Music History Test 2

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Humanism

Back 1

Human reasoning as the most important means to answering questions

Philosophy focused on independent thinking; reason combined w/ observation

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Printing Press

Back 2

Johannes Gutenberg

Movable type

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Martin Luther

Back 3

sought reform in the church. Protestant Reformation. Ninety-five theses

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Protestant Reformation

Back 4

Initiated by Martin Luther in 1517 when he nailed his ninety-five theses to the church. (indulgences)

An expression of protest against corrupt church practices and a desire to reform them.

Schism (Catholic and Protestant)

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Counter Reformation

Back 5

Mid 16th-Century. A more systematic and positive attempt to retain or win back believers to the Roman Catholic Church, in part through a modification of doctrine and practices, in part through music.

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Renaissance painting, sculpture

Back 6

Lifelike paintings in 3 dimensions

Less emphasis on sacred subjects

Admiration of the human body(no longer ashamed)

Strong interest in anatomy

Individuality was very important in representation

Leonardo da Vinci- anatomical sketches

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Music in society

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1. Courts grow in size and prosperity, as a result, more music and arts were required.

2. Rulers were respected by the amount of culture in their court

3. Abundance of Work for musicians in religious and social functions

4. Each court would have hired musicians

5. Travel increases; composers traveled a lot

6. Printing press crucial

7. More music notated, but there is still a large body of orally transmitted music

8. With wealth, musical training a necessity

9. Women gain prominence

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Medicci family

Back 8

Most famous family(bankers)

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Characteristics of Renaissance music

(MTHR)

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Melody: wordpainting, music serves text, imitation

Texture: mostly polyphonic; some homophonic

Harmony: Use of triads

Rhythm: Greater sense of beat; move away from triple

A cappella vocal style prominent, instruments used more

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consonance and dissonance

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Composing music that "sounds" good

Tinctorus believed that it is important to trust our ears as composers rather that rely on theory instead of ratios, etc.

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Johannes Tinctoris

Back 11

Tinctorus believed that it is important to trust our ears as composers rather that rely on theory instead of ratios, etc.

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John Dunstable

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According to Tinctoris, was the leading master of this new musical style

Quam Pulchra Es - Motet

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contenance anglois

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Leader: John Dunstable
Concept of "english guise" - a "new way of composing with lively consonances.
Based on intervals of 3rds, 5ths, and 6ths.
Panconsonance - emphasis on triads, limits the use of dissonance

Hint 13

Movement

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panconsonance

Back 14

emphasis on triads, limits the use of dissonance

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motet

Back 15

1. Sacred or Secular
2. Prayer set to music
3. Used for liturgy, devotional, specific occasions
4. Putting a name in the text of a motet in pitches
5. Combination of sacred and secular text in the piece

Use of musica ficta

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fauxbourdon

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Use of an additional part that runs parallel to the uppermost of the two top lines. 4th above

Conditor alme siderum - Du Fay - containes Fauxbourdon

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faburden

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Singers would add lines of harmony above and below the upper line. Upper line would be P4 above. Bottom line could vary

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pervading imitation

Back 18

kind of imitation in which a series of musical ideas are stated and imitated through every voice at one point throughout the entire work

Front 19

successive vs. simultaneous composition

Back 19

1. Successive - working on each voice separately; not worrying about harmony
2. Simultaneous- working on all voices simultaneously. How each voice affected the harmony

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Guillaume Du Fay

Back 20

One of the last composers to use isorhythmic techniques.

Made use of triads

Wrote 6 settings of the mass

Missa Se la face ay pale: first setting of a mass based on a cantus firmus from a secular source. (cyclical mass)

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Johannes Ockeghem

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Fascinated in the cannon

Front 22

Old Hall Manuscript

Back 22

Most complete and most significant source of English sacred music of the late 14th and 15th centuries

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Josquin des Prez

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Believed to be the greatest composer of the Renaissance

First composer to master high Renaissance style.

Wrote in every vocal genre

Not much about his life is known

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Cantus firmus technique

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Taking a melody from an existing work and adding polyphony to it.

Used as the basis for a new song

Types: strict, ostinato, free

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Strict(CF)

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CF remains consistently in the tenor

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Ostinato(CF)

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CF is repeated consistently that it always appears in at least one voice at all times

Front 27

Free(CF)

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CF migrates from voice to voice or may drop out altogether from time to time

Front 28

Cyclical Mass (3 types)

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A cycle of all movements of the Mass Ordinary integrated by a common cantus firmus or other musical device

Types : Cantus Firmus, Canonic, Imitation, Paraphrase

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Head motive

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A thematic idea in multiple voices placed prominently at the beginning of a movement or section of a movement

Front 30

wordpainting

Back 30

melodic contour or harmony matches whats in the text

Front 31

musica ficta

Back 31

Used to avoid tritones

Used to avoid cross relations (half step dissonances)

To make music more appealing to the ear

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Canonic (CM)

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At least one of the notated voices generates a second

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Imitation (parody) (CM

Back 33

Incorporate all the voices of an existing work into the fabric of the new work

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Paraphrase

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Borrows melody (tenor) from an existing melody and uses it freely

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French chanson

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Secular song
Move away from layered texture to more homogenous one
Parts are equalized rhythmically
Pervasive imitation

Hint 35

Homo

Front 36

Italian frottola

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Some is free in structure, some have a fixed scheme

strophic

Light-hearted subjects

More chordal structures

Could be vocal, instrumental, or a mix of the two

Most famous composer of: Marchetto Cara

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Renaissance instruments

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Keyboard: positive and portative organ, harpsichord, clavichord, virginal

Strings: lute, viol, violin

Winds: recorder, shawm and crumhorn, trumpet

Percussion: drums cymbals, tambourine, triangle, xylophone

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keyboard music

Back 38

Only a few surviving manuscripts

Most important: 3 German sources

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basse danse

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Slow stately couples' dance in compound triple meter, executed with smooth, gliding steps

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Johannes Gutenberg

Back 40

Printing press movable type

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Ottaviano Pettrucci

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Made advances in printing by using 3 step process: Staff->Text->Notes

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Pierre Attaingnant

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disliked the composers of the Parisian chanson

Created a single step printing system

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Liber de arte contrapuncti

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Johannes Tinctoris' main exposition of intervals, consonance and dissonance, and their usage. He devised strict rules for introducing dissonances, limiting them to unstressed beats and syncopations (suspensions) and at cadences.

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Parisian chanson

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Often for solo voice and lute

Light style

Use of chord progression

Homorhythmic

Melody in highest part

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homorhythm

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sameness of rhythm in all parts

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Italian madrigal

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Through-composed

Composition for 3 or more voices setting mostly secular texts

The Singing Ladies of Ferrara

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villanella

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Contained bawdy texts full of suggestive imagery and double entendres.

meant "country girl"

Work only for 3 voices

strophic and syllabic

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English madrigal

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musica transalpina

Italian madrigals translated into English

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Lute song

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Strophic songs notated for lute and any combination of one or more voices

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Reformation music

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Texts were in the vernacular

More in the hands of the congregation

Chorales

No instruments

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chorale

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German hymns

derived from existing melodies (sacred and secular)

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Counter Reformation

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Focus on Council of Trent

Worked to have original medieval chants preserved

Text clear

No secular tunes

Only instrument: organ

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Council of Trent

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Met to hear and clear up grievances against the Catholic Church

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intabulations

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any arrangement of an existing vocal work for a plucked string instrument or keyboard

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variations

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takes very specific song themes and varies them. Mainly written for keyboard or flute

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freely composed forms

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adhere to no established scheme or vocal model

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pavane

Back 57

slow, courtly dance in duple meter

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passamezzo

Back 58

similar to pavane but with lighter step

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bourree

Back 59

lively dance in duple meter with a prominent upbeat at the beginning of each section

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salterello

Back 60

lively dance that often follows a slower one

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golliard

Back 61

like a salterello but even more vigorous, with larger leaps by dancers

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mannerism

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a term from art history that designates a style of painting and sculpture characterized by the use of distortion, exaggeration, and unsettling juxtaposition for dramatic effect

Music: Extreme dissonance

Unusual harmonic progressions

Unusual wordpainting

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Maddalena Casulana

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Published Morir non puo il mio cuore: Representative of the mid century madrigal that also happens to be among the earliest printed vocal works by a professional woman composer

First professional woman composer to see her vocal music in print

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Orlando de Lassus

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Manneristic(mannerism) style composer

One of the most prolific composers in the history of music, writing more than 2,000 works in virtually every genre of his era, both sacred and secular

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Thomas Morley

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Disliked the desire for Italian music in England despite the fact that many of his madrigals were based off of Italian texts.

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John Dowland

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Chief proponent of the lute song.

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Thomas Tallis

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One of the most outstanding composers of anthems in the 16th century

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William Byrd

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One of the most outstanding composers of anthems in the 16th century

Wrote several settings of the Latin Mass as well as many widely admired settings of English texts that were used in Anglican services

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Giovanni Pierluigi da Palestrina

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Leader in Renaissance polyphonic style. Pope Marcellus mass convinced Council of Trent to not ban polyphony.

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Carlo Gesualdo

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Mannerism composer

Front 71

Differences in Medieval and Renaissance

Back 71

Medieval|Renaissance
Voices moved at different speeds|More homogenous textures all voices important
Rhythm: Dominance of the rhythmic modes|Steady pulse; balanced and even
Melody: angular without overall shape goal|Generally lyrical
Harmony: P8, P5, P4|3rds and 6ths began to be used
Form: Cantus firmus, isorhythm, fixed forms|
Instrumentation: Extremely limited instrumental works| Vocal works were a cappella. Instruments were mainly used to double voices.

Hint 71

Rhythm melody harmony form instrumentation