Musical Era - Renaissance

Question 1

Time period

Answer 1

1500-1600

Question 2

General Music Traits

Answer 2

Single texts

standard scoring for SATB ensembles

integrated musical material (motivic material distributed through all voice parts)

imitative textures

Question 3

Beginning

Answer 3

Long phrases of text and incipient forms of imitative polyphony

Question 4

Middle

Answer 4

Texts, short phrases

Textures were generally unified by pervasive imitation

Question 5

End

Answer 5

Varied traits

Sacred texts generally structured of alternating passages of imitative polyphony and homophony

Protestant Reformation

Italian Madrigals

Council of Trent

Motet

Question 6

Protestant Reformation

Answer 6

Music simplified and in the vernacular

Chorales, anthems, psalm settings

Question 7

Council of Trent

Answer 7

1542

Catholic response to Protestant reformation

Reform catholic music to have clarity of text and performance

Palestrina saved polyphony

Question 8

Renaissance France - Franco Flemish Composers

Answer 8

General term to describe composers in area of Western Belgium, southwestern Netherlands, and northern France

Question 9

Renaissance France - Flemish Composers

Answer 9

NE, Belgium, Netherlands

Music characterized by less dense counterpoint, some homophony, 4 voice texture

Question 10

Renaissance France - Franco Composers

Answer 10

Centered in and around Paris (Parisian composers)

Music characterized by less dense counterpoint, some homophony, 4 voice texture

Question 11

Renaissance France - Mass Construction

Answer 11

Cantus Firmus - uses pre-existing melody that is typically set in tenor line

Paraphrase - similar to cantus firms except melody is elaborated or shortened, may appear in multiple parts

Parody - several parts of preexisting song are set with mass texts (imitation mass)

Question 12

Renaissance Italy - General

Answer 12

Composers - Franco-Flemish, relocated to Italy. Later period Italian

Musical centers: Venice (St. Marks), Rome, Mantua (Madrigals)

Genres: Masses, motets, madrigals, Canzonets, Ballettos

Question 13

Renaissance Italy - Council of Trent

Answer 13

1542-1563

Mandated text intelligibility

Syllabic text setting

Expressive word painting

Alternation of brief imitative polyphony with homorhythm

Question 14

Renaissance Italy - Frottola

Answer 14

Precursor to madrigal

Strophic
Poetry not substantial
Syllabic
3-4 voices
Sim diatonic harmonies
Melody in upper voice
Homorhythmic

Question 15

Renaissance Italy - Early Madrigal

Answer 15

serious art form

4 voice texture

Uncomplicated polyphony and homophony

Rhythmic values of littler variation

Argadelt

Question 16

Renaissance Italy - Middle Madrigal

Answer 16

Expanded durational variety of rhythms include 8th notes

5-6 voices

More homophonic textures

Some chromaticism for text expression

Melodic passages paint text (Madrigalism)

Gabrieli, Palestrina

Question 17

Renaissance Italy - Late Madrigal

Answer 17

Greater variety of rhythms included within polyphonic texture

Expressive elements magnified

Created chromaticism

Monteverdi

Question 18

Renaissance - Spain

Answer 18

Different from other countries

Composers born in Spain and worked throughout Spain

Major cities not always center for music

Genres: mass, motets, Magnificats, villnacios

Question 19

Renaissance Germany - Composers

Answer 19

Belgium, Czech Republic, Slovenia, Switzerland, Poland, Italy, Germany

Employed at Imperial court in Vienna and other prominent courts

Question 20

Renaissance Germany - Music

Answer 20

Sacred works in Latin: mass cycles, Magnificats, passions, motets

Sacred works in German: motets, chorale settings, sacred lieder

Secular works: secular lieder, chansons, madrigals, ballettos, Canzonets, polyphonic Dutch song

Tenorlied: German polyphonic lied with the cantus firmus in tenor

Question 21

German Lutheran Chorale

Answer 21

Created to serve the reformation ideals of Martin Luther

AAB form (bar form)

Stollen: first half of the chorale, usually repeated

Abgesang - second half of the chorale

Question 22

Renaissance England - General

Answer 22

Little influence from other countries (no travel outside or in)

Few foreign scores imported

English Renaissance delayed about 40 years

Little biographical information about composers

Composers received formal academic training

Question 23

Renaissance England - Musica transalpine

Answer 23

Italian Madrigals imported across Swiss alps

Question 24

Renaissance England - Royal Influence

Answer 24

Henry XIII - Anglican but favors catholic music

Edward VI - Anglican

Mary - Catholic

Elizabeth I - Anglican but enjoys both

James I and Charles I - Anglican

Chapel Royal - Important venue for music

Question 25

Renaissance England - Church Tradition

Answer 25

Choristers divided into two choirs Decani - right, deans side Cantoris - left, cantors side Face each other

Question 26

Renaissance England - English Madrigal

Answer 26

1588-1627 Italian for aristocracy English for Middle class Less concert with quality of poetry Less text driven More attention to structure (less sectional) Counterpoint as a vehicle for humor

Question 27

Renaissance England - Great and Short Service

Answer 27

Anglican equivalent of mass English but with Latin titles Morning Prayer: Venice exultemus, Te Deum, Benedictus or Jubilate Evening Prayer - Magnificats, nuns dimitis Communion service: kyrie, credo, Sanctus, Agnus Dei, Gloria Great = contrapuntal and melismatic Short = Simple, chordal, syllabic