Music History 1 Test 2

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RENAISSANCE PERIOD

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period of art, culture, and music history between the middle ages and the Baroque period, marked by humanism, a revival of ancient culture and ideas, and the new focus on the individual, the world, and the senses.

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COURT CHAPEL

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a musical ensemble associated with a royal or noble court.

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IMITATIVE POLYPHONY

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A mass in which each movement is based on the same polyphonic model, normally a motet or chanson, and all voices of the model are used in the mass, but none is used in the cantus firmus.

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HOMOPHONY

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musical texture in which all voices move together and essentially the same rhythm.

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PART BOOKS

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A manuscript or printed book containing the music for one voice or instrumental part of the polyphonic composition (most often, an anthology of pieces). To perform any piece you need a complete set of part books so that all parts are represented

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CONTENANCE ANGLOISE

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characteristic quality of early 15th century English music, marked by pervasive consonants with frequent use of harmonic thirds and sixth, often in parallel motion

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FABURDEN

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English style of improvised polyphony from the late Middle Ages and rest renaissance, in which a chance in the middle voice is joined by an opera voice moving in parallel a perfect fourth above it and a lower voice that follows below the chant mostly in parallel thirds, moving to a fifth below to mark the beginning and end of phrases and the end of most words

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FAUXBOURDEN

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Continental style of polyphony in the early Renaissance, in which two voices are written, moving mostly in parallel sixths and ending each phrase on an octave, while a third unwritten voice is sung in parallel perfect fourth below the upper voice.

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RENAISSANCE MASS

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a setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie, Gloria, Credo, Sanctus, and Agnus Dei – shared a common musical theme, commonly a cantus firmus, thus making it a unified whole

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FRANCO-FLEMISH

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style of polyphonic vocal music composition originating from the Burgundian Netherlands in the 15th and 16th centuries, and to the composers who wrote it. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets and hymns.

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CANON

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composition in which the voices enter successively at determine the pitch and time intervals, all performing the same melody.

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POINT OF IMITATION

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passage in a polyphonic work in which two or more parts enter in imitation

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WORD PAINTING

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using musical jesters to reinforce or suggest images in a text, such as rising on the word ascend.

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REFORMATION

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move away from the roman catholic church, started by martin luther, and eventually creating what is now called protestant.

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CHORALE

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strophic him in the Lutheran tradition, intended to be sung by the congregation.

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METRICAL PSALM

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metric, rhymed, and strophic vernacular translation of a Psalm, sung to a relatively simple melody that repeats for each stroph.

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PSALTER

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A published collection of metrical psalms

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COUNTER-REFORMATION

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beginning with the council of trent, it was a revival of the catholics in response to the protestant reformation.

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COUNCIL OF TRENT

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council that met in response to the protestant reformation and began the counter reformation

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VILLANCICO

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type of polyphonic song in Spanish, with several stanzas framed by a refrain; originally secular, the form was later used for a sacred works, especially associated with Christmas or other important holy days

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FROTTOLA

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16th century genre of Italian polyphonic song in mock popular style, typically syllabic, homophonic, and diatonic, with the melody in the upper voice and marked rhythmic patterns

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MADRIGAL

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16th century Italian pome having any number of lines, each of seven or 11 syllables.

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THOROUGH COMPOSED

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composed throughout, as when each stanza or other unit of a poem is set to new music rather than in a strophic manner to a single melody

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CHANSON

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secular song with French words which is usually used especially for polyphonic songs from the 14th through 16th centuries

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TABLATURE

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A system of notation used it for loot or other plucked string instruments that tells the player which strings to pluck and where to place the fingers on the strings, rather than indicating which notes will result

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CONSORT

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English name for a group of instruments

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SACKBUT

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enaissance brass instrument, and early form of the trombone.

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CRUMHORN

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LUTE

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plucked string instrument popular from the mid to late Middle Ages through the Baroque period, typically pair or almond shaped with a rounded back, flat fingerboard, Frets, and one single and five double strings

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VIOLA DA GAMBA

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Bode, fretted string instrument popular from the mid-15th to the early 18th century, held between the legs

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CLAVICHORD

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keyboard instrument popular between the 15th and 18th centuries. The loudness, which depends on the force with which a brass blade strikes the strings, is under the direct control of the player

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HARPSICHORD

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keyboard instrument in use between the 15th and 18th centuries. It was distinguished from the clavichord and the piano by the fact that it's strings were plucked, not struck

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VIRGINAL

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English name for harpsichord, used for all types until the 17th century. It is also a type of harpsichord that is small enough to place on the table, with a single keyboard and strings running at right angles to the keys rather than parallel with them as in larger harpsichords.

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PAVANE

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16th century dance in slow duple meter with three repeated sections AA BB CC. Often followed by a galliard.

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GALLIARD

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16th century dance in fast triple meter, often paired with a pavane and in the same form AA BB CC.

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INTABULATION

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arrangement of a vocal piece for the loot or keyboard, typically written in tablature.

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TOCCATA

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peace for keyboard instrument or loot resembling an improvisation that may include imitative sections or may serve as a prelude to an independent fugue.

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RICERCAR

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in the mid 16th century, a prelude in the style of an improvisation. From the late 16th century on, and instrumental piece that treats one or more subjects in imitation

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CANZONA

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16th century Italian genre, and instrumental work adapted from Shannon sans or composed in a similar style. In the late 16th century and early 17th century's, and instrumental work in several contrasting sections, of which the first and some of the other are imitative counterpoint.

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POLYCHORAL MOTET

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motet for two or more choirs.