Music History Test 3

Front 1

Characterisitcs of Renaissance

Back 1

1) rebirth of classical culture
2) Humanism-personal fulfillment/answers to problems comes from self, not from any higher power; church is not foundation of everything
4) The world is not a masterpiece, but something to be experienced.

Front 2

Characteristics of Renaissance music

Back 2

1) relied heavily on text
2) text painting, imitation employed often
3) musicians began to mess around with different tuning systems

Front 3

Petrucci

Back 3

discovered how to print music in Gutenburg in , esp. in 1440's-50's, part-book format

Front 4

Harmonice musices Odhecaton A-C

Back 4

A was first piece printed by Petrucci, B and C were follow-ups

Front 5

Contenance Angloise and characteristics

Back 5

English music--
Frequent use of harmonic 3rds and 6ths, avoidance of 2nds and 7ths
-relatively simple melodies
-regular phrasing
-syllabic text setting
-increasing use of homorhythm

Front 6

Faburden

Back 6

chant melody paralleled a third below and a fourth above creating 6/3 senorities;
improvised then composed.

Front 7

Carol

Back 7

-popular song type, strophic with refrain
-both mono- and polyphonic
-verses sung by soloist, refrain/burden sung by choir

Front 8

John Dunstable

Back 8

-one of greatest composers of English music
-spent much time in France, which spread Contenance Angloise to the mainland
-Mastered technique of isorhythmic motet
-Composed a number of pieces based on plain chant (using paraphrase)

Front 9

Characteristics of Burgundian music

Back 9

Multiple texts, Cantus firmus tenor, Secular texts, Isorhythm,
Rondeau was by far the most popular/favorite secular chanson

Front 10

Binchois

Back 10

Famous composer and teacher
-possibly taught Ockeghem
composed both sacred and secular music but best remembered for secular

Front 11

Guillaume DuFay

Back 11

Traveled, spent much time in Italy

Front 12

Chanson

Back 12

song

Front 13

Fauxbourdon

Back 13

French version of faburden

Front 14

Alternatim Performance

Back 14

The alteration between plainchant and choral performance in a piece

Front 15

Types of Mass Cycles

Back 15

Plainsong, Motto, Cantus firmus/tenor, Imitation/Parody, Paraphrase

Front 16

Plainsong

Back 16

based on liturgically appropriate chant. ie – Kyrie=Kyrie

Front 17

Motto Mass

Back 17

beginnings of each of the five movements of the mass have the same musical motive (head motive)

Front 18

Cantus Firmus/Tenor Mass

Back 18

each movement is constructed around same cantus firmus.
Traditionally taken from an original chant melody and found in tenor (just 1 line).
Could also be based on a secular tune.

Front 19

Imitation Mass

Back 19

use of pre-existing piece using all parts of the polyphony

Front 20

Paraphrase

Back 20

rhythmisize and ornament a basic plainchant that already exists, used as main melody for a new piece

Front 21

Jean de Ockeghem

Back 21

Grew up around Franco-Netherlands school of musical thought
-used canon and mensuration, retrograde and inversion

Front 22

Canon

Back 22

a rule or instruction for realizing several parts out of only 1 that is notated
Best described as a common day musical riddle

Front 23

Mensuration canon

Back 23

Mensuration Canon – 1 melody performed at different rates using different signs (time signatures)

Front 24

Inversion

Back 24

– same intervals moving in opposite directions (at same time)

Front 25

Retrograde

Back 25

– backwards statement of a previously heard melody

Front 26

Jacob Obrecht

Back 26

Started in the North and moved to the South which made Franco-Flemish school of music well
known
Characteristics
-All masses are Cantus Firmus (liked to have in more than one voice)
-liked imitation
-four-voice polyphony

Front 27

Heinrich Isaac

Back 27

Characteristics
-could write it all
-musical sponge that picked up all different styles from the places to which he traveled
Choralis constantinus
-first polyphonic setting of complete propers of the mass spanning the church
year.
-died before he finished
-his pupil, Senfl, finished it

Front 28

Josquin des Prez

Back 28

Born in France, he was the most highly regarded composer of his generation. He spent most of his life in Italy.

Front 29

Pervasive Imitation

Back 29

- a piece that uses imitation throughout.

Front 30

Text Depiction

Back 30

using musical gestures to reinforce images in the text

Front 31

Text Expression

Back 31

- Conveying the emotions of the text through the music

Front 32

Soggetto Cavato

Back 32

Taking the vowels from a word or name and turning them into solfege syllables to create the melody for a new composition

Front 33

Martin Luther

Back 33

began the reformation by posting his 95 thesis on the front door of the church. He did not intend on starting a new church, but rather wanted to reform the current one. He believed that music was a gift from God and had an enormous affect on character. He believed that it should be used as much as possible in education and worship.

Front 34

Chorale

Back 34

-instituted by Luther, srophic hymn with text and music.
-Created from adaptations of chant, German devotional songs,
Contrafacta(um)- take existing song and adapt it by changing to sacred text
Newly composed

Front 35

Contrafactum

Back 35

take existing song and adapt it by changing to sacred text

Front 36

Styles of choral settings

Back 36

-Melody in the tenor (known as Tenorlied)
-Chorale Motets-melody is cantus firmus, imitative phrase structure,
kantional style- like tenorlied only melody line in soprano.

Front 37

Psalter

Back 37

-a book containing metrical psalms

Front 38

Metrical psalm

Back 38

-psalms and canticles translated to French using metrical poetry over simple melodies similar to chorales. Monophonic and Strophic. Calvinistic.

Front 39

Service (great vs short)

Back 39

-a setting of Anglican service music containing morning prayer, evening prayer, and communion
-Great-elaborate, melismatic
-Short-homorhythmic and syllabic

Front 40

Anthem

Back 40

-Anglican religious polyphonic song.
-Full-Chorale throughout
-Verse-verses for soloists with accompaniment

Front 41

William Byrd

Back 41

-leading English composer in the late renaissanc, Queen Elizabeth’s favorite. She was Protestant, he was Catholic, but he managed to keep from persecution because of her.

Front 42

Council of Trent

Back 42

1545-63; Looked at music in 5 areas
1. increasing secularism in liturgical music
2. elaborate counterpoint that obscured the text
3. lack of standardization of musical portions of the liturgy (i.e. sequences)
4. use of inappropriate instruments in church
5. irreverent and bad habits of church musicians, especially singers

-all sequences but four were abolished
-impurity, lasciviousness, secularity, and unedifying language are to be avoided

-confirmed Franco-Flemish style as official style of Catholic Church music.

Front 43

Franco-Flemish style of music

Back 43

-Music sung unaccompanied or accompanied discretely by organ
-No highly expressive dissonances or dance rhythms
-Used primarily syllabic text settings and extensive use of familiar style (homorhythm).