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49 Cards in this Set
- Front
- Back
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anthem
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polyphonic religious work in English for Anglican services
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formes fixes
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schemes of poetic and musical repetition, each featuring a refrain, used in late medieval and early fifteenth century French Chansons. popular forms include the ballade, the rondeau, and the virelai
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madrigals
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subjects were heroes and love
every line of poetry receives a different musical setting reflecting the rhtyhm and meaning of the words. homophonic and contrapuntal textures support the text |
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talea
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in an isorhythmic composition, an extended rhythmic pattern repeated one or more times
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organum
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early form of Polyphony addition of multiple voices to an existing chant
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cantusfirmus mass
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polyphonic mass in which the same cantus firmus is repeated in every movemen, usually in the tenor
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florid organum
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appeared in twelfth century Aquitaine, a region of southwestern france. two-voice polyphony where the lower voice sustains long notes while upper coive sings phrases of varying length
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florid organum
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twelfth century form of two-part polyphony from Aquitaine, a region of southwesttern france.
lower voice sustains long notes while upper voice sings phrases of varying length |
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talea
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in an isorhythmic composition, extended rhythmic pattern repeated one or more times, usually in the tenor
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paraphrase mass
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polyphonic mass in which each movement is based on the same monophonic melody, normally a chant, which is praphrased in most or all of the voices rather than being used as a cantus firmus
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parallel organum
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type of polyphony in which an added voice moves in exact parallel to a chant, normally a perfect fifth below it
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motet
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existing discant clausa embellished with added voices, each with its own sacred or secular text in Latin or French above a Tenor drawn from Chant
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madrigal
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subjects were often heroes and love
every line of poetry recieves a different musical setting reflecting the rhythm and meaning of the words. |
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discant
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twelfth century style of polyphony that is essentially note against note
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point of imitation
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passage in polyphonic work in which two or more parts enter in imitation
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anthem
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polyphonic sacred work in English for Anglican religious services
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cantus firmus
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existing melody, often taken from Gregorian Chant, on which a new polyphonic work is based
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clausula
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in Notre Dame polyphany, self contained section of an organum that closes with a cadence
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imitation
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device of repeating a melody or motive announced in one part in one or more other parts often at a different pitch level and sometimes with minor melodic or rhythmic alterations.
also, the act of patterning a new work after an existing work or style |
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hildegard of bingen
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prophecies made her famous, to a lesser externt her music
scivias and Ordo virtutum, a music drama not attatchd to liturgy |
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Bernar de Ventadorn
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troubador who was son of serf and rose to be great lover of three noble ladies. wrote Can vai la lauzeta mover
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Free Organum
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organal voices move in a free mixture of contrary, oblique, parallel, adn similar motion against chat
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Perotin
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famous for his clausul.. notre dame. updated work of magnus liver,
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Mahaut
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leading poet and composer of the Ars nova in France. Messe de nostre dame was first polyphonic cycle of Mass Ordinary movements to be written by single composer and percieved as a unit
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rondeau form
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ABaAabAB
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Guillame du Fay, Missa Se la face ay pale, Gloria
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cantus firmus is tenor of Du Fay's own ballade
top two voices remain smooth melodic contours, occasionally exchange motives favors thirds and sixths cantus firmus repeated three times |
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English music
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homophonic, discant style
all voices sing same text few dissonances thirds and sixths creat a fuller sound |
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carols
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songs in strophic form with refrains
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Faburden
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English style of improvised polyphony from late middle ages and renaissance in which chant in middle voice is joined by an upper voice moving in parallel in a perfect fourth above it and a lower voice that follows chant in mostly parallel thirds, moving to a fifth below to mark the begininng and end of phrases and the ends of most words
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John Dunstbale
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leading english composer who sued isorhtyhms
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John Dunstable, Quam pulchra es
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motet, does not borrow an existing melody
homorhythmic, follows natural accents of the words stream of 6 3 sonorities lead to cadences mostly renaissance in sound, other than double leading-tone cadences |
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Josquin des Prez
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abaondoned formes fixes
strophic texts from simple four or five line poems texture unified by imitation, all voices equal his settings of motets were unusall--setting words to carefully communicate the meaning of the text |
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Josquin des Prez
Ave Maria...virgo serena |
earliest and most poular motets
text defines the musical sections, with each couplet or strophe treated uniquely overlapping points of imitation create unity;l before the last vocie has finished a phrase, a different voice begins a new phrase with new text |
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soggetto
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Missa Hercules dux Ferrarriae, uses cantus firmus drawn from the vowels in the name of the patren
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Cipriano de Rore
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Flemish composer
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Cipriano de Rore, Da le belle contrade d'oriente
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poem is sonnet modeled on Petrarch
expansion to five voices allows Rore to distinguish between the voices of the two lovers intervals associated with sadness given primarily to woman's utterances grief and sorrow suggested by chromaticism |
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Carlo Gesualdo,
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prince of Venos, infamous for hilling his wife and her lover
published his music madrigals dramatize thepoetry through sharp contrasts between diatonic and chromatic passages, chardal and imitative textres, and slow and fast moving rhythmic motives |
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Carlo Gesualdo
"Io Parto" e non piu dissi |
in dialogue, woman's please are set with slow, chromatic dissonant and mostly chordal music
mans return to life is faster, diatonic, and uses imitative figures conventional cadences avoided, but tonal coherence maintained |
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concerto delle donne
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group of professional female singers in the late Renaissance court of Ferrara, founded by Alfonso II, Duke of Ferrara
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Maddelena Casulana
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Maddalena Casulana (c. 1544 – c. 1590) was a female Italian composer, lutenist and singer of the late Renaissance. She is the first female composer to have music printed and published in the history of western music.
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Thomas Weelkes -- wrote his own poetry
As Vesta was |
madrigal from Triumphs of Oriana
melodic peak describes a hill and falling scales "descending" |
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Triumphs of Orianna
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Collection of twenty-five madrigals by different for queen Elizabeth
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William Byrd
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most important Elnglish composer
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William Byrd
Sing joyfully unto God |
Anthem for six voices
points of imitation open work Homophonic declamaition used sparingly |
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Council of Trent
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series of meetings held in Trent to purge the Church of abuses and laxities
complaints: secular cantus firmi polyphony obscured words bad pronounciation irreverent musicians use of instruments final decision vague |
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Giovanni Pierluigi da Palestrina
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Pope Marcellus Mass proved that sacred words could be intelligible in polyphonic music, six-voice mass
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Palestrina,
Pope Marcellus Mass |
melodies similiar to chant
diatonic modes maintained, chromaticism is race systematic repitiion of phrases and cadences on scale degrees create overall unity use of full six voices is reserved for climactic passages |
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Orlando di Lasso
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last of long line of Franco-Flemish composers, and an advocation of emotional and pictorial text expression
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Orlando Lasso,
Tristis est anima mea |
text based on Jesus' words before his crucifixion
a descending-semitone motive expresses sadness at the beginning |
