Test 2: Rennaissance-?

Question 1

Josquin life

Answer 1

Ockeghem’s successor, native of northern France. Franco-netherlandish style.

Question 2

Josquin pieces

Answer 2

Masses included Homme arme, Pange lingua, and La sol fa re mi.

Question 3

Josquin music

Answer 3

Voice parts rarely crossed.
Birth of the fuga style??
Employed the use of musica reservata (complex counterpoint and expressive vocal writing)
Immitated cantus firmus from prior music. Contrafactum parody (emulate an earlier song’s poetic metre, rhyme scheme, and musical metre)

Question 4

Josquin’s Ave Maria

Answer 4

Sacred (latin)
Motet
Open cadences (continuation of the musical idea)
Chant paraphrase/Imitative

Question 5

Rennaissance

Answer 5

Amateur music
Florentine camerata (led to birth of opera)
instrumental intabulation (pieces)
Court patronage (this continues to baroque)
Humanism is BIG
Printing press is invented, dissemination of music.

Question 6

Italian frottola

Answer 6

Rennaissance. Vernacular poetry on amorous or satirical topics. Improvisatory. Familiar/homorhythmic. Syllabic.

Question 7

Italian madrigal

Answer 7

Late 16th century genre of Italian secular music. Rennaissance. Polyphonic chanson style, vernacular text, meant for amateurs rather than experts

Question 8

French chanson

Answer 8

Many French chansons began with a dactylic (long-short-short) rhythm. Vernacular French, strophic, passionate, syllabic, dancelike

Question 9

Lutheran reformation

Answer 9

Luther HATED indulgence.
Music is vernacular. Accessibility is important. Printing press is relevant.
Chorales - Congregational hymns, replaced chants
Many composers used gregorian chant melodies and secular music texts for chorales.
Cantional setting arose: topmost voice had chorale melody, other parts harmonized with it.

Question 10

Counter reformation

Answer 10

Process following the growth of the anglican church to revert to precedent ways.
Council of Trent.
Less unintentional dissonance.
Ars perfecta: Diatonic (nonchromatic?). Familiar. Transcendental. Latin. A cappella. Think Pallestrina

Question 11

Pallestrina

Answer 11

Counter-Reformation composer. Known for 16th century counterpoint. Franco-netherlands technique. little dissonance. classic model for the panconsonant contrapuntal technique (triads)

Question 12

Pallestrina counterpoint (not on quiz sheet)

Question 13

Rationalism (not on quiz sheet)

Answer 13

philosophical approach…? RENEE DESCARTESSSS????!?!?! Musical quality now depends solely on how much it affects the audience… more or less.

Question 14

Affetto vs Virtu (not on quiz sheet)

Answer 14

Virtu: personal success and honor achieved through the cultivation of one’s own talents and personal fulfillment in this life

Question 15

Baroque

Answer 15

1600s-1750s.
Religious (sacred). Social and political experience: played in courts, paid for by patrons.
Humanism + rationalism - emotional expressivity.
Dance, monody, basso continuo.

Question 16

Monody / Monodic

Answer 16

Single vocal melody line with accompaniment by lute or keyboard instrument

Question 17

Basso continuo

Answer 17

Bass line with numbers to indicate intervals above those notes for supporting part

Question 18

Prima practica, Seconda practica

Answer 18

Prima practica/stile antico: first practice. forbidden dissonances. Pallestrina counterpoint. Artuzi was a theorist who liked Prima practica bc he hated motneverdi.
Seconda pratica/stile moderno: basis that shape of music follows shape/emotion of text. nonharmonic + chromatic tones. Nuevo Musiche by caccini

Question 19

Opera

Answer 19

Created by the Florentine Camerata, and greek drama (and perhaps leturgical drama, think madrigal>opera)
Peri founded Recitative lyrical style.
Ritornello
Monodic, pastoral, madrigal-esque.
Libretto: opera text

Question 20

Ritornello

Answer 20

Recurring passage in Renaissance and Baroque music for orchestra or chorus

Question 21

Recitative lyrical style

Answer 21

Phrases shaped like speech rather than by emotion.

Question 22

Monteverdi’s Orfeo

Answer 22

1607. Same story as euridice. One of the earliest examples of specific indicated instrumentation. Dramaticization created by rhetorical approach to musical expression (persuasive essay type thing)

Question 23

Instrumental genres

Answer 23

Toccata: improvisatory keyboard genre
Concertado: vocal melody with accompaniment. Can be voiceless.
Fantasia - pick one point of imitation throughout a piece to keep it coherent.
Ricecar: imitative
Sonata - piece that used contrast rather than unity to retain interest. (marini?) Fast -> slow
Partitas were sets of music.
Dance suite

Question 24

Dance suite

Answer 24

Paired slow and fast dances.
Prelude: free piece, optional
Allemande - 4/4, 2/4, duple, stile brise (arpeggiating)
Courante - in 3, compound, inegal (unequal)
Sarabande - slower, ternary, accented 2nd beat
Gigue: fast, compound meter

Question 25

Venetian polychoral music and sacred concerto, 164-6, and 194-5

Answer 25

Polychoral music: multiple choirs antiphonally (broken chorus) Term - cori spezzati This affected the timbre and texture. St. Mark's Basilica in Venice was important Concerto: modern style was applied to the creation of motets