RCM History 10 Terms

Middle Ages

History

- fall of Roman Empire

- Periods: Early Christian, Romanesque and Gothic

- Dark Ages: plagues, lawlessness, religious conflicts, constant wars

- RCC influence over all aspects of European life (monks/nuns - education, literacy)

- King Arthur, chivalry and knighthood. Crusades or "Holy wars" against Islam

- Gothic architecture

14th C: 100 year war b/w England and France

Elements of Musical style

Texture: monophony --> polyphony

Notation: recording chant melodies to represent both pitches and rhythmic values

Melodic range: narrow --> increased range

Rhythm: flexible/unmeasured (plainchant) --> structured

clausula (1)

- self-contained, polyphonic section within discant-style organum

- often based on a single word or syllable; highly melismatic

- serves as a link to the development of the motet

monophonic texture

single line of melody or voice

no harmony or accompaniment

polyphonic texture

two or more independent melodic lines heard simultaneously

referred to as contrapuntal texture

modes

- scale patterns distinguished by their unique order of half steps and whole steps

- served as the source for melodies in the Middle Ages and Renaissance

- generally referred to by their original Greek names (Dorian, Phrygian)

neumes

- the earliest form of notation in Western art music

- small notation symbols originally indicating the direction of the melodic line

- later in the shape of squares or diamonds positioned on a staff and representing specific pitches (e.g. Haec dies)

Notre Dame School

composers in the 12th and 13th centuries formed one of the earliest examples of a compositional school

2 leading composers:

1) Leonin:

2) Perotin

Rep work: "Haec Dies" (organum)

Leonin

- first composer of polyphony, Notre Dame School

- active in Paris in late 12th century

- produced 2 part organum using organs and distant style, emptying rhythmic modes

- wrote Magnus Liber Organi (Great Book of Organum)

Perotin

- active at Notre Dame cathedral in the 13th century

- expanded polyphonic technique by composing 3 & 4 part polyphony

- composed "substitute clause" to replace sections within organa originally composed by Leonin

Musica Enchiriadis

Latin- "Music handbook"

- anonymous 9th century treatise which contains earliest examples of notated polyphony in Western art music

- this book was for theorists, not for performance as singers could not read the specific notation

- includes parallel organum with new melodic lines added above or below the original chant

representative piece -> "Haec Dies" (Organum)

Trope/ troping/ tropic

Embellishing chants by adding words and/or music

from the Greek troops, meaning "a turn or change"

trope could involve creating additional music, additional words or a combo of both new words and new music to an existing chant

the new words might serve to interpret or clarify the meaning of the original chant text and were often set to existing melismas within the original chant

e.g. O mitissima virgo Serena

Estampie

stately dance involving elaborate and vigorous body movements, comes from estamper "to stomp the feet"

e.g. Royal Estampie No.4

Chansonnier du Roy

- French for "songbook of the king"

- publication that contains earliest examples of notated dance music

- anonymous 13th century French manuscript

- contains troubadour and trouvere songs and 8 monophonic dances

Pieces by Machaut: Messe de nostre dame (mass), Hareu! Hareu! Le feu/Helas/Obediens (motet), Rose,liz; Douce dame Jolie; puis qu'en oubli (mono/polyphonic chansons)

+ Monophonic dances: Royal Estampie No. 4

Mid-Medieval Period

(Ars Antiqua= old style)

Tone color

- heterogenous ensemble

- solo polyphony vs. choral chant

- light nasal vocal

- high range

Texture:

- monophonic/heterophonic

- polyphonic: parallel perfect intervals, melismatic solo over sustained tenor, organal style (sustained lower notes, melismatic upper) vs. discant style (rhythmically active lower notes with melismatic upper)

- 2-3 voices

Harmony

- modal

- incidental dissonance

- dominance of perfect consonances

- musica ficta (use of implied accidentals)

Rhythm

- equal note values without accents

- secular- more rhythmic modes

- later triple meter

- irregular phrases with repeated short rhythm patterns

Melody

- church modes

- syllabic with melismas for expression on specific words

- folk-like to highly sophisticated

Form

- text dominated forms (through composed, sectional, strophic)

- secular: refrains, bar form (AAB)

- cantus firmus forms

- dance music: repeated sections

Late Medieval

(Ars Nova= new style)

Tone Color

- instrumental doubling of voices

- loud (shawm, sackbut, rebec, organistrum, tabor) vs. soft (harp, psaltery, vielle) instruments

Texture

POLYPHONY, counterpoint

unequal voice free counterpoint with overlapping ranges

- slower cactus firmus

- isorhythmic/isometric

- ballade style

- hocket and canon

- 2-4 voices, usually 3

Harmony

- modal polyphony

- milder incidental dissonance, escape tones, accented passing tones

- weak beat suspension

- 3rds, 6ths, full triads now

- V-1 cadence

- partial key signature, musica ficta

Rhythm

- irregular motion

- phrasing irregular, articulated by rests and cadences

- duple meter

- syncopation, some diminution

Melody

- conjunct motion, small range, more leaps in supporting voices

- melismatic treble

- phrases follow length of poetic line, some short phrases and recurring rhythmic motives

Form

- text dominated secular forms, refrain

- cantus firmus forms

- isorhythmic structures

- dance music repetitions

Ars Nova Style Treatise (1322)

LATE MEDIEVAL

14th Century shift from church centre --> secular society

- written by Phillipe Devitry

- described some of the changes that took place in music/art

Ars nova: high point in the development of music in the Middle Ages, it also foreshadowed many changes to come in the Renaissance

Highlist

- better musical notation

- polyphony in both sacred and secular

- perfection of pitch notation

- more rhythmic complexity and notation

- formal structure of vocal music derived from shape of poetry

Phillipe de Vitry

- French composer, poet, and the bishop of Meaux

- innovative musician who deliberately struck out in new directions

Innovator in the notation of rhythm incl the "imperfect" division of notes into 2 equal units (a move away from the division of notes into 3 equal units considered perfect)

- broke free from older patterns and rhythmic modes

- used isorhythm (repetition of an extended pattern in which melodic patterns & rhythmic segments of diff lengths are combined)

His Ars Nova Treatise decides the musical languages of the 14th century while his motets demonstrate innovations in rhythmic notation and ft. new techniques and compositional devices

a capella

(1.0)

Latin= "in the chapel"

- vocal music without instrumental accompaniment

- characteristic feature of vocal music in Middle Ages and Renaissance

Gregorian chant

(1.1)

- a form of plainchant

- sacred, liturgical music of the Roman Catholic Church, generally with Latin texts

- modal, monophonic melodies with unmeasured rhythm

- named after Pope Gregory the Great

Mass

(1.1)

- most important service in the liturgy of the Roman Catholic Church

- includes prayers, readings from the Bible and a reenacment of the. Last Supper referred to as the Eucharist or Holy Communion

- consists of texts that are variable according to the Church calendar (Proper) and texts that remain the same (ordinary)

- became an important genre, particularly during the Renaissance era

Mass Proper

(1.1)

- changing, variable prayers of the Mass

- linked to church calendar

Sections

- Gradual

- Introit

- Communion

- Alleluia

responsorial psalm

(1.1)

- a method of performance

- solo voice alternatives with chorus

- solo passages= "verse"

- choral passages= "respond"

gradual

(1.1)

- fourth section of the Mass Proper (variable texts)

- texts of the gradual are based primarily on the Psalms (poetic texts from the Old Testament)

- generally melismatic and performed in a responsorial style

syllabic text setting

(1.1)

- one note for a single syllable of text

- text can be clearly understood

melismatic text setting

(1.1)

- many notes for a single syllable of text

- the most elaborate and florid form of text setting

pneumatic text setting

(1.1)

- several notes (two to four) for a single syllable of text

discant style

(1.2)

- a style of organum in which there is more rhythmic movement of the cantus firmus

- sometimes features "note-against-note" movement b/w the voices

cantus firmus

(1.2)

Latin = "fixed song"

- borrowed material, often from a Gregorian chant

- serves as a structural framework for a new polyphonic composition

- originally found in the lowest voice

organum

(1.2)

- polyphony based on plainchant from the 9th-13th centuries

- vocal music in which 1 or more new melodic lines are added to an existing Gregorian chant (cantus firmus)

- early styles featured perfect intervals: fourths, fifths and octaves often with parallel motion b/w the voices

- later styles featured more independent melodic parts and a greater variety of intervals

organal style

(1.2)

- a style of free organum in which the notes from the original chant are sung by the lower voice in long note values

- sometimes called "sustained-note organum", organum purim or florid style

plainchant

(1.1)

"plainsong"

- monophonic texture

- modal melodies

- relatively narrow melodic range

- unmeasured prose rhythm

tenor

(1.2)

Latin "tenere" = to hold

- in a polyphonic composition from the Middle Ages, it refers to the voice that contains the cantus firmus (borrowed material)

rhythmic modes

(1.2)

- an early step in the evolution of rhythmic notation; developed by Notre Dame composers in the late 12th - early 13th century

- six basic rhythm patterns r/t poetic meters used in Latin grammar, were used to provide rhythmic structure

mode 1: long- short

mode 2: short- long

mode 3: long (dotted quarter note) - short (eighth note) - short (quarter note)

mode 4: short (eighth)- short (quarter)- long (dotted quarter)

mode 5: long - long

mode 6: short short short

motet (1.3)

French= mot "word"

- addition of new texts to existing music

- vocal composition with or without instrumental accompaniment

- can be sacred or secular

- flourished from the 13th-16th centuries

polytextuality (1.3)

- two or more texts heard simultaneously as a result, the words can sometimes be hard to distinguish

- a characteristic feature of the 13th century motet

Chanson (1.4)

French= "song"

- secular song with French text

- monophonic chansons were composed in the 12-13th centuries and often performed with improvised accompaniment

- from 14th century on polyphonic settings were generally preferred, evolved as an elegant courtly song

trouvere (1.4)

French = "Finder" or "inventor"

- aristocratic poet-musicians

- composed and performed original poems and songs, often on the subject of courtly love

- lived and worked in NORTHERN FRANCE

troubadour (1.4)

- aristocratic poet musicians

- composed and performed original poems and songs, often on the subject of courtly love

- lived and worked in SOUTHERN FRANCE

strophic form (1.4)

- a song structure in which the same music is performed for each verse of the poem

- as a result, little connection can be achieved b/w the words and music

sackbut (1.5)

- brass instrument with a slide

- ancestor of the trombone

- haut (loud)

shawm (1.5)

- a reed instrument with a piercing tone

- ancestor of the oboe

- haut (loud)

dulcimer (1.5)

- a stringer instrument with a wooden sound box

- strings are struck with small hammers producing a delicate sound

- bas (soft)

vielle (1.5)

- bowed string instrument with a figure 8 shaped body

- ancestor of the violin

- bas (soft)

lute (1.5)

- a plucked instrument of Middle Eastern origin having a rounded body and frets

- its delicate sound served as an ideal accompaniment to the voice

- Bas (soft)

psaltery (1.5)

- an ancient stringer instrument with a trapezoidal wooden sound box

- plucked with the fingers or plectrum

- bas (soft)

bas (1.5)

French = low (soft)

- medieval designment for indoor instruments

- includes dulcimer, lute, psaltery, rebec, recorder, vile

haut (1.5)

French= high (loud)

- medieval designation for outdoor instruments

- includes cornet, crumhorn, sackbut, shawm

heterophony (1.5)

- simultaneous variation involving 2+ voices or instruments playing the same melody in more than one way at the same time

- one part plays the original melody the added voices are often improvised

estampie (1.5)

- one of the earliest medieval dances

- stately character

- involves elaborate body movements

- danced by couples

Ordinary Components of the Mass (1.6)

texts that remain the same (unchanging) throughout the church calendar

- Kyrie

- Gloria

- Credo

- Sanctus

- Agnus Dei

Proper Components of the Mass (1.6)

texts variable according to the church calendar served as the basis for organum

- introit

- gradual

- alleluia (or tract)

- offertory

- communion

ars nova style (1.6)

Latin= "new art"

- from title of treatise by Composer Phillipe de Vitry

- used in reference to French music of the 14th century, the previous era came to be known as Ars Antiqua

- involved greater complexity in melody harmony and rhythm

- isorhythm

- hocket

-musica ficta

isorhythm (1.6)

- compositional device perfected in the ars nova

- combines melodic patterns (color) with rhythmic patterns (talea)

- COLOR and TALEA are typically not the same length, overlapping rather than coinciding

hocket (1.6)

French= "hiccup"

- rhythmic and melodic technique frequently employed in ars nova style

- 2 voices combine to create a single melody: one resting while the other sings

musica ficta (1.6)

Latin= "false music"

- performance practice applied in modal music of the Late Middle Ages and Renaissance

- performers raised or lowered pitches by a half step to avoid undesirable intervals

- much like modern-day accidentals

diabolus in music (1.6)

"the devil in music"

- refers to the tritone (aug 4 or dim 5)

- typically avoided d/t dissonant quality

- application of musica ficta helped to soften the unwanted dissonances often by transforming aug 4 --> perfect 4

The Plaine and Easie Introduction to Practical Music (1597)

- author

Author: Thomas Morley

a book of instruction for composers and performers

RENAISSANCE

(2.0)

ca 1450-1600 in European History

French = "rebirth"

- RCC -> secular

- Church limited to spiritual realm

- Age of Humanism

- interest in classical antiquity (Rome/Greece) after flee from Istanbul

- growth of science, astronomy, math

- time of continued change and development in musical style

Elements of Musical Style

- Greater use of 3rds and 6ths, triadic harmony within the modal context, tonality

- rich polyphonic textures ft imitative counterpoint, homophonic passages allowing for clear declamation of the text

- Vivid word painting in both sacred and secular genres= closer relationship b/w text and music

- mass and motet, polyphonic chanson, madrigal, keyboard music

- Italy: patronage of wealthy aristocratic families

- Invention of the printing press, exchange of int'l styles

RENAISSANCE musical features

Tone Color

1) SATB in sacred music, instrumental doubling of voices

2) use of families of instruments, a capella, choral sacred music, solo secular

Texture

1) homorhythmic, counterpoint over cactus firms with occasional imitation, 3-4 voices, reduced to 2-3 in some sections

2) imitative counterpoint, canon, homophonic texture, 4 voice (secular) and 5-6+ (sacred) reduced in some sections

Harmony

1) modal, intervals and some chordal sound; expressive, less dissonance, escape tones

- full triads, cadences V-I or IV-I

- musica ficta

2) modal and some tonal polyphony, chordal sound, regulated, expressive/dissonance, stressing passing and neighbour tones, pedal points, chromaticism, some double counterpoint, clear rules for applying musica ficta

Rhythm

1) less complex and varied, smoother flowing, sacred was more complex than secular, duple meter, syncopation, accents

2) smooth regular flow (Palestrina), restless continuity, meter unstressed, ostinato/syncopation/dotted rhythm, text declamation

Melody

1) diatonic motion based on 3rd, leaps, melismas

- chant often paraphrased in treble

- tenor and contravener frequently univocal

- basic range is still an octave

2) contrapuntal lines, well-defined themes, chromaticism, unusual intervals of larger size, melody with accompaniment = balanced phrasing

Form

1) text dominated, decline of fixed forms.

- cantus firmus ornamented in treble and sometimes in tenor

- isorhythm is rare

- sectional motet forms (repetition and contrast)

2) systematic point imitation, cantus firmus on secular tunes, sectional forms clearly defined= tonal unity, text dominated forms used but not fixed, instrumental forms based unrepeated sections, imitation, variation

imitative counterpoint (2.0)

- a type of polyphony associated with Renaissance style

Counterpoint

- Latin= "punctis contra punctum"

- meaning "note against note"

Imitation

- refers to the passing of a motive or theme from one voice to another

Points of imitation (2.1)

- an imitative counterpoint, a series of thematic entries

- a motive or theme is passed from one voice to another

homorhythmic texture (2.1)

- multi-voiced composition, all voices sing in the same rhythm

- a choral (homophonic) texture results

- coupled with syllabic text setting, this technique delivers the text clearly

- the listener's attention is drawn to the top voice

Madrigal (2.3)

- popular secular vocal genres that flourished in the 16th century

- based on an intimate relationship b/w poetry and music

- featured vivd word painting

word painting (2.3)

- musical pictorilization

- in vocal works, the music reflects the meaning of the text

- employed in madrigals, operas, oratorios

nonsense syllables (2.3)

- syllables with no meaning such as "fa-la-la" or "nonny-nonny-no"

- a characteristic feature of the English madrigal

chromaticism (2.3)

Greek "Khroma"= color

- melodies and harmonies that include any of the notes available within the octave, in either tonal or modal context

ballett (2.3)

Italian= "little dance"

- 16th century Italian and English strophic song type

- generally in simple dancelike style

- often included "fa-la-la" refrains

- embraced by English madrigalists

variations (2.4)

- work based on the statement of a melody (theme) followed by a series of transformations (variations)

- chants can be made tot he melody, harmony or rhythm

Virginal (2.4)

- generic term used for all plucked keyboard instruments in England

- generally smaller and lighter than the harpsichord

- some could be placed on a tabletop or held in the player's lap

harpsichord (2.4)

- keyboard instrument

- sound is generated by small quills inside the instrument that pluck the strings

- often had two manuals (sets of keys)

idiomatic writing (2.4)

- compositional style that highlights the unique technical capabilities of an instrument

- opposite of "generic"

- developed in the late Renaissance and Baroque eras

Franco-Flemish school

aka "the Dutch School" and/or the "Netherlands"

- Early renaissance group of composers emerged as musical leaders

- imitative vocal polyphony

- most from France, Belgium and Holland

- musical style influenced composers throughout Europe

- group of composers who flourished in the 15-16th C

- vocal polyphony and highly developed contrapuntal style (e.g. motet and Mass)

Leading figures: Johannes Ockeghem, Josquin des Prez and Jacob Obrecht

Invention of the printing press in 15th Century by Johann Gutenberg on all aspects of Western culture,

= music became more widely available b/c quicker and more cost efficient to produce and copy

= greater understanding and exchange of int'l styles and influences

Leading centres for music publishing in the Renaissance included Antwerp, Amsterdam and Venice

E.g. Harmonice Musices Odhecaton, collection of chansons printed in 1501 by Ottaviano Petrucci

Motet

Background and Origins

13th C motet

- based on a cantus firmus

- 3 voice texture, incl polytextuality

- often combined sacred and secular elements

14th C (ars nova style)

- greater complexity in rhythm, harmony, and counterpoint

- still built on cantus firmus and polytextuality

15th C:

- Significant genre in vocal polyphony

- Generally based on a single text (desire for clarity/direct communication)

- Became one of the genres that allowed composers to experiment with new approaches to contrapunctal writing

- Principal form of sacred music during the 15th century

Characteristic Features

• Polyphonic texture

• A single Latin text (no longer polytextual)

• Sacred, non-liturgical genre

• Generally for 4 voices

• Imitative counterpoint, often contrasted with homorhythmic sections

• Demonstrates a new harmonic language (use of 3rds and 6ths)

Mass

• Monophonic chants (Haec dies from the Gregorian Mass for Easter Day) --> 12th-13th C: many chants (esp Mass Proper) served as the basis for organuum

• Polyphonic settings of the 5 movements of the Mass ordinary to explore and demonstrate mastery of a wide range of contrapunctal techniques

Characteristic Features

• Unified polyphonic settings of the 5 sections of the Mass Ordinary, generally for 4-6 voices

• Melodic sources for the cantus firms: chant melodies, secular songs (e.g. L'home arme is based on a popular battle tune)

• Movements could be linked thematically (for e.g the same motive or cantus firmus might be used throughout the 5 sections of the Mass Ordinary)

• Masses could also be freely composed, based entirely on new material

• Composers often combined imitative counterpoint with homorhythmic passages to create variety and interest in the text setting

Compositional devices:

• Parody: use of multiple voices from a pre-existing composition (e.g. Missa Hodie Christus natus est by Palestrina)

• Paraphrase: use of an embellished cantus firmus

Musica Transalpina

Renaissance

"Music from Beyond the Alps"

- published in London 1588

- compiled by editor and singer Nicholas Yonge

- Italian madrigals spread to England in the 1580s with English translation

- represents the first printed collection of Italian madrigals in England

- 1st volume: 57 pieces by 18 Italian composers, including Lucia Marenzio

e.g. My Bonny Lass She Smileth

Fitzwilliam Virginal Book

- Historically significant collection of English keyboard music dating from the early 17th Century

- Named after Viscount Fitzwilliam, the generous patron who donated the manuscript to Cambridge University in 1816

- likely compiled by Francis Tregian (amateur musician)

- Close to 300 works included in the collection

Variety of styles: dances, fantasies, preludes, arrangements of songs and madrigals and variations

Demonstrates idiomatic approach to keyboard writing

- rapid scale passages

- ornamentation

- many novel figurations

English keyboard composers of the time were represented e.g.

- the Carman's Whistle and The Ghost byWilliam Byrd

- The Kings Hunt by John Bull

- Thomas Morley

- Giles Farnaby

"Consorts of instruments"

"Whole consort"

"Broken consort"

consorts: instrumental ensembles

whole consort: ensemble of instruments from one family

broken consort: ensemble of instruments from mixed families

consort of viols: Renaissance family of bowed string instruments of various sizes- small to large

Robertsbridge Codex

earliest notated music for keyboard dates back to 1325 and found in this publication

these pieces are not idiomatic

they include arrangements based on vocal models and dances in the Italian style

written for instruments that had a range of just over 2 octaves

Baroque

"irregularly shaped or misshapen pearl"

- first used as a derogatory term in reference to the overly ornate art of the era

- no applied to art, architecture and music of the 17th and early 18th centuries

BAROQUE

TONE COLOR

wide variety of instruments, violin family growth, harpsichord/organ

Texture

1) monodic, polychoral, melody with accompaniment, chordal, imitative texture, trio-sonata texture**

2) SATB homophony or contrapuntal, imitation

- perfect balance b/w vertical and horizontal dimensions of music

Harmony

1) modal and tonal with chromatic changes, more dissonance, fast harmonic rhythm, step progressions

2) central tonic, strong harmonic flow, more dissonance for expression, few but strong V-1 cadences

Rhythm

1) uneven discontinuous marked contrasts of pace and phrasing, formal triple meter, hemiola (shift b/w triple and duple meter)

2) regular and continuous, energetic driving concerto style

- asymmetrical phrasing

- syncopation, wide range of tempos

- discontinuous recitative style

Melody

1) monody, dramatic improv ornamentation, bel canto style

2) expanded range, motives, ornate clearly articulated themes, chromaticism, more melismatic style, more recitative styles

Form

1) short sections, less imitation, ground bass, obstinate, strophic, variations, expanded binary (AAB)

2) tonal architecture, standard multi-movement genres, formal principals, motives

Baroque binary, ternary (da capo aria), fugue, ritornello, variations

Florentine Camerata

Group of intellectuals/poets/musicians in 16th C Florence, Italy

- worked to recreate dramatic style of ancient Greeks into operas

Elements

- monodic style: single vocal line with bass line support/simple chordal accompaniment; ensures clarity/expression of text

- oldest surviving opera: L'Euridice by Peri and Caccini (1600)

Members:

- Giulio Caccini, singer and composer;

- Jacopo Peri, singer and composer;

- Vincenzo Galilei (composer, theorist, father of Galileo Galilei)

- Count Giovanni de'Bardi

Le Nuove Musiche (1602)

by Giulio Caccini

- publication that had musical examples of monody (new single vocal texture)

- content: madrigals, arias for solo voice and continuo

- offers valuable advice on how to ornament and embellish vocal lines

e.g. Amarilli mia bella = solo song demonstrating "expressive style"

figured bass

3.0

- a musical shorthand developed in the Baroque era

- numbers are placed below the bass line to show harmonic progression

- performed or "realized" by the basso continuo

- provides the structure for guided improvisation

basso continuo

3.0

- Baroque performance practise

- generally involves 2 performers

1) playing notated bass line

2) realizing the harmonies as indicated by the figured bass

- harmonies usually played on harpsichord or organ

- provides harmonic framework

"The Affections"

3.0

"Doctrine of Affections" or "the affects"

- a Baroque philosophy inspired by Ancient Greek and Roman writers and orators

- refers to emotional states of the soul

- in Baroque music, a single "affection" or "affect" (one clear emotion) is usually projected through an entire composition or movement

- vocal music depicted the emotions of the text or dramatic situation

binary form (3.0)

two-part form

A || B ||

both parts often repeat

Section A generally ends with an open cadence in the dominant or relative major key

frequently used in Baroque dances and keyboard pieces

rounded binary form (3.0)

two part musical form

A || B + A1 ||

opening material from Section A returns after B material

key structure similar to binary form

ternary form (3.0)

three part form

A || B || A

Section A generally ends with a closed cadence in the tonic key

Section B generally creates contrast in key and/or material

often used in Baroque arias

terraced dynamics (3.0)

Baroque practice of changing dynamics abruptly

results in stark contrast rather than gradual change

cantata (3.2)

- a multi-movement choral work

- sacred or secular

- for soloists, chorus and orchestra

- consists of recitatives, arias, ensembles and choruses

chorale (3.2)

- a hymn tune, associated with German Protestantism

- intended for congregational singing; moves mostly by step or narrow leap

- used as the basis for many genres incl the cantata

- sometimes adapted from Gregorian Chants as well as from other popular sources

- harmonized for SATB by composers incl J.S. Bach

canon (3.2)

Greek = "Law"

a strict type of polyphonic composition in which each voice enters in succession with the same melody

canons in which each voice enters on the same pitch are referred to as "rounds"

fugue (3.2)

Latin "Fugere"= to flee

- highly structured imitative contrapuntal composition

- a single theme or subject prevails

- generally begins with successive entries of the subject in each voice

augmentation (3.2)

- a compositional procedure in which a theme is presented in longer time values

- often the melody becomes twice as slow as the original

- often used in fugal writing

ritornello

(3.2)

- a recurring theme that functions as a refrain in Baroque compositions

- can serve as introduction and postlude in arias or choruses or as a unifying thread in concertos

taille (3.2)

a tenor oboe with a pear shaped bell

oboe da caccia

(3.2)

- an alto oboe

- built in the shape of a curved hunting horn but with a pear-shaped bell that gave the sound an outdoor quality

oboe d'amore

(3.2)

- a mezzo-soprano oboe

- pitched lower than a regular oboe with a pear-shaped bell

Medieval indoor instruments (bas- soft)

(3.2)

Wind

• Crumhorn

• Flute

• Recorder

String

• Dulcimer

• Guitarra morescha

• Harp

• Lute

• Psaltery

• Rebec

• Vielle

Percussion

• Handbells

Keyboard instruments

• Portative organ

• Positive organ

• Regal (portable keyboard)

Medieval outdoor instruments (haut- loud)

(3.2)

Wind

• Cornetto

• Pipe

• Sackbut

• Shawm

Trumpet

Percussion

• Naker

• Tabor

Tambourine