Music History Exam 2

Front 1

Countenance Angloise

Back 1

“The Contenance Angloise, or English manner, is a distinctive style of polyphony developed in fifteenth-century England. It used full, rich harmonies based on the third and sixth. It was highly influential in the fashionable Burgundian court of Philip the Good and as a result on European music of the era in general.

Binchois and Du Fay

1400

Front 2

Fauxbourdon(Faburden)

Back 2

english (England was place where renaissance began)Two singers “sight” lower and upper lines to make Basically 6/3 parallel chordsTook a chant line and read it and harmonized it while they sang. This is called “sighting”

French: Top and bottom voices written outMiddle voices sighted a 4th below the top voice

Basically-- 6/3 parallel chords

Front 3

L'homme Armee

Back 3

L’homme armé mass is also known for short little songs that allude to the future

Front 4

Parody

Back 4

1490-1520 Parody and paraphrase techniques “take over” in masses

Parody-- polyphonic modeling

Front 5

Jesuit

Back 5

Jesuits: founded during reformationthemselves English. Came back to English to convert everyone and they were executedBig deal-- people freaked out because it was so insanely gruesome (Victoria)

Front 6

Service

Back 6

Protestant: anthem, service

Front 7

Petrarch(ism)

Back 7

the poetic style introduced by Petrarch and characteristic of his work,marked by complex grammatical structure, elaborate conceits, and conventionalized diction. (early madrigal)

Front 8

Frottola

Back 8

Fibs, lies3-4 partsInstrumental plus one singerstrophic, barzella is a “”frottola proper”Petrarchan (some rather good poetry)Strophic Hymn is most obvious strophic thingMore like a rock song of the 70’s

Front 9

Parisian Chanson

Back 9

Lyric(fun, lighthearted, carpe diem) or narrative (descriptive, evocative of scenery): 16th century

Front 10

death and life

Back 10

death is climax

Front 11

Treble dominated

Back 11

binchois, homogeneity

Front 12

Isorhythm

Back 12

Cool and very rare process. Idea that a piece of music in one voice could have repetitions of rhythm and pitches but the repetitions didn’t coincide. For example, there will be 4 repeated notes but a 3 note rhythm.

(talea and color)

Front 13

Petrucci

Back 13

1501 Ottaviano Petrucci, polyphonic music in print, didn't invent anything, just had a monopoly

Front 14

Reformation

Back 14

Reformation: reaching more peopleMartin Luther and 95 theses-- Wittenberg, 1517He wrote 95 ideasScripture vs. Church traditionworls, faith, corruption, law, sacraments

Front 15

Anglican

Back 15

1625-35

Front 16

Psaltery

Back 16

zitherlikecan tune them apparentlynot too many strings

Front 17

Music Printing

Back 17

16th century 1500’s, Double/triple impression methodslater, single impression methodsPrinting was an impression that was 3D. You could feel across the printing. Printing was well done and there was a visual effect because you could see the printing. printing was higher quality back then. Printing, people didn’t understand. Started wooden printing presses, eventually had movable tiles.

Front 18

Paraphrase

Back 18

c.f. is paraphrased and woven into the polyphonic texture

Front 19

Pervasive Imitation

Back 19

Term used in late high renaissance Josquin Desprez was a leader in this techniqueFor him it was one texture of many for which he expressed ideasFor others it was a technique of how to compose, Opening of “point” is imitative, then breaks off (non canonic)

Front 20

Cyclic Mass

Back 20

Big huge wonderful compositionsIt’s just a huge isorhythmic motet out of Huge musical connectionSAME tenor line, manipulated but recognizedSAME tenor line is in EACH movement of the massYou’re hearing different music around the same wordsWhy did they do it?Saint Patrick’s cathedralTrying to leave your markFascinating day, great day. the mass is spectacular Kind of day that motivated the massCompositional interest of the composer, how much he can do, is also a motive

Front 21

Counter-reformation

Back 21

Church of Rome’s reaction to Protestant ReformationCorrected corruptions of administration and doctrineReexamined art, liturgy and music

Front 22

Anthem

Back 22

Protestant service, (biblical text, like motet)verse anthem: alternates solo and chorusfull anthem: chorus only

Front 23

Word painting

Back 23

Association between word being sung and the sound that the music sounds, late madrigals,

Front 24

Musique Mesuree

Back 24

Pleide poets: Jean-Antoine BaifLatin-Greek accentuation applied to FrenchLong: accented syllableShort: Unaccented syllableMade things more classical then got musicians and poets that could work together to make this part of the music Sponsorship of the KingThen performed for an interactive audience that would give their feedback

Front 25

Concerto della donna

Back 25

Performers that were the “group of ladies”singers that were thought to be so good that people did not allow others to hear them. They were private singers, and you had to be invited to hear them. Somebody sat during concertos and wrote down transcribed in person what these girls were singingPrivate as well as public element to printing

Front 26

Early Madrigal

Back 26

(1525-45)Phillipe Verdelot (1475-1535), Jacob Arcadelt, Constanza Festalast bunch of guys who move to Italy to find fame. StyleSingle stanza poem, through composedQuasi sectional3-4 voicesChordal Frottola-like (with some imitation)Music is designed to match the seriousness, nobility and artfulness of the poetry& to convey its ideas: WORD PAINTING Printer is working against the trend.Madrigal doesn’t sound revolutionary until you get to the words. The words push the music. Lyrics get X rated

Front 27

Late Madrigal

Back 27

Virtuoso madrigal with extreme word paintingExtremely Chromatic (in melody and in movements of chords)Root movements in thirds (C minor-E Major)On works like “death” that have a double meaning, Luca Marenzio (1553-99) Carlo Gesualdo (1561-1613)

Front 28

Laude

Back 28

Vernacular sacred song, likely introduced by troubadors

Front 29

Allemande

Back 29

(“German”)moderate, duple meter, Instrumental MusicSome other dances of the 16th century

Front 30

Dunstable

Back 30

(c. 1390-1453) People suddenly start to harmonize something We think this new English sound was based on improvisationHe makes the words come out almost as if spoken. The pace is a spoken pace. Words were wanted to be audible. This is called declamation. There was a clear intent for him to want you to hear the wordsRevival of Chant Aesthetic?We are back to putting the words up frontNo Cantus Firmus

Front 31

Du Fay

Back 31

(1398-1474) Writes elaborate virtuosic musicWorks incredibly well

Front 32

Ockeghem

Back 32

Last of the early Renaissance composersStill non-imitative, but more homogenous, polyphonyYet canons, and other technical feats are commonImpressed everyone. Wrote different kinds of canonsMeans law. Canons are just different laws written for musicComposer just told them “start this two bars later and a fifth up” etc. Writes only two voices all the way through. Entire mass only in 2 parts, but it’s a four voice mass. Rules are written insteadStarted at seventh, third, fifth, etc. True bass voiceHe expanded range down as low as it goes. He was a bass voice. within one generation we went from identical ranges to them being as far apart as they are today. Brought math into his compositions

Front 33

Josquin Desprez

Back 33

1440-1521:Pervasive imitation,

Front 34

Festa

Back 34

(ca. 1485–1490 – 10 April 1545) was an Italian composer of the Renaissance. While he is best known for his madrigals, he also wrote sacred vocal music. He was the first native Italian polyphonist of international renown, and with Philippe Verdelot, one of the first to write madrigals, in the infancy of that most popular of all sixteenth-century Italian musical forms.

Front 35

de Rore

Back 35

Franco Flemish, experimental, chromatic, and highly expressive style had a decisive influence on the subsequent development of that secular music form

Front 36

Marenzio

Back 36

lots of diverse madrigals

Front 37

Gesualdo

Back 37

(1561-1613) Life and death great contrastVivid word painting

Front 38

Janequin

Back 38

1485 – 1558 French, narrative madrigals

Front 39

Claude la Jeune

Back 39

(1528 to 1530 – buried 26 September 1600) was a Franco-Flemish composer of the lateRenaissance. He was the primary representative of the musical movement known as musique mesurée

Front 40

Morley

Back 40

(1557 or 1558 – October 1602) was an English composer, theorist, singer and organist of the Renaissance. He was one of the foremost members of the English Madrigal School. He was also involved in music publishing, and from 1598 up to his death he held a printing patent (a type of monopoly). He used the monopoly in partnership with professional music printers such as Thomas East.

Front 41

Byrd

Back 41

(1540-1603) a catholic composes music in all of the above categoriesMost famous composer of entire Elizabethan reign. Devoted catholic.

Front 42

Palestrina

Back 42

Giovanni Pierluigi Palestrina (1525-94) Very influential-- his style is widely imitated Pervasive imitation, cf techniques, parody techniquesMelodies well crafted arcs, often in curvesHarmony was very intentional and striking, modal, diatonicAlmost no chromaticism at all (except ficta)Texts set with careful declamationMozart based a lot of his ideas on PalestrinaWrote a bunch of madrigals. tried to destroy them after he started writing sacred music - counter reformation

Front 43

Victoria

Back 43

A jesuit-trained priest and composerTakes things further than PalestrinaNo Secular music knownmore expressive style than palestrina sometimesBrings back Josquin’s drama

Front 44

Lassus

Back 44

Sacred and secularMost famous and influentialMotetsmany are parodiesfor church or celebrations of state or didactic-- study pieceseveryone recognized him because he published so many pieceswrote the first Opus. His career followed many paths relating to his patronsVery rich and powerful guysHad many many composers that followed him and imitated his musicVictoria imitates LassusLassus would write a piece of music and other people would write music that had his ideas in it