Madrigals Flashcards
(41 cards)
1
Q
Villancico
A
- The most important form of secular polyphonic music in Renaissance Spain
- Diminutive of ‘villano’ (peasant)
- Composed for Aristocracy
- Short
- Strophic
- Syllabic
- Homophonic
2
Q
Frottola
A
- italian counterpart to the villancico
- 4 part
- strophic
- homophonic
- melody in upper parts
- simple diatonic harmony (root-position triads)
- meant to sing poetry
- lower parts add harmonic foundation
- mock-popular songs for courtly elite
3
Q
Madrigal
A
- Most important secular music
- enriched meaning and impact of the text
- new effects of declamation, imagery, expressivity, characterization, and dramatization
- led to opera
- single stanza w/ 7 or 11 syllable lines
- match the artfulness of the poetry and to convey its ideas, images, and emotions to the performers and listeners
- standard or free rhyme scheme
- no refrains or repeated lines
- ## a piece of vocal chamber music intended for performance with one singer to a part
4
Q
Lute Song
A
5
Q
Estribillos
A
Refrain
6
Q
Coplas
A
Stanzas
7
Q
Mudanza
A
- New Section
- Change
8
Q
Refrain
A
Vuelta
9
Q
Juan Del Encina
A
- 1st Spanish Playwright
- Leading Composers of villancicos
10
Q
Pastoral
A
11
Q
Oy comamos y bebamos
A
- Juan Del Encina
- one day before lent
- simple melody/harmony
- dancelike rhythms
- hemiolas
- pastoral/poetry drama
- created eclogues
- characters sang villancicos
- entertainment for nobles/courtiers
- homophonic
- root position triads
- ## shifts in 6/8 & 3/4
12
Q
Eclogues
A
- Juan Del Encina
- one act pastoral play
- mark the beginning of spanish secular drama
13
Q
Baldassare Castiglione
A
14
Q
Vuelta
A
Return or repetition
15
Q
Through-Composed
A
Composed throughout, as when each stanza or other unit of a poem is set to new music rather than in a strophic manner to a single melody.
16
Q
Il bianco e dolce cigno
A
- 1538
- plaintive rising and falling half step
- Most famous of Arcadelt’s madrigals
- mid 1530’s
- not strophic
- no refrain
- no repetition
- freely alternate between 7 / 11 syllables
- homophonic
- marked rhythms
- enjambment effect
- polyphony
17
Q
Da le belle contrade d’oriente
A
- Rore’s last madrigal collection
- Syncopation
- 1560-1565
- madrigal
- Cipriano de rore
- a sonnet
- syncopation
- 5/6 parts
- ## dramatic scene
18
Q
“Io parto” e non più dissi
A
1611 Carlo gerusaldo slow chromatic chordal dissonance - laments diatonic dissonant consonant homophonic imitative breaks passages to leave memorable images syncopation
19
Q
Solo e pensoso
A
1599 Luca Terenzio madrigal deft counterpoint chromatic in the top voice descending arpeggios syncopation suspensions cross relations chromaticism 1590s
20
Q
Madrigalisms
A
text depiction
word painting
21
Q
balletts
A
22
Q
balletts
A
23
Q
consents
A
16th italian
song genre in mostly homophonic style
dim. of canzona
24
Q
Consort Song
A
voice accompanied by consort of viols
25
Meistersingers
```
German master singer
amateur singer / poet composer
member of a guild that cultivated monophonic songs
derived from minnelieder
urban merchants / artisans
```
26
air de cour
song for voice accompaniment
court air
dominant type of French vocal music
27
Revecy venir du printans
```
duple and triple groupings alternate freely
musique mesuree
chanson
late 16th centure
strophic
SS LS LS L L
meter gives coherence
tries to emulate Ancient Greek poetic meter instead of being hemiolic
melismas in each part
relain for 5 voices
strophes - chants
some lines were doubled my instrument
```
28
Musique mesurée
measured music
text setting in chansons
stressed syllables are given longer notes than unstressed
usually 2x longer
29
La nuict froide et sombre
```
chanson
Orlando de lassus
1570s
light homophonic type
syncopated - altus / cantus
harmony - structure / contrast
mode 1 - final cadence / superiors/temor ranges
1st part - mode final d / 2nd scale degree E /
2nd part - on f / bright sonority /
close on D
```
30
Martin menoit son pourceau
```
imitative counterpoint
symmetrical rhyme
chanson
1534
2 stanzas
5 lines - iambic pentameter
staggered
through composed
homorhythimic endings
LSS Rhythms
g dorian
accompanied by lute
```
31
Tant que vivray
```
courtly love
top melody
accented dissonances
syncopated suspension before cadence
1527
chanson
Claudia de sermisy
tuneful melody
syllabic declamation
lively rhythm
simple harmonies
homophonic texture
balanced phrases
repeated sections
2 strophes
aab form
syllabic
homophonic
harmony on root position triads
```
32
Balletto
```
little dance
simple
dancelike
homophonic
falala refrains
```
33
Canzonetta
```
little song
16th
simple
homophonic
diminutive of canzona
```
34
Villanella
```
lively strophic piece
3 voices
homophonic style
1540s
parallel 5ths
rustic
```
35
a lieta vita
```
Strophic
aabb - repeated sections
begin with homophonic setting
conclude - falala refrains
dancelike rhythms,
varied textures,
occasional contrapuntal
Giovanni giacomo Castoldi
balletto
1593
homophonic
accompany by position root triads
mode 7 mixolydian
```
36
Flow my tears
```
John Dowland
pavane form
processional dance
3 repeated strains
aabbCC
2nd books of songs or ayres
contrapuntal
6-8 cadence
falling 5th in bass
harmonies rise in 3rds/5ths
root motion is directional
plagal mode on a
```
37
Tablature
old sheet music
indicates what strings to pluck
to tell pitches
38
Lute Song
solo song with lute acc.
39
As vesta was
```
Thomas weelkes
madrigal
rising/falling scales
1601
5 rhymed couplets
4 voices
imitative polyphony
alternating pairs
```
40
Sing we and chant it
```
Strophic
aabb - repeated sections
begin with homophonic setting
conclude - falala refrains
dancelike rhythms,
varied textures,
occasional contrapuntal
Thomas Morley
ballett
1595
mode 7 mixolydian
4square
homorhythmic
homophonic
```
41
balletts
```
little dance
simple
dancelike
homophonic
falala refrains
```