Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

From Flashcardlet > Ancient-Baroque Music > Flashcards

Ancient-Baroque Music Flashcards

0
Q

Euripides

A

Orestes 408 BC
Greek Tragedy

Disjunct Melodic Style
Use of tetrachords
Different tuning

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
1
Q

Epitaph of Seikilos

A

1st century

song

lines of poetry follow musical phrasing
each melodic phrase is linked

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

Wipo of Burgundy

A

1000 A.D.

Victimae paschali laudes

sequence

importance of syllables
form A BB CC&raquo_space;»
close with a stepwise decent

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Hildegard of Bingen

A

Ordo Virtutum 1151 AD

Sacred music drama

solo/chorus response
monophonic
Static instrument playing a drone

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Gregorian chant- mass

A

9th-10th century

Mass for Christmas Day

monophonic chant
consonant melodies

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Gregorian chant-office

A

9th-10th century

Chants from Vespers for Christmas Day

psalm based text

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Bernart de Ventadorn

A

1170-80 AD

Can vei la lauzeta mover

Canso/Troubadour song

strophic song
deals with courtly love

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Trope- from a liturgical drama

A

Quem queritis in presepe and Melisma

expands the chant

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Comtessa de Dia

A

Late 12th century
A chantar

Canso

Form AAB

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Adam de la Halle

A

1280

Jeu de Robin et de Marion
Rondeau- musical play
monophonic
rondeau in ABaabAB

De ma dame vient/Dieus, comment porroie/Omnes-Motet
use of borrowed musical material
multiple texts

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

Walther von der Vogelweide

A

1228

Palastinalied

Minnelied

Crusade song
AAB form
Accompanied by string instrument

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Compilation by Alfonso el Sabio

A

1270-90

Non sofre Santa Maria- from Cantigas de Santa Maria

Cantiga 159- song

Religious text but for entertainment
AbbaA form

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Estampie

A

La quarte extampie royal-from Le manuscrit du roi

late 13th century

dance
use of instruments
Drums

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Organum

A

850-890

Musica enchiriadis- tu partris sempiternus es filius, sit gloria domini, rex caeli domine

parallel, mixed, oblique

first of attempts of polyphony

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

free organum

A

1100

Alleluia justus ut palma- from Ad organum faciendum

based on plainchant
voices cross

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Aquitanina polophony

A

1100

Jubilemus exultemus

polyphonic
use of all types of organum
Static voice and Melismatic voice above

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Leoninus

A

2nd half of 12th century

Viderunt omnes

organum duplum

responsorial chant
solo portions in poyphony/chorus in monophony

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Perotinus

A

1200

Viderunt omnes

organum quadruplum

tenor has original chant
use of rhyhmic modes
extensive in length

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Clausulae

A

12th-13th century

Dominus from Viderunt omnes

recurring rhythmic patterns
tenor has the chant and duplum the clausulae

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Conductus

A

12th-13th century

Ave virgo virginum

Conductus

rhymed, metrical, strophic latin poem
tenor line is newly composed

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

13th century motet

A

Tenor Dominus

Adaptation of a discant clausulae

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Carol

A

Early 1400s

Alleluia- from England/Burgandy 15th century

use of parallel polyphony

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Rota

A

1250

Sumer is icumen in

polyphonic
a round performed around the unison

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Philippe de Vitry

A

1320

In arboris/ Tuba sacre didei/ Virgo sum

Motet

Multiple texts
use of hocket
Three lines of sound

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

Machaut

A

1360

La Messe de Nostre Dame- Kyrie
Mass
Isorhythmic
use of hocket

Foy Porter
Virelai
Abba form
monophonic

Rose, liz, printemps, verdure
rondeau-fixed form

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

Philippus de Caserta

A

1370

En remirant vo douce pourtraiture
Ballade
Melismatic 
Polyphonic
Accompanied by a flute and stringed instrument
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

Jacopo da Bologna

A 
1350 
Non al suo amante
Madrigal
rhythmic typical of Italian Trecento
voices are treated equal
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

Gherardello da Firenze

A 
1350
Tosto Che L'alba 
Caccia
humor
irregular rhyme
hunt tune
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

Francesco Landini

A 
Late 1300s 
Non avra ma pieta
ballata
landini cadence
use of syncopation
use of 3rds and 6ths
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

John Dunstable

A

early 1400s
quam pulchra es

motet

homophonic
consonant sonorities

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

Binchois

A

1425

De plus en plus

rondeau

love poem
music fits the shape and structure of the music

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

Du Fay

A

1430

Christe, redemptor omnium
hymn in fauxbourdon style
singing a perfect 4th below
use of fauxbourdon cantus

Resvellies vous
ballade
combines French Ars Nova, Ars Subtilior, and the Italian Trecento
Use of an accompaniment instrument

Se la face ay pale
Missa Se la face ay pale ballade
cantus firmus/mass-Gloria

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

Antoine Busnoys

A

Je ne puis vivre

Virelai

AbbaA
imitation used consistently

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

Jean de Ockeghem

A 
2nd half of the 1400s
Missa prolationum 
Mass-Kyrie
Mensuration canon
long phrases and blurred cadences
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
34
Q

Henricus Isaac

A

1500

Innsbruck, ich muss dich lassen
Lied- arrangement for folk or popular song for four voices- similar to the french chansons
homophonic/ strophic
cadence points are very characteristic of the genre

35
Q

Josquin de Prez

A

1485
Ave maria
increased musical material at a cadence point
changing texture

1515
Missa Pange Lingua
based on the hymn pange lingua gloriosi
Imitation

1520
Mille regretz
homophonic
all voices are important and cadences fall between any voices

36
Q

Loys Bourgeouis

A

1551
Psalm 134
meterical psalm
Chant of multiple voices in unison

37
Q

William Byrd

A

1585

Sing joyfully unto God

full anthem

sparse homophony
free imitation

38
Q

Palestrina

A

1560
Pope Marcellus Mass
melodies are commonly stepwise skip or leap are carefully treated
consonances predominantly

39
Q

Thomas Luis de victoria

A

1575

O Magnum mysterium
Missa O magnum mysterium

motet imitation mass
paired imitation

40
Q

Orlande de Lassus

A

1580

Cum essem parvulus

Motet
word painting
latin text based from biblical text
Imitation 
Polyphonic texture 
Consonant harmonies
41
Q

Juan de encina

A

15th century

Oy comamos y bebamos
villancico
ABBA 
strophic 
Instrumental accompaniment
42
Q

Marco Cara

A

1500

Lo non compro piu speranza

frottola
change of groupings with 2 and 3
for aristocratic entertainment

43
Q

Jacques Arcadelt

A

1538

II bianco e dolce cigno

madrigal
not strophic/ no refrain
free rhyme scheme
for the pleasures of the performers

44
Q

Cipriano de Rore

A

1565

Da le belle contrade d’oriente

madrigal
follows a rhyme scheme
5-6 parts singing
words and feeling are felt through

45
Q

Luca Marenzio

A

1590s

Solo E Pensoso 
madrigal
musical imagery 
more chromaticism 
5 lines or parts
46
Q

Carlo Gesualdo

A

1590s

Io partoe non piu dissi
madrigal

musical imagery
fragmentation of poetic text

47
Q

Claudin de Sermisy

A

1527

Tant que vivray

chanson
repetitive form
homophonic textures
Instrumental accompaniment

48
Q

Orlande de Lassus

A

1570s

La nuict froide et sombre

chanson
careful use of harmony
imitation gives careful contrast of texture
String instrument doubling vocal line

49
Q

Claude le Jeune

A

1500s

Revecy venir du printans

chanson
rhythmic groupings of 2 and 3
refrain and strophes= has increasing voice parts
Instrumental accompaniment- denoting secular music

50
Q

Thomas Morley

A

1595

My bonny lass she smileth

ballett- english form of the balletta

homophonic texture
strophic- dance like texture

51
Q

Thomas Weelkes

A

1601

As Vesta was

madrigal

6 vocal lines
groups of voices being paired- word play

52
Q

John Dowland

A

1600

Flow, my tears

air or lute song

accompanied vocal line
AABBCC

53
Q

Tielman susato

A

1550
Dances from Danserye

instrumental

dance forms
duple and triple meters varying

54
Q

Luis de Narvaez

A

1530

Los seys libros de Delphin

instrumental

use of variations

55
Q

William Byrd

A

1600

Pavana Lachrymae

Instrumental- pavane variations

ornamentation
AABBCC form

56
Q

Giovanni Gabrieli

A

1597

Canzon septimi toni from Sacrae symphoniae

instrumental ensemble with brass and strings
divided choirs- singers and instruments

57
Q

Claudio Monteverdi

A

1590

Cruda Amarilli

Madrigal
secunda practica/ expression of text
dissonances were used through harmonic relations rather than melodic

58
Q

Giulio Caccini

A

1590

Vedro I mio sol

solo madrigal

accompanied solo line
through-composed

59
Q

Jacopo Peri

A

1600

Le musiche sopra l’Euridice-

Opera

instrumental interludes
basso continuo for solo line

60
Q

Claudio Monteverdi

A

1607
L’Orfeo

Opera
ritornello- instrumental interlude
operatic

1642
L’incoronazione di Poppea
Opera

dialogue/ operatic-dramatic
basso continuo/ sinfonia

61
Q

Antonio Cesti

A

1656

Orontea

Opera

recitative/ solo duets

62
Q

Barbara Strozzi

A

1650s

Lagrime mie

cantata

solo cantata
section in arioso, aria and recitative style

63
Q

Gabriel Bataille

A

1610

Ma bergere non legere

air de cour
solo line
melody reveals text importance

64
Q

Giovanni Gabrieli

A

1610

In ecclesiis

sacred concerto

solo/chorus/instrumental
5 sentence structure/ each closing with Alleluia

65
Q

Alessandro Grandi

A

1625

O quam tu pulchra es

solo motet
choral accompaniment
religious text/ motet
text expression
Chordal accompaniment
66
Q

Giacomo Carissimi

A

1648

Historia de Jephte

oratorio

recitative/ chorus
chordal secco recitative
dialogue- sacred narrative

67
Q

Heinrich Schutz

A

1636

O lieber Herre Gott

sacred concerto

duet / realized accomp.

68
Q

Schutz- Saul

A

1650

sacred concerto

polychoral medium

favoriti- 6 voice choir and 2 four voiced choirs

varying dynamic markings

69
Q

Girolam Frescobaldi

A

1615

Toccata no. 3
Instrumental
Very improvisatory in style

70
Q

Frescobalddi- ricercare

A

1635
Mass for the Madonna in Fiori musicali

imitative composition based on a subject
4 voiced

71
Q

Biagio Marini

A

1626

Sonata IV
for multiple instruments
3 main section with 2 transitions
Free and improvisatory in nature

72
Q

Jean Baptiste Lully

A

1686

Armide

Opera

tragedy in music- homophonic
french overature

73
Q

Lully

A

1677

Te deum

grand motet
polychoral/ two choirs/ soloists and instruments
homophonic declamatory statements

74
Q

Denis Gaultier

A

1650

La Coquette virtuose

courante
stylized dance form
ternary form

75
Q

Elsabeth-Claude Jacquet de la Guerre

A

1687

Suite in A minor
Keyboard suite

dance forms
heavy use of ornamentation

76
Q

Henry Purcell

A

1689

Dido and Aeneas

opera

recitative
double dotting

77
Q

Thomas De Torrejon y Velasco

A

1701

La purpura de la rosa

Opera
realized continuo
dominance of lyrical song

78
Q

Juan de Araujo

A

Late 17th century

Los coflades de la estleya

villancico
imitative
vernacular sacred genre

79
Q

Alessandro Scarlatti

A

1690

Clori vezzosa

cantata

secco recitative
ritornello sections
pastoral love poem in the form of monalogue

80
Q

Arcangelo Corelli

A

1680

Trio Sonata op.3 no.2

3 instruments and organ
multi movements

81
Q

Dieterich Buxtehude

A

Late 1600s

Praeludium in E major

Organ Prelude

instrumental
ornamentation

82
Q

Antonio Vivaldi

A

1710

Concerto for violin and orchestra in A minor op. 3 no. 6

multiple movements
violin dominates
ritornello sections

83
Q

Francois Couperin

A

1730

Vingt-cinquieme ordre

Keyboard suite

heavy ornamentation
dotted rhythms

84
Q

Jean-Philippe Rameau

A

1730

Hippolyte et Aricie

Opera
composed in the french tradition

85
Q

J.S. Bach

A

1715
Prelude and Fugue in A minor
Instrumental
imitative

Chorale Prelude on Durch Adams Fall
Instrumental
Bar form of AAB

1724
Nun komm, der Heiden Heiland
Instrumental doubling of voice parts
chorale cantata-#62
Based on chorale melody throughout
86
Q

George Frederic Handel

A 
1730
Giulio Cesare- Act II, scenes 1-2
Opera
Dialogue in recitative/ continuo 
da capo aria

Saul
Fugue
homophonic texture to pronounce important text

From Flashcardlet (41 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions