Unit 2 Exam Lit And Style I

Front 1

Homophony

Back 1

any texture in which the cantus dominates and all voices move together in similar rhythm.

Front 2

temperment

Back 2

any system of tuning notes in the scale in which pitches are adjusted to make most or all intervals sound well, though perhaps not in perfect tune.

Front 3

contrfactum

Back 3

any pre-existing musical work to which new words have been set

Front 4

canon

Back 4

any "rule" for performing music, particularly for deriving more the one voice from a single line of notated music

Front 5

imitation

Back 5

in polyphonic music, the device of repeating a melody or motive announced in one part in one or more other parts, sometimes with minor alterations of pitch or rhthym

Front 6

contenance angloise

Back 6

characteristic quality of early 15th century English music marked by pan-consonance and free use of harmonic and melodic thirds and sixths

Front 7

faburden

Back 7

English practice beginning around 1430, in which a plainchant in the middle voice was joined by a perfect fourth above it and a third below, often in parallel motion

Front 8

carol

Back 8

In15th C England, a strophic two- or three-part setting of a poem in English, Latin, or both
the refrain section of a such a work ↑

Front 9

Cantilena

Back 9

freely composed English polyphonic genre which, like conductus, were mostly homorhythmic settings of Latin texts, not based on existing chant melodies

Front 10

Motto

Back 10

Mass type that employed a head-motive at the beginning of each movement

Front 11

cantus-firmus

Back 11

Mass type in which each movement borrows a single chant or other melody and confines it in long notes to the tenor voice to unite the work. The most prominent Mass type in the late 15th C.

Front 12

Cantus-firmus

Back 12

Mass type in which each movement borrows a single chant melody, alters it slightly, and uses it in successive points of imitation throughout all of the voices.

Front 13

Paraphrase

Back 13

Mass type in which each movement borrows parts of material from a pre-existing polyphonic chanson or a motet:

Front 14

inversion

Back 14

canon by which a voice moves by the same interval, but in opposite direction

Front 15

retrograde

Back 15

canon by which a voice moves backward

Front 16

mensuration canon

Back 16

canon employed by Ockeghem in his famous Missa prolationum, in which each pair of performers sing from the same part, but in different meters

Front 17

chorale

Back 17

the main congregational musical genre of the Lutheran church

Front 18

metrical psalms

Back 18

the main congregational musical genre of the Calvinist churches

Front 19

service

Back 19

the large liturgical component of the Anglican church, equivalent to the Catholic mass

Front 20

anthem

Back 20

the Anglican equivalent of the Catholic motet

Front 21

Reformation (German)

Back 21

began with a posted series of complaints about abuses within the Church

Front 22

Reformation (English)

Back 22

began with the refusal of the Pope to grant an annulment to a monarch

Front 23

Counter- Reformation

Back 23

began with the Council of Trent

Front 24

Franchino Gaffurio

Back 24

his influential treatises incorporated Greek ideas into his own on matters like the modes, consonance and dissonance, word/music relationships, and the harmonies of music, the human body/mind, and of the cosmos

Front 25

Tinctoris

Back 25

Theorist who wrote in his Liber de arte contrapuncti [Book on the Art of Counterpoint] (1477) that nothing composed before the 1430s was worth hearing because of excess dissonance. Was the first to limit dissonances to unstressed neighbor and passing tones and to suspensions, and to forbid parallel fifths.

Front 26

Zarlino

Back 26

Later Renaissance theorist who refined these ideas on dissonance in his Institutione harmoniche (The Harmonic Foundations) (1558), which were passed to him by Willaert.

Front 27

Heinrich Glareanus

Back 27

Swiss theorist who, in his treatise Dodekachordon (Twelve-String Lyre) (1547), added four new modes: Aeolian and Ionian, along with their plagal modes, with finals on "A" and "C", respectively.

Front 28

Ottaviano Petrucci

Back 28

Venetian craftsman who in 1501 brought out the first collection of polyphonic music, Harmonice musices odhecaton A (100 Polyphonic Pieces), printed entirely from movable type. The precision of his labor-intensive triple-impression process earned him the monopoly on music in Venice for 20 years.

Front 29

Pierre Attignant

Back 29

beginning in 1528, applied the much cheaper, but less perfect single-impression process, which would become the preferred method of music printing.

Front 30

DuFay

Back 30

International composer (1397-1474) whose positions in at Calais Cathedral in the Burgundian lands, in courts in northern Italy and Southern France, and in the Pope's chapel in Rome, Florence, and Bologna helped to spread and fuse national styles.

Front 31

Dunstable

Back 31

the greatest English composer of the first half of the 15th century

Front 32

Phillip the Good

Back 32

Duke of Burgundy (r. 1419-67) who was the greatest patron of the arts. His court band included a superb band of minstrels from France, Italy, Germany, and Portugal.

Front 33

Binchois

Back 33

The most important composer (ca. 1400-1460) at the court of this Duke ↑, he was particularly esteemed for his chansons.

Front 34

Johannes Ockeghem

Back 34

the greatest composer (1420-1497) after DuFay, over four decades served three French Kings and was honored by next generations of composers as the "good father."

Front 35

Antoine Busnoys

Back 35

a contemporary (1430-92) of this composer , was the most widely praised as a composer of chansons, he worked for Charles the Bold, Mary of Burgundy, & Maximilian I

Front 36

Charles V

Back 36

Hapsburg emperor (r.1519-1556) who became the most powerful ruler since Charlemagne. Ruled over Austria, the Low Countries, southern Italy, Spain, and Spanish America.

Front 37

Henricus Isaac

Back 37

Worked for three churches in Florence, and later for Maximilian I in Vienna & Innsbruck, his familiarity with Italian, German, and Franco-Flemish musical styles made him the most "pan-European" composer of the generation of 1480-1520.

Front 38

DePrez

Back 38

Another composer of this generation ↑, was universally recognized by his contemporaries as being "the best of the composers of our time" and "the father of music."

Front 39

Martin Luther

Back 39

Professor of biblical theology at the University of Wittenberg in Germany who concluded that salvation came through faith alone, and rebelled against the Church’s non-biblical practices.

Front 40

Calvin

Back 40

Led the largest Protestant movement outside of Germany and Scandinavia, he stripped churches and services of possible distractions from worship, including decorations, ceremony, and polyphony. Permitted only biblical texts in congregational worship.

Front 41

John Taverner

Back 41

Leading composer (1490-1545) of sacred music in England in the first half of the sixteenth century. The English traits present in his masses and motets include long melismas, full textures, and cantus-firmus structures

Front 42

Thomas Tallis

Back 42

Leading composer (1505-1585) of the generation following this one ↑, composed for Catholics, Anglicans, and Puritans. His melodies carefully follow the natural inflection of speech.

Front 43

William Byrd

Back 43

The most important English composer (1540-1623) of the Renaissance, who served the Church of England as organist and choirmaster in the royal chapel from 1572 to his death. Adopted the imitative Flemish style, but in his own individualistic manner.

Front 44

Adrian Willaert

Back 44

Flemish composer who became Director of Music at St. Mark's in Venice and held other positions in Italy, he trained many important musicians, including Zarlino.

Front 45

PALESTRINA

Back 45

Greatest composer of the Counter-Reformation, his controlled perfection of style was a model for later generations and today remains the ideal in present-day textbooks on counterpoint.

Front 46

Oriando di Lasso

Back 46

One of the most prolific composers in history, producing over 2,000 works in every sacred (Catholic) and secular genres. Originally from Flanders, from 1556 to his death he served the Dukes of Bavaria (Albrecht V and Wilhelm V). Especially admired for his over 700 motets.

Front 47

Tomas Luis de Victoria

Back 47

the most famous Spanish composer of the 16th C, mastered Palestrina’s style, although his own includes less florid melodies, more chromaticism, and greater textural contrasts.