Chapter 6 and 7

Question 1

16th Century

Answer 1

• Rise of secular repertoires in France, Italy, Spain, Germany, and England
• Instrumental music became compositional focus–mannerism influenced music towards end of century
• Music printing expanded–> New consumers beyond the courts, giving rise to demand for less complex music

Question 2

Secular Vocal Music

Answer 2

• Rondeau disappeared early 10c, vernacular texts formed basis of chansons
• Italian Madrigal: 3 + voices, mostly secular text, more ambitious vs. frotolla, became more contrapuntal, through composed, lots of word painting
• Composers: Bembo, Francesco Petrarca wrote with qualities of pleasingness, weight, detail to Italian language

Question 3

16c Madrigal

Answer 3

• No fixed form
• Single stanza free rhyme scheme
• Reveal striking image @ beginning
• Accessible to well-trained amateurs, performed in variety of settings

Question 4

Word painting

Answer 4

The use of musical elements to imitate the meaning of specific passages of text. Ex. Pain of hell=low pitch

Question 5

The Parisian Chanson

Answer 5

• Lighter, more chordal than earlier chansons
• Homorhythmic, dominated by tonic, subdominant, dominant chords
• Melodies usually in uppermost line
• Composers: Claudin de Sermisy, Clement Janequin

Question 6

Italian Madrigal

Answer 6

-Vocal composition of three or more voices, mostly secular
-NO direct connection to 14c madrigals
-Through composed–>setting each line of text to new music, allowing for explicit word painting
-No fixed form, consists of a single stanza, free rhyme scheme
-Incorporate “conceit”–striking image–that reveals itself at the end of poem
-Perfomed in many settings, banquest and homes
-Undemanding, accessible to the well trained amateur
-LOTS of collections: 2000+
Composers: Bembo, Sannazaro, Ariosto, Tasso, Guarini

Question 7

End of Renaissance

Answer 7

Composers explored the possibilities of integrating voices and instruments to an unprecedented degree.

Question 8

Subgenres of Italian Madrigal

Answer 8

“Villanella”, meaning country girl, derives from “vile”.

• Suggestive imagery, double entendres
• Frequently written in a local dialect
• Includes nonsense syllables, perhaps antimadrigal (lowbrow approach to madrigals)

Question 9

Secular song in Germany

Answer 9

Prominent varieties: Lied and Tenorlied
-Called Tenorlied because it incorporated a well0known tune in the tenor, making a secular cantus firmus genre.
Meistersinger Guilds cultivated another song:
–>They were tradesmen and craftsmen who formed societies throughout Germany for music/poetry/singing
–> Governed by an elaborate system of rules and ranks and held regular competitions
–> Songs often in AAB bar form, just voice

Question 10

Secular song in Spain

Answer 10

Principle genre: Villancio

• Identifies a poetic form equivalent to the French Virelai (AbbaA)
• Luis Milan published 12 villancios
• Texture similar to frottolla (uppermost voice dominates while lower fills out polyphony)

Question 11

Secular music in England

Answer 11

• Italian madrigal transplanted to England in 1560s
• Composers: Marenzio, Palestrina, deMonte, Ferrabasco
• English were infatuated by all things Italian: Composer Thomas Morley did not appreciate this! Then moved away from Italian music.

Question 12

Antecedent

Answer 12

Phrases that move from tonic to dominant

Question 13

Consequent:

Answer 13

Phrases that move from dominant to tonic

Question 14

Dance music

Answer 14

Abounds in repetition, in performance, the individual reprises (large sections to be repeated) can be played as often as desired

Question 15

Binary Form

Answer 15

Two reprises together

• ->One of the earliest instances of synctactic form, where a central idea is presented and varied over the course of an entire movement (contrast to paratactic form)
• ->Basis for many dance types, then sonata forms
• ->Could be easily sung

Question 16

Periodic phrase structure

Answer 16

Four measure antecedent phrase is followed by a four measure consequent phrase.

Question 17

Mannerism

Answer 17

• Term from art history that designates a style of painting and sculpture characterized by the use of distortion, exaggeration and unsettling juxtaposition for dramatic effect
• -> In music: Applies to a small but important repertory of works (both sacred and secular) written in the second half of 16c characterized by distortion such as extreme dissonance, unusual harmonic progressions and exaggerated word painting.

Question 18

Musica reservata

Answer 18

Music “reserved” for a select audience of elite noble-born or aristocratic listeners.

Question 19

Gesualdo’s Moro, lasso al mio duolo:

Answer 19

Sex-as-death imagery, descending chromatic harmonies and voice leading.
Life:
Faster rhythm, melisma, more diatonic
Death: Chromatic, slower rhythmic values, descending lines = :(
-Part paratictic, part syntactic: Struggle between life & death
Charles Burney was NOT impressed by Gesualdo’s chromaticism

Question 20

Classical antiquity

Answer 20

• Ancient greek
• ->music should be driven by word
• ->the affect of a text should be heightened by musical devices

Question 21

Florentine Camerata

Answer 21

Group that discussed how a single voice could dominate in a texture that was not essentially polyphonic
–>They debated ways to recreate the style of singing used by ancient Greeks in their dramas

Question 22

Bardi

Answer 22

He was asked to organize entertainment for french princess’ wedding

• ->Included 6 intermedi, each featuring miraculous powers of music in classical mythology
• ->No design, machinery, or costumes
• ->4 instruments, 3 voice
• ->Moves toward homophony: Principal melodic line with subordinate accompanying voices, well-suited to the clear projection of a text in a principle melodic voice

Question 23

Seconda Prattica

Answer 23

• Emphasis on the projection of text
• Distinguished from prima prattica, the traditional Renaissance style of polyphony
• Use of Basso Continuo

Question 24

Basso Continuo

Answer 24

• ->Line that is less of a polyphonic equal to the solo line and more of a subordinate accompaniment to it
• ->Provides harmonic framework for the solo voice of above it, homophonic texture
• ->Often used synonymously with “figured bass”, where upper voices are added to fill out the harmonies implied by the bass
• Any instrument, ideally more chordal
• Freed composers from obligation of writing in polyphony always, and to project a sung text through a single voice
• Solo singing then emerged into opera, where individual singers assume the role of individual characters

Question 25

Monody

Answer 25

- 1630s, term to designate the combination of solo voice and basso continuo - Both measured and free, lyrical yet rhythmically fluid, partway between song and speech = TRUE innovation, freedom with clarity! - Opened up a world of possibility for singers--embellishment, ornamentation, spontaneity

Question 26

17c and meter

Answer 26

- Clear break with earlier practices of Renaissance, not much rhythmic flexibility in performance - Seconda Prattica's fluid approach to rhythm actually coincided with the emergence of a much stronger sense of meter in early Baroque era - ->fixed units with strong and weak beats eventually replaced the Renaissance principle of tactus where all beats were essentially equal - ->increased prominence of metrical units-fixed patterns of strong and weak beats-manifested in dance rhythms in 17c music - ->straightforward melody lines, frequent cadences

Question 27

Emergece of Monody did not mean:

Answer 27

- Did not mean the death of polyphony--prima prattica continued to flourish well into 17c - Monodists thought they had found the modern equivalent of Greek antiquity music

Question 28

Emergence of basso continuo

Answer 28

1600s, composers wrote for solo voice and instruments | -Basso continuo provided both harmonic and contrapuntal support the the voice-->allowing rhythmic flexiblity

Question 29

Coexistence of old and new styles

Answer 29

- Both prima prattica and second prattica were used - A shift from tonal writing: Leaned away from traditional modes to a single type diatonic scale - A change from intervallic to chordal harmony: 17c harmony thought of as chordal progressions

Question 30

Baroque era music style provided:

Answer 30

- Greater rhythmic freedom: seconda prattica provided sense of rhythmic freedom, elaborate, complex rhythms--result of the shift toward homophonic texture - Greater allowance for virtuosity: - Growing difference between vocal and instrumental styles - Growing importance of instruments & instrumental music - Emergence of program music: Purely instrumental music that is in some way connected with a story or idea - Cultivation of contrasting timbres

Question 31

Emergence of national styles:

Answer 31

- Italian--melody, sharp rhythm, strong meter - French: Sprightly, bright, lively, dancey rhythms, fluid sense of melody, more embellishments - German: synthesis of both French & Italian, adding contrapuntal gravity