealing with dissonances

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5

What was interesting/different about Missa prolationum by Ockeghem?

Notated 2 voices but sang in 4 voices; uses four prolations of mensural notation

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6

National style

16th century; ability to read musical notation and perform became an expected social grace

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7

International style

15th century; printing press led to this, changed economics of music, and music could be sold as a commodity; amateurs could enjoy music

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8

Who were the early Madrigal composers?

Phillipe Verdelot and Jacques Arcadelt

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9

Who were the Mid-century madrigal composers?

Cipriano de Rore

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10

Who were the late madrigal composers?

Orlando de Lassus, Luca Marenzio and Carlo Gesualdo,

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11

Music’s role in the Lutheran church

Music was central to Lutheran church because Luther was musician; Most important form of music in the Lutheran church was the Lutheran Chorale;

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12

Music’s role in the Calvinist church

Stripped church of anything that might distract worshippers; Metric Pslams; Sung in church unaccompanied and in unison

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13

Changes to Catholic church music due to the Council of Trent/Counter-reformation

Move to suppress variation in local practices in favor of a more uniform liturgy; Only policy adopted regarding polyphonic music suggested a ban on masses based on vernacular songs

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14

Instruments in the Renaissance that are the same from the Middle Ages

Recorders, transverse flute, shawms, cornetts, trumpets

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15

Sackbut

early form of trombone (made possible by invention of bent tubing and slide tubing)

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16

Crumhorn

double reed enclosed in a cap so the lips do not touch (sounds like a soft bagpipe)

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17

Lute

most popular household instrument in 16th century; Pear-shaped, rounded back, flat fingerboard, pegbox; One single and 5 double strings

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18

Vihuela

Spanish, closely related to the lute, flat back, guitar shaped body

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19

Viol or Viola da gamba

Developed in Spain mid-15th century; Became leading bowed string instrument of 16th century; Comes in different sizes; Player held instrument between the legs and bowed underhand; Played without vibrato; Fretted, 6 strings tuned a 4th apart with a M3 in the middle

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20

Violin

distant cousin of the viol; Bowed, fretless tuned in 5ths; Descended from the medieval fiddle; First appeared in the early 16th century as a 3 string instrument used to accompany dancing; During the 17th century, the violin, viola and violoncello gradually displaced the viols

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21

Organ

widely used in Middle Ages; Changed over time as makers added stops (ranks of pipes); By 1500 the large church organ was like the instrument we know today

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22

Clavichord

solo instrument suitable for small rooms; Pressing a key raises a brass blade that strikes a string and remains in contact with it, sustaining the tone until the key is released; tone is very soft but can control volume within limits

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23

Harpsichord

Both solo and ensemble playing in places of moderate size; Key moves a quill that plucks the string; cannot produce dynamic differences

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24

Common Renaissance Dance forms

Basse danse, Pavane, Galliard, Allemande, Moresco

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25

Introductory/Improvisatory Forms

Prelude, fantasia, ricercare, toccata, canzona

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26

Importance of Venice as a center of music in late Renaissance/early Baroque

Independent state with its own empire; City of traders and chief port--very wealthy; Government spent lavishly on public spectacle, music, art

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27

Importance of Sonata piano e’ forte by Gabrieli

one of the earliest known pieces to have loud and soft dynamics printed on it

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28

humanism

movement to revive ancient Greek and Roman culture, and to study things pertaining to human knowledge and experience; Strongest intellectual movement of the Renaissance

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29

Bas instruments

"soft" instruments associated with chamber; ex: flute and lute

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30

Haut instruments

"loud" instruments associated with public court; ex: shawm, trumpet; conveyed political and military power

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31

Le istitutioni harmoniche

A book on the Art of Counterpoint; Leading counterpoint treatise of 15th century; described strict rules of dissonance

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32

Hemiola

cross-rhythms of three quarter notes in 6/8; ex: De plus en plus

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33

Fauxbourdon

inspired by English Faburden; Cantus and tenor written out, moving mostly in parallel 6ths; end phrase on octave; Third voice (unwritten) sang in exact parallel a 4th below the cantus, ending on an open 5th and octave; Used for settings of the simpler Office chants

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34

Polyphonic mass

written all over the continent; Became standard practice after to set the Ordinary as a coherent whole; Could be paired by same arrangement of voices, same modal center, similar musical material, etc.; Eventually included all 5 parts

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35

Plainsong mass

each movement is based on a chant to the same text

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36

Motto mass

movements share the same opening motive, called the head motive

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37

Cantus-firmus mass

The same cantus firmus is used in each movement, normally in the tenor

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38

Canon

deriving 2 or more voices from a single notated voice

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39

Mensuration canon

2 voices sing simultaneously from the same part, but with different durations (because they are applying different mensuration signs)

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40

Villancico

Became most important form of polyphonic song in Renaissance Spain; Text usually on rustic subjects; Composed for the aristocracy; Short, strophic, syllabic, mostly homophonic; Reflect a growing preference for simplicity

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41

Madrigal

single stanza with 7 or 11 syllable lines and either a standard or free-rhyme scheme; No refrains or repeated lines; Through composed;

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42

Villanella

Lively, strophic piece in homophonic style, usually 3-voiced

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43

Meistersinger

"master-singer"; German amateur singer/poet-composers

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44

Lied

German song; typically for solo voice with piano accompaniment

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45

Musica transalpina

Collection of Italian madrigals translated into English

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46

Lutheran Chorale

Most important form of music in the Lutheran church; Congregation sang several chorales during each service; metric, rhymed, strophic poem, and melody was simple rhythm and unison.

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47

Metrical Psalm

metric, rhymed, strophic translations of psalms in the vernacular that were set to newly composed melodies or tunes adapted from chant or other sources

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48

Anthem

polyphonic work in English, like a motet, usually sung by the choir near the end of Matins or Evensong

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49

Variation Form

Form that presents an uninterrupted series of variants on a theme In the 16th century, used for independent instrumental pieces; Theme could be an existing or newly composed tune, bass line, harmonic plan, melody with accompaniment

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50

Basilica San Marco/Church of St. Mark

Center of Venetian musical culture; Church known for Byzantine domes, bright gold mosaics, and Palo d’Oro, altarpiece of sold gold and precious jewels

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51

Polychoral motets

2-5 choirs, each with a different combination of high and low voices “mingled with instruments of diverse timbres” and “answered one another antiphonally and joined together in massive sonorous climaxes”

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52

Johannes Tinctoris

wrote Liber de arte contrapuncti, (A Book of the Art of Counterpoint) book about rules of counterpoint and dissonance

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53

Gioseffo Zarlino

wrote Le istitutioni harmoniche (The Harmonic Foundations)

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54

John Dunstable

Most highly regarded English composer of the fifteenth century; Composed in all polyphonic genres of the time; composition: Quam pulchra es

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55

Antoine Busnoys

Most prolific and widely praised chanson composer of his time; Served Charles the Bold, Mary of Burgundy, and Maximilian of Hapsburg; composition: Busnoy’s Je ne puis vivre

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56

Jean de Ockeghem

Esteemed for his masses; Served the kings of France for almost a century; composition: Missa prolationum

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57

Josquin des Prez

Regarded as the greatest composer of his time; His pieces were widely sung, praised, and emulated during his lifetime and for decades after his death; composition: Mille regretz, Missa Pange lingua

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58

Juan del Encina

First Spanish playwright; Leading composer of villancicos; Wrote on pastoral themes depicting an idealized world of shepherds and other rustic figures in beautiful rural landscapes; composition: Oy comamos y bebamos

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59

Franceco Pertrarca (Petrarch)

Poet that most composers in Venice were obsessed with during the 16th century

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60

Cipriano de Rore

Madrigals captured sounds, emotions and images in the text; composition: De la belle contrade d’oriente

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61

Maddalena Casulana

First woman whose music was published & first to regard herself as a professional composer

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62

Orlando de Lassus

Wrote in all genres; Total production was more than 2,000 pieces; Music known all over Europe; Granted rights to control the dissemination of his music by King Charles IX and by the Holy Roman Emperor

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63

Martin Luther

Professor of biblical theology; Organized the Lutheran church; Approach to theology influenced by his humanistic education

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64

Jean Calvin

Felt similar to Luther-rejected papal authority, embraced justification through faith alone; felt that some people are predestined for salvation, others for damnation

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65

William Byrd

Leading English composer in the late 16th/early 17th centuries; Master of almost all major genres of the time; composition: Sing Joyfully unto God

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66

Giovanni Pierluigi da Palestrina

Works were praised as the “pinnacle of Church music”; Renowned especially for his masses and motets; Music became a model for later centuries of church music and of counterpoint in strict style; composition: Pope Marcellus Mass

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67

TĂłmas Luis de Victoria

Most famous Spanish composer of the 16th century; music was shorter, less florid melodies, more frequent cadences, more chromatic alterations, more contrasting passages in homophony or triple meter; composition: Missa O magnum mysterium

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68

Giovanni Gabrieli

One of leading composers of the late Renaissance/early Baroque; Known today primarily for his instrumental works (though equally accomplished in sacred works); composition: Canzoni septimi toni a 8 (Canzona in Mode 7 in 8 Parts) from Sacrae symphoniae

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