Terms

Question 1

Cyclic Cantus Firmus Mass

Answer 1

Characteristic style of the Renaissance
Unified the movements of the mass by basing everything on the same melody
Pioneered by Dunstable

Question 2

The Mass

Answer 2

Catholic liturgical celebration
Consists of Proper and Ordinary
The ordinary is not specific to the day, and it is the part that is referred to as “The Mass” in a music context
Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Question 3

Netherlandish Chanson

Answer 3

No recurring refrain

More imitation

Question 4

Parisian Chanson

Answer 4

Narrative Chanson: rustic themes, free poetry with recurring refrain
Program Chanson: superius has dominance over melody Lyrical chanson

Parisian chanson has homophonic refrain
Allons, gay bergers
Tant que Vivray

Question 5

Balletto

Answer 5

Italian secular form
Brought to England in the publication Musica Transalpina
Fa la la refrain
Amor Vittorioso

Question 6

Madrigal

Answer 6

Polyphonic song on secular text
Music expresses specific words in the text—madrigalism
Began in Italy by Franco-Flemish composers
Early phase: 1520s, Arcadelt, serious texts (Petrarch)
Second phase: 1540s Palestrina, more voices, less serious texts
Third phase: Monteverdi, Gesualdo, more developed text painting
With Gesualdo, harmony becomes expressive

Question 7

Madrigalism

Answer 7

A type of text painting that is particular to madrigals. Especially in later madrigals, like those of Marenzio and Gesualdo, the text is treated distinctly in a phrase-by-phase fashion.

Question 8

Frottola

Answer 8

Flourished 1480-1520
Italian comic or amorous song
Syllabic, homophonic
melody in upper voice
Conceived vertically
Enjambment—text carries between musical phrases

Question 9

Quintus

Answer 9

Fifth voice (in a madrigal)

Question 10

Declamation

Answer 10

Setting the text according to the rhythm of the language and using rising and falling pitches to express the text

Question 11

Requiem Mass

Answer 11

Mass for the dead. Liturgy was standardized by the Council of Trent (1540-63)

Question 12

Villancico

Answer 12

Poetic form with rustic themes
Later became more narrowly defined as a Christmas carol
Chief secular genre in Spain, analogous to madrigal in Italy.
Can be sacred or secular.

Question 13

Parody Mass

Answer 13

Mass setting where the unifying device is an entire polyphonic texture borrowed from a motet, madrigal, or chanson.
Source material can be modified (space between entrances) and other voices are frequently added.
Start with a different voice in each movement.
Christe, endings of movements may be based on other material.

Question 14

Paraphrase Mass

Answer 14

Mass setting based on a monophonic source text, usually plainchant.
The source text is broken up into phrases, which become the subject of each point of imitation in the mass.
Theme is found in all voices.

Question 15

Service

Answer 15

The text of the Anglican liturgy
Communion service is more akin to the Catholic Mass
Also morning and evening services
A collection of music titled “Service” can include any combination of prayers from the liturgy.

Question 16

Anthem

Answer 16

Characteristic musical genre of the Anglican liturgy. Analogous to the motet.
Text in English.
Full anthem: scored for unaccompanied chorus (but organ may have played colla parte)
Verse anthem: scored for soloists with independent accompaniment and verses that were accompanied colla parte.
Probably invented by Farrant.

Question 17

Lute Song

Answer 17

For solo voice and lute accompaniment, but also scored for chorus in table-book format.
Declamatory melodic style, expression of the deepest pathos.
Most associated with John Dowland: semper Dowland, semper dolens
Subjects of sin and despair

Question 18

Lied

Answer 18

Songs for private devotion (not related to the romantic lied)
Similar to hymns, but with melody in the tenor (tenorlied)
Mostly homophonic with simple polyphony

Question 19

Lutheran Chorale

Answer 19

Unique to Germany
Two-part hymn form: AAB
- Stollen is repeated
- Absegang

Question 20

Low Countries

Answer 20

From Northwest France, as far as Chartres, to the Netherlands.
The “Franco-Flemish” region.

Question 21

Motet

Answer 21

The prevailing sacred musical genre of the renaissance.
Polyphonic settings of Latin texts.
Extra-liturgical: not part of the mass

Question 22

Point of imitation

Answer 22

A set of vocal entrances in a polyphonic work where each voice comes in on the same musical idea.
Contrast with free polyphony.

Question 23

Dovetailing

Answer 23

The overlapping of cadences and entrances between phrases.

Characteristic feature of early motet writing, such as the works of Josquin.

Question 24

Head motive

Answer 24

A unifying device found in mass settings. Each movement begins with the same melodic figure.
May be used in conjunction with a unifying cantus firmus.