Music Test 2

The Middle Ages

476-1400, A time of challenge (poverty, sickness, invading forces, religious wars, brutal living conditions, and a rigid feudal system)

**Liturgy**

**The order of events for worship in the Catholic church**

***Non-metrical***

***Monophonic***

***Modal***

***All chant is***

**Medieval Modes**

**The set of scales upon which Medieval music was based**

monotone

centers around one “reciting tone”

tuneful

use of several notes

melismatic

many notes used on one syllable

**instruments, meter**

**Music outside the Church featured ___** __***and had*** **__**__

**Troubadors, trouvères, and minnesingers:**

**singer-songwriters of the courts**

**strophic form**

The same music is used for each verse of text.

***organum***

**Polyphony evolved gradually (over 200 years) through the technique called** ***___***

***Ars Nova***

**Great musical complexity, the first experiments with imitation, and the Motet**

Humanism

Focus on human life as opposed to the afterlife

Reformation

Protestant reformers Luther, Calvin, Henry VIII, and church’s counter reformation

Education

Importance of Gutenberg’s printing press (1450)

Exploration

Discovery and conquest: Columbus, Magellan, others

Golden Age of Art and Architecture

Brunelleschi, Botticelli, Titian, Donatello, Raphael, Michelangelo, and Leonardo da Vinci.

**England, Italy, Germany, and Spain.**

**Important centers of musical development in the Renaissance are**

Paraphrase of chant

chant used in part or with extra notes

Paraphrase of chant (chant used in part or with extra notes)

New attention to melody and sonority

Homophony intentionally used

**Important musical developments:**

Kyrie

Gloria

Credo

Sanctus

Agnus Dei

**The Mass was organized during the Renaissance to include these five movements**

Kyrie

a simple prayer

Gloria

a long hymn

Credo

a recital of Christian beliefs

Sanctus

a shorter hymn

Agnus Dei

another simple prayer

**movement**

**a self-contained part of a larger work**

**Declamation**

The process of setting text to music so that the music matches the *pronunciation* of the text

**Word Painting**

The process of setting text to music so that the music matches the *meaning* of the text

**Madrigal**

A short piece of music set to a one-stanza poem, with each part typically sung by one singer and having alternating sections of homophony and polyphony.

**Renaissance Dances**

**Tylman Susato, Pavan** \n **and Two Galliards**

The **Doctrine of the Affections**

put forward a limited and intentional  approach to emotion in music. Each movement would express one of the Affects: joy, desire, admiration, love, hatred, and sorrow

*solo* voice

as opposed to voices in ensembles

important trends

The advent of **opera** and the singular emotive expression of the *solo* voice

**Recitative**

**A passage which declaims words musically in a highly theatrical manner**

Sounds “spoken”

Rhythm and pitches follow the pronunciation of the words

Singers are accompanied by the basso continuo

Used in parts of the opera containing dialogue and/or featuring action to further the plot

Text is prose

**Aria**

**An extended piece for solo singer**

Sounds “sung”

Rhythm and pitches follow the melodic line

Singer is accompanied by the orchestra

Used in parts of the opera containing soliloquy and/or featuring reflection and introspection

Text is poetry

**Versailles**

**a testament to control, discipline, and symmetry, but also ornate and extravagant.**

**Rhythm**

Dancelike, regular rhythm realized through use of the **“walking bass,”**

a bassline that moves in even notes.

dynamics

Changes in volume created by the variability in the number of instruments playing

(more instruments=louder sound, fewer instruments=softer sound.)

No gradual changes in sound (*crescendos* or *diminuendos*) are employed.

Dynamics

Changes in volume created by the variability in the number of instruments playing

(more instruments=louder sound, fewer instruments=softer sound.)

No gradual changes in sound (*crescendos* or *diminuendos*) are employed.

Melody

Melodies are winding and complex

and feature frequent use of **sequences**.

**Polyphony**

the predominant texture of the Baroque.

**Fugue**

is a very complex piece of **imitative polyphony**.

Form

Many formal patterns are standardized during this period.

Harmony and tonality

Standardization of major and minor modes and development of functional harmony

**Ground bass**

A form featuring a repeated melodic unit in the bass with a changing melody on top

**Figured bass**

A numerical shorthand below the bassline for indicating the content of chords to be played.

**Ornamentation**

also called embellishment, Decorating an existing note or set of notes with extra notes

**Basso Continuo**

The basic accompanying unit in Baroque music featuring a bass instrument (usually cello) and keyboard (harpsichord). The basso continue covered the bassline plus the chords.

**Opera**

A drama told through music (with words sung, not spoken)

**Oratorio**

An un-staged opera on a religious subject

**Fugue**

A highly complex instrumental form which features one melody imitatively

**Suite**

A collection of miscellaneous dances (instrumental music) all in the same key with the last one fast

**Overture**

A short piece introducing a play, opera, or ballet

**Harpsichord**

the keyboard instrument in the Baroque Period.

***cadenza***

an extended improvised section

**The instruments of the orchestra are used in two different groupings**

**Regular Baroque Orchestra, Festive Baroque Orchestra**

**Regular Baroque Orchestra**

Strings, flute, harpsichord

**Festive Baroque Orchestra**

Strings, flute, harpsichord, oboes,

trumpets, timpani, and a bassoon.

Concerto

**A Baroque instrumental genre which emphasizes the contrast between orchestra and soloist**

**Concerto Grosso**

**A Baroque instrumental genre which emphasizes the contrast between a small group of soloists**

**Movements of Concerto and Concerto Grosso**

**fast, slow, fast**

**Ritornello Form**

**based on the periodic return of a central theme**

**Variation form**

**built on a ground bass**

**Cadenza**

**an extended solo passage for the soloist(s), often improvised,  usually at the end of the first movement**

**subject**

The main melody of a fugue

**countersubject**

the secondary melody of a fugue

**inversion**

upside down

**retrograde**

backwards

**retrograde inversion**

upside down and backwards

**augmentation**

with a slower rhythm

**stretto**

with the voices interrupting each other.