Musical Forms & Terms

Question 1

French Styles (Medieval)

Answer 1

Forms fixes (fixed forms) that add a refrain to each stanza
- Ballades: Three stanzas of text each ends with same line of poetry (aabC)
- Rondeauz (ABaAabAB)
-Virelais (ABBA)

Question 2

Ars Antique

Answer 2

13th century polyphony, rhythmic upper parts over slow moving, chant based lower power

Question 3

Ars Nova

Answer 3

14th century polyphony, isorhythm, music grouped by mathematics so text is not as important

Question 4

Isorhythm

Answer 4

Periodic reoccurrence of rhythmic (tales) and melodic (color) fragments

Question 5

Chant

Answer 5

• Syllabic (one note per syllable)
• Neumatic (2-4 notes per syllable)
• Melismatic (many notes per syllable)

Question 6

Organum

Answer 6

Early polyphonic music based on chant

Question 7

Franco-Flemish Composers

Answer 7

Renaissance composers in NE France, Belgium, Netherlands. Music characterized by dense, continuously imitative textures, 5-6 voices, lack of drama

Question 8

Parisian composers

Answer 8

Franco composers centered around Paris (Renaissance). Music characterized by less dense counterpoint, some homophony, 4 voice texture

Question 9

Mass Types

Answer 9

• Cantus Firmus: uses pre-existing melody that is typically set in the tenor line
• Paraphrase: similar to cantus firmus except melody is elaborated or shortened and appears in different parts
• Parody (Imitation): several parts of preexisting songs are set with mass texts

Question 10

Frottolas

Answer 10

Precursor to madrigal. Strophic, poetry not substantial, syllabic, 3-4 voices, simple diatonic harmonies, melody in upper voice, homorhythmic

Question 11

14th Century Madrigal

Answer 11

2-3 voices, no accompaniment, all voices sing same text. Two or more 3 line stanzas each set to same music

Question 12

16th Century Madrigal

Answer 12

Italian Madrigal. No refrains or reappeared lines (differs from Frottolas), through composed, text painting, secular, often polyphonic

Question 13

Oratorio

Answer 13

A sacred work for chorus and orchestra and soloists, intended for concert stage, narrative, typically named characters

Question 14

Cantata

Answer 14

Usually a red work for chorus and instrumentalists and soloists, intended for church service

Question 15

Opera

Answer 15

A secular, dramatic work in one or more acts, set to music for singers and instrumentalists

Question 16

English Partsong

Answer 16

homophonic, square phrases, lacks polyphonic and harmonic interest, designed for the masses

Question 17

Motet

Answer 17

Sacred, polyphonic, started in Medieval and built on cantus firmus evolved through Renaissance and Baroque, Latin

Question 18

Grand Motet

Answer 18

Soloists, chorus, strings, BC, petit chorus and full chorus, multi sectional structure, contrast between sections, considerable length

Question 19

Petit motet

Answer 19

Small scale work for soloists and BC

Question 20

Notes inegales

Answer 20

Practice of performing equally-noted notes unevenly - long/short, lilting type feel

Question 21

Faubordone

Answer 21

Freely chanted text harmonized in one root position harmony

Question 22

Cecilian movement

Answer 22

Movement of composers looking to the past, ideals revolving around chant and Renaissance polyphony (Palestrina), a cappella, Latin rather than vernacular

Question 23

Yoik

Answer 23

A traditional form of song from Scandinavia. Often wordless. Distinctive melodic patterns. Folk tradition.

Question 24

Tudor Composers

Answer 24

English composers front he Tudor period (1485-1603). Tallis, Byrd, Taverner, Gibbons

Question 25

Basso Continuo Group

Answer 25

Baseline played through piece with harp or organ and bass instrument (cello, viola da gamba, or bassoon). Keyboard improvises harmonies.

Question 26

Chanson

Answer 26

French polyphonic, secular song. Typically 4 voices with melody in top part.

Question 27

Balleto

Answer 27

Italian piece intended for dancing, homophonic, fa la la refrain

Question 28

Canzonet

Answer 28

light, secular vocal piece, simpler and more dance-like than madrigals (Rennaissance)

Question 29

German Lutheran Chorale

Answer 29

AAB (bar form) Stollen - first half of the chorale that usually repeats Abgesang - second half of the chorale Vernacular Simple for easy access

Question 30

Villancios

Answer 30

Spanish and Portuguese secular song, refrain (estribillo) and verses (Copland), folk-based, simple, dance rhythms

Question 31

Chorale Motets

Answer 31

Polyphonic vocal compositions based on Lutheran chorale melodies

Question 32

Cantata

Answer 32

Multi movement, soloists, chorus and instrumentalists. Developed in Italy. Secular or sacred. Tied to biblical readings and themes.

Question 33

Lutheran Litergies

Answer 33

The workshop service and musical practices of the Lutheran church. Includes Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) and Proper (changing texts for different seasons)

Question 34

Masses (classsical)

Answer 34

Brevis: short, reduced orchestration, Gloria & Credo text telescoped Solemnis Mass: long, fuller orchestration, glorio and credo texts not telescoped, even divided into multiple sections

Question 35

Magnificats

Answer 35

Setting of the Latin sacred text “My soul magnifies the lord” canticle of Mary in Biblical texts

Question 36

Te Deums

Answer 36

Musical setting of the Latin hymn “Te Deum Laudamus” We Praise Thee O God

Question 37

Latin Motets

Answer 37

Polyphonic, sacred, Latin texts. Texts from the Proper of the Mass. Biblcal passages or other devotional poetry