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38 Cards in this Set
- Front
- Back
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Martin Luther - Nun komm, der Heiden Heiland and Ein feste Burg
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Chorales, 1524 and 1529
-monophonic -sung at different octaves -vernacular -performed during services, in schools, private devotions, or as recreation |
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Loys Bourgeois -Psalm 134(Or sus, serviteurs du Seigneur)
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Metrical psalm
ca. 1551 rhymed, metric, strophic translations of psalms in the vernacular church services, private devotions at home |
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William Byrd -Sing joyfully unto God
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1580s-1590s
Full Anthem -sacred music with text in vernacular -leaps and skips in melody -imitation, occasional homophony -paid close attention to the rhythmic of the words as well as their meaning. unstressed syllables most often fall on weak beats, while stressed syllables appear on the main beats -performed in Church of England services and used for home devotions |
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Giovanni Pierluigi Da Palestrina - Pope Marcellus Mass: Credo and Agnus Dei I
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Mass, ca. 1560
stepwise melodies, skips or leaps usually followed by stepwise motion to fill in the gap prepared dissonances mainly consonant text is set clearly, even though there are 6 voices syncopation to stress accented syllables performed in church |
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Tomas Luis De Victoria - O magnum mysterium
Missa O magnum mysterium: Kyrie |
Motet, ca. 1570
Imitation mass, ca. 1580s paired imitation (two voices at a time) large leaps of a 5th variety of texture (imitation/homophony) Picardy 3rd expressive motives written for the Feast of the Circumcision on January 1 |
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Orlande de Lassus - Cum essem parvulus
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Motet, ca. 1579
division of prhases and sections harmonic effects and cadences changes of texture suspensions imitation clever illustration of the meanings and images in the text (word painting) texture, contrapuntal technique, form, melody, and figuration are all used to convey particular images in the text. performed in church |
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Juan del Encina - Oy comamos y bebamos
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Villancico, late fifteenth century
texts that evoke the life of Spanish peasants humorous text designed to sound rustic primarily homophonic texture simple harmonies dancelike rhythms that use hemiola effects performed at court, among the aristocracy |
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Marco Cara -Io non compro piu speranza
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Frottola, ca. 1500
-hemiola effect: -mock-popular style simple melodies and harmonization (root position triads) performed for aristocratic entertainment |
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Jacques Arcadelt - Il bianco e dolce cigno
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Madrigal, ca. 1538
(through-composed) alternates lines of 7 and 11 syllables with a free rhyme scheme primarily homophonic clearly marked rhythms alternation between homophony and polyphony |
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Cipriano de Rore - Da le belle contrade d'oriente
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Madrigal, ca. 1560-65
text is erotic and moving through-composed second generation of the madrigal, when 5 or 6 parts were common varied texture madrigalisms chromaticism longer notes on accented syllables direct chromatic motion, to convey grief |
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Luca Marienzo - Solo e pensoso
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Madrigal, 1590s
extended chromatic motion jagged melodic subject written for professional group of singers who played at courts in Italy |
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Carlo Gesualdo - "Io parto" e non piu dissi
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Madrigal, ca. 1600
long runs use of contrasts between chromatic and diatonic, dissonant and consonant, homohponic and imitative, and slowly and quickly moving passages strong images in text performed by professionals |
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Claudin de Sermisy - Tant que vivray
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Chanson, ca. 1527
repetitive form, lighthearted words lively rhythms syllabic and homophonic textures intended for amateurs to sing for their own enjoyment composer did not set out to illustrate specific words or phrases in the text, but the general spirit captures the good cheer of the poem |
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Orlande de Lassus - La nuict froide et sombre
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Chanson, ca. 1570s
captures the mood and imagery of the poem through musical means for amateur performers' own entertainment |
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Claude Le Jeune - Revecy venir du printans
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Chanson, late sixteenth century
musique mesuree pattern of long and short syllables: SS LS LS LL melismas, mostly 4 notes or less musique mesuree was an attempt to revive the ethical effects of ancient Greek music and improve society |
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Thomas Morley - My bonny lass she smileth
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Ballet, ca. 1595
dancelike rhythms falala refrains which were more contrapuntal light, homophonic, strophic changing textures attractive melodies designed for the performers themselves AABB (binary form) |
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Thomas Weelkes - As Vesta was
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Madrigal, ca. 1601
word-painting (madrigalisms) attractive melodies changing textures intended for amateurs to sing at home for their own pleasure |
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John Dowland - Flow, my tears
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Air or lute song, ca. 1600
in the form of pavane (aabbCC) little word-painting, but music conveys the general mood performers' own enjoyment |
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Tielman Susato - Dances from Danserye: Basse danse La morisque and Pavane and Galliard La dona
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Basse danse, pavane, and galliard, ca. 1551
meant for amateur performers for their own enjoyment pavane: slow duple meter galliard: fast triple meter basse dance: binary form (but not on recording) |
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Luis de Narvaez - From los seys libros del Delphin
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Intabulation and variation set, ca. 1538
scales, turns, and other figuration to make the rhythm more lively constant variations in texture and figuration intabulation: enjoyment of performer variations: entertain listener/performer, showcase skills of performer/composer Intabulation: arrangement of Josquin's mille regretz |
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William Byrd - Pavana Lachrymae
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Pavane variations, ca. 1600
pavane form embellishments in the melody/figurations entertain listener/performer, showcase skills of performer/composer |
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Giovanni Gabrieli - Canzon septimi toni a 8, from Sacrae symphoniae
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Ensemble canzona, ca. 1597
duple meter, with triple meter refrain basso seguente use of divided choirs (2 groups of 4) opens with half, quarter, quarter notes: typical of chansons unfolds in sections, some homophonic, some imitative abstract instrumental work not based on anything else probably performed in Venetian church ABCBDBE (B is refrain) |
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Claudio Monteverdi - Cruda Amarilli
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Madrigal, late 1590s
striking dissonances that break the normal rules of counterpoint for the purpose of text expression basso seguente probably for professionals since it is a late madrigal |
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Giulio Caccini - Vedro 'l mio sol
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Solo madrigal, ca. 1590
through-composed many repeated notes in speech rhythm figured bass sung for one's own entertainment or for an audience performed for Camerata |
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Jacopo Peri - Le musiche sopra l'Euridice: Excerpts
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Opera, 1600
aria and recitative dissonances to express text performed at Henry IV's wedding |
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Claudio Monteverdi - L'incoronazione di Poppea: Act I, Scene 3
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Opera, 1642
expressive recitative rapid alternation between styles (recit, aria, arioso) written for a public opera house performed by castrato |
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Antonio Cesti - Orontea: Excerpt from Act II
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Opera, 1656
written for Venetian public opera house first performed in Innsbruck newer style of recitative: simply a vehicle for rapid dialogue -many repeated notes aria characterized by tuneful, stepwise diatonic, rhythmically simple melodic lines |
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Barbara Strozzi - Lagrime mie
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Cantata, 1650s
madrigal-type verse with 7 and 11 syllable lines that do not follow a regular rhyme scheme sections in recitative, arioso, and aria styles expresses text through music meant for chamber performance she sang this cantata for Academy of the Unisoni, a society founded by her father |
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Giovanni Gabrieli - In ecclesiis
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Sacred concerto (motet), ca. 1610
wide variety of contrasting textures and styles large-scale concerto organ continuo sinfonias (instrumental interludes) written for an annual celebration in Venice sung in Catholic church on major feast days |
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Alessandro Grandi - O quam tu pulchra es
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Solo motet (sacred concerto), ca. 1625
a religious composition that incorporates elements from dramatic recitative, solo madrigal, and aria sections alternate between styles text expression performed in church services or in devotions at the confraternities that were an important part of social life in Venice |
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Giacomo Carissimi - Historia di Jephte: Excerpt
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Oratorio, ca. 1648
performed in church hall known as oratory resembled opera but not staged performed during Lent expressive dissonances in recitative |
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Heinrich Schutz - O lieber Herre Gott, SWV 287, from Kleine geistliche Konzerte I
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Sacred concerto, ca. 1636
contrasts between recitative, arioso, and aria styles to convey the text small concerto, b/c chapel had been reduced in size due to Thirty Years' War stile moderno: departure from traditional counterpoint conveys text through different styles church services at Dresden |
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Heinrich Schutz - Saul, was verfolgst du mich, SWV 415, from Symphoniae sacrae III
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Sacred concerto, ca. 1650
large scale, b/c church had resources again after the war polychoral style breaks rules of traditional counterpoint to highlight text text depiction Dresden chapel performance |
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Girolamo Frescobaldi - Toccata No. 3
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Toccata, Ca. 1615, Rev. 1637
improvisatory unfolds as a series of sections closed with cadences figuration sought to convey affections tempo allowed to be modified chamber performance, or service music |
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Girolamo Frescobaldi - Ricercare after the Credo from Mass for the MAdonna, in Fiori musicali
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Ricercare, ca. 1635
imitative, based on development of single subject church services -feasts of the Virgin Mary |
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Biagio Marini - Sonata IV per il violino per sonar con due corde
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Sonata for violin and continuo, ca. 1626
borrows expressive gestures and figuration from vocal monody series of contrasting sections, distinguished by particular figuration, different moods/meter/tempo changes of style between recitative-like and aria-like |
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Gabriel Bataille - Ma bergere non legere
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Air de cour, ca. 1613
-arranged from his own air -syllabic and diatonic -binary form -performed at French court |
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Claudio Monteverdi - L'Orfeo: Excerpt from Act II
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Opera, 1607
expressive recitative style of Peri expressive polyphony of madrigals (word-painting) performed in Mantua for an aristocratic club |
