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42 Cards in this Set
- Front
- Back
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Prevailing international style of music succeeding the Burundian composers was that of the |
Franco flemish/netherland |
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Developed movable type printing around 1450 |
Gutenberg |
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Applied movable printing to music printing that made sheet music more accessible |
Petrucci |
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Ockeghem was remembered |
Primarily for his technique mastery of counterpoint |
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Another term for parody mass |
Derived |
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Major Franco Flemish/ Netherlands composers include |
Ockeghem, obrecht, josquin |
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Early major renaissance composers produced more of what works than others |
More sacred than secular |
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All of obrechts masses were |
Based on borrowed melodies |
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A parody mass uses what as a basis for composition |
Preexisting chant or motet |
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Renaissance composers recognized the need for listeners to follow the text and tried to set the words to music with similar rhythm on a single syllable known as |
Familiar style counterpoint |
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2 most distinctive features is josquins motets |
Pervading imitation and musical depiction of the text |
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Most of josquins works were |
Motets |
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Most of josquins secular works are |
Chansons |
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In mass composition josquin was at his |
Most conservative |
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First Franco Netherlands master to disseminate style to Germanic landds |
Isaac |
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Compositions served as a basis for instrumental works by other composers |
Gombert |
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A Netherlander responsible for the venetian school |
Willeart |
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Frotolla |
3 or 4 part polyphonic song Homophonic with simple harmonies and main melody in top voice |
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Villanella |
Light witty chordal and for upper class |
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Harmonic device frequently appearing in Villanella |
chord stream of triads with parallel 5ths |
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The musical setting of a madrigal Was designed to |
Enhance the poetry |
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The 16th century madrigal |
Through composed setting of one stanza poem or single stanza from a multi stanza poem |
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After 1540 the center of madrigal composition shifted from Rome and Florence to |
Venice |
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One of principal composers of the second phase of madrigal composition and leading madrigalist of his generation |
Ciprano De rore |
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In madrigal settings gesualdo was primarily interested in |
Conveying emotional expression with chromatic harmonies |
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Late 16th century (3rd phase of madrigal development) virtuoso Italian madrigal composers include |
Marenzio gesualdo Monteverdi |
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Parisian chanson resembles |
Frotolla |
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During the last 2 decades of the 16th century English secular music was strongly influenced by |
Italian madrigal |
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Composer whose style that became the model for the Elizabethan English madrigal |
Morley |
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English composers in their work with madrigals gave greater attention to |
Purely musical features in their settings |
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Leading composers of consort songs |
Byrd and gibbons |
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Masters of polyphonic lied |
Isaac and Fink |
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Elements of Netherland counterpoint frequently infiltrated Isaacs lieder and are a more outstanding characteristic of lieder written by |
Senfl |
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Ockeghem |
Expanded the gamut downward producing bass range |
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Morley |
The triumphs of oriana to 5 and 6 voices (anthology of madrigals) |
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Dowland |
Lute song |
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Consort songs |
A family of viols accompanying voices |
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Quodlibet |
Medley |
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obrecht |
Known for use of segmented cantus firmus |
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josquin |
Word painting in his motets |
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Parody |
Use of all lines of a previous composition with modifications |
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Cori spezzati |
Broken or divided chords |
