Music History Part 2

Front 1

Renaissance

Back 1

An age when art and culture flourishes; art by paintings, music, and dance, and culture by art. It was an age of science and new ideas "rebirth of civilization"

wanted to return to the glory of rome

Front 2

paraphrase

Back 2

changing plainchants and embellishing them to make them flow better or simply to make them sound nicer

Front 3

sonority

Back 3

chords created when the chords lined up

Front 4

homophony

Back 4

chordal structure, vertically lining up

Front 5

hymn

Back 5

short tune with many stanzas, always ended with "amen"

Front 6

chanson

Back 6

simpler style of music, took over motet

Front 7

Mass

Back 7

made up into 5 parts:
1) Kyrie- prayer
2) Gloria- hymn
3) Credo-beliefs
4) Sanctus-hymn
5) Angus Dei-prayer

Front 8

imitative texture

Back 8

when one line of music is no more important than another and they're played seperately but are a reflection of ideals and balance- one starts a motive, hte others all follow

Front 9

a capella

Back 9

sung, w/o music

Front 10

point of imitation

Back 10

the simple motive being repeated over and over and over

Front 11

imitative texture

Back 11

when one voice starts a motive and the rest of the voices repeat it over and over

Front 12

expression

Back 12

music's power to recreate certain human emotions

Front 13

declamation

Back 13

when a certian musical passage is sung rhythmically and melodically as if it were being spoken

Front 14

word painting

Back 14

musical illustration of the text (ex: the word "down" may be a descending scale and the word "up" an ascending one)

Front 15

madrigal

Back 15

1 stanza love poem, used homophony, rhythm free, one person to a part, used in intimate settings, secular. RAPID TURNOVER OF IDEAS

Front 16

Italian madrigal

Back 16

about normal things, like relationships, heartbreak, stories

Front 17

English madrigal

Back 17

about how wonderful the queen is. she paid people to write madrigals about her, and it caught on in england very quickly because of her love for them. "triumphs of Oriana" - collection of madrigals about the queen

Front 18

instrumental music

Back 18

came into the light towards the end of the renaissance, started moving away from mostly vocal music with instrumental backing to all instrumental.

Front 19

instruments during the renaissance

Back 19

harpsichord, lute, and violin (major 3)

Front 20

Renaissance Dance

Back 20

most widespread of instrumental genres. usually went like this: A,A,B,B,C,C,D...to ensure people had two chances to get the steps right each time.

Front 21

pavane

Back 21

a solemn dance in duple meter, with the participants stepping and stopping formally.

Front 22

galliard

Back 22

usually paired with the pavane, it is simpler and less formal. triple meter.

Front 23

jig

Back 23

term used loosely for any type of fast dance with a swing and lilt to it (like jazz)

Front 24

stylized dance

Back 24

making dance music more stylized and "artistic" instead of purely for dancing. even instrumental music is breaking away from its original purpose to become something altogether different.

Front 25

Guillaume Dufay

Back 25

renaissance composer who wrote polyphinic masses and embellished hymns

Front 26

Jospuin Desprez

Back 26

Frenchman who wrote awesome masses using imitation. "Pan Lingua Mass"

Front 27

Giovanni Palestrina

Back 27

Italian singer who wrote over a hundred masses. used vocal sonority and employed homophony. Revolutionized the mass and used imitation and homophony to the fullest

Front 28

William Byrd

Back 28

organisr and member of English disident Catholic monority and wrote masses for illegal and dangerous services held in barns and attics.

Front 29

Thomas Weelkes

Back 29

contributed to the triumphs of oriana though he was never famous in his own day. clear melodies and simple rhythms.

Front 30

what was the 16th century motet and how did it impact the composers of its time?

Back 30

relatively short compositions in Latin made up of homophony and imitative polyphony. words religious, sometimes from bible itself. variety of text possibilities made 16th century composers able to convey religious messages through their music with more power than ever before.

Front 31

High Renaissance characteristics

Back 31

Imitative counterpoint and homophony. imitation- every phrase is equal, none dominates over the others. homophony focused on the vertical construction of chords rather than just an accidental formation of chords by imitative counterpoint. a capella also appears. rhythm is fluid, dynamics constant.