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50 Cards in this Set
- Front
- Back
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Middle Ages
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400-1450
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Renaissance
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1450-1600
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Baroque Period
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1600-1750
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Patronage
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supported music
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Medieval music: traits, developments
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-polyphony 3-4 voices
-composers anonymous -preexisting melodies used as basis -rhythm, meter, harmony |
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Medieval Sacred Music
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Gregorian chant or plainchant
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Medieval Sacred Music- text setting
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-syllabic
-neumatic -melismatic |
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Syllabic
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-one note sung to each syllable- "My country 'tis of thee, sweet land of liberty"
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Neumatic
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small groups of notes on each syllable - "from EV'RY mountainside, LET freedom ring"
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Melismatic
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many notes per syllable: Kyrie
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Organum
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earliest polyphonic music
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Medieval Secular Music
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Motet: new texts added to organum
Minstrels: lower class; wandering |
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Medieval Instrumental Music
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-accompanied singers
-dance music (improvised) |
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Instrumental families
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strings, percussion, woodwinds, brass (+ keyboard)
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Bas
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-soft, recorder
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Haut
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-loud, shawm, slide trumpet/sackbut
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Ch. 14 Renaissance
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-religious to secular; faith to reason; mysticism to science; humanism
-discovery & exploration of N & S America -printing press -shaped present Western society -started in Italy |
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Renaissance Musical Style
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-vocal sacred music: a cappella, smooth, imitation
-vocal secular music: a cappella or w/instruments -growth of dance music -fuller chords; 3rds and 6ths -word painting -more duple meter |
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Renaissance Sacred Music
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-Gregorian chant (monophonic)
-Polyphonic- mass settings, motets, hymns |
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Motet
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-sacred (change from medieval)
-single Latin text -many praised the Virgin Mary -Sometimes based on a chant -for three, four, or more voices |
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Renaissance Secular Music
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-professional musicians: court & civic events
-amateurs at home, often lute or keyboard -music study became expected, esp. for girls -women performed; some professionals -2 important secular genres -chanson -madrigal |
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Chanson
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-well-liked in French courts & beyond
-usually 3 or 4 voices -poetry about courtly love -poetic structure freer now -also more choices of topics & emotions -arrangements popular, including instrumental dances |
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Instrumental Dance Music
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-spread through music printing
-often simplified vocal works -no instruments specified (determined by situation) -percussion probably improvised |
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The Madrigal
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-secular vocal work set to short, lyric love poem
-aristocratic- started in Italian courts -expressive setting for weeping, sighing -other topics: humor, politics etc. -continued into Baroque through Monteverdi |
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Ch. 17 Baroque
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-new world exploration, conquest
-rise of middle class -competing empires -luxury, pomp & poverty -color, drama, movement in art |
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New style 1600
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monody: solo song with instrumental accompaniment
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Musical Style
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-Monody: rhythmic freedom
-Later: moving bass parts, regular accents, rhythmic drive -expansion of melody, expression of text -dissonance expresses emotions, adds interest -dynamics expressed text, forte/piano contrast and echos, few markings |
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Opera
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vocal technique, castrato: male singer castrated during boyhood to preserve upper register. Now sung by men in lower register or by women in men's costume
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English Opera
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-masque: vocal & instrumental music with poetry and dance
-commonwealth: plays forbidden; play with music could be a "concert" -Became British opera |
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Oratorio Genre
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-large-scale musical work for solo voices, chorus & orchestra
-usually based on a biblical story -no costumes, scenery, acting -narrator, recitatives, arias, ensembles, choruses (important role) |
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Cantata Genre
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-work for 1 or more solo vocalists with instrumental accompaniment
-sacred or secular -shorter than oratorio |
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Baroque Orchestral Music
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-instrumental music now as important as vocal
-Italian violins, ex. stradivarius -Instruments specified for timbre -woodwinds pastoral -bright trumpets -hunting horns |
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Baroque Concerto
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Concerto: instrumental work for 2 opposing forces
-Solo Concerto: solo instrument and accompaniment -Concerto grosso: small group vs. larger group |
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Keyboard Instruments
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-organ
-harpsichord -clavichord |
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Keyboard music: forms
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-Free improvisatory- prelude, chorale preludes
-Strict contrapuntal |
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Strict Contrapuntal
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Fugue: polyphonic for in which one or more themes are developed by imitation
-Subject: main theme -Answer: imitation at another pitch level -Episode: interlude w/o subject |
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Contrapuntal Techniques
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-Augmentation: longer time values
-Diminution: shorter time values -Retrograde: backwards -Inversion: intervals move in opposite direction (upside down) |
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Hildegard of Bingen: Alleluia, Ovira mediatrix
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-monophonic
-ternary form -chant -neumatic & melismati |
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Josquin: Ave Maria...virgo serena
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-Hail Mary...gentle virgin
-motet for 4 voices -rhymed poem to the Virgin Mary -imitation -homorhythm |
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Susato: Three Dances
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-Three rondes- lively round dance
-shawms, brass, percussion -duple meter -each dance is in binary form -transition between dance 2 & 3- modulation |
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Machaut: Puis qu'en oubli
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-polyphonic
-three men's voices (in french) -slow triple meter w/syncopations |
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Palestrina: Pope Marcellus Mass, Gloria
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-a capella
-6 voices boys & men -monophonic intonation; rest is polyphonic & homorythmic |
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John Farmer: Fair Phyllis
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-Madrigal
-4 voices -word painting -imitation |
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Henry Purcell: Dido and Aeneas
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-recitative
-triple meter -binary form |
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Handel: Messiah No. 44
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Hallelujah Chorus
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Handel: Messiah No. , "Rejoice greatly"
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-soprano aria
-ternary -melismas on "rejoice" |
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Vivaldi: Spring
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-4 violins based on poem
-birds: staccato, trills, scales -storm: repeated notes, minor scales |
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Handel: Water Music
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-string & woodwind trills, then brass/timpani
-b section minor -ternary form |
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Bach: The Art of Fugue
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-exposition: alto-soprano-bass-tenor
-middle section: subject & episodes alternate -closing section: final major chord |
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Bach:
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A Mighty Fortress Is Our God
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