The Renaissance era: terms (Level 10 History)

Franco-Flemish School (aka “the Dutch School” or “the Netherlanders”)

A group of composers who flourished in the 15th and 16th centuries, emerging as musical leaders (including Johannes Ockeghem, Josquin des Prez, and Jacob Obrecht) by their development of a highly contrapuntal style of imitative vocal polyphony (especially through the Motet and the Mass), and by composing works of lasting significance (works which influenced composers throughout Europe).

Imitative Counterpoint

A type of polyphony associated with the Renaissance style where the motive or theme is passed from one voice to another. Originated from punctis contra punctum, or “note against note.”

Points of Imitation

A series of thematic entries in imitative counterpoint where a motive or theme is passed from one voice to another.

Homorhythmic Texture

All voices sing in the same rhythm, resulting in a chordal or homophonic texture, so that the text (set syllabically) is delivered clearly, while at the same time drawing the listener’s attention to the top voice.

Compositional devices

Parody, paraphrase, various canonic procedures, and soggetto cavato dalle vocali di queste parole (“a subject carved out of vowels”).

The Reformation

The 16th-century Christian reform in Europe led by Martin Luther, resulting in the formation of Protestantism.

The Counter-Reformation

The mid-16th century reaction of the Catholic Church to the Protestant Reformation, which included convening the Council of Trent.

Madrigal

A popular secular vocal genre that flourished in the 16th century, based on an intimate relationship between poetry and music. It features vivid word painting, and paved the way for the emergence of opera at the end of the 16th century.

Word painting

A musical pictoralization in vocal music where the music reflects the meaning of the text, often employed in madrigals, operas, and oratorios.

Nonsense syllables

Syllables with no meaning (ex. “fa-la-la” or “nonny-nonny-no”), a characteristic feature of the English madrigal.

Chromaticism (khroma, colour)

Melodies or harmonies that include all of the notes available within the octave, in either tonal or modal context.

Ballett (“little dance”)

A 16th-century Italian and English strophic song type embraced by English madrigalists that generally is in simple dance-like style and often includes “fa-la-la” refrains.

Variations

A work based on the statement of a melody followed by a series of transformations, achieved through changes of melody, harmony, or rhythm.

Harpsichord

A keyboard instrument whose sound is generated by small quills which pluck the strings inside the instrument, and which generally has 2 manuals.

Virginal

A generic term for all plucked keyboard instruments in England which were generally smaller and lighter than the harpsichord, some being able to be placed on a tabletop and others even held in a player’s lap.

Idiomatic writing

A compositional style that was developed in the late Renaissance and Baroque eras, which highlights the unique technical capabilities of an instrument. (*Opposite of “generic.”)

Whole consort

Instruments of one family.

Broken consort

Mixed combinations of instruments.