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
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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
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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
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4
Q

Lute Song

A
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5
Q

Estribillos

A

Refrain

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6
Q

Coplas

A

Stanzas

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7
Q

Mudanza

A
  • New Section

- Change

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8
Q

Refrain

A

Vuelta

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9
Q

Juan Del Encina

A
  • 1st Spanish Playwright

- Leading Composers of villancicos

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10
Q

Pastoral

A
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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
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12
Q

Eclogues

A
  • Juan Del Encina
  • one act pastoral play
  • mark the beginning of spanish secular drama
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13
Q

Baldassare Castiglione

A
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14
Q

Vuelta

A

Return or repetition

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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.

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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
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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

22
Q

balletts

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 ```