Unit III: Late Renaissance & Early Baroque Flashcards
(117 cards)
0
Q
What mass style did the Church adopt in the 1500s?
A
Parody mass
1
Q
Netherlanders were influenced by what regions?
A
Italy, Southern Germany
2
Q
How many voices were standard after 1550?
A
5-6
3
Q
Gombert
A
- Madrid, Vienna, Brussels
- Pervasive imitation, points of imitation
- Smooth, continuous, few rests
4
Q
Clemens
A
- Bruges
- Dutch psalm books (4) in 3 parts
- Clearer phrases than Gombert
- Word setting
5
Q
Senfl
A
- Munich
- A Swiss
- Finished Isaac’s Choralis Constantinus
- Wrote for both churches
6
Q
Willaert
A
- Netherlander in Italy
- Text and music!
- Maestro at St. Marks
- Polychoral style
- Trained others
- Church modes
7
Q
Frottola style
A
4-voice, homorhythmic, syllabic, dance-like, secular, top melody
8
Q
Frottola composers
A
Cara, Trombocino
9
Q
Villancico
A
Spanish version of frottola
10
Q
Polyphonic lauda
A
Sacred, nonliturgical version of frottola, with melody from a secular song
11
Q
Most important secular genre of 16th century
A
Madrigal
12
Q
Through-composed
A
Characteristic of madrigals; non-strophic, new music for each new line of poetry
13
Q
Madrigal poets
A
Petrarch, Bembo, Tasso, Guarini
14
Q
Earliest madrigals resembled what?
A
Frottola; but later the madrigal had more continuous and overlapping phrases than the frottola
15
Q
Madrigalists in Florence
A
Verdelot, Pisano, Layolle
16
Q
Madrigalists in Rome
A
Verdelot, Pisano, Festa
17
Q
Madrigalists in Venice
A
Willaert, Arcadelt
18
Q
Name Bembo’s two emotional categories derived from his study of Petrarch’s poetry.
A
Piacevolezza (pleasingness) and gravità (seriousness), often alternated for contrast.
19
Q
Rore
A
Midcentury madrigalist; alternated textures, meter, and length of note values freely. Concerned with emotional details of text.
20
Q
Name the three Netherlanders of the third generation of madrigalists.
A
Orlando di Lasso, Phillipe de Monte, and Giaches de Wert
21
Q
Name the three Italians of the third generation of madrigalists.
A
Marenzio, Gesualdo, Monteverdi
22
Q
De Monte
A
Vienna, Prague; 32 books of madrigals.
23
Q
Di Lasso
A
Musical cosmopolitan, mastered every national form of his time. Highly sensitive to text. Turned almost entirely to sacred music later in life.
24
De Wert
Influenced by Rore; wide leaps, recitative-like declamation, and strong contrasts. Influenced Monteverdi.
25
Marenzio
5-part madrigals; musical depiction of feeling and visual details; his work the crowning achievement of the Italian madrigal.
26
Gesualdo
Chromaticism, intense emotional states
27
Monteverdi
Key transitional figure to early Baroque; eight books of madrigals show this evolution in style; late works foreshadow recitative; wrote out his vocal ornaments.
28
Villanella/Villanelle
Naples c. 1540, strophic form imitating popular song using parallel fifths; 3-voice homorhythm.
29
Canzonetta
Italy c. 1560; clear harmonies and distinct, even phrases, many repeats
30
Balletto
"Fa-la-la" refrains used; for dancing, with dance rhythms
31
What composers masters the non-madrigal polyphonic forms of the 1500s?
Gastoldi, Banchieri, Vecchi
32
Who was the first French printer? What year did he begin printing in Paris?
Attaignant, 1528
33
Parisian Chanson
Characterized by many repeated notes; 4-voice, light, fast, homorhythmic
34
Composers of Parisian Chansons
Sermisy, Jannequin
35
Composers of French chansons that were more contrapuntally complex than the Parisian chanson
Gombert, Manchicourt, Clemens, Crequillon, Le Jeune, Costeley, Mauduit
36
Air de cour
Dominant vocal form in France after 1580; a solo singer with lute accompaniment
37
Who attempted to write French poetry using classic Greek and Latin poetic meter?
Antoine de Baïf
38
Musique mesurée
A homophonic, multi-metered French style of music imitating the meter of class Greek and Latin poetry.
39
When did the Franco-Flemish contrapuntal style reach Germany?
The 1530's
41
Lied
A German vernacular polyphonic song with melody in top voice OR tenor; eventually took on madrigal-like qualities.
42
Which German composers are known for combining German melodic material with Franco-Flemish counterpoint?
Isaac, Finch, Hofhaimer, Senfl
43
Quodlibet
A German medium; a ragged compendium of popular tunes juxtaposing texts for humor
44
Hans Leo Hassler
Greatest German composer in the latter 1500s; combined Italian finesse with German characteristics.
45
What book brought Italian part song to England in 1588?
Yonge's Musica Transalpina
46
English madrigalists
Morley, Weelkes, Wilbye
47
The Triumphs of Oriana
A collection of English madrigals compiled by Morley
48
English lute song composers
Dowland, Campion
49
Lute song
Solo voice accompanied by lute, with arrangements for vocal ensemble
50
Consort song
Vocal solo or duet over a viol ensemble; mastered by William Byrd
51
Michael Praetorius' treatise on instrumental music
Syntagma Musicum
52
Most popular household instrument of the Renaissance
Lute
53
Form of notation use in lute, viol, and keyboard music
Tablature
54
The canzona da sonar resembled an instrumental version of what?
French chansons
55
Pairs of instrumental dances
- Pavane, galliard
| - Passamezzo, saltarello
56
Which dances were essential to the Baroque Suite?
Allemande, Courante, Sarabande, and Gigue
57
A strophic congregational hymn which began as a monophonic song
Lutheran chorale
58
Contrapuntal settings of chorale tunes with the melody in the tenor
Chorale motets; Johann Walter was a noted chorale motet composer
59
What is cantional style?
"Hymn style" of the chorale in which the melody is in the soprano with block chords beneath.
60
Who were the primary composers of cantional-style chorales?
Hans Leo Hassler, Michael Praetorius, and Johann Hermann Schein
61
What psalter, prepared by Loys Bourgeois, was the most important of the mid-1500s?
The Genevan Psalter
62
Composers of French psalm settings
Goudimel, Le Jeune
63
English Psalter used by the separatists living in Holland
The Ainsworth Psalter, prepared by Henry Ainsworth
64
The first American psalter
The Bay Psalm Book
65
English Church composers of the 1500s
Taverner, Tye, Tallis, Byrd
66
Who was the most notable English Church composer of the 16th century?
Thomas Tallis, who wrote "Lamentations of Jeremiah" and "Spem in alium"
67
The composer/organist known as the "finest hand in England"
Orlando Gibbons
68
Great service
Anglican Church form with contrapuntal and melismatic settings.
69
Short service
Anglican Church form with chordal and syllabic settings; less elaborate than a great service
70
Anthem
In the Anglican Church, an English-texted piece resembling the Latin motet.
71
Full anthem
Anglican Church a cappella piece in contrapuntal style
72
Verse anthem
Anglican Church piece with soloists and chorus accompanied by instruments
73
When did the Council of Trent convene?
1545-1563
74
What Church music practices did the Council of Trent find fault with?
- They opposed the use of secular cantus firmi.
- They thought polyphony obscured the liturgical text.
- They claimed instruments were used improperly in Church music.
- They claimed musicians were disrespectful of the clergy.
75
Name the most important Church composer of the Renaissance.
Palestrina, the first composer whose words were conscientiously preserved and studied
76
What style did Palestrina master?
Franco-Flemish counterpoint
77
What is Palestrina's most famous work?
Missa Papae Marcelli
78
Name Palestrina's church contemporaries.
Neri, Nanino, and Anerio
79
Name the Spanish composers prominent during the late 1500s.
Tomas Luis de Victoria (who wrote Missa O Magnum Mysterium), Christobal de Morales, and Francisco Guerrero
80
William Byrd
First English composer to comfortably use the continental style; so highly esteemed that he wrote for the royal chapel even as a Roman Catholic.
81
What years does the Baroque period encompass?
1600-1750
82
Instead of the Church, musicians in the 1600s relied increasingly on the patronage of the ______.
wealthy/aristocracy
83
prima prattica
In Baroque music, the "old" Franco-Flemish contrapuntal style in which music dominated words.
84
seconda prattica
In Baroque music, the new practice in which words dominated music; rules could be broken for the sake of emotional expression.
85
Name the three musical styles developed in the early Baroque period.
- a church style
- a chamber music style
- a theatrical style
86
Describe the Baroque doctrine of the affections.
Composers thought music should arouse emotions in the listener; they attempted to create musical depictions of emotions even in solely instrumental music.
87
By what year were bar lines standard?
1650
88
How many instruments were required for basso continuo?
Two; a keyboard instrument and a bass instrument.
89
Name two early Baroque organists.
Frescobaldi and Froberger
90
By about 1670, most music was ______ rather than modal.
tonal (major/minor)
91
The use of basso continuo fostered ________ thinking rather than melodic/linear thinking.
harmonic/vertical
92
An __________ is a drama that combines soliloquy, dialogue, scenery, action, and continuous (or nearly continuous) music.
opera
93
Name the three sources of opera.
- Intermezzo
- Madrigal comedy
- Pastoral poetry
94
Name the association of noblemen who met periodically to discuss philosophical and scientific matters in the 1570's.
The Florentine Camerata
95
What authority on ancient Greek music and theater claimed that the power of Greek music lay in its monophonic character, condemning the madrigal as a means of poetic expression?
Girolamo Mei
96
Which two composers wrote the first operas, settings of L'Euridice?
Jacopo Peri (1600) and Giulio Caccini (1602)
97
What vocal style, pioneered by Peri, imitated the natural inflections of speech with a melodic line above a long, sustained bass?
Recitative style (stile recitativo)
98
Name the first notable oratorio.
Cavalieri's Rappresentatione di Anima e di Corpo
99
A single vocal line with instrumental accompaniment is called _______.
monody
100
Name Monteverdi's first opera.
L'Orfeo (1607)
101
After its birth in Florence, opera developed more extensively in the city of _________.
Rome
102
Name two Roman opera composers.
Stefano Landi and Luigi Rossi
103
Name Monteverdi's last two operas.
Ulysses (1641) and Poppea (1642)
104
Where did opera spread (and make a lasting home) after reaching Rome?
Venice
105
Name two features of opera established by 1650 that remained for over two centuries.
- A concentration on solo vocal music, as opposed to ensemble and instrumental
- The separation of aria and recitative into two distinct styles and functions
106
Name two Venetian opera composers.
Cavalli (Monteverdi's pupil) and Cesti
107
Strophic variation
What occurs when a work uses the same basic harmonic and melodic plan for each strophe, but the music is varied in order to facilitate the text and expression.
108
Concertato medium
Instruments of differing timbre used together in harmonious ensemble
109
Stile concitato
"Agitated style;" rapid and prolonged reiteration of a single note to create excitement and enhance dramatic expression
110
Name the four trends of musical style in the early 17th century.
- Monody combines with the madrigal
- Form generated from bass patterns (and their resulting harmonies) along with the introduction of ritornellos (instrumental refrains)
- The concertato medium provides variety of texture
- Arias begin to be clearly delineated from recitative.
111
A composition for basso continuo and solo voice on a lyrical or quasi-dramatic text; used several sections of both recitative and aria.
Cantata
112
Name three early cantata composers.
Rossi, Carissimi, Strozzi
113
Name the musical hub of the early Baroque period.
Venice
114
This early Baroque Catholic Church form used massive ensembles and often multiple choirs.
Grand concerto
115
This early Baroque Catholic Church form used several soloists with organ continuo, often imitating the sound of polyphony, like in Viadana's Cento concerti esslesiatici.
Small-scale sacred concerto
116
Who was the greatest German composer c. 1650, said to have composed the first German opera (Dafne)?
Heinrich Schutz
117
The ricercare, fantasia, and sonata of the early Baroque all used what style?
Fugal style in continuous imitative counterpoint.
