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44 Cards in this Set
- Front
- Back
Countenance Angloise |
“The Contenance Angloise, or English manner, is a distinctive style of polyphony developed in fifteenth-century England. It used full, rich harmonies based on the third and sixth. It was highly influential in the fashionable Burgundian court of Philip the Good and as a result on European music of the era in general. Binchois and Du Fay 1400 |
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Fauxbourdon(Faburden) |
english (England was place where renaissance began)Two singers “sight” lower and upper lines to make Basically 6/3 parallel chordsTook a chant line and read it and harmonized it while they sang. This is called “sighting”
French: Top and bottom voices written outMiddle voices sighted a 4th below the top voice Basically-- 6/3 parallel chords |
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L'homme Armee |
L’homme armé mass is also known for short little songs that allude to the future |
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Parody |
1490-1520 Parody and paraphrase techniques “take over” in masses Parody-- polyphonic modeling |
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Jesuit |
Jesuits: founded during reformationthemselves English. Came back to English to convert everyone and they were executedBig deal-- people freaked out because it was so insanely gruesome (Victoria) |
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Service |
Protestant: anthem, service |
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Petrarch(ism) |
the poetic style introduced by Petrarch and characteristic of his work,marked by complex grammatical structure, elaborate conceits, and conventionalized diction. (early madrigal) |
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Frottola |
Fibs, lies3-4 partsInstrumental plus one singerstrophic, barzella is a “”frottola proper”Petrarchan (some rather good poetry)Strophic Hymn is most obvious strophic thingMore like a rock song of the 70’s |
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Parisian Chanson |
Lyric(fun, lighthearted, carpe diem) or narrative (descriptive, evocative of scenery): 16th century |
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death and life |
death is climax |
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Treble dominated |
binchois, homogeneity |
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Isorhythm |
Cool and very rare process. Idea that a piece of music in one voice could have repetitions of rhythm and pitches but the repetitions didn’t coincide. For example, there will be 4 repeated notes but a 3 note rhythm. (talea and color) |
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Petrucci |
1501 Ottaviano Petrucci, polyphonic music in print, didn't invent anything, just had a monopoly |
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Reformation |
Reformation: reaching more peopleMartin Luther and 95 theses-- Wittenberg, 1517He wrote 95 ideasScripture vs. Church traditionworls, faith, corruption, law, sacraments |
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Anglican |
1625-35 |
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Psaltery |
zitherlikecan tune them apparentlynot too many strings |
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Music Printing |
16th century 1500’s, Double/triple impression methodslater, single impression methodsPrinting was an impression that was 3D. You could feel across the printing. Printing was well done and there was a visual effect because you could see the printing. printing was higher quality back then. Printing, people didn’t understand. Started wooden printing presses, eventually had movable tiles. |
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Paraphrase |
c.f. is paraphrased and woven into the polyphonic texture |
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Pervasive Imitation |
Term used in late high renaissance Josquin Desprez was a leader in this techniqueFor him it was one texture of many for which he expressed ideasFor others it was a technique of how to compose, Opening of “point” is imitative, then breaks off (non canonic) |
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Cyclic Mass |
Big huge wonderful compositionsIt’s just a huge isorhythmic motet out of Huge musical connectionSAME tenor line, manipulated but recognizedSAME tenor line is in EACH movement of the massYou’re hearing different music around the same wordsWhy did they do it?Saint Patrick’s cathedralTrying to leave your markFascinating day, great day. the mass is spectacular Kind of day that motivated the massCompositional interest of the composer, how much he can do, is also a motive |
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Counter-reformation |
Church of Rome’s reaction to Protestant ReformationCorrected corruptions of administration and doctrineReexamined art, liturgy and music |
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Anthem |
Protestant service, (biblical text, like motet)verse anthem: alternates solo and chorusfull anthem: chorus only |
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Word painting |
Association between word being sung and the sound that the music sounds, late madrigals, |
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Musique Mesuree |
Pleide poets: Jean-Antoine BaifLatin-Greek accentuation applied to FrenchLong: accented syllableShort: Unaccented syllableMade things more classical then got musicians and poets that could work together to make this part of the music Sponsorship of the KingThen performed for an interactive audience that would give their feedback |
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Concerto della donna |
Performers that were the “group of ladies”singers that were thought to be so good that people did not allow others to hear them. They were private singers, and you had to be invited to hear them. Somebody sat during concertos and wrote down transcribed in person what these girls were singingPrivate as well as public element to printing |
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Early Madrigal |
(1525-45)Phillipe Verdelot (1475-1535), Jacob Arcadelt, Constanza Festalast bunch of guys who move to Italy to find fame. StyleSingle stanza poem, through composedQuasi sectional3-4 voicesChordal Frottola-like (with some imitation)Music is designed to match the seriousness, nobility and artfulness of the poetry& to convey its ideas: WORD PAINTING Printer is working against the trend.Madrigal doesn’t sound revolutionary until you get to the words. The words push the music. Lyrics get X rated |
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Late Madrigal |
Virtuoso madrigal with extreme word paintingExtremely Chromatic (in melody and in movements of chords)Root movements in thirds (C minor-E Major)On works like “death” that have a double meaning, Luca Marenzio (1553-99) Carlo Gesualdo (1561-1613) |
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Laude |
Vernacular sacred song, likely introduced by troubadors |
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Allemande |
(“German”)moderate, duple meter, Instrumental MusicSome other dances of the 16th century |
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Dunstable |
(c. 1390-1453) People suddenly start to harmonize something We think this new English sound was based on improvisationHe makes the words come out almost as if spoken. The pace is a spoken pace. Words were wanted to be audible. This is called declamation. There was a clear intent for him to want you to hear the wordsRevival of Chant Aesthetic?We are back to putting the words up frontNo Cantus Firmus |
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Du Fay |
(1398-1474) Writes elaborate virtuosic musicWorks incredibly well |
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Ockeghem |
Last of the early Renaissance composersStill non-imitative, but more homogenous, polyphonyYet canons, and other technical feats are commonImpressed everyone. Wrote different kinds of canonsMeans law. Canons are just different laws written for musicComposer just told them “start this two bars later and a fifth up” etc. Writes only two voices all the way through. Entire mass only in 2 parts, but it’s a four voice mass. Rules are written insteadStarted at seventh, third, fifth, etc. True bass voiceHe expanded range down as low as it goes. He was a bass voice. within one generation we went from identical ranges to them being as far apart as they are today. Brought math into his compositions |
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Josquin Desprez |
1440-1521:Pervasive imitation, |
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Festa |
(ca. 1485–1490 – 10 April 1545) was an Italian composer of the Renaissance. While he is best known for his madrigals, he also wrote sacred vocal music. He was the first native Italian polyphonist of international renown, and with Philippe Verdelot, one of the first to write madrigals, in the infancy of that most popular of all sixteenth-century Italian musical forms. |
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de Rore |
Franco Flemish, experimental, chromatic, and highly expressive style had a decisive influence on the subsequent development of that secular music form |
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Marenzio |
lots of diverse madrigals |
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Gesualdo |
(1561-1613) Life and death great contrastVivid word painting |
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Janequin |
1485 – 1558 French, narrative madrigals |
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Claude la Jeune |
(1528 to 1530 – buried 26 September 1600) was a Franco-Flemish composer of the lateRenaissance. He was the primary representative of the musical movement known as musique mesurée |
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Morley |
(1557 or 1558 – October 1602) was an English composer, theorist, singer and organist of the Renaissance. He was one of the foremost members of the English Madrigal School. He was also involved in music publishing, and from 1598 up to his death he held a printing patent (a type of monopoly). He used the monopoly in partnership with professional music printers such as Thomas East. |
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Byrd |
(1540-1603) a catholic composes music in all of the above categoriesMost famous composer of entire Elizabethan reign. Devoted catholic. |
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Palestrina |
Giovanni Pierluigi Palestrina (1525-94) Very influential-- his style is widely imitated Pervasive imitation, cf techniques, parody techniquesMelodies well crafted arcs, often in curvesHarmony was very intentional and striking, modal, diatonicAlmost no chromaticism at all (except ficta)Texts set with careful declamationMozart based a lot of his ideas on PalestrinaWrote a bunch of madrigals. tried to destroy them after he started writing sacred music - counter reformation |
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Victoria |
A jesuit-trained priest and composerTakes things further than PalestrinaNo Secular music knownmore expressive style than palestrina sometimesBrings back Josquin’s drama |
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Lassus |
Sacred and secularMost famous and influentialMotetsmany are parodiesfor church or celebrations of state or didactic-- study pieceseveryone recognized him because he published so many pieceswrote the first Opus. His career followed many paths relating to his patronsVery rich and powerful guysHad many many composers that followed him and imitated his musicVictoria imitates LassusLassus would write a piece of music and other people would write music that had his ideas in it |