Test 2 Flashcards
Michael Praetorius
(1571–1621) Known for Terpsichore, a collection of over 300 4-5 part instrumental harmonizations of popular dance tunes. Best known as the author of Syntagma musicum (1614) one of the most important illustrated encyclopedias of musical instruments.
Andrea Gabrieli
(1532–1585) Italian composer and organist of the late Renaissance. Ricercar del duodecimo tuono.
Johannes Ockeghem
(1410–1497) most famous composer of the Franco-Flemish School in the last half of the 15th century, and is often considered the most influential composer between Dufay and Josquin des Prez. In addition to being a renowned composer, he was also an honored singer, choirmaster, and teacher. Missa Prolatonium.
Orlande de Lassus
(1532–1594) most famous of sixteenth century. Last great Burgundian composer. Over 2000 works spanning each genre. Worked for duke Albrecht of Bavaria. Knighted by pope. Used quick changes in texture and number of voices. “Cum Essen parvulus” “prophetiae sibyllarium: prologue”. Had a foot both in baroque in Renaissance music. His music expressed emotional meaning of text.
Thomas Morley
(1557–1602) Organist at St. Pauls Catherdal, publisher, theorist. One of first native English composers to adopt style of madrigal. Now is the month of Maying.
Heinrich Schütz
(1585–1672) German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century. Saul, was verfolgst du mich?
Jacob Arcadelt
(1505–1568) Burgundian composer. Primo libro di madrigali d Arcadelt reprinted more than 50 times. Il bianco e dolce cigno.
Cipriano de Rore
(1516–1565) Franco-flemish composer, worked mostly in Italy. Published 8 books of madrigals. Known for chromatic expressive style. Established norm of 5 voices for madrigal. De la belle dontrad d’oriente
Maddelena Casulana
(1544–?) first female composer to publish her work. Two books of madrigals for four voices. Few details are known about her life. Morir no pup il mio cure.
Barbara Strozzi
(1619–1677) published eight volumes of vocal music. Supported herself.
Claudio Monteverdi
(1567–1643) Italian. Employed at the court of Madua, until 1613 then finished the rest of his life in Venice. One of the first to compose operas. Leader in the formation of a late style madrigal (concerted madrigal). 12 operas. Orfeo. Vespers of 1610. Published nine books of madrigals, one posthumously.
Thomas Weelkes
(1576–1626) English composer and organist. He became organist of Winchester College in 1598, moving to Chichester Cathedral. His works are chiefly vocal, and include madrigals, anthems and services. Friends with Morley.
John Dowland
(1563–1626) finest composer of lute songs. Published 4 collections of lute ayres. Come, Heavy Sleep. Come again.
William Byrd
(1543–1623) Preeminent composer of the Elizabethan age. Remained true to catholic roots, protected by Queen Elizabeth. Composed across all genres. Sing Joyfully unto God
Giovanni da Palestrina
(1525–1594) Spirit of the music of the counter-reformation. Careful, restrained part writing and clear text declamation. Mass for Pope Marcellus. Mostly sacred music, few madrigals and other secular songs.
Josquin des Prez
(1450–1521) widely considered by music scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime. Miss fortuna desperate. Miss Pange lingua.
Jacob Obrecht
(1457–1505) Dutch composer of the Dutch school of Renaissance music. He was the most famous composer of masses in Europe in the late 15th century, being eclipsed by only Josquin des Prez after his death.
Gilles Binchois
(1400–1460) Netherlandish composer, one of the earliest members of the Burgundian school and one of the three most famous composers of the early 15th century
Thomas Tallis
(1505–1623) Gentleman in the Chapel Royale (estlablishmen in the Royal Household including priests, composers, and singers whose task was to serve the spiritual needs of the sovereign) Very very I say unto you.
Giulio Caccini
(1545–1618) Italian composer, teacher, singer, instrumentalist and writer of the very late Renaissance and early Baroque eras. One of the founders of Opera. one of the single most influential creators of the new Baroque style. Sfoga con le stele. Le nuove musiche
Luca Marenzio
(1553–1599) Italian composer and singer of the late Renaissance. He was one of the most renowned composers of madrigals. Solo e pensoso.
Discuss Renaissance instruments & instrumental music. Describe types of instruments and how they were used. Discuss the repertoire available to Renaissance instrumentalists and the development of an idiomatic instrumental repertoire. Include keyboard, string, wind, and brass instruments.
Haut- Loud and high or soft and low. Haus used in Germany in whole and mixed consorts. Trumpets, shwams, bagpipes, drums,
bas instruments-Bas used in Ricercarsm heard in taverns and peasant dance. recorders, traverse, lute viols, viula,
Organ, harpsichord, and clavichord. Used for chamber and solo Music. Used in sacred and secular music.
Keyboard variation, dance music, free composed pieces, arrangements of vocal music
Discuss the organ, harpsichord, and clavichord of the late-Medieval through Renaissance periods. Include which instruments were used in various genres of music; basic principles of design and tone production; tone characteristics; and important composers, collections, and works.
Organ- edge tone created by air moving across fluted pipe. Sustain tone indefinitely. Thunderous louds and whispery softs, can’t crescendo or diminuendo. Dunstable, Du Fay, and Binchois
Clavichord- string struck by a metal tangent, remains on string as long as key is depressed. Modest sustain time. Very soft dynamics. Subtle dynamic changes. Prez, Cabezon.
Harpsichord-String plucked by a quill pluctrum. Very short sustain time. Moderate dynamics, no ability to change dynamics except by using additional manual. William Byrd, Cabezon.
Discuss Religious developments and conflicts during the Renaissance and their effect on sacred music. Include criticisms of Renaissance sacred music from a clerical point of view and the solutions that were offered. Identify important individuals and events.
Papal schism, sale of church offices reached new heights, to make more money for the pope. Wealth flowing into the church became enormous. Martin Luther protested right for everyone know what the Bible said. Abuses that needed to be fixed- Complex polyphony, and melodies made it impossible to understand text. Secular cantus firmus. Inappropiate use of instruments other than organ. Viruosic music drew attention to performer rather then spiritual meaning of text. Excesseive dissonance. Use of other languages than Latin. Council of Trent made Counter Reformation. Palestrina most prominent composer in fixing this abuses, music not draw attention to itself
