MUS101 Exam #1 Flashcards - Boeckle

Middle Ages time frame

500-1400 or 450-1450 (notes and exam review say 500-1400 but the review he posted says 450-1450)

Renaissance Era time frame

1400-1600 or 1450-1600 (notes and exam review say 1400-1600 but the review he posted says 1450-1600)

Baroque Era time frame

Early: 1600-1640
Middle: 1640-1690
Late: 1690-1750
(remember 40/50/60)

Gregorian Chant

A monophonic melody evolved over many centuries and passed along orally for sacred Latin texts with a flexible and undefined beat, named after Pope Gregor I

Sacred Music in the Middle Ages

Music composed for religious ceremonies, primarily in Latin and often monophonic, such as Gregorian Chant.

Characteristics of Renaissance Music

Mostly polyphonic easy to sing vocal music, full of word painting and imitations with no extreme contrasts of tone color, rhythm, and dynamics

Sacred Music in the Renaissance - Mass

Consists of five sections: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei.

Sacred Music in the Renaissance - Motet

Polyphonic choral composition with sacred Latin texts - similar to mass but shorter

Secular Music in the Renaissance

Vocal music, word paintings, homophonic and polyphonic, Madrigal

Madrigal

Solo quality voices singing short poems usually about love

Characteristics of Baroque Music

shaped by the needs of the church, bizarre, flamboyant, and elaborately ornamented music, designed to fill space with action and movement, emotional and theatrical qualities to make worship more engaging

The Baroque Orchestra

small, typically consisting of 10-40 players, with a nucleus of harpsichord, cello, double bass, and bassoon, movements within a piece were part of a larger work but sounded complete on their own.

The Concerto Grosso

A composition featuring several instrumental soloists contrasted against a small orchestra, with the full orchestra (tutti) playing together at certain points. Usually three movements, fast-slow-fast

Ritornello Form

A musical structure that alternates between solo sections and tutti sections. The ritornello is a recurring theme, or refrain, always played by the tutti.

The Fugue

A polyphonic composition based on one main theme, called the subject, which is imitated by other voices. It can be performed by a group of instruments or a single instrument capable of producing multiple notes at once.

Subject

presented in monophonic texture

Countersubject

Subject is accompanied in another voice

Episode

transitional section - new material or fragments of subject/countersubject

Stretto

the subject is imitated before it is completed. Sound as if one voice is trying to catch up to the other

Pedal point

single bass tone held while other tones change

Prelude (fugue)

Introduces a fugue

Opera

drama sung to orchestral accompaniment, includes costumes, scenery, and acting to enhance the performance.

Aria

solo sung with orchestra lasting several minutes

Recitative

imitates speech prior to aria

Overture

beginning orchestral composition

Prelude (Opera)

orchestra introductions to acts after the first

Eurydice

by Jacopo Peri: The earliest preserved opera, composed for the wedding of King Henry IV of France and performed in Florence in 1600. based on the Greek myth of Orpheus' descent to bring back his beloved Eurydice.

Orfeo

by Claudio Monteverdi: first great opera, composed for the court of the Gonzaga family in Mantua. based on the Greek myth of Orpheus' descent to bring back his beloved Eurydice.

Dido and Aeneas

by Henry Purcell: The first English opera, composed in 1689, featuring the famous aria "When I Am Laid in Earth" (Dido's Lament), where Dido prepares for her death

Johann Sebastian Bach

His works are used as models for students today, wrote in all forms except opera, preferred polyphonic texture,

Well-tempered clavier

48 preludes and fugues used to teach (2 in each major and minor key)

Chorale

hymn tunes sung to German religious text in Lutheran church service

Church Cantata

often written for each week, used to reinforce minister's sermon

The Oratorio

similar to an opera but lacks acting, scenery, or costumes, primarily features biblical stories but is not intended for religious services, contains narrators and recitatives typically telling the story

George Frideric Handel

By age 11 composed and taught, master of Italian opera and English oratorio, favorite of Queen Anne, liked polyphonic but used all

Messiah

By Handel: 2.5 hours in length, composed in 24 days, 50+ movements, 3 parts, English

Kyrie - Hildegard Von Bingen (Middle Ages)

Latin, female voice, Gregorian Chant

Ave Maria Virgo Serena - Josquin des Prez (Renaissance)

Polyphonic, a cappella, choir

As Vesta Was From Latmos Hill Descending - Thomas Weelkes (Renaissance)

Polyphonic, word painting, a cappella

Brandenburg Concerto No. 5 in D Major, 1st movement - Bach (Baroque)

Strings, harpsichord, long as **** (10 minutes)

Fugue in G Minor ("Little Fugue") - Bach (Baroque)

Organ

Dido's Lament, from Didi and Aeneas, Act III - Purcell (Baroque)

Very damn depressing, slow, aria, strings

Concerto for Violin and String Orchestra, Op. 8, No. 1, "La Primavera" 1st Movement - Vivaldi (Baroque)

Strings, expressive use of violin, each movement evoking different aspects of the season, iconic as hell baby THATS MY BOY

Messiah, "Hallelujah Chorus" - Handel (Baroque)

Strings, it repeats hallelujah dipshit