Music History Midterm

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Rhythm

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the element of music as it unfolds in time

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Meter

Back 2

beats organized into recurring and recognizable accent patterns (2/4, 3/4, 4/4, etc.)

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Dynamics

Back 3

the musical element of relative musical loudness or quietness

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Melody

Back 4

the musical element that deals with the horizontal presentation of pitch

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Harmony

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the elemental category describing vertical combinations of pitches

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consonance

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pleasant-sounding harmony

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Timbre

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(also known as tone color) the unique, characteristic sound of a musical instrument or voice.

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Texture

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the element focusing on the the relationship of simultaneously-sounding musical lines

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monophonic texture

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a single-line texture with no harmony

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homophonic

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1) a main melody supported by chord; 2) a texture in which voices on different pitches sing the same words simultaneously

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polyphonic

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music with two or more sounds happening simultaneously

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Form

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the elemental category describing the shape/design of a musical work or movement

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Gregorian chant

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(genre) monophonic, non-metered melodies set to Latin sacred texts

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plainsong

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A form of monophonic chant, sung in unison using the Gregorian scale and sung in various Christian churches

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organum

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a type of early Medieval polyphony with a slow/non-metered chant melody in the lowest voice, and faster/metered upper voice(s) sung in melismatic style (many notes per syllable).

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motet

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a polyphonic choral piece set to a sacred Latin text that is NOT from the Roman Catholic Mass

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Mass ordinary

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the five daily prayers of the Catholic Mass Kyrie, Gloria, Credo, Sanctus, Agnus Dei

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Mass proper

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the approximately two dozen prayers of a Mass that change each day to reflect the particular feast day of the liturgical calendar

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Ballade

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AaB

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Virelai

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ABbaA

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Rondeau

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AB aAab AB

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ballata

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A late-Medieval Italian song form used in the trecento era (1300s; Landini); with the specific formal design [ABbaA]. Although this overall design is the same as the French virelai, virelais are usually sung monophonically while ballatas are polyphonic, and there are differences in harmonic/rhythmic approach, poetic function/labels, etc.

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virelai

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One of the 13th-/14th-century French 'formes fixes,' with the specific formal design [ABbaA]. Although this overall design is the same as the Italian ballata, virelais are usually sung monophonically while ballatas are polyphonic, and there are differences in language, harmonic/rhythmic approach, poetic function/labels, etc.

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13th century consonances

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P8, unison, P5, P4

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word-painting

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in vocal music, musical gestures that reflect the specific meaning of words; a common aspect of the Renaissance madrigal

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point of imitation

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a section of vocal polyphony in which the same/similar melodic idea is passed successively from one voice-part to another.

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madrigal

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a composition on a short love-related poem, traditionally sung by a small group of singers (one on a part). The madrigal flourished in Italy from 1520 to 1610, was adopted in England during the Elizabethan Age (c. 1600), and developed a new intensity when instrumental accompaniment and more experimental harmonies/rhythms were added by early-Baroque Italian composers.

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pavane

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a stately, processional Renaissance dance in a slow, duple meter.

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Renaissance style

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is more interested in triads, careful control of dissonance

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Basso continuo

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the back-up ensemble of the Baroque Era, usually comprised of a keyboard instrument (harpsichord or organ) and a melodic stringed bass instrument ( viol' da gamba or cello)

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binary form

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a form comprised of two distinctly opposing sections ("A" vs. "B")

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ternary form

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a circular form comprised of statement, contrast, restatement (A B A)

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strophic form

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a song form featuring several successive verses of text sung to the same music

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ritornello form

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a Baroque design that alternates big vs. small effects (tutti vs. solo); usually the tutti section is a recurring melodic refrain

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isorhythm

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[means "the same rhythm"] A late-Medieval Ars Nova compositional technique that provides unity throughout a work or section by presenting a repeating rhythmic pattern ("talea") against a longer, fixed pattern of pitches ("color").

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cantus firmus

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A pre-existing tune that is being used as the basis for a new polyphonic composition.

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canon

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strict imitative echoing by a melodic "leader" and subsequent "follower(s)"

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fugue

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a complex contrapuntal manipulation of a musical subject

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musica ficta

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Accidentals which are not written in the original music, but which must be added in performance to avoid unallowed dissonances according to the practice of a particular style period. Such accidentals are sometimes added into modern editions by editors, who place them above the note or in parentheses.

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Ars Antiqua

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Medieval style era from c1150-1300 (Perotin; Notre Dame organum)

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Ars Nova

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Late Medieval style era (French 1300s; Machaut)

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Trecento

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Late-Medieval style era (Italian 1300s)

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suspension

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An important STRONG BEAT dissonance, that must be "prepared" (the same note must appear the beat before as part of a consonant interval), "suspended" (dissonance on the strong beat), and "resolved" (moved DOWN BY STEP to sound a s part of a consonant interval).

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prima pratica

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a term used to describe the traditional Renaissance polyphonic vocal style of Palestrina/Josquin des Prez, with its smooth lines and careful handling of dissonance;
("prima pratica" means "first practice," as compared to highly-experimental "second practice" of early-Baroque composers such as Monteverdi)

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seconda practica

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a term used to describe the highly-experimental early-Baroque style of Monteverdi, with its use of unorthodox dissonances, rhythms, singing and instrumental accompaniment, to intensely depict the meaning of the words; ("seconda pratica" means the "second practice" as compared to the smooth, traditional "first practice" of Renaissance composers such as Palestrina)

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chorale

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1) a Lutheran liturgical melody; 2) a 4-part hymn-like chorale harmonization

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ostinato

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a short rhythmic/melodic idea that is repeated exactly over and over throughout a musical section or work

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melisma

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a succession of many pitches sung while sustaining one syllable of text

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Machaut

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(c. 1300-1377; France)
The most important composer of the Middle Ages; He brought Medieval music to its height of
rhythmic and harmonic complexity.

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Josquin Desprez

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(c. 1440-1521; Flanders)
The most famous composer of the mid-Renaissance, established a
new, beautifully-expressive sound based on constantly-changing textures in
his Masses, motets and songs.

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Palestrina

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(c. 1524-94; Italy)
While working at the Vatican in Rome, Palestrina became the most
esteemed master of late-Renaissance sacred music, noted for his rich and
lyrical Masses and motets.

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Weelkes

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(c. 1575-1623; England)
One of several important composers at the court of Queen Elizabeth I. He is
noted for his secular madrigals and Anglican church music.

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Gesualdo

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(c. 1560-1613; Italy)
A transitional figure between late-Renaissance and early-Baroque styles,
known especially for his highly intense Italian madrigals.

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Monteverdi

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(c. 1567-1643; Italy)
Shortly after 1600, ___ initiated the Baroque with a daring and
dramatic new approach to vocal music (particularly opera).

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Purcell

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(c. 1659-95; England)
Considered the greatest English composer of his day, _____ is noted for his
stage works, choral music, songs, and keyboard music.

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Corelli

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(c. 1653-1713; Italy)
The first Western composer to write only instrumental music. He is known
for his trio sonatas and concertos.

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Vivaldi

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(1678-1741; Italy)
This Catholic priest was the greatest Baroque violinist. He wrote over 500
concertos and over 50 operas. (late Baroque)

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Bach

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This Lutheran organist and choir director was the greatest master of
Baroque counterpoint, and one of the most important composers in music
history. He is known for a wide variety of instrumental and vocal works,
especially his cantatas, concertos, and keyboard music.

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Handel

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(1685-1759; German-born)
This cosmopolitan composer was born in Germany, but spent most of his
career working in Italy and England. His powerful operas and oratorios are
landmarks of the majestic late-Baroque style.

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Agnus Dei

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Mass ordinary, "Lamb of God"

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Flow My Tears

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Dowland's Lute Song