Listening Quiz I List 

Renaissance Period (ca. 1410-1590)

  • Guillaume Dufay (1397-1474), Ave Maris Stella, Hymn, Liturgical Vocal, 4 voices (Soprano, Alto, Tenor, Bass), paraphrase technique (plainchant and homophonic texture), modal system, simple triple meter, concept of equality and standardization of the ‘modern’ 4 voices. (https://ilg.wwnorton.com/kerman9/dufay-ave)

  • Josquin Desprez (1450-1521), Mille Regretz, Chanson (French song), Secular Vocal, 4 voices (Soprano,Alto, Tenor, Bass), homophonic and imitative Style, modal system, simple duple meter, concept equality and standardization of voices, perfection of polyphonic texture. (https://ilg.wwnorton.com/kerman9/josquin-mille)

  • Giovanni Pierluigi da Palestrina (1525-1594), ‘Gloria’ from Missa Papae Marcelli (ca. 1562), Section of a Mass, Liturgical Vocal, 6 vocal parts divided in two choirs, homophonic texture, modal system, simple duple meter, concept of clarity of expression of the liturgical text. (https://ilg.wwnorton.com/kerman9/palestrina-pope-marcellus-mass-gloria)

  • Luca Marenzio (1553-1599), Solo e pensoso (from the 9th Book of Madrigals, 1599), Madrigal, Secular Vocal, 4 voices (Soprano, Alto, Tenor, Bass) plus 1 added voice (tenor), homophonic, imitative counterpoint and chromaticism, modal system, simple duple meter, concept of ‘word painting’. (https://youtu.be/TmGzve9E9t4)

    Early Baroque (ca. 1590-1640)

  • Giovanni Gabrieli (1557-1612), O Magnum Mysterium (1587), Motet, Liturgical Vocal and Instrumental, 2 choirs (each with 3 vocal and four instrumental parts), homophonic with solo vocal sections, modal system, triple and duple meters, concept of sonic experimentation. (https://ilg.wwnorton.com/kerman9/gabrieli-omagnum)

  • Claudio Monteverdi (1567-1643), Cruda Amarilli (from the 5th Book of Madrigals, 1605), Madrigal, Secular Vocal, 5 voices (Soprano, Alto, Tenor, Bass plus Quinto), modal system, quadruple meter, concept of dissonances, and accent on the weak beat of the bar, to delay the resolution on the ‘tonic’. (https://youtu.be/bKTQQ28sSNo)

  • Carlo Gesualdo, Prince of Venosa (1566-1613), Io moro, lasso (from the 6th Book of Madrigals, 1611), Madrigal, Secular Vocal, 5 voices, imitative counterpoint and homophonic style, harsh dissonances, modal/tonal system, simple quadruple meter, concept of ‘word painting’ and theory of affection. (https://youtu.be/6dVPu71D8VI)

  • Giuseppino del Biado (d. ca. 1612), Il ballo di Mantova (ca. 1600), Italian Song (dance), Secular Instrumental, single or multiple voices and instruments (recorder, lutes, percussions etc.), strophic form and simple text, tonal system, minor, simple quadruple meter. (https://youtu.be/yYJrgpwMHBw)

  • Claudio Monteverdi (1567-1643), Lamento della ninfa (from the 8th Book of Madrigals, published ca. 1638, composed between 1620-1630), Madrigal, Secular Vocal and Instrumental, Da Capo (A B A’) musical form, 4 voices, major soprano line plus 3 accompanying voices (Tenor 1, Tenor 2 and Bass), continuous bass, obstinate bass, modal/tonal system, minor, simple triple meter, concept of ‘word painting’ and theory of affection. (https://youtu.be/z3ZX5hFN-is)

    Baroque (ca. 1640-1750)

  • Henry Purcell (1659-1695), Dido’s Lament (from the Opera ‘Dido and Aeneas’, 1689), Opera Seria, Secular Vocal and Instrumental, Recitative and Aria, Alto voice with continuous bass (Recitative), Alto voice with orchestra (Aria), tonal system, minor key, simple quadruple meter (Recitative) and simple triple meter (Aria). (https://ilg.wwnorton.com/kerman9/purcell-dido-thy-hand-laid)

  • George Frederic Händel (1685-1759):Mia cara sposa (from the Opera ‘Rinaldo’, 1711), Opera Seria, Secular Vocal and Instrumental, Da capo (A B A’) Aria, voice (Castrato/Countertenor) with orchestra, continuous and obstinate bass, tonal system, minor key, simple triple meter. (https://www.youtube.com/watch?v=pOKb0BtnY84)

  • Antonio Vivaldi (1678-1741): Spring (first movement from the ‘Four Seasons’, ca. 1718), Solo Concerto, Secular Instrumental, violin solo with orchestra and continuous bass, ritornello (refrain) form (solo plus orchestral sections), tonal system, major key, simple duple meter (https://www.youtube.com/watch?v=e3nSvIiBNFo)

Word Bank

  • Period:
    • ~~Early Renaissance Period~~
    • Middle Renaissance Period
    • ~~Late Renaissance Period~~
    • Late Renaissance Period
    • Early Baroque Period
    • Early Baroque Period
    • Early baroque period
    • Early baroque period
    • Early baroque period
    • Middle Baroque
    • Middle Baroque
    • Middle Baroque
  • Genre:
    • ~~Hymn~~
    • Chanson (French song)
    • Section of a Mass
    • ~~Madrigal~~
    • Motet
    • ~~Madrigal~~
    • madrigal
    • Italian Song (dance)
    • Madrigal
    • Opera Seria
    • Opera Seria
    • Concerto
  • Type:
    • ~~Liturgical Vocal~~
    • ~~Secular Vocal~~
    • Liturgical Vocal
    • Secular Vocal
    • Liturgical Vocal and Instrumental
    • Secular vocal
    • secular vocal
    • Secular instrumental
    • ~~Secular Vocal and Instrumental~~
    • Secular Vocal and Instrumental
    • Secular Vocal and Instrumental
    • Secular Instrumental
  • Style (hint: not all of them have a style)
    • ~~paraphrase, plainchant and homophonic~~
    • homophonic and imitative
    • homophonic
    • ~~homophonic, imitative counterpoint, and chromaticism~~
    • homophonic with solo vocal sections
    • imitative counterpoint and homophonic style
    • Recitative
  • Form (not all of them have a form):
    • strophic form and simple text
    • ~~Da Capo (A B A') musical form~~
    • Aria
    • De Capo (A B A') Aria
    • solo, ritornello
  • Texture:
    • ~~4 voices (soprano, alto, tenor, bass)~~
    • 4 voices (Soprano, Alto, Tenor, Bass), perfection of polyphonic texture
    • 6 vocal parts are divided into two choirs
    • ~~4 voices (Soprano, Alto, Tenor, Bass) plus 1 added voice (tenor)~~
    • 2 choirs (each with 3 vocal and four instrumental parts)
    • 5 voices (soprano, alto, tenor, bass plus Quinto)
    • 5 voices
    • single or multiple voices and instruments
    • ~~4 voices, major soprano line plus 3 accompanying voices (Tenor 1, Tenor 2 and Bass)~~
    • Alto voice with continuous bass (Recitative), Alto voice with orchestra (Aria)
    • voice (Castrato/Countertenor) with orchestra
    • violin with orchestra
  • Technique: (not all have)
    • ~~continuous bass, obstinate bass~~
    • continuous bass
    • Continuous and obstinate bass
    • continuous bass
  • Harmonic System:
    • ~~modal system~~
    • ~~modal system~~
    • modal system
    • modal system
    • modal system
    • modal system
    • ~~modal/tonal system~~
    • tonal system
    • modal/tonal system
    • tonal system
    • tonal
    • tonal
  • Key (not all have?)
    • ~~minor~~
    • ~~minor~~
    • minor
    • minor key
    • major
    • Major
  • Meter:
    • ~~simple triple meter~~
    • ~~simple duple meter~~
    • simple duple meter
    • simple duple meter
    • triple and duple meters
    • quadruple meter
    • simple quadruple meter
    • simple quadruple meter
    • ~~simple triple meter~~
    • simple quadruple meter (Recitative) and simple triple meter (Aria)
    • simple triple meter
    • Simple duple meter
  • Color and Timbre:
    • ~~the concept of equality and standardization of the 'modern' 4 voices~~
    • concept equality and standardization of voices
    • ~~Voice~~
    • Voice
    • Voice and brass instruments
    • ~~Voice and instruments~~
    • Voice
    • recorder, lutes, percussions etc and voice
    • Voice
    • Violin
  • Extra Notes (not all have)
    • ~~concept of 'word painting' and theory of affection~~
    • -concept of 'word painting' and theory of affection
      -harsh dissonances
    • concept of dissonances, accent on the weak beat of the bar to delay resolution on the 'tonic'
    • concept of sonic experimentation
    • ~~concept of 'word painting'~~
    • concept of clarity of expression of the liturgical text